join us on our website at www org and
get more information about our show
there you can download our free book
everything you need to know about
outdoor painting ya don't say anyway I
love it it's perfect because I kind of
was looking for an abstract painting
remember the thing that I didn't want is
a painting of origami cranes I
specifically said I want to look at the
painting and not know that because I
knew if you got enough shapes in there
enough forms and shadows and all that it
should look crazy it should be abstract
I'm not an artist I'd love that wreck
look I'm telling you do abstract you did
you nail this one like perfect it's the
asset not only that look at how cool it
hits all the sides yeah I mean it
becomes something totally different this
is not a painting of origami birds
anymore it is a great design abstract
form when we dig into it we go oh
there's some blues we got a head here
we've got another head here there's some
really cool things the shadows are just
a tip too dark in some places but you
making those darker you've really taken
into an abstract form I think it's
crazily good good job I really love the
fact that you did what I just said about
the homework assignment you brought it
out of the surface and it becomes really
interesting that way rather than having
your object in the middle when you're
focusing your object as if it were a
thing on stage like that and put a light
on it's a little bit too operatic you
want a little bit of chaos some things
rolling off to the side
you want your things touching the site
and get it I mean when you go and do
something in Photoshop most of you who
have played around with photoshop you've
cropped you are the cropping tool and
you're surprised when you start clapping
how much you could get rid of that's
what you need to do with your paintings
to start to learn how to crop that down
sergeant's used to paint a watercolor
mainly Atwater cuz he did some oils or
watercolors he did this to some oils he
painted lots of oils but mainly with his
watercolors he would paint them on a
very large sheet of paper and Richard
Schmidt does is to he paints on a much
bigger surface and he paints whatever it
is and he just lets it go and then he
goes to his framer and he'll take two of
those sheets of paper that at the
corners like Matt and they'll play with
it till something hits and then that way
when you're working on a surface and
you're worried about where the golden
mean is and all this stuff you have all
of that to play wit so you can adjust
that and so a lot of museums have gone
to the point where if you're looking at
as a sergeant watercolor they make the
matte plastic so you can see through it
so they'll show you where he decided
where the composition is and then
they'll show you all the stuff that he
cut out of it and sometimes some of the
stuff they cut out of it was really good
stuff but it countered what he wanted to
do with that particular painting so
cropping is a really important thing and
so you know I'm not opposed to having a
student do homework assignment and then
take a couple of pieces of masking tape
and mask part of it off and show me just
a mass Darian said this is the area I
choose and then we would just critique
that so if you find that you aren't
quite in the golden mean or whatever can
mask it off we're sure Schmidt those the
same thing it does a much larger
painting and then he'll find where the
painting is and just something off a
little bit can change the golden mean on
that
just a little bit can change the golden
mean on that and you know that when
you're putting down a couch you put down
a couch and you're looking at it where
your husband puts it down you guys don't
do it because women are better this than
guys are but when a guy your husband
puts a couch down you'll sit there and
you'll look at and go there perfect it's
one inch but that one inch is the golden
mean at play so what were you thinking
this is Marilyn what were you thinking
you give premieres all the floors on
premiere so you remember what my
homework assignment what do you need
somebody to call you during the week and
remind you my homework is I do only
white origami cranes no I know I
appreciate it but I don't want to have
the rest of the classical of Maryland
never does what you say so why should I
I'd have total mutiny yeah these
actually look more like dragons than
they do crane well you know the thing is
is that the composition does hit the
side it's very very interesting I'm not
sure if this takes me away from the
cranes themselves as a central focal
point the thing that the thing I lutely
love it because first thing is is that
it is an abstracted there is some form
topaz abstract if this we're hanging in
the gallery it's definitely something
that would pull the viewer in you've got
a beautiful sense senator focal point is
it is it is kind of really concentrating
on the things themselves although we
can't really tell what the things were
but it's not really a highlight shadow
painting you do have beautiful lighting
effect in here and so I would probably
say you know as far as the light hits
and
it is is successful more realistic than
I would like to have seen but in itself
an interesting piece nonetheless but
these tend to in our heads we save so
what are those you know we're really
kind of like trying to figure out what
the things are instead of having more
interested in what the effects are so
the effects would have been the cast
shadows of these and so if you would
have set this up and brought the lights
of the lower and had cast shadows and
then we would have had light and shadow
then you'd be a rock star problem
painting is one of these things that you
do that if nobody's looking you can get
away with a lot I know a lot of you do
that but what happens after was if you
go well that's not quite right but it
doesn't really matter so and then you
kind of go well that's kind of this
little tiny thing before you know it the
painting starts to drift off I know
sometimes when i'm doing like even like
animals i'll go well you know the first
a little thicker here now so i'll do a
fox yeah well it's going to be a little
thicker here you know your brushstrokes
go over the line a little bit you go
I'll deal with that and later you know
before you know what you end up with a
big kitten I've got a big hidden in my
studio right now start off as a pox but
nothing big wooly cartoon so as an
artist do we follow our muse and go well
okay well yeah or do we like say to
ourselves no I'm going to pull it back
and redraw it and get it right you
should draw it and get it right it
doesn't matter with this but you know
with portraits and everything else you
kind of have to get it right and it
means a lot in a portion situation but
not so much on this and I'm doing a
painting right now of otters and I one
of the rules with painting is you should
never leave the painting with something
that you know is wrong on it
and I had kind of fudged some reeds in
it and it was wrong and I thought I was
late don't feel like fixing I'll fix it
next week when I start painting again
and then that little thing came in my
head if you're a professional artists
you never leave the painting knowing
that something is wrong and you go back
and fix it so I said okay that's the
thing that brings us back so I went
ahead and fixed it it took me another 45
minutes to get it back I would have
probably been better to go to bed but
that would have been against the gods
one of the things that I've learned to
is that you know you have five seconds
to change your mind if you want to get
something down to some of you
procrastinate so some of you think all
I'm going to do my homework at that
moment you need to step your five four
three two one chances are you'll talk
yourself out of that homework in five
seconds if you get a hint that you want
to do your homework do it at that moment
if your alarm clock we get it starts off
in the morning your alarm clock goes off
don't hit the snooze button go 54 before
you get two one jump up out of bed so
you have five seconds to do anything
those procrastinators do they have this
five second clock that you know and they
go 54 no I got to make dinner now I got
it all goes away so one rule is if you
got that inkling that you want to do the
homework assignment the moment you think
about it step toward your studio pick up
a brush move your stuff around that are
squeezing paint out five seconds you
have otherwise you find you find
yourself in the room with the rest of
the world saying they're gonna that they
never do
I