tag:blogger.com,1999:blog-66098311602103188872024-02-07T10:13:48.373-05:00Jeffrey W. Phillipslearning to see :: an oil painting journalJeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-6609831160210318887.post-17435722721642249062010-10-20T05:30:00.040-04:002011-07-13T00:14:43.679-04:00What materials do you use?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh08oAPd4trtp0Xww9XQbrLCJfVtJjFb89gy5yv_SuKK02TnXTgKY1PcvMkKLDVhyphenhyphen8VP4Lfr8lCobbX3C-2ACeNy2s47VWXvUll1HtANEw10EbDJRQGzn1S0Iy9_TrHXrHRyQ9H-03ZqGnB/s1600/20_questions.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh08oAPd4trtp0Xww9XQbrLCJfVtJjFb89gy5yv_SuKK02TnXTgKY1PcvMkKLDVhyphenhyphen8VP4Lfr8lCobbX3C-2ACeNy2s47VWXvUll1HtANEw10EbDJRQGzn1S0Iy9_TrHXrHRyQ9H-03ZqGnB/s200/20_questions.jpg" width="200" /></a></div>I was originally trained with traditional oils. I moved on to alkyd oils because I liked the fact that they dried more quickly but still provided me with the flexibility of a traditional oil. I finally transitioned to water-soluble oils years later after <a href="http://www.jeffreywphillips.com/2008/12/using-water-soluble-oil-paints.html" target="_blank">discovering them</a> and doing some <a href="http://www.jeffreywphillips.com/2009/01/aging-well-water-soluble-oils-part-3.html">research on them</a>.<br />
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I presently use <a href="http://www.dickblick.com/products/winsor-and-newton-artisan-water-mixable-oils/" target="_blank">Winsor & Newton Artisan</a> paints. However, once I get through those, I will be switching full time to <a href="http://www.jerrysartarama.com/discount-art-supplies/Oil-Color-Paints-and-Mediums/Holbein-Oil-Colors-and-Mediums">Holbein Duo Aqua</a> and <a href="http://www.dickblick.com/products/royal-talens-cobra-water-mixable-oil-colors/">Royal Talens Cobra</a> because of their handling. But, sometimes you just find the right color and gotta have it regardless of the brand!<br />
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I occasionally will use a medium, though presently, my heart is sold out to alla prima painting. (Though, artist and Chair of Painting at the <a href="http://www.pafa.org/" target="_blank">Pennsylvania Academy of Fine Arts</a>, <a href="http://www.algury.com/" target="_blank">Al Gury</a> points out in <a href="http://www.amazon.com/Alla-Prima-Contemporary-Traditional-Painting/dp/0823098346/ref=sr_1_2?ie=UTF8&s=books&qid=1287574728&sr=8-2" target="_blank">Alla Prima: A Contemporary Guide to Traditional Direct Painting</a> that one-sitting paintings are but one facet of working in the alla prima tradition; glazing during and after completed is within it as well.) <br />
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I use synthetic brushes—<a href="http://www.dickblick.com/products/princeton-best-synthetic-bristle-brushes-series-6300/">Princeton</a> and <a href="http://www.dickblick.com/products/winsor-and-newton-artisan-brushes/">Artisan</a>—because they are (relatively) inexpensive and get the job done. Plus, because I use <a href="http://www.jeffreywphillips.com/2009/01/aging-well-water-soluble-oils-part-3.html">water-soluble paints</a>, I find that synthetics hold up in water better than natural hair brushes.<br />
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Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-33409202250130950382010-10-17T05:30:00.044-04:002010-10-17T05:30:01.103-04:00What is your process?<div class="separator" style="clear: both; text-align: center;"><span id="goog_834440202"></span><span id="goog_834440203"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh08oAPd4trtp0Xww9XQbrLCJfVtJjFb89gy5yv_SuKK02TnXTgKY1PcvMkKLDVhyphenhyphen8VP4Lfr8lCobbX3C-2ACeNy2s47VWXvUll1HtANEw10EbDJRQGzn1S0Iy9_TrHXrHRyQ9H-03ZqGnB/s1600/20_questions.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh08oAPd4trtp0Xww9XQbrLCJfVtJjFb89gy5yv_SuKK02TnXTgKY1PcvMkKLDVhyphenhyphen8VP4Lfr8lCobbX3C-2ACeNy2s47VWXvUll1HtANEw10EbDJRQGzn1S0Iy9_TrHXrHRyQ9H-03ZqGnB/s200/20_questions.jpg" width="200" /></a></div>Germination. Organization. Implementation. <br />
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</div><div class="MsoNormal">Like most artists, <b>ideas come to me at odd times</b>. For me the struggle is remembering to bring a sketchbook—everywhere! After the idea(s) come, I let them simmer in my mind. During this germination process, I will <b>refine ideas</b> in my head or do a series of simple <b>thumbnail sketches</b> to <b>explore compositions</b>. If the piece is a still life and I don’t have the supplies to even do it, I continue on with this process. I may look for the objects or leave it as a thumbnail with notes for a later date.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Once I am ready to begin the actual painting, I organize my objects. If I determine that the idea in my head isn’t going to work, I modify it so that it does. This may mean simply <b>removing objects, swapping one object for another or changing an object’s placement</b>. Whatever way I need to make it work, I make it happen. I limit the time I spend doing this because it will consume the time I have alloted to paint.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Once that organizational component is complete, I <b>tone my canvas</b> with a wash of color. Then, using my brush as a pencil, I loosely sketch in my composition, working and reworking as necessary. Before I apply color, I will often block in at least three values, providing myself with a simple <b>notan of lights, middles and darks</b>. I then <b>mix the colors</b> I see and begin to paint. I would love to tell you that I cover my canvas before finishing an area but that doesn’t always happen. In fact, the application of the paint to the canvas takes a variety of forms but in the end it gets done.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">While I have gone back and forth about varnishing, presently I do apply <b>three coats of a quality spray-on varnish</b> to my finished pieces.</div>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-26619009753387359452010-10-15T05:30:00.013-04:002010-10-18T00:58:07.936-04:00Composition with Yellow and Red, alla prima oil painting<div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBX4ZX2uibabxn1dD0gAD-NcbxUPSRxQOy2oGTrFbl_T1bVpDrGPvrWQ1ieyA3m-fU9NvbWVe5r7jopm_KVU4yP4krXmNZKyAwsTooSe02mUaDv5KgyMkWxa44c5k4Jw7oTOdFgr23jC4u/s1600/composition_yellow_red.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Composition with Yellow and Red</b>, 9 x 12 inches. Oil on canvas panel.<br />
©2010, Jeffrey W. Phillips</td></tr>
</tbody></table>During my August <a href="http://www.jeffreywphillips.com/2010/09/ouch.html">convalescence</a>, I reworked an older oil painting. I am now looking forward to creating a few paintings featuring that copper pot of mine. I will have to look into getting some Fall fruit and/or veggies too. Gotta love how ideas spark other ideas.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-24893569200227263732010-10-12T05:30:00.016-04:002010-10-18T00:56:48.821-04:00Daddy Bear, alla prima oil painting<div style="text-align: left;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyYWo4hA9i0iONI1aiEyfBqv6NtNbMabYaAowIN_ANqr0P4weqD4n1dnKrS4_KAohbBjfAuAtk37FobOdJGAhM2F1YsaicPgSFmiGJY-AX2UpFkBCfY27BO9YmFjYD6q9nMrqH25pEBAjQ/s1600/daddy_bear.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Daddy Bear</b>, 5 x 7 inches. Oil on canvas panel.<br />
©2010, Jeffrey W. Phillips</td></tr>
</tbody></table>A friend of mine gave my son this bear when he was born. Frankly, he never paid it much mind until he turned 4 and he transitioned to his big-boy bed. To complicate matters, I had started a new job and was working quite a bit acclimating myself to my new position. Needless to say, he missed me terribly. <br />
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During this time, he rediscovered this bear and gave it the name <b>Daddy Bear</b>. At 6 years old, he still sleeps with it and takes it on sleepovers. He was thrilled when he came home and saw it on my easel. (Of course, my daughter wants to know where her painting is!)<br />
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I painted it because it's a <b>wonderful reminder of my son's love for me.</b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyYWo4hA9i0iONI1aiEyfBqv6NtNbMabYaAowIN_ANqr0P4weqD4n1dnKrS4_KAohbBjfAuAtk37FobOdJGAhM2F1YsaicPgSFmiGJY-AX2UpFkBCfY27BO9YmFjYD6q9nMrqH25pEBAjQ/s1600/daddy_bear.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-61009296904849559292010-09-28T05:30:00.002-04:002010-09-28T05:30:01.208-04:00Ouch ...I know I have been delinquent in posting. My family and I were in an auto accident at the end of July. Fortunately, my wife and two kids were unharmed. Sadly, I suffered some internal bleeding and a lacerated spleen. After being in the hospital for four days (with my spleen intact!), I was discharged and homebound for three weeks. While homebound, I was hoping to get some painting done. Unfortunately, other accident-related issues came up that completely took the wind out of my sails. <br />
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The last week of August brought teacher orientation. The first day of school followed the week following. It was a long end of Summer to say the least. But, again, I remain so very thankful for the Lord's provision for me and my family during that time. <br />
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All of this being said, I did finish two small pieces and started another. I'll post them shortly. I wanted to simply put the word out that I did not drop off the face of the earth.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-72172404016134604642010-06-24T05:30:00.158-04:002010-06-25T02:18:03.705-04:00Framed: In Search of Framing Vendors<div class="separator" style="clear: both; text-align: center;"><a href="http://www.fleisher.org/images/home/logo.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" src="http://www.fleisher.org/images/home/logo.gif" /></a></div>With <a href="http://therapists.psychologytoday.com/rms/name/Tricia_L_Elliott_MS,LPC_Mount+Laurel_New+Jersey_41752" target="_blank">my friend</a> opening her new counseling office, I have been thinking more about framing my work and what options are out there. <a href="http://www.fleisher.org/" target="_blank">Fleisher Art Memorial</a> is offering a 6-week class in July called Framing Basics, but funds are short.<br />
