| Author | Message | ||
  Eugene Senior Member Username: Eugene Post Number: 316 Registered: 8-2006 |
ERROR Sorry, I made a mistake. The Barnraising was accepted in the Pennsylvaania Watercolor International and a Boatyard scene was accepted in the Philadelphia International. I was fortunate to be accepted in both shows this year. | ||
Marie Senior Member Username: Marie Post Number: 346 Registered: 8-2006 |
Congratulations, Eugene. The barn raising paintings I have seen so far have been terrific, and I'm sure the one that got in to the show is terrific as well. I will look forward to seeing it after the show opens. | ||
Grizrev Senior Member Username: Grizrev Post Number: 288 Registered: 8-2006 |
Wonderful, Eugene! A well-deserved recognition -- we'll look forward to seeing it! | ||
Eugene Senior Member Username: Eugene Post Number: 315 Registered: 8-2006 |
Griz. I didn't do that one larger,but it's now showing in a local gallery. However I did a full sheet of another barnraising, not ihe same compostion, but similar in that men are working in the rafters against a pale sky. And I'm happy to say that it was accepted in the 107th Anniversary International Exhibition of the Philadelphia Water Color Society, which opens in October. I think it would be wrong to post it now, but I will after the show opens. | ||
Grizrev Senior Member Username: Grizrev Post Number: 287 Registered: 8-2006 |
Eugene, Whatever happened to the painting in your post 302 -- did it become a showpiece? Looking at the again, even though the triangle points to the figure at the top, you subdued that figure so that it wouldn't become the primary focal point. Your figure at the intersection of the straight lines has the greatest contrast and sits on the golden mean -- it has to be your focal point, and a good one! | ||
Grizrev Senior Member Username: Grizrev Post Number: 252 Registered: 8-2006 |
I defer to George and his greater experience. The diagonal lines are indeed strong, balanced by the circle of figures. A stronger focal point so near the top of the painting outside the golden mean would indeed distract from those features and detract from the balance. I'm glad for second thoughts! | ||
George Unregistered guest |
I like it! It has strong diagonal movement, and good rhythms and an overall balance. I don’t agree with Jack. I think a strong focal point would be distracting. | ||
Grizrev Senior Member Username: Grizrev Post Number: 251 Registered: 8-2006 |
Eugene, I didn't fail to notice that you did try to emphasize the figure at the top by making his shirt a stronger blue -- but, since the sky there is darker, it loses a little of the effect. I have in mind strengthening your focal point in the same way you used strong contrast or bright color to establish your focal point in "The Old Crane" and "Adrift" in your 274 post. Maybe you could give blue shirts to all the figures except the guy at the top, whose shirt could be white. | ||
Grizrev Senior Member Username: Grizrev Post Number: 250 Registered: 8-2006 |
Eugene, I do like this series, but somehow this piece strikes me as somehow constricted -- wanting more "space" around the scene. Maybe if I saw it full sheet, it wouldn't have that feeling. I also assume that the center of interest in the figure at the apex. I wish there could be more contrast there, but I realize the sky needs to be darker at the top and lighter as it approaches the bottom. Perhaps if you turned the figure at the far left around, switched his place with the other fellow on the left (who might also be turned to face into the painting), and had him reaching up to hand a board to the fellow at the top, it might strengthen the focal point in terms of directing our attention. I always find figures facing off the painting a little disconcerting anyway, unless it was your intention to suggest that there is a larger scene and other activity off to that side, thus "enlarging" the painting by way of suggestion and achieving psychologically that sense of space I was missing. It also might be possible to keep the detail of the figure at the top sharp and soften or "fuzz out" the others just a little. I guess I just like a strong focal point that adds a little sense of drama -- like the fellow who scales the mast of a ship! Of course, if the "message" again is a display of the cooperative efforts of this community, you wouldn't want to emphasize the "guy who made it to the top" too much. Maybe handing the board up is the best solution. I do like the way the positioning of the figures directs our eye in a circle around the painting. Great work! Did you mask the boards and figures before you did the sky washes, then come back and paint in the detail? You certainly are a master of technique! | ||
Eugene Senior Member Username: Eugene Post Number: 302 Registered: 8-2006 |
