Monday, October 11, 2010

NORA KASTEN Artist Oil Painting "Roses & Black Grapes" / THE JOURNEY, Day 22

"Roses & Black Grapes"
© Nora Kasten
Oil painting on linen  (12" x 12")  From the archives  SOLD

"Day 22 of The Journey and the first day of Sherrie McGraw's workshop here in Bennington, Vermont.  I am so glad to be here and actually painting.  I don't know why I had to endure Stape's workshop but it was worth it to be here now with Sherrie, a master painter and teacher.  

I took one liner notes this morning while she was teaching and painting her demo.  She will be painting on it again tomorrow morning.  Half of the class painted still lifes in the afternoon after  setting up his or her own still life personally with what they wanted.  The other half painted portraits from a live model.  It was a man with a big funny black hat.  

I'm printing out my notes here on the blog and must do it now because I won't be able to read them when they cool off.  I'll load the photos that I took today too."

Day One of Nora's Painting

 Nora's Still Life Setup

 Student and Sherrie McGraw

 How I Saw Sherrie Painting

 Day One For Sherrie McGraw's Painting

 Sherrie McGraw's Still Life Setup

Nora's Notes From Sherrie McGraw Art Workshop in Bennington, Vermont 

I counted 16 students in the class this Monday morning, October 11, 2010
No student grade paints.  They are diluted
She prefers long bristle filbert brushes
Drawing is a language and Painting is a language - they're not the same
Step back to view a painting
Poster shapes are easily seen from a distance
Warm and cool to show form and to be read from a distance
We will be learning to do setups, concepts, visual ideas, etc.
Setup is important.  What is your intent of the work and why.  Eye level to the setup is important
Objects on surface to take eye into the painting
Linier drawing is not the language of painting - start with a mass
If you start with a drawing, it immediately robs you of the beauty of the painting
If a painting isn't going well, we've lost our vision and are putting things out of relationship
Rembrandt's self portrait's concept was dark to light and dull color to more color.  
Rembrandt did it beautifully.  Paint our paintings to be beautiful
Starting with broad mass instead of line drawing gives us the opportunity to make changes easy
Some ideas demand a large canvas while others, small is best
She did not commit to color right away but used burnt umber to mass in
We can generally tolerate more space on the left rather than right side.  Listen to inner voice
This is true for still life but not portrait painting
Setting the special relationships, starting with the darks
Wednesday afternoon we're all going to the Clark Museum
Light has a cool opaque quality.  Dark has a transparent quality
We use pigment and oil to mimic life
Sherrie has preference for more dramatic light
Learn the universal things that happen and how painting works
If you want something different in your painting, take more time to work into it
If you rush into it, you'll end up with what you've always done before
When you hold the paint brush close to the ferral, you're drawing and not painting
Always make your brush strokes begin and end, start and finish
Get your shadows in, form shadows and cast shadows
Cast shadows make objects sit on the surface
Shadows are really the foundation of your painting
Paint thinking = how can I do it with brush strokes
Make object (metal) as dark as it is and then put in lighter reflected lights and highlights
If you put darks into it you are poking holes and the value is lost
When things look complicated, just look at it and figure out the problem visually-not verbally
Always think in terms of the finished painting.  Wants it to look gorgeous right away
No steps or stages / It's alright to put a highlight in early
Art is not a 9 to 5 job for Sherrie.  She loves making art and all that goes with it
The important thing is to be your own motivator 
The flatter you paint leaves the better.  Do they function as lights, darks, etc. / Modify them
She's placing color notes, more paint, crisper edges, thicker paint
She sometimes does a preliminary sketch, especially for a large painting but certainly not always
Using the palette knife, sort of scraping to get the nice quality of the brass pot
Finishing a painting in front of a class would be impossible
Is going to paint on the same painting tomorrow morning
Says she's still feeling her way into the painting
Our eye moves from dull to bright, dark to light, less color to more color
True colorists can use less and make it look like more
Sherrie is writing a book on concept
Her first thought is to produce the beauty she sees, not center of interest
You need a wet background to make edges go in and out.
Keep your shapes so they will read from a distance
Makes her decisions on how far to finish a painting (and what a finish is) as she goes along
A natural vignette (unfinished background) happens because you're tending to what is most important
Relieve the viewer of too much information so they can focus on meaningful information



billspaintingmn said...

Roses and black grapes is a very nice painting Nora!
Sounds like your journey is unfolding well. Reading those notes are good things to concider,happy painting!

Rosemary said...

Nora, I have been following your journey. Your paintings are breathtakingly beautiful and hopefully I will see a few of them "up close and personal" in Naples this winter. Thanks so much for sharing your challenges. Couldn't let this fabulous post go by without a comment. To take a Sherrie McGraw workshop would be a dream come true for me! Again, thanks for taking the time to post and share!

Susan Roux said...

Oh Nora, I feel like I'm right there with you! Too bad this wasn't the workshop we took together. So glad you're painting. I look forward to hearing more about this workshop. Have fun at Clark's.

Anonymous said...

do you mean "spacial" relationships? and "ferrule" of the brush???