Fresh Paint

Abundance

noreply@blogger.com (Constance McLennan) — Wed, 02 Dec 2009 15:42:00 +0000

"The Whisky Jug," 20" x 16" oil on canvas
I did this from life awhile back, during a time I was totally enamored with David Leffel's work, which I still admire (not that this remotely approaches his achievement). "Abundance" popped into my mind as a title, because I am within a couple of days of shipping my book illo's and--finally, briefly--having an abundance of time to paint without guilt. I can't wait. Expecting a small label job mid-month, and another more demanding book project starting in January, so I'm hoping to make the most of this precious time and not be too distracted by all the holiday temptations and folderol.

Also, I am reading (as opposed to just looking at the pictures in) Sergei Bongart, a fantastic, unexpected, get-well gift from my long-time friend Suzanne D'Arcy. Life in Russia under Stalin and Hitler and his lengthy, determined escape are an almost incomprehensible contrast to the abundance we take for granted, even in these trying economic times.

Artful thanks

noreply@blogger.com (Constance McLennan) — Wed, 25 Nov 2009 18:50:00 +0000

There are many things I am thankful for, but I will keep this art related. Even though I periodically refer to it as "the pit" or "the dungeon," when I am not stressed over deadlines and it is more-or-less organized, I love my little studio. After rearranging 5 or 6 times since we moved in 23 years ago, I think the space is used about as efficiently as humanly possible. It isn't big, but high ceiling and bay window make it feel more spacious, and it's all mine.

As an illustrator, I have not achieved as much as I once intended; but painting has opened up new possibilities. I am grateful for the ability to continue in a vocation in which there are always new challenges and opportunities--and hope. Happy Thanksgiving, and thanks for looking and reading.

Housekeeping (framing)

noreply@blogger.com (Constance McLennan) — Fri, 20 Nov 2009 23:58:00 +0000

In preparation for the little show I'm in next month, I thought I'd throw a few things in frames today--always more of a production than expected. Even though a couple of my frames are about as cheap as they come, I hated to risk ruining them with attempted enhancements. Nevertheless, I took the plunge and followed these instructions Stapleton Kearns posted back in August (scroll down) for toning mass produced metal leaf frames. I'm so glad I tried it!! I still have to add the butcher's wax, but already the result is much richer looking and such an improvement on the original gold, $17.99 Simpleton Plein Air frame from Blick:

Because the middle value looked sort of blah on my mostly middle-value painting (some improvement needed there), I also painted on the black border. Should have gotten Blick's black Simpletons with gold liners, but didn't see them when I ordered, and probably wouldn't have wanted to spend the extra $7.50 per frame for them, anyway. I think this will do.

Bigger inside than out

noreply@blogger.com (Constance McLennan) — Tue, 17 Nov 2009 06:58:00 +0000

SOLD

"Ocean Memory"; 8" x 6" oil on linen panel
I once thought I might write and illustrate a children's book about things whose insides are "bigger" than their outsides. The first verse described the seashell that
" . . . remembers the waves and the foam
and the sound of the ocean that once that once was its home."
For several reasons other than a short attention span, I have lost interest in this. Maybe I'll do some paintings on the theme instead.

The inspiration:
“It seems, then,” said Tirian, smiling himself, “that the Stable seen from within and the Stable seen from without are two different places.”

“Yes,” said the Lord Digory. “Its inside is bigger than its outside.”

“Yes,” said Queen Lucy. “In our world, too, a stable once held something inside it that was bigger than our whole world.”...... ..--C. S. Lewis, The Last Battle (Chronicles of Narnia, Book 7)

Breaking my rules

noreply@blogger.com (Constance McLennan) — Thu, 12 Nov 2009 19:37:00 +0000

Because this blog is about painting, I've never wanted to post illustrations; but when time is tight, it seems marginally better than posting nothing. So I posted three recent illustrations for a week--but now they're gone.

After all the discussion about the painting's meaning, and based on Frank's speculative suggestions (which may have an element of truth), I have retitled the piece below. At the very least, I think it ties the subjects together.

New Title: Bottled Up

noreply@blogger.com (Constance McLennan) — Sat, 07 Nov 2009 02:14:00 +0000

6 x 8" oil on canvas
Had to paint. Seems a number of people are doing shoes these days--something I haven't drawn since college.