Here's another in my Amish barn raising series that I just finished. 1/4 sheet Arches CP. Burnt Sienna, raw sienna, ultramarine, cobalt blue, cad. red, gamboge, ivory black. The sky is more luminous than showm in this pic. I did washes of mixed cad. red, cobalt and raw sienna. When it was completely dry I glazed it with a pale warm gray. I rather like it and might try it again as a 1/2 or a full sheet. Might have possibilities as a show piece. What do you think?  | ||
Grizrev Senior Member Username: Grizrev Post Number: 239 Registered: 8-2006 |
Rekha, We're back in the States (Charlotte, with our daughter and grandkids) from a great three weeks traveling on our own in Italy -- spent too much time seeing the sights, so mainly did pen and wash sketches to work from when we get back home. | ||
Rekha Senior Member Username: Rekha Post Number: 302 Registered: 8-2006 |
Have a great painting holiday, Griz, and perhaps we shall see your paintings too. Is this with a group of painters or on your own? | ||
Grizrev Senior Member Username: Grizrev Post Number: 238 Registered: 8-2006 |
Rekha, Just a thought from another novice... You mentioned following Eugene's good advice to mix viridian, ultra. blue, and burnt sienna for your tree trunk. The problem is the proportions of each color -- and maybe letting them do a little mixing on the paper and not just on the pallette. I'm off tomorrow with my traveling pan pallette for Milan and then Cinque Terre. Great subject matter for a beginner -- wish I could watch Marie or Eugene paint some of the scenes and follow right behind on my painting training wheels until I could take them off and do my own thing! Will be off the board for a few weeks. | ||
Rekha Senior Member Username: Rekha Post Number: 301 Registered: 8-2006 |
Thanks Gary, I shall make another attempt at this painting incorporating the appropriate suggestions made here and see if I have actually absorbed what everyone suggested. | ||
Garydoc Advanced Member Username: Garydoc Post Number: 120 Registered: 8-2006 |
Rekha, re: the tree behind the large one. Most trees are fairly balanced and the graceful arc over the road should have a counterbalance. A branch to the left would be good...somewhere after it makes the turn to the right. Gary | ||
Rekha Senior Member Username: Rekha Post Number: 299 Registered: 8-2006 |
Eric, I can't tell you how frustrating it is to have the theoretical knowledge and not be able to fully put in practice it because something fundamental about the practical aspect is missing in the books. That is why I am eagerly waiting for Eugene and anyone else who is generous enough to volunteer to demonstrate the way you paint. I think there would be no point my coming back to the forum again and again if I couldn't learn anything from the experts. Eric, funnily enough I did paint the trunk with a mixture of viridian, ultramarine and burnt sienna, which is what I had learnt from repeated comments by Eugene. Raliegh, I appreciate what you say "...Novice or not we are all on a journey to improve", but there is chalk and there is cheese. | ||
Eric Unregistered guest |
Rekha- Here's more advice: The branches that split off from the main trunk should be smaller (not as wide) In fact, a careful observation of trees will show that if you combine the widths of the branches that have split off, they are the same width in total as the main trunk. (I hope I explained that well.) Also, a common novice mistake is to paint tree trunks brown. Most tree trunks are gray and the best way to get that color is a mix of ultra. blue and burnt sienna. You seem to have a thirst for knowledge so I'm sure you'll improve quickly. | ||
Raliegh Advanced Member Username: Raliegh Post Number: 110 Registered: 8-2006 |
Rekha, Eugene gave you some very valuable advise. Follow that and your paintings will look done. Novice or not we are all on a journey to improve. | ||
Rekha Senior Member Username: Rekha Post Number: 298 Registered: 8-2006 |
Thank you for your valuable input, Bonnie. O'Hara also writes that repeatedly. Surely there must be more to pull apart these paintings; a lot of you are teachers | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 277 Registered: 10-2006 |
Rekha: Push those values. If you scroll back through this thread quickly you will notice that both Marie and Eugene have colors that are very dark. One of the hardest things in watercolor is to get the dark darks. Just pushing those values will help tremendously. You have a lot of good things going on in both these pictures that could be made more dynamic by using a greater value range. Believe me, this isn't a criticism, just a reminder, I sure have enough trouble remembering this with my own paintings. | ||
Rekha Senior Member Username: Rekha Post Number: 297 Registered: 8-2006 |
Thanks Eric. More please I don't mind if you say it is crap but tell me why you class is as crap | ||
Eric Unregistered guest |
Rekha, The tree painting: To continue with Eugene's advice about branches peaking through the foliage, have the branches painted on the darker part of the foliage. The darker foliage represents the interior of the tree. | ||
