Balbianello Gardens w.i.p

Balbianello Gardens w.i.p.
Balbianello Gardens w.i.p.

After the time requirements of my last painting, I thought I would reward myself this week with some smaller pieces for a while. Halloween came early to our house in the form of a nasty virus that has rendered us all coughing, sneezing zombies (the littlest of which apparently doesn't sleep much at night with a cold). Needless to say,  I am really dragging this week. Nevertheless, I've managed a little studio time, and here is my painting in progress ( a 16x20" canvas)  of the beautiful gardens of Villa Balbianello.

I did a painting of the villa itself a while ago, (which you can see here) but this view is from the edge of its magnificent gardens, looking beyond the statuary towards the distant village across the lake .

This is one session worth of work (about 3 hours). I will probably need another session of a couple of hours to finish. The punkin' seems to be dropping her naps more and more these days (say it ain't so!) but if I can squeeze another nap out of her today, I might actually be able to complete it.

Still no plein air painting this fall, though we are fast approaching the height of color here in Richmond. :( I could give myself lots of excuses for this, but bottom line is,  I  guess I haven't been able to get myself organized enough to have enough time for field work . Mornings are so chaotic, and  I'd really need to be out of the door when it's still dark outside, and have my location planned out in advance, in order to be back at my daughter's preschool for pick-up at noon. It's frustrating, but  I'll tell you one thing... I have never been happier to have my studio right in the back yard instead of halfway across town like it used to be!

Copyright and wrong

Well for the past week we  have all been sick at our house dealing with our first round of the preschool yucks, but hopefully I will have some progress shots to share of a new painting later on in the week. Meanwhile, I thought I'd share some thoughts on the matter of copyright. It's been brought to my attention that someone has been trying to sell homemade prints of one of my original paintings on eBay.  Obviously I did not find that OK. Just because artwork is on the Internet does not mean it is a free-for-all. Even a very ignorant person would have to take pause, I'd think, and know on some level that what they were doing was wrong.

I have been criticized in the past for posting a watermark on each complete painting I put up on the web. Some say it obscures their viewing pleasure when looking at the piece. I do understand this, but what with Google Images, Pinterest, eBay, Flickr, and many many personal blogs, an artwork can quickly end up far away home.

I post my watermark so that should the image show up on another site without my knowledge or permission, I would at least have my copyright symbol visible and there would be  no question about ownership. That watermark is what prompted another very thoughtful artist to tip me off about the bogus auction.

The starting bid was very low, and there were no bids when the fraudulent posting was taken down. In light of that, some might say that this incursion seems just a minor offense, so why all the huff about it? Well, first of all, it's just plain wrong. Apparently I am not the only artist this person is stealing from either. Secondly, this is far from my first time having to deal with this kind of thing as an artist,  and it all gets kind of wearying after a while.

Thankfully, eBay's legal department (VeRO) did take the listing down, but the person is still in operation, even though I understand that other artists have had their work similarly counterfeitted  (and I'm pretty sure they reported it). That is really disappointing.

It's not ok to use other people's intellectual property and make copies of it without the property owner's permission, whether for profit or not. It is not ok to take credit in any way for another's work. ( Duh!?) Really, unless a work is in the public domain or under a creative commons license, it's not ok to use a copyrighted image to even decorate your blog without permission or in the very least, a name credit and reciprocal link, though people do it all the time.

Imitation is one thing. We all as artists have studied other work, and even "tried on" other people's styles, techniques, palettes, and methods. That is all classified under the category of learning and is a legitimate way to grow and develop our own work. There is a certain beauty in the dialogue that occurs as one artist's work is influenced by another's.  That's why I myself have a huge collection of art books, and why I like to post demos and other goodies about materials and techniques. After all, we don't create in a vacuum.

Certainly there are a lot of gray areas, and I don't claim to be an expert on copyright laws. But as a working artist, I guess my main point is, when in doubt, ask permission. Many artists love to have their work featured on other websites and other venues, Internet or otherwise. I count myself among them. But I still want to be asked, and I still want the option to decline if I don't feel it's the right fit for me or my work.  It's just the right thing to do.

Revisions, revisions...and finally the final!

Well is this the slowest moving demo ever, or what?  Sorry about that, and thanks for sticking with me! I  haveenjoyed this painting, but  I struggled with the foreground boats I had planned to include.  I took them out and put them back in several times. I felt like I wanted something there to lead the eye into the picture, but the boats as I had them seemed to block my entrance  rather than aid it. So I finally settled on a single rowboat to lead the eye in while still allowing some breathing room.

After that was all hashed out (whew! ) I set about laying in the background boats against the retaining wall, half of which are in shadow, and half in light.

Next came the masts, sails, and water. The reflections in this scene were very soft and shimmery. Light reflections tend to cast a wee bit darker than what is being reflected, and dark ones are a tad lighter. I tried to keep the whites on the warm side, as they take on a lovely golden glow as they glimmer in the low angle of the sun.

