- Class Notes: Some Artists to Look At
- Tips for Improving Your Paintings
- Class Notes on Color
- Painting is Not Depicting
- More Artists to Look At
- Drawing vs. Painting: More Artists to Look At
- Poems are Made of Words
- Artists to Look at for Paint and Pictorial Methods
- Creating Movement Through Color
- The Essence Lies in the Visual Meaning
Class notes from art camp classes with George Liebert and Dan Gustin, Oxbow, MI, summer 1991.
Make a list of verbs and adjectives about your own work.
When struggling with a work, isolate parts of it and do lots of sketches to come up with a better composition.
What are your personal, specific goals?
Colors: similar vs. somber vs. stronger.
Realism vs. abstraction – both successful, maybe in combination. (one of my teachers, Dan Guston, and a visiting artist got into a discussion about a painting I did of a girl in the landscape – she was wearing a bandana on her head, which I painted as a flat triangle on top of her more realistically rendered figure).
Consider the excitement of surfaces vs. complex images. Patterns on a blanket, individual parts developed, keep to whole color – add pink, red, clear blue, zingier color.
Keep exciting in earlier stages.
Develop through a series of big changes to work out issues.
Series of patterns; sincerity, passion.
Beware of making shadows that are a hole to hell (too dark) – a gap in thinking color rather than value.
Take inventory – look at beautiful drawings in museum.
A strange mix of sacred and profane.
Overlap some things.
Check a variety of approaches; work on a sense of design.
Look at Eric Fischl – palette in a realistic landscape.