Rekha Senior Member Username: Rekha Post Number: 296 Registered: 8-2006 |
Eugene, a big thank you for taking the time out to comment. Points that were important to me 1. "....a more specific source of light from one side, ...this would give more form to the orange lanterns by making one side darker than the other.". 2. "...could you suggest a few of the branches...peeping through the foilage?" 3. "....the thickness of the branches, they seem a little thick,--should be not as thick as the trunk." I thought the painting was bottom-heavy and it took Eugene to make me realise that it was the branches being the same size as the trunk that did it 4. "Darker shadows under the trees and across the road would make a stronger foreground and add depth to the picture. Fence posts could be a lttle stronger too, receding into the distance." I urge the others to critique the paintings simply because I get to see my painting from the artist's eye when the comments come in. I think I am the only novice on this forum. The comments 'brilliant', 'breathtaking' for very nice paintings by the experienced artist are your own appreciation, not critique, because the artist him/herself is already aware of it; he/she is just sharing the moment with you. | ||
Marie Senior Member Username: Marie Post Number: 316 Registered: 8-2006 |
Wow, Eugene! I love all four paintings. I would be hard-pressed to choose a favorite. | ||
Eugene Senior Member Username: Eugene Post Number: 276 Registered: 8-2006 |
Rekha, here are my suggestions. But remember, they are just my suggestions -- you are the artist in command, so do what feels right for you. The Floral-- I would have a more specific source of light from one side, this would give more form to the orange lanterns by making one side darker than the other. The pale one on the right seems unfinished. The background could be made more interesting by adding shadows or a neutral color or both. The Tree-- I like this one. Could you suggest a few of the branches, here and there, peeping through the foilage? Also, watch the thickness of the branches, they seem a little thick,--should be not as thick as the trunk. Darker shadows under the trees and across the road would make a stronger foreground and add depth to the picture. Fence posts could be a lttle stronger too, receding into the distance. Overall color is very pleasant. | ||
Rekha Senior Member Username: Rekha Post Number: 293 Registered: 8-2006 |
Eugene, these paintings are like any other of yours just breathtaking. Whilst mine are probably cartoons and possibly flat compared to yours I would nevertheless like comments that would help me improve on my last two   | ||
Raliegh Advanced Member Username: Raliegh Post Number: 108 Registered: 8-2006 |
thanks Eugene for sharing those, fine work. The boat being very intriguing. | ||
Eugene Senior Member Username: Eugene Post Number: 274 Registered: 8-2006 |
Rekha, you once ask to see my paintings that got into shows and won prizes. I finally had the slides scanned and can send them. The colors are not always exact, but they're pretty close. So here are some of them-- "The old Crane" I painted this over 50 years ago when I was a student in art school. It is a half sheet, painted plein air. It was the first ever that I and accepted in a national show---Audubon Artists in NYC at the National Academy of Design. Of course I was thrilled, hanging next to me on one side was Eliot O'Hara and on the other , Ogden Pleissner, two of my idols. I DIDN'T GET AN AWARD! but I was happy anyway.  "Adrift" This won an award in the PA W/C Society show  "Forest Floor" This won an award in the Philadelphia W/C Show  "Holstein Beauties" won an award in The Mid-Atlantic show in Baltimore  | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 263 Registered: 10-2006 |
Eugene--this site is wonderful! What an inspiration. | ||
Eugene Senior Member Username: Eugene Post Number: 266 Registered: 8-2006 |
I just found a great site for browsing. They have all your favorite artists and you can print their paintings to save for reference. Loads of Sargents and Homers. Check it out. I've only just begun. http://www.the-athenaeum.org | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 262 Registered: 10-2006 |
I've found that when people buy unframed art, they expect a real discount, way below the cost of a simple frame. You can probably frame it cheaper than the non-artist can. They think in terms of frame shops which means they are looking at a minimum of $100 for a small frame job. Plus if it is being sold unframed it is being shown in a bin. I had 10 full sheet unframed paintings in what I would consider to be a prestigious gallery in Portland, Oregon, for two years. None of them sold. I brought them back to my more rural area, framed them and hung them in my local coop. I sold all but one in the first three months. I didn't increase the price when I framed them because I wasn't paying the gallery 50%, so they were a little cheaper but the framing material didn't cost nearly as much as it would have cost the buyer to do it himself. | ||
