Ron Lukas Demo

Ron Lukas....

.....continues to strongly influence the way I paint.  Watching him pull together a painting was hypnotic because it seemed so effortless (it wasn't) and fast.  He could turn a large piece of canvas into visual candy in about 90 minutes or less.

A number of people have asked to see his work.  I have pics of several of his demos and this was the first one I saw him do at a workshop that I just lucked into.   I think this was where I first met Guido Frick (HERE), another awesome painter with a great spirit.  It was at a cabin/art center owned by Diane McClary (HERE).

Anyway, here are the pics in progression.  If you'd like to see another let me know.  I've heard he no longer paints in oil but is working in acrylic when he has the time.  He is still doing work for the movie industry.  Click on the images for a closer view.

Thanks for looking.  Back again soon.

Emma, 18x24

Demonstration paintings....

...are surprisingly fun to do.  Painting 'Emma' was stressful, time and performance pressured and immersing, but because she was such a great first time model we both had a good time.  She was so helpful and attentive I'm giving her the painting.

I had volunteered to do a demo for my class thinking that, because it was mostly interpreting and painting landscapes from photographic reference, that they would like to see me do a landscape....or at least a still life.  But 'portrait' was the vote.

The people there took photos of the process and perhaps if some one of them could forward a few pics of the process I'll post them later.  In lieu of that, here is a closeup.  The demo took a bit more than two hours but that included model breaks and a bit of talking and explaining.

 
Painting classes begin again the last week of January at the Winslow Art Center.  I'll also be teaching a Marker Workshop in early February....plus some other courses.  Come join us....we have a lot of fun.

Geraniums, 16x20

 

Last week's class demo.  I didn't quite finish it until that evening but you can see the steps at Diana Kingsley's blog.  I like doing demonstration paintings because an audience keeps me from thinking too much and focused on just intuitively slapping paint around.  Sometimes it works.

This class is about painting from photos and making them believable.  In Diana's photos you can see that I was using two sources to get the most information.  Outdoor experience, however, is the best source.

Blue on Blue, 20x20

Blue on Blue, Demo, 20x20

Noelle seems to like this but she thinks it would have worked better if the plums were bacon.

I did this for my morning class.  For some reason they like demonstration paintings.  I have to admit that I like doing them....and I like watching artists do them.  It's mesmerizing to see a blank white surface explode into something that seems real.

Here is the quick marker sketch I did before the painting to explore composition and values before committing it to canvas.

It is about 7 inches square and what you see here is the part I framed after doing a more inclusive sketch....you can see the drawing continuing on from the black line.  Just enough information to guide me into the painting.

Season of Giving
Colin Page (wonderful painter) has an 18 month old nephew who can't walk.  His mother is trying to raise enough money to give him the therapy he needs.  She is doing this by selling Christmas ornaments.  Even if you can't help her out please visit her site HERE and read the story of Jakob.  His smile will melt you.

Thanks. 

Ran's Beach Chairs, 8x10

Post # 3 in the painting give-away.

We had a great two plein air workshop days with lots of enthusiasm and very solid paintings being produced by everyone.  We used gouache, oil and acrylic....and they all were nice.  The second day I also did a couple in between wandering around and sharing what changes I could suggest.  If there was a common lesson it was 'simplify'....which I often have to remind myself.....because there is so much we see that it is tempting to do it all.

The second day we were out near the end of the sandspit at Randy's little home they call the 'Playhouse'....on one side is the lagoon and just a few feet away on the other is Puget Sound where these chairs sit.  An idyllic place.

I had the most interesting experience.  The sun was so bright (well, to someone in the Northwest) that the white paint looked like dirty purple.  Even fresh from the tube it seemed to have a purplish color mixed into it.  One more plein air challenge.

Make a comment to enter the painting give-away.  Love to hear what you have to say.

Deanna's Sunflowers, 11x13

'What's that?'
'Sunflowers, I hope.'
'No, what is that stuff you are using?'
'Gouache.'
'Goosh?'
'No, opaque watercolor.  It's spelled g-o-u-a-c-h-e.'
'Oh.  Why don't you use pastel?'

Once again it was time for the Artwalk and, as the crowds swirled their wine and the band played, I painted....and answered lots of questions which I enjoy.  While I seldom work from photos (more on that in the next post) this was a good time for it and, since it's so freeing, I painted in 'goosh'.

Classes are starting up again and I've taken on more than usual.  Weekly instruction in Drawing for beginners and intermediates, the on-going Painting group, a workshop on working in Goosh, er, Gouache and another workshop in Portrait painting and drawing.  Plus I'll be doing another workshop in Ballard during the weekend of March 9-11....more on that soon.

You can find out about the classes and workshops HERE at the Winslow Art Center terrific new website.  It is a nice facility with easy access and a great covered outdoor area.  Come join us.....we have a lot of fun!   (and you can call it goosh if you want to)

Artwalk Demo, 16x18

Fifteen feet away a five piece band was playing.  People swirled around me meeting and greeting.  Occasionally I had to shoo folks away from standing in front of the still life setup so I could see it.  A little kid kept running up to share his latest drawing.....'see....this is where the bad guys blow up the sun'...  A few wanted to talk to me about painting, and a few others wanted to know how I could paint in a maelstrom.  (Beats me.)

All in all, last Friday's Artwalk was a lot of fun.  The music was good, the people were nice and the energy was positive....except for that sun destruction thing.

When I look at this piece I'm reminded of a comment by Bill Reese who said, while showing us around the artwork in his home, 'There is only one work I've done that I wouldn't change if I did it over', and Bill must have done thousands.  No matter how well we do things we could make them better.   It must be what keeps us trying with whatever we attempt....

Demo Value Sketch and Color Comp

 

Before doing the class demo from the previous  blog I did a quick marker value study.  By exploring and simplifying the value arrangements in a quick sketch I was better able to tie some of the pieces together.  I think its like beginning a conversation with someone you don't know yet.  We found an understanding that let us continue. 

I then did this 4 1/4 by 4 3/4 color comp on some watercolor paper(the scan came out a bit dark).  I used a palette knife so the colors would stay fresh and unblended.  I remember being most interested in how to treat the background tones, keeping them related to the other parts.  Sometimes these comps are as appealing as the finished painting.

Winter demo 20x24

So long since I've blogged...it has been a very busy six weeks.

This is the demo I did for my intermediate painting class.  After I was finished we critiqued it.  I made the changes we felt would improve the piece in about five minutes and they worked.  I moved the peak of the cloth from behind the green decanter so they didn't line up, better anchored the foremost plum to the table cloth and placed some highlights on the coffee pot.  Small additions, really, but they all helped the piece flow.   Thanks for the suggestions.

Notice how everything has a light and shadow side, from the still life as a whole to the combination of pot and bouquet and down to each flower....and each has to fit into the value of the area it's in.  The shadowed flowers, for example, have lighter and darker areas but they stay within the context of where they are placed in the overall arrangement.  It's the gestalt of the thing.

Tomorrow I'll post the value drawing and color comp I did prior to painting the demo.