Betsey Nelson - Plein air class

Doni Suggs (artist)

This is another piece created during a plein air painting workshop.
This piece is an acrylic. Doni did several nice clean pieces. Getting her to pay attention to values and temperature was pretty easy. Sometimes a little of the right direction goes a long way.

Betsey Nelson- Working for Design

Betsey Nelson- Working for design 16x12

Sometimes painting isn't about creating a painting. Sometimes it is just experimenting with color, line, value, temperature or a combination of all to bring to the fore front work on design. For me my painting needs to re-evaluated to strengthen my work. This is one of those 'works". A nod to simplicity.

Betsey Nelson - Parade Day

Betsey Nelson - Parade Day 10x8 $400

This a piece where the thought was more on color and flow than on subject.
Design should be the end all be all in painting.

Betsey Nelson-Full Sun

Betsey Nelson - Full Sun 12x9 oil $625
This is a quick start-painting. I usually work on something with a lot if intensity and get almost done (or done). I then leave the piece and come back with a fresh eye and try to clean up, strengthen or restate. Sometimes it needs nothing but a signature.

Michael Chesley Johnson - Bernard Pier

I recently taught a workshop in Acadia National Park in Maine. One day, we went out to Bernard, a quaint fishing village on Mount Desert Island. The light was overall cool, which made for some very warm shadows. You don't often see this in nature on a sunny day. I "pushed" the warmth in the shadows a bit to include some lovely oranges and reds.



"Bernard Pier"
9x12, pastel
$100+$5 shipping

Betsey Nelson- Head Study II

Betsey Nelson 12x10 $360

This is a second head study done of the same man in Head Study I (see earlier blog posting). Again same principles apply just a more "finished" study. But does it say anymore than the other?

Michael Chesley Johnson - Pastel Nocturne

Although I've painted nocturnes in oil, I've never done a night painting in pastel. I thought I'd give it a try. Unlike oil painting at night, you don't have the color mixing issue. (In the glow of my headlamp, Ultramarine Blue oil paint looks a lot like Alizarin Crimson oil paint, and it's mostly because I always arrange my palette in the same way that I can tell them apart.) But you do have the color selection issue -- which is, in my mind, almost as difficult.

We had a beautiful full moon this morning, and when I woke around 4, I decided to take advantage of it. I loaded up my pastel gear and hiked down to our beach through the apple trees. The ripe apples seem even more fragrant in the night. As I moved out into a clearing, I saw Friar's Head, lying in the distance like a black slab in a silvery sea.

I set up my pastel box. I keep it well-organized. It has six sections, one for each color family. I divide each section with cool colors at one end and warm colors at the other. In addition, I sort the pastels in each section by value. With this level of organization, you'd think it'd be a piece of cake in the dark to find the correct cool, dark purple I need. Not so - there are subtle but important variations among those cool, dark purples. They were almost impossible to see under my headlamp.

I found myself looking at the scene, deciding (or guessing) what color a certain shape before me was, and then reaching into the box where I remembered that particular color should be. But was it the correct cool, dark purple? The best I could do was get right the color family, the temperature and the value. Whether it was a slightly redder purple or a slightly bluer one was hard to tell. But this isn't a problem unique to pastel; it's the same with mixing oil paint in the dark.

Unlike oil paint, however, which stays on the palette where you put it, pastel sticks don't. I have a little tray (my "working palette") that I put my pastel sticks in as I work so I can find them again easily. Well, they rolled around and got jumbled up a bit. Oops! Is this the purple or the green? I had to work very hard at keeping the pastel sticks that were in use separate.

I ended up focussing more on value than anything and tried to approximate the temperatures. Even so, I was pretty satisfied with the result. Here's the painting after a few minor tweaks in the studio:



"Friar's Head, Moonlight"
5x7, pastel, en plein air
$60+$5 shipping

www.MichaelChesleyJohnson.com

Betsey Nelson - Head Study I

Head Study 12x10 oil $360

This another study done using spots of color instead of paintings things (in this case features).

This creates a much more painterly piece and much more interesting painting at least to this artist.

Betsey Nelson - Bess In White

oil 16x12 $760
This sketch reminds me of Hawthornes words about not painting the features. Putting in the right spots of color. Also his advice of putting variety in whites. Both wonderful bits of advice.

Robert Burridge -Whoa!

This painting is part of my "Roadside Attractions" series that I have been working on for over a year. I was probably 8 or 9 years old when my dad rescued me from school one day and took me to my first circus. I remember every second of that day inside the Clyde Beatty - Cole Brothers Circus. The sight of enormous canvas tents in an open field mesmorized me. The aroma of circus tigers, elephants and popcorn mixed in with fresh sawdust stirred me up. The aerial performers, costumed clowns and the sound of the live circus band pretty much did it for my impressionable self - I was hooked!
After my tenth birthday, I decided to perform a one-man circus act. I loved climbing, swinging and hanging from ropes tied in our backyard trees. In our yard, my dad built a trapeze and a high bar for me. I bought a book on "How to be a Clown." I listened to circus music and I practiced magic tricks which included the family rabbit and dog. During the summer I performed an entire one-man backyard circus act for our neighbors. Now, I swear to God this is true - for the Grand Finale I performed swinging gymnastic gyrations on a burning suspended bicycle ten feet in the air!
"Whoa" was created as a series of three - all a variation of this High Flyer Costumed Bird Performer.
Original 12x12, acrylic on canvas. $625 plus $50 shipping.

Pink Bows

Betsey Nelson oil on canvas panel 7x5 $220
How much information for a small painting of a person? Always a question for me but more so in such a small painting. Less is best. It allows for the viewer to become more involved. Their story completes the painting process.