Garydoc Advanced Member Username: Garydoc Post Number: 116 Registered: 8-2006 |
Griz, the perfect mat system is just pre-cut mats, foam backing and polyvinyl or acetate envelopes. It's great for showing your art in a tent on the street, but hardly a gallery presentation. Leave off the envelope and drop the "sandwich" into a glazed metal frame & you've got something you can hang. Gary | ||
Grizrev Senior Member Username: Grizrev Post Number: 209 Registered: 8-2006 |
What about Cheap Joe's "Perfect Show Mat System?" Like putting your art in a cheap frame for protection, this would serve the purpose of protecting your painting. Would art shows allow it? Galleries? | ||
Rekha Senior Member Username: Rekha Post Number: 279 Registered: 8-2006 |
Very sound practical advice from an experienced artist, Bonnie. Thank you but I was never suggesting, and who would that, an artist should subsidise the agent. This is all good to know. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 259 Registered: 10-2006 |
There are lots of frame shops that like to deal with artists that do just that. They take your work on consignment, frame it and then sell it. Of course you receive a very small amount of the selling price. It is not a very desirable position for the artist. There are also agents who will take your unframed work around the country and sell it to others who will frame it, mark it up and sell it. In a case of an artist I know the agent gives him $300 for each full sheet painting he paints. I saw one of his framed paintings for sale for $3,000 (he does oil pastel). He still only receives $300 of that price. Is this a good deal for the artist? It is also not in the best interest of the artist to go out and purchase a $200-400 frame and then sell the painting in a gallery where another $200-400 of the tag on price goes directly to the gallery. As artists we have to be good business people. The best way I've found to sell art is at art fesitivals (which I actually don't do much because I don't have to), by cooperative galleries (where the work and costs are shared and no employees hired) and potentially internet sales, where the percentage is low, but so are the sales. No matter how you cut it, it takes time to build a reputation and collect customers. People may look at your work for several years before they buy. They may start out small and go on to larger work or build a collection of your work. The best way to sell is to paint, paint, paint. Paint what you love, what you want to share, what you know. Keep your framing costs as low as possible. Make sure the purchasers know the frame the painting is in is only mean't to protect it. They are saving money by framing it themselves. Make it available without the frame--have a painting only price. Accept layaway. Use galleries for advertisement or competition to drive sales to your studio, cooperative store, online business, or festival. | ||
Rekha Senior Member Username: Rekha Post Number: 278 Registered: 8-2006 |
Before you frame paintings how do you store them: flat I think? OK, if that is the case they could be carried to the site of display this way and the gallery who now has the privilege of displaying them should put them up since they do it all the time anyway. This way the choice and cost of frames which is quite personal anyway doesn't fall on the shoulders of the artist. At present this may just sound an hypothetical proposition but a small rental charge by the gallery could cover their costs of mounts and hiring of rooms | ||
Marie Senior Member Username: Marie Post Number: 308 Registered: 8-2006 |
Further if a painting is good in it own right and the artist decides to use the deckled edges as a decorative edge, why further surround it with frames? The frame serves two very practical purposes. First, the glazing protects the art from dust, insects, and such. Second, the outer frame provides structural support. | ||
Rekha Senior Member Username: Rekha Post Number: 277 Registered: 8-2006 |
I know of no profession where a 'worker' must pay in order to be paid, barring of course the politician. The artist could work like potters: whilst the items are displayed the potter continues to busy themselves with the projects at hand. Further if a painting is good in it own right and the artist decides to use the deckled edges as a decorative edge, why further surround it with frames? [no elements of design principles please] As an example, paintings of nudes sell more easily by and large than those of draped figures, so the same should apply to the paintings in general. This way the cost of displaying paintings could be considerably reduced. | ||
Marie Senior Member Username: Marie Post Number: 307 Registered: 8-2006 |
