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Archives for August 2019

Atmospheric Perspective & Mass

Edwin Kayton · Aug 26, 2019 · Leave a Comment

“Grain Fields and Poppies” by Edwin Kayton
Photograph of the Val d’Orcia in Tuscany

On a clear day we may be able to “see forever,” but as we see in this summer photo of the Val d’Orcia in Tuscany, the haze of earth’s atmosphere has a strong effect on the clarity of forms as they recede into the distance.

To capture effects such as this an artist can employ two interrelated theories, Atmospheric Perspective, and Mass. The concept of Atmospheric Perspective focuses on 3 components: shapes, values and colors. We are all aware that shapes appear smaller as they recede into the distance, but notice that their edges also soften; darks lighten (the value range is restricted) and colors are muted in the distance. This means that clearly-defined edges, the strongest value contrasts (white and black) and bright colors only exist in the foreground where we can clearly see details. This brings us to the concept of Mass. In a massed shape, details are restricted. When you notice the larger silhouette shape before the details, you are seeing Mass, and that’s what happens as the atmosphere become thicker. In the photo below, the early morning fog has massed the trees and distant hillside, contrasting with the clarity of the grain field, where details emerge.

“Morning Fog on the Camino de Santiago” by Edwin Kayton
The photograph was taken while walking the Camino de Santiago

I live and paint on the Big Island of Hawaii where the Kilauea volcano had created a daily haze for 3 decades until this spring. When we were downwind of the eruption, there were days when the horizon of the ocean disappeared entirely in the vog (our version of smog). So I’ve had the opportunity to observe and paint varied atmospheric effects for 38 years.

“Amid the Swells” by Edwin Kayton
“Back Country” by Edwin Kayton

When painting seascapes, the horizon line can present a challenge. On a clear, crisp day it can appear as a hard edge, and the dark value of the ocean contrasts sharply with the light value of the sky. Hard edges combined with strong contrasts will visually come forward in space, but the horizon needs to read in the distance and not compete for attention with foreground objects. The concept of Atmospheric Perspective provides a way to control this important transition.

Another use of these two concepts is to direct the viewer’s attention within the composition. In this painting, I used the fog to mass the background trees which shifts the attention to the trapper and his horse in the foreground.

This applies to interior scenes as well. In this still life by Chardin, the edges of the table are almost lost in the atmospheric shadows except in the center foreground where it becomes an integral part of the focal point.

“Water Glass and Jug”
by Chardin

The use of deep shadows in interior scenes forms the basis of chiaroscuro, where forms are revealed in the light and fade into the obscure mass of atmospheric shadows which the masters used so effectively.

In short, as objects recede into an atmospheric space, the edges of shapes soften, the value range is restricted and colors are muted. This shifts the viewer’s attention from individual details (which can no longer be discerned) to the larger silhouette shape. So atmosphere causes objects to mass.

“Rembrandt with Beret” by Rembrandt van Rijn

Explode Your Fan Base Through Media Exposure

Jennifer King Logan · Aug 19, 2019 · Leave a Comment

How did Ashley Longshore get 217,000 Instagram followers? How did Zaria Forman land 111,600 Facebook followers?

These are the kinds of questions that keep me awake at night, and I try to use reverse engineering to answer them. I’m talking about combing the Internet for great artist success stories like these, then digging through the artists’ websites and other sources to figure out how they got where they are today.

Here’s one of the most valuable lessons I’ve learned from this process: The artists who have huge fan bases—thousands of fans and followers, which undoubtedly translate into healthy sales—have all earned lots of media exposure. In other words, they’ve landed features and sometimes cover stories in magazines, on TV, on the radio, on podcasts, and in online magazines and blogs. Media exposure has introduced these artists to far more potential collectors than all the social media and networking they could ever do. It’s true. The longer I’ve worked in art marketing, the more I have come to appreciate the exponential power of the media, especially now that “the media” is so digitized and diversified, giving us more opportunities than ever before. (Thank you, Internet.)

Now here’s the kicker: In the early days, Ashley and Zaria didn’t sit back and wait for the media to find them. They sought out media coverage, and they kept doing it until they became so well known that the media now comes to them for coverage. This means it’s entirely possible for you to get this kind of media exposure for yourself. Like them, you can take the initiative and take your work and your story directly to the producers. Media writers and producers are always looking for great stories, and they will welcome you with open arms if you have a compelling story that’s a match for their audience.

