Lake Como W.I.P. & Demo

I mentioned in my last post that I had a new painting in the works, and I thought I'd attempt a little demo with this one. I say "attempt" because my laptop finally gave up the ghost, and these days I tend to do a lot of my writing via my mobile. Not only am I "all thumbs" (literally) but I have to sneak it in before my phone gets snatched away by the chubby little hands of my daughter who wants to "see pictures" whenever she sees it emerge from my pocket. This will be a painting of the beautiful fishing village of Pescallo. Pescallo is a tiny, sleepylittle place that sits just down the slope from Bellagio (also very beautiful). In fact, I could see Pescallo from the balcony of my Bellagio hotel, and the drama of the light as it poured over the mountains and harbor beckoned me to take a stroll down there many mornings before we started the day's touring.

I begin by sketching out a compositional plan that is also a value plan for the painting. I do this using light, middle, and dark value gray oil paints in my sketchbook. I often do a similar thing with Tombo pens (the grayscale ones), but mostly when I am painting outdoors as a way to quickly hone in and get a handle on my composition (in an environment that is bombarded with stimuli). But it is a good practice with studio work too. The oils are mentioned in Kevin Macpherson's book, "Landscape Painting Inside and Out," and I have long wanted to buy these paints so I could give it a try. They are Portland Gray Light, Medium, and Deep, by Gamblin. Hey, if it's good enough for "KMac", (as my husband calls him) it's good enough for me!

notan sketch

The point of this is to see if your painting has a strong underlying structure with a unifying value plan without getting bogged down in details. This is really supposed to be more of a notan sketch at this stage, which is a very simplified thing and addresses more of the armature of the painting rather than the pinpoint accuracy of objects and shapes. It's been a while since I've done this kind of study, and I realized at some point that I had not allowed much for the fourth value I was working with, which was the white of the paper. Oops! So I had to amend my sketch a little and add in some white for the lightest areas.

Still, I feel that my plan is solid and I'm ready to move forward by sketching out a line drawing on my 24x30" canvas.

oil sketch lake como painting by Jennifer Young

For this I am using burnt sienna (Winsor Newton), thinned with Gamsol mineral spirits. I don't much use this earth color in the rest of my painting stages, and while I could mix up  a good earth for such a job using my standard red, yellow, and blue, it is more of a convenience for me to use a premixed paint at this preliminary stage. I also like it because it lends a nice warm undertone to the canvas as I go along, and it doesn't bleed into my other colors (especially the light ones like the sky) when I move beyond the sketching stage.

Now that I have a plan, I am ready to start painting with color! I'll get into that in the next post .

The artist/parent conundrum

Well, it's finally happened. This week we sent our baby off to preschool. Right now it's only two half days a week, but still it has been a week of mixed emotions. It's hard to send her out into the world without me nearby, but on the other hand, I can enter my studio for a few precious, blissful hours without interruption. Ahhh! Once we get into a groove, (and get past the tears that come with each parting) we should be able to arrange a schedule where Dad takes her to school on his way to work, while Mom starts painting and doesn't have to stop for 4 or 5 hours. Heck, I may even be able to take my easel outdoors this fall and actually do some plein air painting! It feels like its been a long road to get to this point, both in terms of health and time to work. And yet, I look at my daughter and marvel at how quickly she has grown. She's only two, but she's definitely not a baby any more.

In my next post I will share with you a new painting I've gotten under way during this momentous week. But before I get back to the "art" part of my art blog, I just want to put a shout out to all of those artist moms and dads out there who may struggle to find a balance between being a dedicated primary caregiver to a child and being a creative artist dedicated to their craft.

First of all, hats off to you! It is a tough balancing act. If I had any advice to give to anyone who is struggling to find the time and energy to do creative work while also being the primary caregiver to a child, it would be this: Lower your expectations and don't give up.

Now that may not sound very inspirational, but hear me out. After I had my daughter, I fully expected to get back to my painting in full swing after about 6 months or so. But when my health took a nose dive, it was all I could do most days to parent my daughter and give her some Q.T., and get hot meals on the table (after which point I promptly collapsed in a heap). And on top of feeling really physically awful most days over the past 2 years, I made myself feel worse by being horribly disappointed in my inability to develop a routine of steady work. (What was wrong with me? I "should" be able to do this! ) Had I been gentler and adjusted my expectations to allow for my situation, I would have saved myself a lot of frustration and emotional angst, and perhaps even possibly hastened my recovery. (Not to mention that feeling rotten about yourself isn't exactly an environment for creative bursts of energy, either).

On the second point, don't give up; sooner or later you will find a groove with yourself and your family. It may be a groove that will need constant tweaking, but some sense of rythm WILL happen. It may not happen as quickly as you want, but one day you will blink and your once tiny, helpless infant will be playing quietly by herself here and there (in between running around tearing the house down ;-) ). Gasps for air will give way to moments of breathing space and then at some point actual stretches of uninterrupted time.

