time after time

An enjoyable afternoon yesterday with students at the Marina.

Working with foreground/middle-ground and background aspects; subject was huge. 

'If I had had more time, I would have drawn less!'

Here is the initial compositional layout; drawing small was key to beat the clock.

then this...clocks ticking.

Taking in a view and trying to capture it all, isn't always easy, especially at first.

This view had a hugeness about it and took me back to 1985, thinking about the day I was to sketch St. Peter's Basilica.

Earnest as I was, once I arrived; I realized I needed more time.

I will be back there in a few weeks; enough time?

changes

change is good.

whether you are undertaking a new adventure, choosing a new direction in your passions; 

studio is a remarkable way to diagram those passages of your life.

Layers upon layers settled this painting. 

Those blankets of color, 

keeping safe the old and the new life diagrams fast approaching.

remembering: power of a sketchbook

power of a sketchbook; words and drawings.

I remember the time and day, 

thoughts and feelings while creating these images; 

all the senses were activated.

What does it take to remember?

For me it is drawing.

What is it for you?

here is an excerpt from the internet:

'Images are generally more evocative than words and more precise in triggering a wide range of associations. 

Whilst text can communicate a fact, argument or logical sequence, images invoke lateral thinking, objectivity and global context. 

By establishing a better balance between the use of images and the use of words, 

educators can increase the learning potential of their students.'

courage

Friday inspiration.

Just put a mark of paint on the canvas and let yourself carry on directed by hidden instinct.

 That takes courage. To control but yet not to control. 

(Moncy Barbour)

Leap, and the net will appear. 

(John Burroughs)

What makes for great art is the courage to speak and write and paint what you know and care about. 

(Audrey Flack)

drawn as 1, divided by 4

Framing devices in studio are invaluable.

Editing processes while working on an easel have become essential; studio and plein air.

My Iphone has a quick view and zoom in and out capability; 

ideal for figure/ground, creating beautiful compositions, balance of color/value and much more.

I am not a huge fan of triptychs; good relationships, yes.

These four, once one, are strong together and apart.

yes?

'Yogi Berra, the former Major League baseball catcher and coach, once remarked that you can’t hit and think at the same time. 
Of course, since he also reportedly said, “I really didn’t say everything I said,” it is not clear we should take his statements at face value. Nonetheless, a widespread view — in both academic journals and the popular press — is that thinking about what you are doing, as you are doing it, interferes with performance. The idea is that once you have developed the ability to play an arpeggio on the piano, putt a golf ball or parallel park, attention to what you are doing leads to inaccuracies, blunders and sometimes even utter paralysis. As the great choreographer George Balanchine would say to his dancers, “Don’t think, dear; just do.”

The Myth of ‘Just Do It’

By BARBARA GAIL MONTERO

The spontaneity of work wether in studio, teaching, at the drafting desk or plein air is more successful when one just does. 

I call it magic time. 

Trust in oneself; see how the mind and hand work together and see what appears.

 I start and there it is; a new work, one that emerges with power and beauty.

just do.

that muse

she's back.

Summer Sequel, Gasworks Park

Gasworks revisited.

We are so lucky in Seattle to have such a beautiful landmark park.

These were created looking at the overall shape initially then placing the intricate details.

Graphite on paper and pure sunshine.

As the time progressed, more forms emerged.

bridge/spine: working with a common theme

bridge. connection.

Working with a common theme for my next show gives me a good direction a I am working in studio. 

Going 'off track' is evident and quickly I refocus my thoughts, give pause, and steer ahead.

painting on (acid free) cardboard!

mind and hand, drawing ideas

You are what you draw.

"In my view, there is no question that the fluidity of connection between mind and hand

determines the quality of the architect you become. It shapes your thinking and, therefore, the kind of firm in which you practice, including the creative level of people with whom you choose to associate. Certainly, a high aptitude in hand drawing influences the character and innovative level of the work you produce."

James Wines, 2011

I could not have said it better.

I will be presenting this concept at a seminar this week at the architectural offices of SRG.

approach and expression at gas works park.

Expressive Landscape allows you to draw not only what you see but what you don't see.

Three different approaches yesterday; all using charcoal and bristol paper. 

The lines laid down smoothly and easily with no struggles; pure beauty of the form emerged.

motherwell meets muse.

that bee, a consistent theme lately.

In studio, as the mind wanders,  a good sense of humor is mandatory 

as one begins to take themselves a bit too seriously.

The 'bee' flies in at times when the art feels a bit static; love that motion...

...muse.

a day in studio

a day in studio; well, a half day.

With a sketchbook loaded full of ideas, 

I began painting and drawing at the easel.

With a series of monotypes created a few months ago, with a common theme, I began the process.

By the end of the afternoon, I felt there was progress.

The darn left brain kept creeping into play; I kept on.

9 paintings attempted; I have one with promise.

I'll call this progress.

working drawings

well, not really working drawings; but these architectural drawing convey idea and meaning.

A new entry way for a creative client type.

Good information to begin the dialogue with the structural engineer.

butterfield, plein air lessons

beautiful day at the Portland Art Museum yesterday.

starting this drawing had me thinking about how to begin. 

I built the drawing not unlike how Ms. Butterfield places the parts to make up the whole;

 keeping gesture in mind and figure/ground!

So many folk came by to touch the beautiful sculpture; especially the children.

go to your room

The need and desire; perhaps one in the same, to go to the studio, aka 'room',

is ever present and looming.

 I have 12 art works to be completed in 12 days.

yikes. 

Go to your room.

(I have work to do!)

unusual suspects

studio works; what was one painting turned into 4.

sumi, akua ink, gesso and charcoal.

veiling, obliterating, adding and more mark-making.

common themes in the views, now onto color.

home-grown, plein air.

Home-grown retail offers views on top of Queen Anne ideal for learning perspective concepts for drawing practice.

A one-point perspective study; I realized how important it is to place down the basic structure first and these add more of the form-giving elements, then more structure and form = detail.

I am not relying solely on perspective elements as vanishing points, horizon line and center of vision; though those are critical. I am utilizing shape and value and the big winner: figure/ground.

Finding one's position in space is all about perspective study; a true renaissance ideal.