Update: after reading the comments on this and a recent post on Frank's blog, I am pondering the question of whether, in order to create effective work, an artist must begin each painting with a clear intent of underlying meaning or symbolism. If this is necessary, how does it allow for a stream-of-consciousness-type approach? I've always had more of a vocational than an ivory-tower orientation (was actually tested for this as a college freshman)--thinking about all this too much makes my head hurt.

Age Before Beauty

noreply@blogger.com (Constance McLennan) — Sun, 01 Nov 2009 01:49:00 +0000

9 x 12" oil on linen/hardwood panel
It seems that in art and politics, extremes generate the most attention. While I greatly admire and aspire to a more painterly style, my tendency is to work in a manner that is neither extremely painterly, nor tightly photo-realistic. So I wonder--is there any merit somewhere in the middle?

If I were taking Clint Watson's advice in yesterday's FineArtViews blog, the "social object" story I would tell about this painting is that I started it on the first day of the Sac Plein Air Festival , helped give myself pneumonia by standing outside in the wind all day, and ultimately had to pack it in for two weeks.

A deadline looms, and I'm going to have to spend significant time on my book illustrations before doing more personal work. The desire to paint is strong; I'll see how long I can hold out before playing hooky again.

Missing in Action

noreply@blogger.com (Constance McLennan) — Fri, 16 Oct 2009 17:56:00 +0000

"Two Tomatillos" 10" x 8" oil on hardwood panel--a piece from awhile back I initially wasn't sure about ; but it has grown on me a little.
Apologies to my regular readers--I was looking forward to having several plein air paintings from Sacramento to post this week. Thought I might be back in action by today; but in addition to still being very sick myself, I have had to care for my son, who has had the same thing for nearly two weeks and had a high fever again yesterday. Supposedly this is not H1N1, but I can't imagine swine flu being any worse.

I have a good friend who often resents family responsibilities that interfere with painting. We both have noted with some envy that most successful painters are men or childless women who can pursue their work less encumbered (though I do not envy those who bear the burden of supporting a wife and children on an exclusively art-generated income.) Since my friend and I both had children later in life, and we each had one with unexpected health problems, the time they required was often greater, and the time remaining when they are gone will be shorter. But we signed up for this, and I no longer have a problem putting family first. Some may view this critically as "an excuse." To them I say, "whatever."

In the inaugural issue of Plein Air Magazine , an article about Edgar Payne says:
"Evelyn Payne Hatcher said said that the last words her father spoke to her on his last day of life were that 'he was sorry that everything had been for his art.' She said it was very meaningful to her that 'he realized it in his last days,' and that he appreciated the dedication and sacrifices Evelyn and her mother had made so he could fulfill his lifelong desire to paint." While I certainly don't deny Payne's contributions as a painter, on a personal level, this seems a pretty mixed epitaph.

Best Laid Plans

noreply@blogger.com (Constance McLennan) — Mon, 12 Oct 2009 19:01:00 +0000

Proof I was there
I got a kick out of reading that Kevan MacPherson calls it "complain air" painting. I get it that all the colors in life do not reproduce in photos; and I'm not completely giving up--I will continue doing small color studies outdoors. But, to paraphrase Clint, a woman's gotta know her limitations: I am 90% certain I will never be a die-hard, festival-going plein air painter.

While yesterday's conditions were fairly representative of the plein air painting I have experienced. A cold wind filled the air with debris all day, and I was sick--really sick--but determined to give it the ol' college try. Last night and today I am worse. A remnant of the Pacific typhoon is supposed to bring high winds and dump several inches of rain tonight through Wednesday. Not on me. I got a couple of "studies" painted and took a few decent photos, so I will work with those. May or may not make it out again Thursday or Friday, and may not have anything in the show on Friday. OH. WELL.

Maybe my attitude will improve in a couple of days, when I'm not looking through the puce-colored glasses of this awful virus.

Pink Palms

noreply@blogger.com (Constance McLennan) — Fri, 09 Oct 2009 16:32:00 +0000

14" x 11" o/c Purchase
For some of us, avoiding negative language about our own work is a challenge. This is not false humility. The more we improve, the more we recognize the things we could have done better. But I have come to understand the importance of being quietly positive is in preparing potential buyers to like our work. Frank Ordaz has discussed this (having "a bit of the ShamWow guy"), and Lori Woodward Simmons put it very well in this article on FineArtViews. This whole blog is terrific, BTW; it has a huge archive of great advice and inspiring articles on art and marketing.