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So, I'm going to go the way of purchasing ready-made frames.<b> Anybody have recommendations regarding frame vendors?</b> I've been using A.C. Moore (and their helpful little 40% off coupons) and Michaels for my short-term needs, but I'd like somewhere reasonable with bulk rate options.<br />
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The places I have looked into at one point or another include:<br />
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<ul><li><a href="http://artframes.com/">ArtFrames.com</a></li>
<li><a href="http://www.artreadyframes.com/">Art Ready Frames</a></li>
<li><a href="http://www.jerrysartarama.com/discount-art-supplies/Framing-and-Matting/Ready-Made-Wood-Frames.htm"></a><a href="http://www.impressionistframes.com/">Impressionist Frames</a></li>
<li><a href="http://www.pleinairframes.com/">Pleinair Frames</a></li>
</ul><br />
<a href="http://www.jerrysartarama.com/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img align="left" alt="Click Here to Visit the Official Web Site of Jerry's Artarama. Online Leader in Art Supplies and Discount Art Supplies online" border="0" height="160" src="http://www.jerrysartarama.com/IMAGES/PARTNER_LINKS/LOGOS/120x160-Logo.gif" width="120" /></a> During a recent frame search for my high school art show, I also discovered the awesome values at <a href="http://www.jerrysartarama.com/discount-art-supplies/Framing-and-Matting/Ready-Made-Wood-Frames.htm">Jerry's Artarama</a>. A <a href="http://www.jerrysartarama.com/discount-art-supplies/Framing-and-Matting/Ready-Made-Wood-Frames/Plein-Aire-Style-Frames.htm">gold 8x10 Plein aire frame</a> is $13.99 on sale right now (regularly $19.99). This frame style also comes in black, mahogany and silver.<br />
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Though not as good, <a href="http://www.dickblick.com/categories/frames/formalandtraditionalframes/details/">Dick Blick</a> does better than the online vendors above.<br />
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<b>What ready-made frame sites do you use? </b>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-63430707316319951132010-06-22T05:30:00.110-04:002010-06-22T05:30:00.256-04:00The Blessings of a FriendFriends are a blessing from the Lord.<br />
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</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Last week, <a href="http://therapists.psychologytoday.com/rms/name/Tricia_L_Elliott_MS,LPC_Mount+Laurel_New+Jersey_41752" target="_blank">Tricia Elliott</a>, a therapist friend, opened a <a href="http://www.google.com/#hl=en&source=hp&q=1500+Kings+Highway+Suite+202+Cherry+Hill%2C+New+Jersey+08034&aq=f&aqi=&aql=&oq=&gs_rfai=CD8wBwjQgTLecBaigzAT-t-HXDQAAAKoEBU_QXpXA&fp=45835207582d5ee7" target="_blank">new office for her counseling practice</a> and wanted to use my artwork to decorate it. She knows about my desire to paint more regularly and start selling my work. Plus, she admires and enjoys my art. How could I refuse such an offer, right?</div><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">So, I gathered together the following three pieces for right now:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz8_ThFDQaiZ_x14nW-fwx7J5QZJ6MWX2p_pro3y9DYKCqax3DvOzod_sxIYk4cWyGuC6zmAAuOyrQ93_g-UVO_QZD3TL0lmfTCbVX_96zPb5-vvbRJzrJf687ETiaNOGNyRx-u4sdiOk4/s1600/fruit_with_vessels.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz8_ThFDQaiZ_x14nW-fwx7J5QZJ6MWX2p_pro3y9DYKCqax3DvOzod_sxIYk4cWyGuC6zmAAuOyrQ93_g-UVO_QZD3TL0lmfTCbVX_96zPb5-vvbRJzrJf687ETiaNOGNyRx-u4sdiOk4/s200/fruit_with_vessels.jpg" width="200" /></a></div><div style="text-align: left;"><b>Fruit with Vessels</b></div><div style="text-align: left;">Oil on Board</div><div style="text-align: left;">9x12</div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEOK8lhra_xPlC6vc6kLWd5_DAsvnsLQ_NJI1XxCWCBk6AGMJaIelyH5KG6D-3nDTP8Gq5O8Tve7SF-1t_3sFu3buyuDxAFDwx2xzgcfcpPi7_IQmEmkqkZ_YDU0MNkGO_mq1vMPxnLPaQ/s1600/yellow_flower_vases.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEOK8lhra_xPlC6vc6kLWd5_DAsvnsLQ_NJI1XxCWCBk6AGMJaIelyH5KG6D-3nDTP8Gq5O8Tve7SF-1t_3sFu3buyuDxAFDwx2xzgcfcpPi7_IQmEmkqkZ_YDU0MNkGO_mq1vMPxnLPaQ/s200/yellow_flower_vases.jpg" width="200" /></a></div><b>Yellow Speaks</b><br />
Oil on Board<br />
9x12<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIz6djETIAGLekG8HUAV8dzh5h0cXcWUnFtf3YP2bpWomFAJ9jEejHhe8xt0il4r5TXhErG1jZIScu9-SD6yNDQuTfxjSq8PNPndaVhH0s6Msp3ZiqL3AvaJIS9YXqP-Vdm9YqqyWTvKf/s1600/its_not_easy_being_blue.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIz6djETIAGLekG8HUAV8dzh5h0cXcWUnFtf3YP2bpWomFAJ9jEejHhe8xt0il4r5TXhErG1jZIScu9-SD6yNDQuTfxjSq8PNPndaVhH0s6Msp3ZiqL3AvaJIS9YXqP-Vdm9YqqyWTvKf/s200/its_not_easy_being_blue.jpg" width="200" /></a></div><b>It's Not Easy Being Blue</b><br />
Oil on Board<br />
9x12<br />
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I have another 9x12 that I'm reworking and three 8x10 pieces that I'll post once I get frames.<br />
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The next things on my list include :<br />
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<ul><li>Mounting tags with title and price for each work</li>
<li>Printing a business card</li>
<li>Writing an artist statement</li>
</ul><div>I have been reading up on artist statements online; however, I earned some Borders Bucks from <a href="http://www.borders.com/" target="_blank">Borders.com</a> and purchased <a href="http://www.amazon.com/Id-Rather-Studio-Alyson-Stanfield/dp/0974272582?ie=UTF8&tag=artisvisio-20&link_code=btl&camp=213689&creative=392969" target="_blank">I'd Rather Be in the Studio</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=artisvisio-20&l=btl&camp=213689&creative=392969&o=1&a=0974272582" style="border: none !important; margin: 0px !important; padding: 0px !important;" width="1" /> by <a href="http://www.artbizcoach.com/" target="_blank">Alyson Stanfield</a> for some more specific help with this and other <b>art-sales strategies</b>. It has gotten good reviews. Perhaps I'll do a review next month.</div></div>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-72698545850872817452010-06-07T05:30:00.156-04:002010-06-07T05:30:00.565-04:00Naylor's Run Park, alla prima painting<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1SIQhn07tjizLsLLra_QTCko-gFv4ja_E3QBvMO8jcuBaNVRRtcACqept4Ljkqcw9AuAddqYv6dSj0aOG65ivSMZHdNwXcULOzcjr5MB7Ey6d90mlT4_xF61fIZed2l3LGzu_yVvFBN1/s1600/naylors_run_park.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1SIQhn07tjizLsLLra_QTCko-gFv4ja_E3QBvMO8jcuBaNVRRtcACqept4Ljkqcw9AuAddqYv6dSj0aOG65ivSMZHdNwXcULOzcjr5MB7Ey6d90mlT4_xF61fIZed2l3LGzu_yVvFBN1/s320/naylors_run_park.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Naylor's Run Park, Lansdowne, PA</td></tr>
</tbody></table>At left, is the last painting I did during my weekend <b>en plein air oil painting</b> workshop.<br />
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Unlike my previous two paintings, I decided to work like I normally do by starting with a <b>loose value sketch</b>. Since I was experimenting with the <b>limited palette</b> that <a href="http://kevinmacpherson.com/">Kevin Macpherson</a> uses (i.e., ultramarine blue, permanent alizarin crimson, cadmium yellow light and white), I didn't know what to expect. I mixed the ultramarine and alizarin together to form a dark neutral value that I massed in the background. I used a towel to pull out lights and scumbled in more paint where middle values and shadows were needed.<br />
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<div style="text-align: left;"></div><div style="text-align: left;"></div>As I tell my high school students, when you get a chance of seeing your work as a <b>monochromatic composition</b>, then your transition to color <i>should</i> be easier because you worked out key elements of the composition. Well, things progressed faster than my other two paintings.<br />
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When my instructor, <a href="http://www.kaplanpicturemaker.com/">Fred Kaplan</a>, came around he recommended some changes which I was about finished with when he popped up again. He asked to work on my piece a moment. After he introduced some more middle values to the foliage in the back, we talked a few more minutes and then I readjusted areas where I didn't agree with him (nobody's perfect, right?).<br />
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My number one complaint? I wish I had taken photos with my cellphone so I could post more process-related pics; see things step-by-step. But, I didn't (duh, Phillips, right?) It would have been interesting to hear comments on what I started with versus what I ended with.<br />
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Therefore, I'm going to hold off with my additional commentary right now. I'd like to get some feedback on what you see.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-58200380592424403972010-06-05T05:30:00.115-04:002010-06-06T21:03:36.309-04:00Glenolden Park, Another View, alla prima oil painting<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWtSOscF7uoj6rjVBVx0qtjB3uG33rxA6gPZYZZLS1DuPUDK0VmLB7c2yeA7RtnMdB4yt7pbEiK98EYM_M8uX8yNbsS9Ksl2feFsXssfLMDl1bNJ0j2zsxKtQAX8anMtiOn3q6ACZoysIC/s1600/glenolden_park2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWtSOscF7uoj6rjVBVx0qtjB3uG33rxA6gPZYZZLS1DuPUDK0VmLB7c2yeA7RtnMdB4yt7pbEiK98EYM_M8uX8yNbsS9Ksl2feFsXssfLMDl1bNJ0j2zsxKtQAX8anMtiOn3q6ACZoysIC/s320/glenolden_park2.jpg" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glenolden Park, Glenolden, PA</td></tr>
</tbody></table>In my <a href="http://jeffreywphillips.blogspot.com/2010/06/glenolden-park-alla-prima-oil-painting.html">last blog post</a> about <b>plein air alla prima painting</b>, I spoke of the frustration that I felt as I struggled with my initial experience painting outdoors. Fortunately, as the day went on, I felt my groove come back and this piece came together better.<br />