Thankfully I seem to be finding my way out of the worst of the health issues now and am actually sleeping again and feeling a lot better. But nothing is like it was b.b. (before baby). I don't have the flexibilty of time and freedom that I used to have. Now I am the one who has to be flexible, and I have to manufacture stretches of time by getting up extra early to make it happen. Any blogs I do write are usually done via my mobile, written piecemeal in short bursts. But with the right attitude and a little bit of creative scheduling, it is happening, and for that I am extremely grateful!

When my daughter was an infant, I would again and again be told this same phrase by veteran parents: "It goes by fast." And it does. When you are in the trenches dealing with colic and diapers and nursing and zero sleep and no time to shower, you might not think so. But it really does. So enjoy the moments with your child and appreciate the moments you can find to feed the Art Spirit. Nurture both as best you can and you may find them growing stronger and more vibrant with each passing day.

"Happy Faces", by 2 year old Eva

French country garden painting complete

Whew! I had a lot of starts and stops with this painting, but it's finished.There were times when I really needed to scrape whole portions of it down because there was too much buildup to make adjustments. It brought to mind a quote attributed to Everett Raymond Kinstler that I read recently in a very good article by Bill Davidson posted on the Oil Painters of America blog,

“I start out in this way thinking, ‘this will be the greatest painting of this subject matter ever painted.’ Later in the process I think, ‘this will be the greatest painting of this subject matter I ever painted,’ and finally I think, ‘Hell! I hope I can save this painting!’ [paraphrased]”

Now I can't say that I've so far stated anything close to the first sentence of that quote, but the progression of feeling from confidence to doubt certainly rings true, especially when there is a lot of time invested in a piece.

"Quiet Reflection, Southern France", Oil on linen, 20x24" © Jennifer Young

The subject matter is the dappled morning light as it plays across a part of an old convent building and surrounding water garden. This place is now converted to a B&B and venue for painting holidays  (aptly named Le Vieux Couvent) in the town of Frayssinet, France. I blogged about my visit there numerous times. It is a lovely place that I remember with great fondness.

...And now,I'm going to get  a bit off topic by asking a favor of my readers. I seem to be having some trouble having my posts delivered to subscribers by email. So if you actually do happen to receive this post via your email subscription, could you please let me know?

French water garden W.I.P.

20120824-161723.jpg

As much as I love the sweeping vista, I am also very drawn to a view of the intimate. This is the preliminary sketch (on canvas) for a new painting of an old French country farmhouse flanked by lush vegetation and a lovely little water garden.

I painted a plein air piece of this location when I was visiting the Lot Valley village of Frayssinet a few years ago:

"Bassin a Poisson Rouge", Oil on linen, 11x14" ©Jennifer Young

Since the plein air piece is still in my possession, I have the opportunity to use it to inform my larger painting. Here it is just a step or two beyond the color lay-in. I have eliminated the building in the background to simplify and unfiy the painting. The color is off in this pic, and that shadow going across the top is being cast by my easel, (the joys of mobile blogging!) but at least it will give you an idea...

Montalcino Valley (w.i.p. final)

Well I think I am about ready to call this one finished. This painting was a real joy to work on. I loved painting the rolling hills, the atmospheric perspective and the various patchwork of patterns woven together to make up the beautiful countryside that is Tuscany.

"Montalcino Valley" Oil on linen, 24x30" (SOLD) ©Jennifer Young

This painting is of the valley of Montalcino, a small town set in the heart of Tuscany. My vantage is the top of the hill in a vineyard, which I have painted before, a few years ago:

"Piccolomini Vineyard", Oil on linen, 24x30" (SOLD) ©Jennifer Young

 This current painting, however, omits the foreground vineyard entirely and focuses on the valley. We toured and tasted at this vineyard as well, (Ciacci Piccolomini) and sampled the famous Brunello and Rosso wines of this region.

Well, back to reality....The new schedule is working well. Of course I wish I just had one more hour in the day to myself, but I really can't force myself to get up earlier than 5 a.m., so this will do for now. By the time I get moving, dressed and breakfasted, it gives me between two to two and a half hours to paint before the hubbygoes off to work. That's nothing to sneeze at but I have to be pretty focused to make the most of my time.

But I am learning something about process with these constraints. I am trying to get my whole canvas up to the same level of finish in one session--especially at the start--so that when I return to the easel I don't have to spend so much time figuring out where I was and where I'm going next. I also have to paint in thinner layers and buildmore slowly, making sure I don't go too thick too soon, so that I can make needed changes on the way.   So while it's less wet-into-wet, I am trying to appreciate the opportunity I have with a painting that has had a bit of time toset up. This allows me the time to scumble and dry brush here and there, as long as the paint passage isn't already too thick. I'm still learning how I might take advantage of the time I have and how to make the process work even better for me within those constraints, but I feel (at least today) that I am moving in the right direction.