Which brings us to the first step in the process: researching venues. Start thinking like a media producer or editor, and ask yourself which media outlets—magazines, blogs, podcasts, etc.—have audiences that would be interested in your story and your art. Yes, art-related media venues are the obvious first choice, but naturally, you’ll want to narrow it down to those outlets that feature the kind of art you make. For example, if you paint traditional still lifes, don’t bother trying to get featured on an ultra-contemporary art blog.

Now start to think more broadly. What audiences might be interested in your story or your subject matter, as well as your art? For example, have you been living and creating art in the same community for many years? Your local news outlets and local or state business-related media might be interested in the “hometown entrepreneurial success” story. Did you start your career late in life? Maybe AARP would be interested in featuring you. Do you paint subjects that would interest a certain demographic, such as sailboats for sailing enthusiasts? I think you get the idea here. If you can find a creative reason why a media venue’s audience might be interested in your work, you’ve got the basis for a pitch letter. Start with smaller venues first, then work your way up.

Next step: Identify the owner/editor/writer/producer of the media venue and send him or her a pitch letter. For more traditional media, you might send an actual cover letter with some printed pictures. For more modern media, such as blogs and podcasts, an email with attachments is preferred. The key to getting exposure is to convince that media mogul that a story about you will be great for his or her audience. You do this by sending a pitch that explains a) the original “angle” or subject that you can provide, b) how the information will benefit the audience, and c) why your credentials make you worthy of coverage. Tip: Do not write, “I would love to be featured because I could really use the publicity.” Again, look at this from the media producer’s perspective and explain how featuring you will inform or entertain his or her audience.

Now, there are several ways you might end up getting coverage. Ideally, you’ll be interviewed, possibly even live on camera or over the air. However, you could also offer to write something for a blog or other publication. Just make sure you discuss the requirements with the media producer before you move ahead with writing something. It would be a shame for you to invest a lot of time and effort into creating something that ultimately does not meet the producer’s needs and therefore doesn’t get used.

Probably the hardest part of this process is waiting for a response once you’ve submitted your pitch. It’s not unusual to wait weeks or even months, depending on the popularity of the venue, before you get a response. If you haven’t heard back after a decent amount of time (two weeks at a minimum), you can and should follow up by email or phone, possibly more than once. If you’re polite and persistent, you just may land the coverage you crave.

Okay, yes, I admit, getting media coverage takes a lot of effort. You’ll discover and then reject many possible venues in the process of finding those that are right for you, and you’ll be refused many times along the way. But the payoff is huge. Zaria, whose stunning artwork is featured in these images, has a massive following, thanks to her persistence in landing media coverage. You can do this, too!

Facing Your Fears as a Plein Air Painter

Mr. Tim Clayton · Aug 12, 2019 · 1 Comment

Overcoming Plein Air Obstacles

I love plein air painting. Painting outdoors is such a special experience because of our unique engagement with the environment. Here we are with our panel, some colors, and our brushes, trying to convey something about the place where we stand – the light, the air, the wind, the bugs, the people – so much to take in. It can be an exhilarating experience, taking all of our concentration as we get lost in this world we are creating on the canvas.

But, as we all know, it’s not all sunshine and roses – even when we’re painting sunshine and roses. Like anything in life, the pursuit has ups and downs, and we must be flexible and learn to roll with things, both external and internal. This article is about getting over the hurdles that stand in our way. I have my obstacles; I am sure you have your own. Let’s find ways to work on overcoming some of the common ones.

Get out the Door

“Milky Sun, morning, Fleet Street”
by Peter Brown

First things first, we have to leave the house. What is that thing that is going to get you out the door? For me, when I need an extra boost to find a couple hours to get outdoors, I fall back on my mantra, ‘What would Pete the Street do?’ For those not familiar, Peter Brown is a prolific British painter, best known for his paintings of his hometown of Bath. I don’t know him personally, but from what I can gather, he paints in the morning, afternoon, night and probably in bed. This may not be totally accurate, but for my purposes Pete the Street is the quintessential plein air painter. He isn’t going to let the weather, location, or pretty much anything stop him. He is going to make that painting! And be happy while he is doing it. So asking myself, ‘What would Pete the Street do?’ is my way of telling myself to pack my stuff, get out the door and get painting.