NWWS would be the next logical step, I think. Even if the expenses are heavy, it's only once a year (I'm guessing). What I don't understand is when people enter 20 shows a year. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 258 Registered: 10-2006 |
I show in all the local shows. More than not I place. The only regional show we have in the area is a plein air competition that is mostly oil. It has been going on for two years. I placed with a watercolor the first year. I've gotten everything in that I've entered. I think I must be missing something here because the next step, as far as I can see would be NWWS (which has 800 entries) NWS or AWS -- all societies that you can spend your entire life entering and never even getting a painting in. Is there a level I may not be aware of? | ||
Marie Senior Member Username: Marie Post Number: 306 Registered: 8-2006 |
And one more thing, it's best to start with local and state shows. If you do well in those, then start with regional shows, and if you do well in those then move on to national shows. The chances of getting in to the major shows is pretty slim, regardless of how good you are. I started out exhibiting in local shows two years ago, and it was a good confidence builder for me ...and it also gave me a chance to learn the ropes about framing and presentation and slides and such without investing too much money. | ||
Marie Senior Member Username: Marie Post Number: 305 Registered: 8-2006 |
Does entering shows help sales? Not directly. In our state shows, we're lucky if we sell one or two out of 60-80 pieces. My chef painting *did* sell at the Southern show this year, but I don't think many others (if any) sold. Juried shows are simply not good sales venues. However, shows *can* help you get credentials, and credentials can help with sales. I may be wrong about this, but my observation is many individuals will spend a few hundred dollars on art (maybe a little more for oils than for watercolor) simply because they like it. If you charge more than a few hundred dollars, then buyers are looking for (1) investment potential and/or (2) reassurance that the art is "good." I'm selling a lot right now because I think a lot of people are expecting my prices to go up. They want to get stuff while they can still afford it. Also, when individuals spend a lot of money on paintings, they don't trust their own instincts; they want a "seal of approval" I suppose. Getting into shows and winning awards in shows tends to help people think that they are getting their money's worth. I don't enter shows unless I think it's going to do something very specific to help my career path. I have some friends who enter a lot of shows, but all of them have other sources of income. I also know of some folks who enter a lot of state shows. Most of these folks already have well-established reputations, and are probably trying to broaden their markets. | ||
Eugene Senior Member Username: Eugene Post Number: 265 Registered: 8-2006 |
Should You Try to Get into National Shows? It depends on what your goals are. If you’re going to teach workshops, write books, exhibit in big national galleries, Yes it is important. If I could put AWS after my signature I think it might help sales. I have signature membership in 3 state societies but don’t add them to my signature. To me that sounds like I’m pretty good, but not good enough to rate an AWS. I sell most of my work locally and most buyers wouldn’t know or care what PWS or PWCS or BWS or AWS means. But getting into these shows is an ego trip. It gives me a real boost. And I’ve met some real nice people. Sales in shows are few and far between. But I have met potential customers. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 257 Registered: 10-2006 |
You bring me back to reality. Now I remember the "next" steps that make me hesitate. It is a constant struggle with myself. Is it important to enter the bigger shows or is recognition in your local area enough? Discussion on this subject would be helpful. Do some people look at your affiliation with the bigger societies or lack thereof when considering purchasing your work? Does it open you up to a broader range of buyers? I sell most of my work in a state that I live just across the border from and cannot be a member in the state watercolor society. My own state doesn't have a state watercolor society, the closest watercolor society for me to participate in would be NWWS and my slide didn't get there. It is also, as far as I can see, not an easy society to get a painting in. They get about 800 entries per show. I simply do not care enough to hire agents, buy special packing crates, and kiss too much required •••. Any thoughts? Is art at the higher levels really just for the wealthy? | ||
Marie Senior Member Username: Marie Post Number: 304 Registered: 8-2006 |