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Unlike my previous piece, this view has a much <b>stronger sense of space</b> with subtle yet definite demarcations leading your eye back into space. The colors aid that perspective as well, much more successfully than my first plein air painting.<br />
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The intensity of the pale green leaves on the bush in the front isn't as intense in this photo as it is in my original painting, but you get a sense of its "bushiness" which was my intent.<br />
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I also let go and explored more <b>active brushstrokes</b> as I rendered this piece. I think the top of the painting, where the brushwork is most active, is balanced well with the smooth grassy areas. It would have been interesting to see how the composition would "read" if I were to moderate my brushwork so that smaller brushstrokes detailed the background and larger, bolder ones were reserved for the foreground.<br />
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Lastly, I more earnestly <b>pushed the use of cool colors in the background</b> to moderate the sense of space as your eye moves from foreground to middle ground to background. As I rendered the overall composition, I became more aware of the importance of seeing what was in front of me and then tweaking specific areas of it to <b>focus the viewer's attention</b>.<br />
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When I submit my third (and final painting) from the weekend, I will also take time to address how this plein air experience will impact my teaching high school art. So, check back. I encourage your comments.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-60820693996438176072010-06-04T05:30:00.002-04:002010-06-04T05:30:00.464-04:00Glenolden Park, alla prima oil painting<div style="text-align: left;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhllNiNDb4U799T_oxESvA0Hj1p_1djsSyaD9MAuSRRoZ6noTvvfxLAGYqpe-U1o0hdCvImuyQpiNO_BSEFl8v4vRC5jrY6yoS2abEi3uXWAuF5ZyacYLLJeXBpAAuNoUPg1I6u97ErlO1Y/s1600/glenolden_park1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhllNiNDb4U799T_oxESvA0Hj1p_1djsSyaD9MAuSRRoZ6noTvvfxLAGYqpe-U1o0hdCvImuyQpiNO_BSEFl8v4vRC5jrY6yoS2abEi3uXWAuF5ZyacYLLJeXBpAAuNoUPg1I6u97ErlO1Y/s320/glenolden_park1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glenolden Park, Glenolden, PA</td></tr>
</tbody></table>As I indicated in my <a href="http://jeffreywphillips.blogspot.com/2010/06/plein-air-painting-workshop.html" target="_blank">previous blog post</a>, I took a plein air workshop over the Memorial Day weekend. The painting at right was my first of the weekend. I met the instructor, Fred Kaplan, and the rest of my fine group at <a href="http://www.glenoldenborough.com/borough-parks.php" target="_blank">Glenolden Park</a> in <a href="http://www.glenoldenborough.com/" target="_blank">Glenolden, PA</a>.<br />
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This was my first foray into the outdoors to paint and I have to admit that I found it initially unnerving. I've been used to the controlled lighting within a studio environment. On top of that, I have not painted in months so I was resting on my previous experience to get me through. (That was a poor choice for many reasons which I'm not going to pursue at this moment.)<br />
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In addition to <b>gaining some experience in outdoor landscape painting</b>, the other primary purpose of this weekend for me was to <b>rekindle my spirits</b> after this month's difficulties at my high school teaching job. Sadly, I found myself bordering on despair as I struggled to find my grove while working on this painting.<br />
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Overall, this is not a successful piece for a few reasons. First, there is significant value confusion going on. The background doesn't recede properly and the shapes in the distance aren't resolved well. Part of the issue is that the middle ground is somewhat nebulous. The foreground fairs better though the tree on the left is too dark and lacking in interest. The piece was painted around 11:00 and I feel a sense of light but not the degree that I should (having been there and experienced it).<br />
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I'm going to rework this piece to experiment on strategies to resolve the tensions I see in the painting. I'll repost it after I make the changes.<br />
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I'll post my second painting (and commentary) tomorrow.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-88571548480848100802010-06-01T05:30:00.016-04:002010-06-01T05:30:01.822-04:00Plein Air Painting WorkshopI took a plein air painting workshop this past weekend in Pennsylvania with local artist, <a href="http://www.kaplanpicturemaker.com/" target="_blank">Fred Kaplan</a>. The class was offered through the <a href="http://www.pafa.org/" target="_blank">Pennsylvania Academy of the Fine Arts</a>.<br />
<br />
Sadly, I have been out of things for over a month. Go figure, you set up plans for yourself to schedule time to paint and <a href="http://draft.blogger.com/goog_526167029">e</a><a href="http://jeffreywphillips.blogspot.com/2010/04/goals-accountability-and-progress.html"><span id="goog_526167025"></span>stablish short-term and long-term goals</a><span id="goog_526167026"></span> only to be sidelined right from the get-go. With the end of the year fast approaching, my responsibilities at school sapped much of my energies and when you add the wifey and kids, well, I just didn't have much of anything left for my art.<br />
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So, I had high hopes for this painting workshop. I'll be posting photos and discussing what transpired in my next post.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-73738161250692311552010-04-16T01:45:00.000-04:002010-04-16T01:45:13.207-04:00Classes for the SummerIn my previous post, I listed some <span id="goog_95042728"></span><a href="http://jeffreywphillips.blogspot.com/2010/04/goals-accountability-and-progress.html">short-term goals<span id="goog_95042729"></span></a>. One of those goals was to find a class over the summer. Well, I believe I found two. I'm not sure if I'll be taking both, but we'll see. Educational funding is tight right now for schools in NJ. They're both weekend workshops running 9-5 and cost $195 which isn't bad.<br />
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<a href="http://www.pafa.org/" target="_blank">The Pennsylvania Academy of the Fine Arts</a> is offering an <b>Introduction to Landscape Painting</b> course towards the end of May with <a href="http://www.kaplanpicturemaker.com/" target="_blank">Frederic Kaplan</a> that sounds interesting. I also like the looks of a <b>Monotype Workshop</b> with Lisa Hamilton that is in mid-June. I've not taken classes with either of these instructors so that will be a new experience.<br />
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Taking continuing education classes is one of my most favorite things. I wish I could do it more often.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-21064141317147417252010-04-05T05:00:00.040-04:002010-04-05T05:00:02.269-04:00Goals, Accountability and Progress<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=artisvisio-20&o=1&p=8&l=bpl&asins=1577315588&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe>I mentioned <a href="http://jeffreywphillips.blogspot.com/2009/12/importance-of-attention-and-practice-in.html" target="_blank">previously</a> that I have been reading Eric Maisel's book <a href="http://www.amazon.com/Creativity-Life-Practical-Personality-Americas/dp/1577315588?ie=UTF8&tag=artisvisio-20&link_code=btl&camp=213689&creative=392969" target="_blank">Creativity for Life: Practical Advice on the Artist's Personality, and Career from America's Foremost Creativity Coach</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=artisvisio-20&l=btl&camp=213689&creative=392969&o=1&a=1577315588" style="border: medium none ! important; margin: 0px ! important; padding: 0px ! important;" width="1" />. Because of this and other readings, I have put together a simple list of <b>short- and long-term goals</b> for myself regarding my art production. I feel I needed to post this to be <b>held accountable</b> on some level and to provide an <b>avenue of feedback</b> from those of you who have traveled this path before.<br />
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Here's what I've developed so far. I think it's fair to say that I'll be moving additional goals (probably more short-term ones) onto my list as they get crossed off.<br />
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<span style="font-size: large;">Short-Term Goals</span> <br />
<ol><li><b>Use sketchbook regularly</b> to record thoughts, inspiration and painting ideas<br />
This seems rather straightforward for an artist, but I know I need to be more disciplined about taking it with me <i>everywhere</i>.</li>
<li><b>Paint at least 3 times per week</b><br />
This goal is a biggie and something I've been procrastinating about for far too long. I know once I get into the groove I'll exceed my 3 times per week. My suspicion is that I'm afraid of making this commitment, but I know it's essential to get where I want to be.</li>
<li><b>Collect/Purchase items for still life paintings</b> <br />
I have some things already planned. I just want to have more items on hand. I've taken a lot of stuff into school so I'll need to bring some of it home.</li>
<li><b>Gather personal photos for paintings </b><br />
I have a few photos I want to use as resources for pieces I have been wanting to do for a while now. I'm going to start a filing system.</li>
<li><b>Find and attend local arts group</b><br />
I need to research this some more for my locale.</li>