"Pescallo Glow" Oil on Linen, 24x30" (SOLD) ©Jennifer Young

"Pescallo Glow" Oil on Linen, 24x30" (SOLD) ©Jennifer Young

So, did I keep with my grayscale plan I mapped out at the beginning of this demo?  You tell me:

pescalloglowbw_jenniferyoung
notan sketch
grayscale sketch by Jennifer Young

I must say that I liked having the grayscale notan and I actually did reference it often during the entire process of my painting. While I think it is a valuable tool, I think I would still have benefitted from doing a compositional line drawing in addition, especially with such a complicated scene. I probably reference the notan sketch more throughout the painting, but a strong compositional line plan may very well have eliminated the foreground boat dilemma I struggled with midway through the painting.  Live and learn!

Moving forward (Lake Como W.I.P., continued)

At this point in the process I feel that I have sufficiently addressed the nearest hillside to the point that I can now move forward and focus on the middle distance boats and water.

lake como painting in progress by Jennifer Young
lake como painting in progress by Jennifer Young

I also realise that there is still a lot of white canvas around this painting and I really want to at least block the rest of it in so that I can better gauge my color and value relationships. Ideally I probably should have done this earlier, but as you might have noticed I have been short on easel time in the last week, and I want to address the water in as close to an alla prima fashion as I can, because otherwise I end up having to scrape off a lot of dried paint from my palette and remix everything to try and get back to where I had previously left off.

Pescallo painting Italian landscape
Pescallo painting Italian landscape

Ah, that's better!  I've painted in the little stone wall/pier to the left, and have at least suggested that there is a lake here somewhere! The paint layer on the water is still a very thin block-in here, but at least I have some color down and have indicated approximately where the boats are going and where the water highlights will be. This last picture shows where I had to leave off this morning. No matter how early I try to get out to the studio, I seem to always feel that I have one hour too little. But that's the way it goes, right now. Depending on how much painting time I will get this weekend, I hope to finish this piece up in another session or two.

painting-in-progress of Pescallo Italy
painting-in-progress of Pescallo Italy

Lake Como W.I.P./Demo (continued)

Well I promised color in my last post, so let's get started! I don't know if I mentioned it lately, but I have been experimenting with expanded palettes for my latest paintings, and that exploration continues with this one. Regular readers may remember that I have for a long while used a limited palette of red, yellow, and blue, plus white (like this one). For this painting, my palette is (as I lay it out from left to right) Titanium White, Cadmium Yellow Light, Golden Ochre (Rembrandt), Cadmium Orange, Cadmium Red, Alizarin Permanent (Gamblin), Cobalt Blue, and Ultramarine Blue. (I've specified brands where color names are specific to a particular brand.)   I haven't used any pre-mixed greens, as you can really mix a zillion different greens with this palette. I have used most of these colors off and on, with the exception of Cobalt Blue. To be honest, I was really hoping that I wouldn't like it, because it is a terribly expensive tube of paint. Of course, I love it!  It is a cooler blue than Ultramarine, which has more red in it. I still love Ultramarine, but Cobalt has some really wonderful possibilities. Any way, back to the painting...I start by painting in the sky, which contains the light source and is also the farthest in distance. The sky is Cobalt blue plus white, with cad yellow lt. added as it nears the horizon. For the clouds I've mixed a combination of blues and cads red and orange + white for the shadows, and Cad orange and red + white for the highlights.

20120921-150523.jpg
20120921-150523.jpg

Working from back to front, I next paint in the distant cliffs, which have a beautiful shadow casting down over them from low-lying clouds. The photo is a bit dark here (apologies) but I will try to get some more accurate photos in subsequent blog posts so you can get a better idea of the colors.

The distant mountains complete, I block in the buildings that jut out into the harbor, as they will serve as my area of interest in the painting, and everything will kind of flow to lead the eye towards them. I also decide to lay down my pattern of darks, to restate the plan I made in my notan sketch. Again, this photo just blackens everything out, but I had to make a choice between using my time blogging or photo editing, and at this point, I've chosen blogging.

20120921-150612.jpg
20120921-150612.jpg

Next, I work on the terraced hillside in the middle distance. What a joy it is to paint...all of those shadows and varied greens! A nice round bristle brush is great for painting in those cypress trees, which have always struck me as distinctive punctuation marks in the Italian landscape. .

20120921-150639.jpg
20120921-150639.jpg

 A mahl stick (shown in the next photo  on my easel below the painting) is a handy tool to have to steady the hand without smudging the painting, when painting details like architecture and tall skinny cypress trees.

20120921-150656.jpg
20120921-150656.jpg

I have yet to paint in the highlights on the cypresses, but once I've done that I will be ready to move on to the middle distant water and boats, and finally the boats in the foreground. All that will be left after that point will be fine tuning  wherever's needed.