So I finished this painting, at least for the time being. Nope, I didn’t achieve all I had hoped, but I still like the subject and more-or-less got the light effect I wanted. I think I am pretty good at recognizing a good scene or still life composition—not as good at editing and finding well-composed paintings in less-than-perfect scenes. This one was almost perfect to begin with. I only had to remove some wires, poles and signage and adjust the trees a little.

I also finished two book illos this week.

Pink Palms--Work in progress

noreply@blogger.com (Constance McLennan) — Sat, 03 Oct 2009 07:17:00 +0000

"Pink Palms" 14" x 11" oil on canvas
In my eagerness to finish paintings and update this blog, and in frustration that I can't do so as often as I would like, I am reluctantly posting this work still in progress. Every morning I drive by this little white house at sunrise when, for about five minutes, the trees and peaks glow with warm pink light. I am not succeeding yet, but am struggling to keep it looser. Even though the top may look finished, it's not. Got this far, then had to put it aside and go back to my mind-numbingly tight book illos. Here's the latest one finished.

.

Pattern (Detail vs. Simplification)

noreply@blogger.com (Constance McLennan) — Sat, 26 Sep 2009 17:38:00 +0000

9 x 12" acrylic on board
I wasn't going to post any more illustrations, but this topic is pertinent to my struggle to define a fine art style. Pattern and detail appeal so much to my right-brained side , and I went hog wild with them in Scottish Alphabet: Celtic knots behind each letter, borders of plaid, more knots or needlework (yep, every stitch painted) , and tight rendering of everything.

As you see in my links, I enjoy representational painters with both "tighter" and "looser" styles. There is a fine art market for photorealism. But after awhile, rendering can be crazy-making. Effective editing and intentional looseness actually are more difficult skills to master. So the struggle to discern an idea, simplify, and paint directly with decent brushwork continues to be my greatest challenge. Tight being my natural inclination, it's a big one--but worth it, I think.

Island Reflection

noreply@blogger.com (Constance McLennan) — Fri, 25 Sep 2009 16:41:00 +0000

16 x 20 o/c
This painting sold a couple of years ago. It is another image from a family trip to Hawaii seven years ago, which was a surprise Christmas gift from my amazing bother-in-law, Mike Yaconelli--whom we will miss forever.

I highly recommend a couple of his books: Dangerous Wonder--which opens with a story about my son that you can read on Amazon's preview--and Messy Spirituality.

My "real" job

noreply@blogger.com (Constance McLennan) — Sun, 20 Sep 2009 02:23:00 +0000

This is the one of two illustrations I have completed for my next book--about how animals behave before a hurricane. I'm posting it because I feel bad about not being able to do any new personal paintings until Don Hatfield's next workshop on Tuesday. And whatever I do there may be awful again. For a change, I am trying to do this book as expeditiously as possible. I just signed up for the first annual Capitol Plein Air Festival. Since I've actually done very little plein air painting, that should be interesting (read: stressful.)

Post deleted

noreply@blogger.com (Constance McLennan) — Wed, 16 Sep 2009 14:59:00 +0000

Another workshop study I didn't want to show forever.

End of Summer

noreply@blogger.com (Constance McLennan) — Mon, 14 Sep 2009 23:37:00 +0000

8 x 10" o/c, unfinished study
For the final session of Frank Ordaz's workshop, I continue trying to apply his lessons on temperature and simplified "value shapes" and to combine them with the more painterly brushwork and impressionistic color treatment I'm learning from Don Hatfield. Since we spent the first hour setting up and talking, this was about a two-hour study done from a photo Frank provided of his son. Note to self: it helps to start with a great photo.

As much as I would like to do a little more work on it, I need to get going on my book illustrations--especially since I will be spending at least one more afternoon in Don's workshop (tomorrow.) After wandering alone in the desert for a long time, I have been renewed by my time with these guys. Painting is actually feeling fun again, and I am eager to do more.