<li><b>Find and sign up for class over summer</b> (funding permitting)<br />
Funding is a big concern here. My hope is that I can get my school to foot the bill. Though, with the cuts made in State funding, purses are tight.</li>
</ol><span style="font-size: large;">Long-Term Goals</span><br />
<ol><li><b>Paint 50 small canvases by January 1, 2011</b> (39 weeks as of 04.04.10)<br />
I think this is a manageable goal. Time will tell.</li>
<li><b>Post paintings for sale</b> (ebay and etsy)<br />
I believe I have these accounts set up. Does anybody have recommendations for which is better, easier, more reliable, etc.?</li>
<li><b>Sell at least 50% of my inventory by January 1, 2011</b><br />
I can't comment on this one since I need to develop more of an inventory.</li>
<li><b>Find alternate venues for selling my inventory</b> (art fairs, craft shows, community arts shows)<br />
This goal requires research on what's available.</li>
</ol>Instead of listing them as a straight list of 10 goals, I decided to break them out as short- and long-term so I could hang them up on my wall and cross them off as they are completed or sufficiently routinized. I want to avoid feeling overwhelmed since I'm given to that when I've got a schedule hanging over my head. I will post a progress report at the beginning of each month (again, for accountability).<br />
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Thoughts on my lists?Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-61468967258443453542010-04-04T05:00:00.014-04:002010-04-04T05:00:01.904-04:00Christ the Lord is Risen Today<div class="separator" style="clear: both; text-align: center;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.bible-art.info/wpe91.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://www.bible-art.info/wpe91.jpg" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Resurrection, Rembrandt van Rijn, 1635</td></tr>
</tbody></table>On this beautiful day when Christians celebrate the resurrection of their Savior, I'd like to recommend you take a moment and enjoy the <a href="http://www.bible-art.info/Resurrection.htm" target="_blank">wonderful works of art</a> that have been created <a href="http://www.bible-art.info/Resurrection.htm#FOUR%20ACCOUNTS%20OF%20THE%20RESURRECTION" target="_blank">commemorating this event</a>.<br />
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I recently heard a woman on the radio chastising Christian apologist <a href="http://www.rzim.org/" target="_blank">Ravi Zacharias</a> for believing in something like the resurrection when the four gospel accounts were so contradictory. The apologist amply answered her protest.<br />
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For those who have similar concerns about the validity of the resurrection accounts as recorded in the four Gospels, I encourage you to read this <a href="http://www.apuritansmind.com/Apologetics/ResurrectionAccount.htm" target="_blank">harmony of the resurrection accounts</a>.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-35349244360139422652010-03-06T21:48:00.002-05:002010-03-06T22:09:30.918-05:00Book Review: Creative Time and Space, Making Room for Making Art by Rice Freeman-Zachery<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=FFFFFF&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=artisvisio-20&o=1&p=8&l=as1&m=amazon&f=ifr&md=10FE9736YVPPT7A0FBG2&asins=1600613225" style="float: right; height: 240px; width: 140px;"></iframe> I was reading an <a href="http://emptyeasel.com/2009/10/19/10-ways-to-make-time-for-your-art-an-interview-with-rice-freeman-zachery/" target="_blank">interview on Empty Easel</a> with Rice Freeman-Zachery and it prompted me to buy her book: <a href="http://www.amazon.com/Creative-Time-Space-Making-Room/dp/1600613225/ref=ntt_at_ep_dpi_1" target="_blank">Creative Time and Space</a>. Visually, the book does a fabulous job of showcasing the featured artists’ work. As for the content, I found myself wanting more.<br />
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The author, Rice Freeman-Zachery, weaves her own thoughts amid the mish-mash of anecdotal references by the featured artists on the various chapter topics:<br />
<ol><li>Exploring Time</li>
<li>Making Time</li>
<li>Corralling Time</li>
<li>Stuck in Time</li>
<li>Jumpstarting Time</li>
<li>Mental Space</li>
<li>Soul Space</li>
<li>Real Space</li>
<li>Creative Habits</li>
<li>Taking It on the Road</li>
</ol>The book is for those who are struggling with “making room for making art.” Rice includes little exercises in the form of “Try This” boxes to help you explore your own ideas about why you are where you are artistically and <b>how to jump-start your passion for your art</b> to get your back on track.<br />
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There is so much about this book that I wanted to like but <b>much of it I had heard before</b>. Surely, there is quite a bit here that is grounded in practicality, which just goes to show you why the <a href="http://www.amazon.com/Creative-Time-Space-Making-Room/dp/1600613225/ref=ntt_at_ep_dpi_1" target="_blank">reviews on Amazon</a> were all positive. The author’s style is very warm and engaging. You cannot help but feel <b>her passion and desire to motivate you</b>.<br />
<br />
However, what disappointed me was the fact that the Empty Easel interview, <a href="http://emptyeasel.com/2009/10/19/10-ways-to-make-time-for-your-art-an-interview-with-rice-freeman-zachery/" target="_blank">10+ Ways to Make Time for Your Art</a>, more clearly addressed what I needed to hear than the 171-page book. I expect an article that references a book to whet my appetite for the full-course meal that the book will provide me when I read it.<br />
<h3>My Top 10 From Creative Time and Space</h3><ol><li><b>Take a notebook/sketchbook with you</b> everywhere. As Freeman-Zachery puts it so well, “Writing down ideas reinforces the value of creative thinking and encourages your brain to spend more time in creative mode.”</li>
<li><b>Set studio boundaries</b> so my creative time is seen as important to me (and others)</li>
<li><b>Cut down on Web surfing</b> and devote my time to painting</li>
<li><b>Stop (or severely cut back on) watching TV</b> since it easily and needlessly sucks up my evenings</li>
<li><b>Consider implementing a schedule</b> for myself (some of the featured artists’ schedules encouraged me, others were overwhelming)</li>
<li><b>Write out my goals</b> (both short-term and long-term)</li>
<li><b>Make a studio-efficiency list</b> as I work that could make my next studio experience more enjoyable</li>
<li><b>Make a list of things that inspire me</b> and when a rut hits, revisit it</li>
<li><b>Make a list of what attracts me and/or scares me about my art</b>; then take steps to work through that list</li>
<li><b>Use my head-space as well as my studio space</b> to infuse both thoughtful and spontaneous creativity throughout as much of my day as possible</li>
</ol>You’ll notice in my list, <b>time management</b> plays a key role (see #2-7 above). In fact, that is really the crux of the matter and so the first half of the book is devoted to giving the reader strategies.<br />
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Rice (and a few of her featured artists) strongly recommends journaling. I have not made time for this and haven’t felt it to be a detriment. Who knows, you may find it essential. There were other pieces of advice throughout the book but I just didn’t find them compelling. They seemed more fluffy than substantial. Of course, we are all individuals and such little bits of esoterica may inspire you towards productivity.<br />
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The chapter on your studio—Real Space—was probably one of my favorites because I loved hearing about the variety of places these professionals did their work. I found it very encouraging since I just cleaned out a small space in our bedroom to work. (I’ll try to post on how that is working out for me in the near future.)<br />
<br />
Well, that’s my take on <a href="http://www.amazon.com/Creative-Time-Space-Making-Room/dp/1600613225/ref=ntt_at_ep_dpi_1" target="_blank">Rice Freeman-Zachery’s Creative Time and Space</a>. I can’t say I would definitely purchase this book again BUT I would have taken it out of the library and documented what I found that was practical. (3 1/2 Stars out of 5)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxxRjrUvGyb7KGvD9O9FTkURQng5NsVDaHPohEjpwy8TjWsPByvnyKUAgeo-P_ukhuPz0FW16TCBl2xZkeiAOH-Ji49o4mUmT12y4ItkP3S-kboG1SHazh3yf_NkGbzVgffYD-XSLL6Sa/s1600-h/stars_3-5.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxxRjrUvGyb7KGvD9O9FTkURQng5NsVDaHPohEjpwy8TjWsPByvnyKUAgeo-P_ukhuPz0FW16TCBl2xZkeiAOH-Ji49o4mUmT12y4ItkP3S-kboG1SHazh3yf_NkGbzVgffYD-XSLL6Sa/s320/stars_3-5.png" /></a></div>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-18078039404064592162009-12-02T23:05:00.000-05:002009-12-02T23:05:45.438-05:00The Importance of Attention and Practice in Creating Art<iframe src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=FFFFFF&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=artisvisio-20&o=1&p=8&l=as1&m=amazon&f=ifr&md=10FE9736YVPPT7A0FBG2&asins=1577315588" style="float:left;width:120px;height:240px;" scrolling="no" marginwidth="0" marginheight="0" frameborder="0"></iframe>I've started reading <a href="http://www.amazon.com/Creativity-Life-Practical-Personality-Americas/dp/1577315588/ref=sr_1_1?ie=UTF8&s=books&qid=1259811534&sr=8-1" mce_href="http://www.amazon.com/Creativity-Life-Practical-Personality-Americas/dp/1577315588/ref=sr_1_1?ie=UTF8&s=books&qid=1259811534&sr=8-1" target="_blank">Creativity for Life</a> by Eric Maisel. During the book's Introduction, the author touches upon the importance of attention and practice since they play are such integral pieces of living the creative life. I tell my high school students all the time that without practice they will always be frustrated in their attempts to get better at drawing what they see, mixing the colors that they want, molding the clay into the correct shape and manipulating the pen tool in Adobe Illustrator. Working hand-in-glove with skills practice, the art student must learn how to be mindful of the World around him/her. <br />