I'm very picky about the shows I enter because of the cost. The first time I entered a show that required shipping, I think I spent somewhere over $400 on shipping, entry/acceptance fees, boxes, and framing (even doing the framing myself). I was shocked at the cost. I got lucky with the Southern WC show this year; the venue was only about 100 miles from my mother's house, and she offered to deliver the painting for me. | ||
Eugene Senior Member Username: Eugene Post Number: 264 Registered: 8-2006 |
Bonnie and all. Before you get too excited about entering the "BIG" shows, be advised that it can be expensive. Shipping costs (to and from) are high. Some shows (especially New York) accept entries only at limited hours on certain days, which means you must ship to an agent who unpacks your work and delivers it, then picks up after the show, repacks it and reships it. (for a hefty fee) Shipping and handling to N Y can run into the hundreds. More than some of the prizes. Work must be shipped in reshipable containers and must be glazed with acrylic. I now enter only shows that are hand deliverable. A few of us cooperate in delivering and pick ups. I don't mean to discourage you. But be aware! | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 253 Registered: 10-2006 |
Thanks for posting this advice Marie. I have never heard about the slide order or sending entries early, rather than late. I also didn't know that size matters. This is all good to know. Along with the information about getting slides made, you've been a tremendous help right as I am getting psychologically geared up to try my hand at larger shows. Thanks. | ||
Marie Senior Member Username: Marie Post Number: 303 Registered: 8-2006 |
Good advice, Eugene. Although I have never judged a show, I have had the opportunity to see all the slides entered into some shows. I'll add a few more comments. * "Plain old landscapes and florals" have a tough time simply because so many of them are entered into show. They start to look alike after a while. The corollary is that paintings that emulate another artist too closely have a tough time. When you look at an entry and say to yourself, "that person obviously took a workshop from Don Andrews" or Frank Webb or any other specific artist, then the chances of that painting getting in to a show go down. The more you can show an individual voice the better off you are. * Yes, size does matter. And it matters especially with the big national shows. I heard rumor a while back of a well-known national judge who automatically eliminates everything smaller than 22x30. * It's good to send in your entries early. I just checked the records for two shows for which I had data. The slides were entered into the trays in the order in which they were received. For one show, the acceptances were pretty evenly distributed. For the other show, though, the acceptance rate tailed off toward the end of the entries. By the way, the NWS bylaws explicitly state that the slides have to be inserted into the trays in random order. | ||
Eugene Senior Member Username: Eugene Post Number: 263 Registered: 8-2006 |
Another thing I forgot to add. National shows are usually judged and juried by well know artists. Great! Local and regional shows are often judged by an art critic, art historian, college teacher, museum curator, etc. Representational painters like me, ussally do not do well with them, so I usually avoid shows when I am not impressed with the judge. | ||
Eugene Senior Member Username: Eugene Post Number: 262 Registered: 8-2006 |
Rekha and all. Marie’s advice for getting into shows and winning awards is sound. A few things I would like to add. 1. Judges and Jurors are always looking for something unusual, in subject matter and technique. A plain old landscape or floral will have a tough time, even if well painted. 2. Big is better. A small painting is overwhelmed by the big ones and seldom wins 3. Don’t try to outguess the judge. Show your best work, not what you think the judge will like. Don’t send something painted in the style of the judges painting unless it’s super. He/she will be most critical of this. 4. Send your entries in early. as they are often viewed in the order that they are received, and jurors get tired after viewing up to 1,000 slides. (this from a board member of a national w/c society) I’ve been accepted, in quite a few big shows and have won a few prizes. I’d like to post the winners, but I have them only in slide form and do not have a scanner. Maybe I can find a friend who can scan them for me and put them on a CD. | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 94 Registered: 8-2006 |
Whitewater, that is a good reminder. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 237 Registered: 10-2006 |