Remembering

noreply@blogger.com (Constance McLennan) — Fri, 11 Sep 2009 17:02:00 +0000

Twin Towers Sunset

Progress

noreply@blogger.com (Constance McLennan) — Wed, 09 Sep 2009 03:37:00 +0000

11 x 14" oil on canvas
Her very ribs showed. After pretty much bombing at my first workshop with impressionist Don Hatfield last week, I was fairly happy with the results of my 3-hr figure study today. He demonstrated, and I finally understood what he meant by "painting through the form." It means if you are painting the background color, let it continue on into the figure; then cut the figure color back into the background--or vice versa. This softens the edges and creates lovely color blends that unify the painting.

Clover Valley Bridge

noreply@blogger.com (Constance McLennan) — Tue, 08 Sep 2009 04:34:00 +0000

24" x 8", o/c
This granite bridge in a little park near my house was built by Chinese laborers in about 1900. It is one of the few charming remnants of historic Rocklin. The morning light gave it kind of a storybook quality.
Purchase

Magnify

noreply@blogger.com (Constance McLennan) — Thu, 03 Sep 2009 06:01:00 +0000

AVAILABLE

Lemon Fork and Crystal Stopper - 5" x 7" oil on canvas
After yesterday's workshop debacle--and then posting it for the world (or at least the 5 people who read my blog) to see for awhile--I treated myself to this indulgent little painting inspired by the IF theme, "Magnify." I used black out of the tube, glazed the ground shadows, rendered it to death, and basically ignored any number of alla prima rules. So there. I'll get back on the horse with another piece tomorrow and prepare for next week's workshop beatings.

Blog edit

noreply@blogger.com (Constance McLennan) — Wed, 02 Sep 2009 15:13:00 +0000

With apologies to those who left nice comments, I have deleted a couple of recent posts that showed existing illustrations for Illustration Fridays, because they simply do not reflect where I am right now or what I want this blog to be.

2/3 Kamikazi

noreply@blogger.com (Constance McLennan) — Wed, 26 Aug 2009 06:22:00 +0000

AVAILABLE

4.5" x 6" oil on linen canvas laminated to hardboard
OK, I lied again--I did do my "real" work all day, but in spite of saying I had "no time," I spent a couple of evening hours on this tiny personal painting.

Wrapped

noreply@blogger.com (Constance McLennan) — Sat, 15 Aug 2009 21:08:00 +0000

AVAILABLE

AVAILABLE

5 x 7" oil on canvas
As part of my transition from illustration, I have resolved not to post any more existing artwork for Illustration Fridays. As time allows, I will use IF as I think it was intended: as a prompt for new paintings. I hope, however, that any new work posted here will be illustrative only in the sense of reflecting or being inspired by the topic. Which brings me to . . .

a cranky little opinion: if an illustration effectively solves the problem (which is what illustrations are supposed to do), its relationship to the topic should be obvious or at least discernible. If a submission requires words to explain how it relates to the topic, it has not solved the the problem. I guess submitting completely unrelated illustrations is fine, if the only purpose is to drive traffic to one's site; but as an illustrator, I am always a little annoyed when I click a submission and find it only vaguely, tangentially, or sometimes not remotely related to the topic except through some contrived explanation. Conversely, I am delighted by the clever ones, as my own ideas are usually fairly literal.

Made in the Shade

noreply@blogger.com (Constance McLennan) — Sun, 09 Aug 2009 15:23:00 +0000

AVAILABLE

16 x 20 o/c
I started this a couple of years ago, from photos I took in Hawaii about six years ago, and then it sat. So it was nice to finally finish it. I believe we would call this a circular composition.

I am traveling to a scenic locale this week and taking my supplies. So maybe I will return with another small painting or two. Maybe. Or maybe I'll just take photos and veg out until my "real" work (on the next book) begins again in earnest the following week.

Coconut Palm, work in progress

noreply@blogger.com (Constance McLennan) — Tue, 04 Aug 2009 23:02:00 +0000

16 x 20" o/c
Blogging imposes a strange sort of accountability. Even though it is, at this stage, more of an indulgence than a marketing vehicle, it nevertheless creates some degree of pressure and committment to post more or less regularly. Sketches for the next book are in progress and need to be completed ASAP; yet the call of my easel and of paintings waiting to be born is also strong. Are they a calling or an escape? Messy and pointing in many directions--with some tough nuts in the center--this tree is fitting metaphor for my life.