Presently, I am teaching my Intro to Painting students some simple drawing skills before we launch into still life. So, we discuss simplifying images into basic shapes before rounding out corners and adding the details. We also address relationships: how does one object relate to another? Is it taller or shorter? Is it fatter or thinner? How can we use negative space to help us record what we see? The questions go on. It is initially overwhelming for them but I want to demonstrate to them the necessary self-talk to help them achieve their goals. <br />
Truth be told, I didn't start reading the book for my students. Rather, I am reading it for myself. When Dr. Maisel talks about attention, he's not meaning a classroom setting per se. I've extrapolated his meaning because I do believe it speaks equally powerfully to students in a high school setting. <br />
In the final analysis, Dr. Maisel wants to remind ME of the many ways I've allowed my art to be put off because of the many facets of my so-called busy life. <br />
<blockquote>If your truth is that your life is out of control and creativity is just one of the many things that you aren't attending to, stand up and admit that to yourself, even if it means that you must change everything. Nor can you do this truth telling just once or twice: you need to do it today, tomorrow, and forever. (pg. xviii)<br />
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</blockquote>What I've read so far is just what the doctor ordered (no pun intended).Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-67196294784083621242009-06-21T14:04:00.009-04:002009-06-25T02:15:16.010-04:00How do you keep student interest during a demonstration lesson?In my last <a href="http://jeffreywphillips.blogspot.com/2009/06/using-demonstration-lessons-to-pique.html">blog post</a>, I loosely reviewed a few assignments that I presently do in my <span style="font-weight: bold;">painting class</span>, commenting on the great suggestions from some other bloggers on additional exercises to offer. At the end of the post, I included a section under the heading of <a href="http://jeffreywphillips.blogspot.com/2009/06/using-demonstration-lessons-to-pique.html">Demonstration difficulties</a>. There I highlighted a few struggles I have had with my urban high schoolers.<br /><br />After some reflection I wanted to inquire some more about a few things:<br /><h4>Student interest</h4>I am hoping that next year my classes will provide a little more student interest. This past year gave me more of what I have experienced since coming to this high school: students who did not sign up for my class and resent the amount of effort they have to put into the work for me. Ironically, my classes aren't as difficult as others I've been exposed to through <span style="font-weight: bold;">art education conferences</span>. Go figure.<br /><br /><span style="font-weight: bold;">How do you teach skills when you don't have a willing class? </span>Often, the things they want to paint require more skill than they have and that only drives up their potential for discouragement. Thoughts anyone?<br /><h4>Appropriate demo time</h4>Another avenue I have considered playing with centers on in-class <span style="font-weight: bold;">demonstration time</span>. Frankly, I only do demos that are 15 (20, at most) minutes long. Often my students talk to one another during the demo leaving the on the outs when it comes to doing the work. The frustration level mounts once deadline for completion gets closer. At that point, I become inundated with "Mr. Phil, I need your help." In the end, I don't get to everybody and that frustrates my students as well.<br /><h4>Consequences</h4>As I stated above, my students will often talk during my demonstrations. As such, I find myself giving one-on-one demos for those students. Otherwise, they won't work and I'm basically stuck in the water needing a means to see what the students have learned. My wife and I implement <span style="font-weight: bold;">consequences</span> for our kids at home but my students <span style="font-weight: bold;">don't take authority well</span> or the guidelines I provide as goals for them to think about and work through. Actually, I have a very good rapport with them but that becomes tested when dates are looming and they should recieve a gift, not an email or blog member.<br /><br />I want to serve these kids well. So, any thoughts or recommendations based on what I have introduced would be greatly appreciated.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-37193671850440845402009-06-19T22:00:00.006-04:002009-06-19T22:09:00.501-04:00Using demonstration lessons to pique student interest<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJy5p1rIZ-RCJRX8nf4RTt2qQtj4n2nwYYVfy6caEJeKSw80DGAGUlanSNJvSsdpxM-Rm8mq9IUsssHxX297CG3EFXBvHqDKdCOFrEEKHDshPV15TgckIQJmGdm1fN5yWqgBJrN1itjyHL/s1600-h/palette_with_brush.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJy5p1rIZ-RCJRX8nf4RTt2qQtj4n2nwYYVfy6caEJeKSw80DGAGUlanSNJvSsdpxM-Rm8mq9IUsssHxX297CG3EFXBvHqDKdCOFrEEKHDshPV15TgckIQJmGdm1fN5yWqgBJrN1itjyHL/s200/palette_with_brush.jpg" alt="" id="BLOGGER_PHOTO_ID_5349224994891978722" border="0" /></a>My <a href="http://jeffreywphillips.blogspot.com/2009/05/gourd-alla-prima-oil-painting.html">gourd post</a> generated encouraging remarks from my readers while also eliciting helpful suggestions for presenting information for my students. For those of you who don't know, I am a <span style="font-weight: bold;">high school art teacher</span> in an <span style="font-weight: bold;">urban school district</span>. Generally speaking, most of my students did not ask to be in my class. They were put there out of necessity, namely to fill a slot in their schedule. As such, engaging them can be a challenge.<br /><br />The consensus seems to be that demonstrations are <span style="font-style: italic;">the</span> way <span style="font-weight: bold;">to give students a sense of my expectations</span> and <span style="font-weight: bold;">visually illustrate how to go about using the media</span> at hand. Well, no argument here.<br /><h4>Painting exercises</h4>I plan on modifying my assignments for my painting (and, probably, drawing) class to allow for some of the suggestions given by some online friends: <a href="http://cyndycarstens.blogspot.com/" target="_blank">Cyndy Carstens</a>, <a href="http://susanmartinspar.blogspot.com/" target="_blank">Susan Martin Spar</a>, <a href="http://lizholm.blogspot.com/" target="_blank">Liz Holm</a>, <a href="http://lizholm.blogspot.com/" target="_blank">Lee Claughton Taylor</a> and <a href="http://gkeimigart.blogspot.com/" target="_blank">Gary Keimig</a>. I normally use white, gray and black geometric shapes. I plan to continue that practice but add other exercises preceding those as suggested from these fine contributors. Eggs, eggs in a bowl on a white cloth and a crumpled up piece of paper will probably make an appearance in some form. I plan to exploit the whole white-on-white composition to drive home <span style="font-weight: bold;">the importance of value</span>. It's the most important concept to get across to my students; more important than line or color in my mind.<br /><br />I'll then move to my normal exposure of black and gray, using cubes and spheres. I next progress to small groupings using colored building blocks. So, while the concept of simple shape is there, the introduction of color with the irregular shape changes things up some. Eventually, I progress to flowers and the other detritus associated with still life compositions.<br /><h4>Demonstration difficulties</h4>My struggle to reach the demographic I am working with poses the following problems:<br /><ol><li><span style="font-weight: bold;">My students see my class as not something meaningful to their future.</span> Despite my efforts to let them know that this could, if nothing else, become a hobby that will provide great satisfaction if they would only give themselves over to the process and practice, they remain fixated on narrowly looking at art as non-essential. I think this will remain a point of tension for them and I'll need to find ways to simply cope with their discomfort and a certain level of frustration on my part.<br /><br /></li><li><span style="font-weight: bold;">Many of my students do not have the attention span to sit through a 15 demonstration.</span> Even though I had read about this before I started teaching, I still found it disturbing when it actually manifested itself. Ironically, even though many students comment on the end product of the demo, they still talk to one another instead of paying attention (and then ask me for help leaving me little recourse accept to give them a one-on-one demonstration).<br /><br />I am hoping to work on streamlining my demos but that poses problems simply because if I go <span style="font-style: italic;">too</span> fast they will miss the application I address while I dialogue during the demo. I coming back to the reality I keep hearing from others--demos are essential to most learners. As such, my students need the exposure and I, in turn, need to press them to pay attention and find a consequence for when they choose not to listen. However, is that going to mean I tell those students I can't help them because the made a choice not to participate in the learning process as I've laid it out? I may need to speak with my administration to get their feedback since I will need their support should more students choose to fail because of their stubborness.<br /><br />Then again, I have to give these students credit when they draw such a hard line in the sand and then stick to it. It's sad they don't apply that stick-to-it'iveness to actually learning what I'm trying to teach them.<br /><br /></li><li><span style="font-weight: bold;">Need to be tested on the bare essentials of the painting process so I know they get certain foundational principles.</span> Presently, I don't test them at all except to verbally check for understanding during class time when I walk from student to student.