Kisha: Most of my paintings that have won awards have been painted just that way, uncalculated direct painting. Just taking everything I know and throwing it at the paper. Unfortunately, for that reason, I don't have pictures of many of them because they sold at the show and were done just in time to dry and frame before the show. But, most of the shows have been local, not regional or state watercolor shows. I sent a slide in to the NWWS for their show this winter (using Marie's suggestion on how to get slides). The slide was due January 1. I just got it back with my money and an explanation that it didn't get there in time to Judge. I don't know if it got lost in the mail or what, but I'm getting off to a poor start as far as the big shows go. If you go to my website at www.yessy.com/whitewatercolor, some paintings that won awards were: Light Show (landscape), Three Old Souls (trees), Windowbox Geraniums (floral) and Columbia Gorge 83. My computer crashed completely about three years ago and every image I had up until then was lost. So this is a reminder to everyone to back up their images to CD. | ||
Kisha Unregistered guest |
This is very interesting. I have a painting of sunbathers at the beach that I executed in under 2 minutes on a full sheet. There are obvious drawing inaccuracies and it is done on a student grade sheet. It is full of bleeds and blossoms. However, looking at it it seems almost mystical in effect. It looks like John Marin painted it. I've always wondered what would happen in John Marin submitted to an watercolor show. I've always been curious what would happen if I submitted this painting. | ||
Marie Senior Member Username: Marie Post Number: 290 Registered: 8-2006 |
First off, there's no telling what will strike a judge's fancy. Paintings that win awards in one show may not be accepted in other shows. I had one piece that one a blue ribbon in several local shows and has been rejected twice by my state watercolor society. Another piece was rejected by my local group and won an award from the state group. So, just because something gets rejected doesn't necessarily mean it's a bad piece. Other than that, I'm still trying to figure out what works and what doesn't. A few things I have observed: * Page use is important. Whatever you are painting has to relate to the edge of the page. Also, the main subject shouldn't be too large or too small in relation to the page. * Strong values work in your favor. Good darks are important, especially in watercolor. * A frequent problem I see is when the surface rendering surpasses the drawing. Textures and surfaces are carefully rendered, but the drawing underneath is weak. I see this most frequently with paintings of people. A closely related problem is when one part of the painting is carefully and illusionistically rendered and then another part of the painting is just plain wrong. If the drawing is equally bad or non-existent throughout the painting, then you're okay. * The painting needs to stand out from the crowd. It doesn't necessarily have to be edgy or angry, but it needs some personality and individuality. | ||
Rekha Senior Member Username: Rekha Post Number: 239 Registered: 8-2006 |
Eugene, you are another artist who from what you have told us has won awards. May we hear from you about what you submitted and why it won the award? Actually the question applies to anyone who has won awards. This is an exciting forum to be in. | ||
Kisha Unregistered guest |
Thank you, Marie-- I suspected that you did not consciously apply specific design principles but rather created the painted by what looked and felt right. I am convinced this what some of the best artists tend to rely on. | ||
Maidensmith Junior Member Username: Maidensmith Post Number: 20 Registered: 8-2006 |
Absolutely beautiful painting - I remember when you posted it before. Congratulations - well deserved! | ||
Marie Senior Member Username: Marie Post Number: 288 Registered: 8-2006 |
I'm not sure that it was quite as cerebral as deciding on a warm dominance. I figured out the tonality first --- e.g the light side of his outfit is white, the stove is black, the background is somewhere in between, and his head is darker than the background. When I got ready to paint, was thinking more "a cool background would look dorky" than any kind of specific formula. So, I certainly thought of warm/cool dominance but I'm not sure which part of my brain was thinking about it. By the way the background came first, the darks came next, and the figure came last. | ||
Eric Unregistered guest |
Marie, I'm sure you consciously decided on a warm dominance, right? | ||
Marie Senior Member Username: Marie Post Number: 287 Registered: 8-2006 |
Kisha, I didn't consciously do "by the book" design. I recall thinking that I had a strong vertical in the figure that I wanted to play against all the diagonals in the stoves and the tilt of his head. Toward the end of the painting I decided that some of the background shapes were too hard, and I consciously scrubbed out some areas. Most people think that it's steam or smoke in the background, but in reality it was an attempt to make some of the shapes more irregular. | ||