This works for me, and I know mantras may be a bit new-age-y for some, but finding your own short and simple way to remind yourself how much you want to get out there is a quick way to give yourself a boost when you need it. Maybe you post photos of paintings that inspire you on your refrigerator or play a piece of music associated with getting ready to go. The trick is to keep it simple, so there’s no debate – we’re out the door!

Set Your Easel Up. Yes, Right Here

“Dewey Beach at Dawn”
by Tim Clayton

Let’s find a spot to paint. Who hasn’t seen a beautiful spot they would love to paint and then thought, ‘But, there are so many people around.’ Yes, I know there are plenty of confident and social painters among us, but I would bet there are quite a few reading who would rather head for the safety of their studio than take the chance of lots of people looking at them while they work. I know this feeling very well. I love people, but insecurity in my work can definitely let those feelings creep in. But once again, our hero, Pete the Street comes in. ‘What would Pete the Street do?’ Yep, he just saw this beautiful building in town and he’s gonna set his easel up and paint it right there.

You would be amazed at how much confidence you can gain by taking the plunge and painting in public. While you may worry about our values or our drawing, most people are just going to be impressed that you are out there doing it! They aren’t coming to give you a critique. If anything, they will probably be impressed and give you a word of encouragement. And you will have gained valuable experience in painting this place or light effect that you have been wanting to paint. The next time will be so much easier, and so on, until you don’t give it a second thought.

Just a side note, I don’t want to minimize the value of privacy. Sometimes the ability to really focus and minimize distractions can be important. And, if you see a nice, private place to paint that might not be in the public domain, don’t be afraid to ask if you can paint on someone’s property. Owners of vineyards, marinas, farms, etc. may be excited to have an artist on their grounds, as it shows their customers and visitors that it is a beautiful place.

Stick With It

“Afternoon Light on Trees”
by Tim Clayton

All right, let’s do this! We’re out, we found a great spot to paint and…right, this is pretty hard. We all know that painting outdoors is not as easy as it may look. We get the rewards of beautiful days and fulfilling work. But challenging ourselves is part of the equation if we want to improve. Maybe you are comfortable with trees but stay away from a specific subject, such as architecture or water or people. Whatever it is, attempting those challenges will bring discomfort, either in the process or in the results. And that’s okay! To improve, you have to get comfortable with being uncomfortable; it just means you’re learning. And who knows, you may find that you have a real ability in your new subject matter.  And more than likely, those reasons you were staying away will prove unfounded.

Embrace the discomfort and understand that if you want to progress to the next level, you will experience this feeling, sometimes in the middle of the painting and sometimes over a period of time. Stay with it though. Give your painting an extra 30 minutes past when you might stop, and try to figure out that thing that you know isn’t quite right. You may not resolve it on this painting, but sticking with it could provide the insight you need the next time you approach that problem.

Share Your Work

“Winding Countryside”
by Tim Clayton

After a solid effort out in the field, we made some progress, congratulations. And with that, we can do some evaluating. How does it stack up against your others? Better than the last? I admit, I often ask my kids for feedback – ‘Do you like this one?’

 ‘I like all your paintings, Daddy!’. Thanks, kids. Yes, they are 6 and 4 years of age, not the toughest critics.

But really, sharing your work can be a great way to increase the value of your time spent working. Instead of making a snap judgment – this is good or not good – taking the time to evaluate your painting with another person is a step toward real learning. Did you nail the composition, but missed on values? What was successful and what wasn’t? Finding friends, willing family members, or teachers to help you is invaluable.

And they don’t need to be painters or ‘art people’ to be helpful. When I have family visit, I purposely put out paintings where I want to see their reaction. It can be very helpful to see what people respond to, what emotional reactions they have. It helps me see my work through other people’s eyes. Sometimes it is so hard to see what is on the canvas without our emotional attachment. This makes sense. You put your heart into something; it can be pretty difficult to see it objectively. Let those around you help you with their observations; they probably see things you don’t.

Keep Going

“Overcast White Flowers”
by Tim Clayton

Painting can teach us a lot about the world. We see things we wouldn’t otherwise see by observing the world in a way that few do. We connect with places and people by painting them and showing people how we see them. And we learn a lot about ourselves in the process. I hope some of the ideas in this article will help you look at your own obstacles and find ways to push through them so you can be free to pursue the paintings you want to make. Make sure to share them with us so we can give you a thumbs-up, and watch as you become a more complete painter.