<br /><br />I know such a thought will sound sacrilegious to some art educators. Having been to both <a href="http://www.aenj.org/" target="_blank">regional</a> and <a href="http://www.naea-reston.org/" target="_blank">national art education</a> conferences, I know I'm on the outs on the concept of testing. For the classes I've sat in at those conferences, I've found the concept of testing in art classes--specifically for application-related knowledge--to be frowned upon.<br /><br />Generally, I haven't tested much at all. My classes consist of project grades and in-class assignments. However, moving into my third year I believe more strongly on the importance of testing <span style="font-style: italic;">certain</span> information. My students need to have some concepts committed to memory so they can begin building bridges with each painting project. I see now how so many remain ignorant as to why they are doing what they are doing. Sadly, they do not see the importance of linking together what they've learned. It's something I'm going to have to attend to.<br /></li></ol>Thanks go out again, to those who've provided me with feedback on the whole demonstration process. Any additional suggestions is always appreciated.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-58620285220199483972009-05-15T18:00:00.001-04:002009-05-15T18:18:24.583-04:00Gourd, Alla Prima oil painting<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhclaJ52QvPBfBlHAI23GM-H7_qLK6nnLlyt-ASsabYHOvs-jwM9UaYyXSlJlCPmxyjg4aXSOUkhJgZV-qblBrTBjjQMUl9x0ZMM87ANU8IrYPCPbfrAfG3GLjkIqYTX5R2eYupIX1sJKau/s1600-h/gourd_teacher.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 164px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhclaJ52QvPBfBlHAI23GM-H7_qLK6nnLlyt-ASsabYHOvs-jwM9UaYyXSlJlCPmxyjg4aXSOUkhJgZV-qblBrTBjjQMUl9x0ZMM87ANU8IrYPCPbfrAfG3GLjkIqYTX5R2eYupIX1sJKau/s200/gourd_teacher.jpg" alt="" id="BLOGGER_PHOTO_ID_5336175042324986306" border="0" /></a>I'm not sure where my head has been. I should have posted this last week with the other <span style="font-weight: bold;">oil painting</span> demonstrations. This gourd elicited great consternation from my students who struggled with getting the undulating surface and transitions between the two colors correct. In some ways like the <a href="http://jeffreywphillips.blogspot.com/2009/04/pumpkin-alla-prima-oil-painting.html">pumpkin</a> and other ways not, my students failed to appreciate the color variations in the peaks and valleys of the surface. I told them it was not going to be easy but to look for the shapes of the colors and block them in as best they could. A few did well.<br /><br />We've moved on to a small <span style="font-weight: bold;">still life</span> featuring a putty colored vase and a few more simple pieces of fruit. I did not do a demonstration this time around. Instead I did direct instruction and sketched on the whiteboard how they were to proceed, step-by-step. For some of my students this worked well, for others less so. So, I'll probably do a physical demonstration on Monday. A few were determined to do what they wanted while others--focused on getting it "right"--fell behind leaving me to dash back and forth.<br /><br />Thoughts anyone on how to walk a class through the beginning painting process <span style="font-style: italic;">without</span> doing a demonstration?Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-80820727964974077812009-05-04T21:20:00.000-04:002009-05-04T21:20:27.748-04:00Pear, alla prima oil painting<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhli8oEYqdrE7Si0jlV7YrXZrjgSXNuKmQy61Lglvwyph06gPe6ODnXEZdkkLk2ReQdDzQpVFj5FOGoZnGx8bi5XpFBvlGaK69rOXoa9mEA41Us5wlkxQjLwnDMOo6xItNHD9RDu1YGZ9r-/s1600-h/pear_teacher.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 162px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhli8oEYqdrE7Si0jlV7YrXZrjgSXNuKmQy61Lglvwyph06gPe6ODnXEZdkkLk2ReQdDzQpVFj5FOGoZnGx8bi5XpFBvlGaK69rOXoa9mEA41Us5wlkxQjLwnDMOo6xItNHD9RDu1YGZ9r-/s200/pear_teacher.jpg" alt="" id="BLOGGER_PHOTO_ID_5332099850018748962" border="0" /></a>Here is the third in a series of <span style="font-weight: bold;">still life</span> demonstrations that I did for my students in <span style="font-style: italic;">Introduction to Painting</span>, my <span style="font-weight: bold;">alla prima painting</span> class. Unlike <a href="http://jeffreywphillips.blogspot.com/2009/04/apple-alla-prima-oil-painting.html">Apple</a>, I was able to complete this painting in the 15-20 minutes I allotted for my demo.<br /><br />The three students who sat in on this demonstration saw <span style="font-style: italic;">the</span> key point I have been reminding all of my students of from the beginning of this course. Namely, <span style="font-weight: bold;">alla prima</span> is meant to be immediate--it's direct painting. Most of my students struggle with over mixing, over blending and, generally, over doing it. That often translates into muddy colors and edges that are too sharp.<br /><br />This particular fruit example was made particularly challenging for two reasons: there were two green, speckled "stripes" running down either side and two splashes of orangy-red on the other two sides. I showed them that this was merely an opportunity for alla prima to shine. I could have done the green "stripe" a bit more speckled with a broken line effect but I opted to focus more on the blending between the green and yellow underneath. The splashy orangy-red was more easy to achieve and gave my students what they needed seeing the blending happen in front of them.<br /><br />For those particular students, it was important for them to see the blending happen in front of them. Surprisingly, this wasn't the first time they saw it but it helped two of the three with what they delivered in their own rendering of this composition.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-3199328490331051632009-04-29T21:53:00.002-04:002009-04-29T21:54:26.392-04:00Apple, alla prima oil painting<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoW8Z2mXqpPIs9aJai7i26ck7kYMQKghfhmXmJwGnVb26XEHvgdsFGt4f48GtCR-OIDt8jyQozNVR48JdcWMSLgEm7t4eKLH3eVIiaLEsUXBPghXQixWbLmmzG2Rs3oy2BXYnrWsJsWcEb/s1600-h/apple_teacher.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 162px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoW8Z2mXqpPIs9aJai7i26ck7kYMQKghfhmXmJwGnVb26XEHvgdsFGt4f48GtCR-OIDt8jyQozNVR48JdcWMSLgEm7t4eKLH3eVIiaLEsUXBPghXQixWbLmmzG2Rs3oy2BXYnrWsJsWcEb/s200/apple_teacher.jpg" alt="" id="BLOGGER_PHOTO_ID_5330292943428531378" border="0" /></a>Here is the second in a series of <span style="font-weight: bold;">still life</span> demonstrations that I did for my students in <span style="font-style: italic;">Introduction to Painting</span>, my <span style="font-weight: bold;">alla prima painting</span> class. As I stated <a href="http://jeffreywphillips.blogspot.com/2009/04/pumpkin-alla-prima-oil-painting.html" target="_blank">in my last post</a>, I've been trying to get through as much as I can in the 20 minutes that I'm doing the demonstration and then finishing the piece for my own satisfaction during my lunch.<br /><br />This one I all but finished during the demonstration. That particular day I found it easy to enter the "zone." Unfortunately, I didn't fully complete the curved background at the top. I think I got sidetracked by a student coming in during my lunch to speak with me and then the period ended preventing me from getting back to it. But, I wanted to post it anyway.<br /><br />I was particularly happy with this piece. I'll definitely need to go back and complete the background. Thoughts anyone?Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-76565587034436146462009-04-28T10:00:00.000-04:002009-04-28T10:00:01.118-04:00Pumpkin, alla prima oil painting<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTDH9eNJC6JC2UzcK7AXxpmoTMRQZ4BWY9cmpFvjiACSWYiPaNrPcLMB1UQ-Aj8a5G2X_A7QViO8mFuiN9jCo7DXqCCbn-w-SLSchMGun9ojkKUiHx2SrXBkqtDV9J7z2Dnv-j1bFlRQn3/s1600-h/pumpkin_teacher.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 156px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTDH9eNJC6JC2UzcK7AXxpmoTMRQZ4BWY9cmpFvjiACSWYiPaNrPcLMB1UQ-Aj8a5G2X_A7QViO8mFuiN9jCo7DXqCCbn-w-SLSchMGun9ojkKUiHx2SrXBkqtDV9J7z2Dnv-j1bFlRQn3/s200/pumpkin_teacher.jpg" alt="" id="BLOGGER_PHOTO_ID_5329619369311587202" border="0" /></a>After doing monochromatic paintings of <a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-geometric-shapes-my.html">cubes</a>, <a href="http://jeffreywphillips.blogspot.com/2009/04/painting-values-from-life-black-and.html">spheres</a> and a <a href="http://jeffreywphillips.blogspot.com/2009/04/painting-values-from-life-black-and_16.html">geometric still life</a>, I had my students move on to colored building blocks. I'll post those shortly, but I wanted to first post my own demonstration painting for their next lesson: a pumpkin. Actually, they'll also do a gourd, an apple and a pear. I thought these simple pieces of fruit would be a fitting next step for their efforts. I may be wrong, but we'll see.<br /><br />I'm going to post all four of these demonstration pieces. I just finished my fourth so I'll post them over the next few nights. I start the piece during class for those students who are ready to watch and then finish it during my lunch. The focus for my <span style="font-style: italic;">Introduction to Painting</span> class is on direct, or alla prima, painting. So, I'm pushing myself to finish the paintings that day to keep my approach fresh. I consider it an object lesson since many of them are struggling with overblending and generally overworking their paintings. But, that's a common mistake so I'm not wringing my hands over it. I simply remind them with each demo how to work with the paint before it dries. I have them work with <a href="http://jeffreywphillips.blogspot.com/2009/01/still-think-oil-and-water-dont-mix.html">water-soluble oil paints</a> so they are dry to the touch by the next day.