Kisha Unregistered guest |
Question for Marie--At any point during the creation of this art did you consciously use the principles of design. In other words, did you say to yourself--I need to apply the principle of unity, contrast etc or did you just create the art with your artist's eye? | ||
Joe Member Username: Joe Post Number: 30 Registered: 2-2007 |
The overall design quality in this is great. Good job. | ||
Eric Unregistered guest |
Wow, Marie, now that I know Frank Webb was the judge, I'm even more impressed! | ||
Marie Senior Member Username: Marie Post Number: 286 Registered: 8-2006 |
Thanks for all the good feedback. I'm going to try to see if there were any comments from the judge, Frank Webb, because I would be curious to find out specifically what he liked about it. Eugene, drawing has always been my first love. I still feel like I'm transitioning from drawing to painting. | ||
Eric Unregistered guest |
I also like the various shapes here, all different sizes. A nice job of "dividing the paper". | ||
Kisha Unregistered guest |
It's the whole package-- Note the white uniform a=set against the dark grays of the stove on the left and other dark on the right, But not also how the figure is not just a hard edge cutout because the light gray of the floor and the yellow background allow some of the edges to merge into the background. There is also the orange on the face hinting at reflected heat contrasting with the blue at the shoulder blades. Theres the handling of the steel. Theres the soft focus of the periphery of the kitchen. Masterful. | ||
Rekha Senior Member Username: Rekha Post Number: 238 Registered: 8-2006 |
Barring Kisha and Raleigh's comments on the painting, no one seems to offer comments what aspects of the painting may have won a golden award | ||
Eugene Senior Member Username: Eugene Post Number: 246 Registered: 8-2006 |
Marie, A strong point in this, and your other paintings, is the drawing. You draw with the brush as well as with the pencil. In my opinion all the really good watercolorists were first of all good draftsmen. The confidence shows in the painting. AND I LOVE THE LIMITED PALETTE. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 235 Registered: 10-2006 |
When I took a class from Westerman this past year we spent time taking photos at a cooking school in Portland and this puts me back there in a more calm way. I agree that your subjects are a little Westermanly but your use of transparent colors I find really appealing and unique. Congratulations on the award. This is a painting I won't forget and keep coming back to. It is really wonderful. | ||
kisha Unregistered guest |
I love the yellow. It creates a lost and found edge, almost, with the face. An unusual effect. | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 93 Registered: 8-2006 |
Marie I related best to this pic from all of that series of paintings. Fabulous job getting the award. You've posted w/c of Sargents where the umbrella could have been any color in that same value so this is very small but the yellow wall in the kitchen bothers me. All the resort kitchens I've been in, the guests have the outside views (yellow means sun)and the sterileness and indoor lighting would be cooler. The cook and the stove are right on. Congratulations! | ||
Rekha Senior Member Username: Rekha Post Number: 237 Registered: 8-2006 |
You would have seen my congratulations earlier were it not for being banned for the second time with no good explanation. Consequently, I did write to your email address and hope that you received it. Your paintings are truly remarkable and representative of the 21st century way of life. | ||
Eugene Senior Member Username: Eugene Post Number: 244 Registered: 8-2006 |
Pure transparent watercolor, beautifully painted. You deserved the prize! | ||
Eric Unregistered guest |
Marie, I should have said, "that's A direction you should continue". (not THE direction) I think all of your paintings are very good. It's just that I really like the ones where people are doing something. Kind of Arne Westerman-ish. | ||
Eric Unregistered guest |
Marie, that's really impressive. Congratulations. Several weeks ago you mentioned that you were interested pursuing a theme of painting people doing everyday things. I think that's the direction you should continue. Nice job. | ||
Marie Senior Member Username: Marie Post Number: 285 Registered: 8-2006 |
I usually don't like to post this sort of thing, but I can't resist. I won the Gold Award from the Southern Watercolor Society last weekend. I was happy just to have my painting hanging on the same wall with the other paintings in the show. Winning the award blew me away! So, here it is. I revisited at a larger scale one of the paintings I did last fall.  Vital statistics: 15x22; raw sienna, burnt sienna, ultramarine blue, ultramarine violet, and a touch of cadmium red light. No white, no black, no gouache, no acrylic. |