Through Knowledge Comes Confidence

Mrs. Hilary Mills Lambert · Aug 5, 2019 · Leave a Comment

In the art world, one should paint what you are connected to. I live in California outside of Oakland but I have my family roots in Vermont. The light in California, especially where I live is sunny just outside the fog belt. Sunny days in the summer with purple and blue cast shadows. In Vermont, there is so much atmosphere as the moisture is thick and hanging in the summer. The sun is the light for plein air painters and it is very different in Vermont and California.

“Taylor Farm” by Hilary Lambert

I have been back in school at the Golden Gate Atelier, Oakland, CA. Finally honoring the craft of drawing and painting much like the 19th-century training. We have a controlled light source that falls like a waterfall on our models and casts. My latest ah-hah moment as I’ve been able to orchestrate value with color.

OMG do I love color. I’ve always used so much and never knew how to orchestrate the background with it. The subtle half-tones in the light coordinated collectively is the key.

I’ve done this art training for so many years that it’s considered a luxury but in reality, I felt I needed the training. After all, when I look at Sargent, Zorn, Gerome, and observe the drawing you wonder why, and what was missing in my prior training?

I write this in the early morning in the hope of a new day. The plants get watered, as the light and the birds wake up. Coffee and calling my east coast friends from California, I’m able to catch them at coffee as well.

“The Cast of Gerome”
by Hilary Lambert

This funny thing called art that I’ve dedicated my life to happened because as a child, I was surrounded by artists. I was influenced especially by artists in Vermont. It is there at the Landgrove Inn where I taught plein air workshops for the last 15 years.

There’s always the hope of being a great artist and I would question my pride if I ever get to that elusive place. One of my favorite paintings in the atelier system is just an exercise, but it took forever to complete. If I had not been forced to take it all the way to the end I would not have recognized how far I could have taken it. It was blind faith and forcing myself to focus. The ultimate test of pride would be to destroy it.

In this process of focusing, I know I have the tendency to lean towards ADD and distraction. When the going gets tough, I tend to jump to something else. Dunning Kruger effect might even play a role. The paper published by Dunning and Kruger is titled “Unskilled and Unaware of It: How Difficulties in Recognizing One’s Own Incompetence Lead to Inflated Self-Assessments.” I’ve had to recognize specifically the importance of drawing in my painting process which thankfully was available at Gold Gate Atelier in Oakland, Ca.

“SF Bay” by Hilary Lambert

I have gone through much self-searching in my ardent quest for knowledge. Coming to the end of the semester, it is time to review my work. Yes, it’s good, but how does it compare to the heroes of the past? What is extremely crippling for me is the comparisons and competition. This is where ego and pride get in the way. I do feel that art should speak for itself. If it’s good it will resonate with someone. Don’t forget that the iPhone and androids allow us to store thousands of pictures but it is not a painting.

It’s time to jump off the cliff of my own work bathed in California light and Vermont light. Without light, it’s difficult to see. Art is about seeing. I never take that for granted. Knowing how far to go for finish in a painting is the goal. When you say what you wanted to say then your painting should be complete. This song, Moonlight in Vermont, creates a picture and for the moment of hearing and reading these lyrics, I am happy and whole. I want my art to do this for others.

“Moonlight In Vermont” a popular song about the U.S. state of Vermont, written by John Blackburn (lyrics) and Karl Suessdorf (music) and published in 1944.

Pennies in a stream
Falling leaves of a sycamore
Moonlight in Vermont

“Landgrove Cow”
by Hilary Lambert

Icey finger waves
Ski trails on a mountain side
Snowlight in Vermont

Telegraph cables, they sing down the highway
And travel each bend in the road
People who meet, in this romantic setting
Are so hypnotized by the lovely…

Evening summer breeze
Warbling of a meadowlark
Moonlight in Vermont

Telegraph cables, they sing down the highway
And travel each bend in the road

People who meet, in this romantic setting
Are so hypnotized by the lovely…

Evening summer breeze
Warbling of a meadowlark
Moonlight in Vermont

You and I and moonlight in Vermont

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