<br /><br />Your feedback to this piece would be appreciated. I have more involved paintings if you'd like to review those, as well. I was taking my class over at <a href="http://www.fleisher.org/">Fleisher Art Memorial</a> in Philadelphia; <a href="http://jeffreywphillips.blogspot.com/2008/12/yellow-speaks-new-la-prima-oil-painting.html">Yellow Speaks</a>, <a href="http://jeffreywphillips.blogspot.com/2008/12/composition-with-yellow-and-red-la.html">Composition with Yellow and Red</a> and <a href="http://jeffreywphillips.blogspot.com/2008/12/its-not-easy-being-blue-alla-prima-oil.html">It's Not Easy Begin Blue</a> being a few of my better pieces from the last class I took at Fleisher under <a href="http://www.google.com/search?hl=en&pwst=1&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=Giovanni+Casadei&spell=1">Giovanni Casadei</a>.<br /><br />Again, I'd enjoy hearing from you.Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-28063477698281220032009-04-23T23:30:00.006-04:002009-04-24T00:05:37.950-04:00When does a student become an artist?<span style="color: rgb(102, 102, 102);">(This post is an aside I'd like to share with you; something that's been brewing in my head after reading a few things.)</span><br /><br /><span style="font-weight: bold;">How important is it for students--particularly elementary, middle and high school students--to consider themselves artists?</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWHKXr2_Uv7-7q-GeGI8I4EnZP21DcCve7pb0ufLAuc3vidALKgU73T6bvCpOMCICP7JVLPhBPyll2KU-MX1tG3H67MvFYaWxRxNDnR4f-WB-ML3TDBOsdqmijfsnBDE-yH-c6BOxGf-17/s1600-h/blue_pastels_r3_c6.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWHKXr2_Uv7-7q-GeGI8I4EnZP21DcCve7pb0ufLAuc3vidALKgU73T6bvCpOMCICP7JVLPhBPyll2KU-MX1tG3H67MvFYaWxRxNDnR4f-WB-ML3TDBOsdqmijfsnBDE-yH-c6BOxGf-17/s400/blue_pastels_r3_c6.jpg" alt="" id="BLOGGER_PHOTO_ID_5229348737904280978" border="0" /></a>In my class, this perception/misperception usually manifests itself as protestations of unfairness for criticizing their personal expression. Their complaint centers less on receiving a grade for their work and more on receiving anything other than an "A" for it. <span style="font-weight: bold;">And, you see, that's the crux of the matter.</span><br /><br />Some of my students are under the delusion that I'm somehow obligated to give them an "A" regardless of what they hand in. When I ask what other class they have that operates like that, they don't have an answer. <span style="font-weight: bold;">After all, even a creative writing assignment has to have some structure and follow grammatical guidelines in order to be understood.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5iyBoHgZL6ROPY36aF_aHrv6HvjJg_bIVAhi1WpqCjmd0q3zejLskN8ijFdY7pFRjvr9mqtA8f7Om9nuhxvqrHaGA1Y5cziSHXbZ1woy2N0dTgGd_zvMjcSKG219z3E09zoPWjhrWTIeX/s1600-h/blue_pastels_r2_c4.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5iyBoHgZL6ROPY36aF_aHrv6HvjJg_bIVAhi1WpqCjmd0q3zejLskN8ijFdY7pFRjvr9mqtA8f7Om9nuhxvqrHaGA1Y5cziSHXbZ1woy2N0dTgGd_zvMjcSKG219z3E09zoPWjhrWTIeX/s400/blue_pastels_r2_c4.jpg" alt="" id="BLOGGER_PHOTO_ID_5229344462150002738" border="0" /></a> Having attended conferences for art educators, I have found those holding to both sides of this debate to be rather vocal. Some teachers think it <span style="font-weight: bold;">meaningless for them to "grade" a student's creative output</span>. For them, grades are hurtful, even harmful, to the development of the child and her artistic growth. On the other side of the aisle, they believe that art education is like any other field of study wher<span style="font-weight: bold;">e effective grading serves the student as skills are taught and craftsmanship is nurtured</span>.<br /><br />So, what are your thoughts on this topic?<br /><blockquote></blockquote><blockquote>If you're a <span style="font-weight: bold;">parent</span>, what are your attitudes towards your son/daughter's artistic production? Have you had run-ins with your child's art teacher? What was the issue?<br /></blockquote> <blockquote>If you're an <span style="font-weight: bold;">art educator</span>, what is your philosophy about grading your elementary, middle or high school students' creative output? What does your rubric look like?<br /></blockquote>I appreciate your feedback!Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-51786817145241991552009-04-16T16:00:00.000-04:002009-04-16T16:00:00.356-04:00Painting values from life: black and white geometric grouping, student workSo far, over the past two posts, I've highlighted four students and their paintings of <a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-geometric-shapes-my.html" target="_blank">cubes</a> and <a href="http://jeffreywphillips.blogspot.com/2009/04/painting-values-from-life-black-and.html" target="_blank">spheres</a>. The third project my <span style="font-weight: bold;">Introduction to Painting</span> students worked on was a grouping of geometric solids.<br /><br />I have to admit that I over-extended my students with this particular exercise. Though I'm a firm believer in challenging people so they can grow, this project was too much of a leap for them. Neither I nor my students were particularly happy with the results. What I ended up doing with them individually was to look at snapshots within their work that showed me they were building upon and applying the skills and techniques they've been developing from the beginning. Having said that, here are the two student pieces ...<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCzgnEYKBjvFhewLjwCghuAln-GTim_5iOq256WL77j22WAfpdQxJuxwGJSNffm5tEkV3NimKhT_8cunodYJmPyLz4SBtTwnQ5LqMqN8GdvqKHOqciJ5zEotHUG3JRvPSBhyphenhyphensj9iAXcDnt/s1600-h/bw_group_student1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 110px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCzgnEYKBjvFhewLjwCghuAln-GTim_5iOq256WL77j22WAfpdQxJuxwGJSNffm5tEkV3NimKhT_8cunodYJmPyLz4SBtTwnQ5LqMqN8GdvqKHOqciJ5zEotHUG3JRvPSBhyphenhyphensj9iAXcDnt/s200/bw_group_student1.jpg" alt="" id="BLOGGER_PHOTO_ID_5324726053315806178" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><span style="font-weight: bold;">Student #1</span><br />What he did well:<br /><ul><li>Rendering some of the values and shadows effectively (see left side of piece)</li><li>Determining the perspective of the boxes well</li><li>Maintaining the proportional relationship between the objects<br /></li><li>Centering the grouping well considering its complexity</li></ul>What he needs to work on:<br /><ul><li>Rendering his shapes crisply so they look substantive, less fuzzy</li><li>Completing each object equally so no one element is left as seemingly unfinished</li><li>Ensuring that the shadows (both on and between the objects) clearly communicate the position of the light source</li><li>Comparing the value relationships in his painting with those on the still life to ensure the composition coheres<br /></li><li>Understanding how layering operates within a painting so that objects communicate a believable sense of space<br /></li></ul><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveXt-_ngRymyTIn_fWE8l0vT3vJADAFH3Ga-03sg9GJvpRERKitqtFC5_bRW6O4nK5r4zz8xvwPhYYUT6aMJw9ScSXvaSQyFmIh2wMfO2O7Jik6ylEHg4isZS6R-J15bRZh_CFw-97CD5/s1600-h/bw_group_student2.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 103px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveXt-_ngRymyTIn_fWE8l0vT3vJADAFH3Ga-03sg9GJvpRERKitqtFC5_bRW6O4nK5r4zz8xvwPhYYUT6aMJw9ScSXvaSQyFmIh2wMfO2O7Jik6ylEHg4isZS6R-J15bRZh_CFw-97CD5/s200/bw_group_student2.jpg" alt="" id="BLOGGER_PHOTO_ID_5324726329555499010" border="0" /></a><br /><br /><br /><br /><br /><br /><span style="font-weight: bold;">Student #2</span><br />What she did well:<br /><ul><li>Rendering her edges crisply so objects don't look fuzzy </li><li>Maintaining the proportional relationship between the objects</li><li>Centering the grouping well considering its complexity</li></ul><br />What she needs to work on:<br /><ul><li>Rendering her shadows effectively</li><li>Completing each object equally so no one element is left as seemingly unfinished</li><li>Maintaining proper perspective within the composition so some shapes don't appear distorted<br /></li><li>Ensuring that the shadows (both on and between the objects) clearly communicate the position of the light source</li><li>Understanding how layering operates within a painting so that objects communicate a believable sense of space<br /></li></ul><span style="font-weight: bold;">Project Overview</span><br />As I stated at the beginning of this post, I made an error in judgment with this assignment. I should have set up a couple of small geometric groupings instead of one large one. It would have made for a less frustrating assignment for them. As such, no one really rendered the grouping well. At least, the concepts from the <a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-geometric-shapes-my.html" target="_blank">first</a> and <a href="http://jeffreywphillips.blogspot.com/2009/04/painting-values-from-life-black-and.html" target="_blank">second</a> assignments that were difficult for my newbie painters provided opportunity for practice and reinforcement with this :<br /><ul><li style="font-weight: bold;">Composing your painted space</li><li>Rendering shapes effectively by <span style="font-weight: bold;">maintaining consistent angles</span> (i.e., perspective) for each form</li><li><span style="font-weight: bold;">Translating the effects of light</span> as they pass across a three dimensional solid</li><li><span style="font-weight: bold;">Using value</span> (instead of line) to delineate edges</li><li><span style="font-weight: bold;">Achieving a sense of space</span> through proper placement and effective use of shadow</li></ul><span style="font-weight: bold;">Space Planning</span><br />Centering objects or composing objects within a painting is forever the headache regardless of your skill level. It takes practice and know-how to make judgment calls on what to include and not include. As with the other two assignments, the issue was centering the objects and not making them too big or too small. The students were not permitted to remove or ignore objects at this time. Laziness reared its ugly head again as many students refused to redraw their work once they got far enough along to realize it was off center or that the elements weren't going to work.<br /><br /><span style="font-weight: bold;">Perspective</span><br />I reminded the students of the simple formula for rendering a solid. Namely, you begin with the bottom angle--<span style="font-weight: bold;">double checking the lines of your angle using your paint brush</span>--and then fill in the rest of the form <span style="font-weight: bold;">using lines that are perpendicular and parallel</span> to the bottom angle you started with. While this technique is not 100% foolproof it provided them with something tangible to get them started and help them achieve more naturalistic results.<br /><br />As with the first two students, student #2 got the bottom angle correct but when she rendered the top of the square in the center she opened up the shape making it appear she could see more of the top than she actually could.<br /><br /><span style="font-weight: bold;">Value</span><br />Ensuring a sense of continuity between values and shapes within the composition by asking oneself "Does the value I just painted appear elsewhere in the composition?" was something I brought up and tried to hammer home with my students. A couple "got" it and implemented it but only to a small degree because they stopped remembering to ask themselves that question as their work progresses.<br /><br />Many of the students stopped looking at the real-world still life and started making up values they thought should be there only to realize that sections of their paintings no longer looked coherent. As I walked around observing their work, I found myself reminding them that value is a tough concept because it's not only about seeing the value but putting it on canvas.<br /><br />Overall, lesson learned ... by the student <span style="font-style: italic;">and</span> the teacher!<br /><span style="font-weight: bold;"><br /></span>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.comtag:blogger.com,1999:blog-6609831160210318887.post-49099048717938584132009-04-14T20:30:00.005-04:002009-04-14T20:30:00.310-04:00Painting values from life: black and white spheres, student work<a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-geometric-shapes-my.html" target="_blank">Yesterday's post</a> highlighted two of my <span style="font-weight: bold;">Introduction to Painting</span> students. The classes first project was to render cubes in black, gray and white that were set up in the center of the room. The goal was to teach them to <span style="font-weight: bold;">painting values from life</span>. None of my students had painted before so the outcome was a good one; most of them did well. Today's post reinforces this as I focus on two other pieces of work from two other students.<br /><br />The second project was to introduce another geometric shape, this time a sphere. <span style="font-style: italic;">If you have recommendations for additional projects to teach these concepts or you have changes to these projects please let me know.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqkO6yXNNF4dhEQ-BGILnHPDJ3cx3hQmeN3UckEAR-z2zxXf_fAGUIoOIxV-li04lWrJVTns5Dpda8Qz7F9d8VeUPtmB4bMquejYu0QgI4nbmYjpy5Cf6HFdEJy0s3v_OdfDhnztOWum8x/s1600-h/bw_sphere_student1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 117px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqkO6yXNNF4dhEQ-BGILnHPDJ3cx3hQmeN3UckEAR-z2zxXf_fAGUIoOIxV-li04lWrJVTns5Dpda8Qz7F9d8VeUPtmB4bMquejYu0QgI4nbmYjpy5Cf6HFdEJy0s3v_OdfDhnztOWum8x/s200/bw_sphere_student1.jpg" alt="" id="BLOGGER_PHOTO_ID_5324552891681679570" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><span style="font-weight: bold;">Student #1</span><br />What he did well:<br /><ul><li>Seeing the value changes as light passed over each form</li><li>Rendering the forms' values with paint</li><li>Maintaining a circular shape</li><li>Spacing his objects consistently (both on canvas and between his objects)<br /></li></ul>What he needs to work on:<br /><ul><li>Communicating space through the effective use of shadows (he simply didn't put them in)</li><li>Rendering his shapes so edges are crisp and the gray underpainting isn't visible</li></ul><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iphjaaxt3KsA2VGlGv5-InjSs58kGNQDcQ84QkJVHV_p8dAoIzo36T-kpvP2E3Naz5-v2CwDAvfaGiuTUbB17j0pYj77BNenfDoayp33IE13zvnkMYyF9yRru01pmRaWguvY1BMq9_4N/s1600-h/bw_sphere_student2.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 108px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iphjaaxt3KsA2VGlGv5-InjSs58kGNQDcQ84QkJVHV_p8dAoIzo36T-kpvP2E3Naz5-v2CwDAvfaGiuTUbB17j0pYj77BNenfDoayp33IE13zvnkMYyF9yRru01pmRaWguvY1BMq9_4N/s200/bw_sphere_student2.jpg" alt="" id="BLOGGER_PHOTO_ID_5324555610610350306" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><span style="font-weight: bold;">Student #2</span><br />What she did well:<br /><ul><li>Seeing the value changes as light passed over each form</li><li>Rendering the forms' values with paint (though her forms look a little lumpy in spots)<br /></li><li>Spacing his objects consistently (both on canvas and between his objects)</li><li>Integrating the shapes with the space using shadow<br /></li></ul>What she needs to work on:<br /><ul><li>Maintaining a circular shape (when reviewing her work, we both agreed that her shapes were a little sloppy)<br /></li><li>Communicating space through the effective use of shadows (he simply didn't put them in)</li><li>Shaping shadows so they are more naturalistic given the light source's location</li></ul><span style="font-weight: bold;">Project Overview</span><br />As I indicated <a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-geometric-shapes-my.html" target="_blank">earlier</a>, this lesson is deceptive due to the many layers and concepts students have to integrate into applicable skills. These can be difficult to "get" all at once:<br /><ul><li style="font-weight: bold;">Composing your painted space</li><li><span style="font-weight: bold;">Rendering shapes effectively</span> </li><li><span style="font-weight: bold;">Translating the effects of light</span> as they pass across a three dimensional solid</li><li><span style="font-weight: bold;">Using value</span> (instead of line) to delineate edges</li><li><span style="font-weight: bold;">Achieving a sense of space</span> through effective use of shadow</li></ul><span style="font-weight: bold;">Space Planning</span><br />For this exercise, the issue was centering the objects and not making them too big or too small. So, it wasn't too complicated and the issue for many of my students was laziness in not wanting to make changes or start over it once they did it once. Making judgment calls about possibly excluding objects for to increase focus or add interest didn't come into play for this exercise.<br /><br /><span style="font-weight: bold;">Shape and Perspective</span><span style="font-weight: bold;"></span><br />Integrating objects into a <span style="font-weight: bold;">believable environment</span> for this type of exercise centered on creating believable circular shapes, rendering the light passing across the form so that the shapes look hard and not lumpy and placing <span style="font-weight: bold;">naturalistic shadows</span> relevant to the light source. In my <a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-in-class-studies-part-2.html" target="_blank">demonstration</a>, I showed students how to adjust the shape and size of their circular form. You'll notice in that <a href="http://jeffreywphillips.blogspot.com/2009/04/black-and-white-in-class-studies-part-2.html" target="_blank">demonstration</a>, the black sphere still remained rather un-circular while the other two were corrected.<br /><br />For most of the students, the shadows proved challenging; getting their shape and perspective took some time and individual teaching. I'm sure I'll need to reinforce that lesson when circular shapes are reintroduced in a full still life setup in a few of weeks.<br /><br /><span style="font-weight: bold;">Value</span><br />Value has got to be one of the toughest concepts to master because it's not merely about seeing (which is problem #1) but also about translating it to canvas now that you know what you're looking at.<br /><br />When I first taught this lesson last semester, I had the students do a <span style="font-weight: bold;">color chart</span> and simple <span style="font-weight: bold;">value scale</span>. I didn't have this semester's students do that because of the time involved. That was a mistake. I was surprised that I had a couple of students who didn't see the differences in dark and light at all; they were completely baffled. While they somewhat get it now, I think doing a simple value scale would help.<br /><br />To get my students started, I have them "sketch" on the canvas using thinned-out paint. This is hardly new or revolutionary. However, in starting this way many of my students got stuck in "coloring book mode." You know, outline it and then fill it in. I had to remind them that the real world doesn't have edges (i.e., it isn't outlined) and that <span style="font-weight: bold;">outlining is merely a convention artists use to talk about changes in value, color or space</span>. Seeing things three dimensionally is something we take for granted until we have to take the 3-D world and translate it on a 2-D surface.<br /><br /><span style="font-weight: bold;">Recommendations Anyone?</span><br />Overall, I think these two particular students did real well with this second exercise. In an upcoming post, you'll see how others managed the follow-up exercise rendering a geometric grouping. As always, your feedback and thoughts are coveted--especially if you have recommendations for additional exercises or modifications to my approach outlined above to teach these basic painting principles.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iphjaaxt3KsA2VGlGv5-InjSs58kGNQDcQ84QkJVHV_p8dAoIzo36T-kpvP2E3Naz5-v2CwDAvfaGiuTUbB17j0pYj77BNenfDoayp33IE13zvnkMYyF9yRru01pmRaWguvY1BMq9_4N/s1600-h/bw_sphere_student2.jpg"><br /></a>Jeffrey W. Phillipshttp://www.blogger.com/profile/06570130720031801883noreply@blogger.com