3,679 Miles Later... No more Facebook!

For the last two weeks I have been on an unusual trip, the purpose of which was to be an Awards Judge for two different events.  The first one was the EnPleinAir Texas painting event in San Angelo, TX.  The second was the Oil Painters of America (OPA) Western Regional Exhibition in Scottsdale, AZ.  Both events also requested that I perform public demonstrations of painting as well as the selection of awards for them.  As enjoyable as it was, let's just say it was both a nerve wracking and grueling experience.  I can safely say that the quality of artwork being painted in these events these days is increasingly sophisticated and expertly rendered.  The best pieces also had 'Soul', had that unspoken quality that took them beyond just being painted well.  It really was an "honor" to be asked to do this.  It is a weighty responsibility to take on.  How do we judge one over the other?  I'm going to save that thought for a future blog post.  But I have to thank those involved in both events for putting their trust in my ability to make good choices, their faith in me to see what I considered to be the best choices.  As I told everyone at both events, degrees of difference (thousands of a second in horse racing) were what separated one from others in many cases.  The good news for everyone is... the Art World that I am a part of, is continuing to push at the edges of what is the norm.  Painters are looking harder to see beyond the normal approach to the subject matter in many cases.  The practiced skill of many of these painters is growing fast, making the results interesting and exciting to see.  It has been a real treat to be with them all.
________________________________________________________________________________

I've done it, deactivated my Facebook account!  Yesterday, while driving the last 4 hours on my way home, I decided that there is more to life... period.  You all know the reasons, we all feel them, we hear and read news stories about them, we talk about them with friends, then go back and log onto our Facebook feed. 

My problem is that even though I've become acquainted with many, many people on Facebook, and some have become friends, Very good friends, for the most part it's the same old same old... same old people who I find myself interacting with, same old people coming out of the woodwork like marauding sharks when something is expressed that doesn't agree with their own world view, same old back up when it does.    Much of it is entertaining, some if it discouraging, all of it a time sucker!

Lately, I don't have to tell anyone how volatile and vile that place has been.

That is not why I decided to deactivate.  The rhetoric was part of the reason.  It wasn't inspiring or uplifting anymore, in my view.  Much of the flow down the stream on my newsfeed was false, false information, made up even.  Or it was trivial garbage... THAT I WOULD SPEND TIME VIEWING!!!  When you begin to feel a pall of disgust about something that you are involved in, it's time to reconsider the activity.

My demo at the Oil Painters of America Western Regional Exhibition last weekend at Marshall Gallery in Scottsdale, AZ. It is an oil on canvas, 18x36, and was painted up from the previously posted painting, "Ditches and Dust".

I already blogged some about this, so I won't beat it to death.  But one change of mind here... I am going to begin using Instagram (marcrhanson) for "pocket viewing" as I call it, and perceive the reason and habit of it and Facebook.  I have my account straightened out now so that I can use it properly, and will be for sharing artwork.  That's what I realized is the good part, a quick place to share art.  I don't want to leave the wonderful world of what my artistic comrades  are up to, that's 'I'nspiration that I need.

There is a great sense of accomplishment that comes from showing our work to others.  If we go day in and out and don't put the paintings out there, then who are we communicating with?  The making of Art is a communicative act, communication is a dual action.  It takes more than one person.  Between this blog, my Newsletters, email, and Instagram (and yes, I am checking out Pinterest too), I think I will be able to stay out of the wilderness  and communicate with the sharing of art.

I'm looking forward to more reading, writing, home work (repairs), fly tying, archery, fishing, meeting of the neighbors, enjoying a cup of coffee without worrying about frying the computer with it, more time in a day... that's a big one... MORE PAINTING without feeling like if I don't get it up on Facebook, it won't be real.  It wasn't really that bad... really... I don't think?  See you here on the blog and Instagram -close-

The Abstract of the Block In

Whenever I write about painting ideas or methods, just to let you know, I'm only speaking about my own ideas or methods, and how I proceed with them.  There are many other methods and at anytime I may be using one other than what I'm discussing in any particular post. 

The other day I was having a conversation with a friend, who had taken a look at a lot of my paintings, and noticed that I frequently employ the use of a 'lead in' to the picture in the form of a road, shoreline, fence line, or some other linear idea to add a diagonal entrance into the painting.  This is true, they are great compositional tools for doing just that.  She also noticed that I often place that entrance to the right side of the composition.  I looked at some of those and realized she was accurate.  It was a surprise to me, so I began to think about it.  

I am right eye dominant.  You can do a simple test to see which eye is your dominant eye.  Hold both hands out if front of you gripped together as if holding a pistol grip, straight armed, and point your index fingers out in front.  Aim at an object in the near distance in front of you, put the two fingers on the object.  Now close each eye, one at a time.  The object will stay lined up with your fingers when your dominant eye is open, it will move when your dominant eye is closed.  

Back to my right side roads... I don't know this for sure, there are others who have probably studied such things, but I think that because I am right handed and right eye dominant, I tend to favor that side of the composition when it comes to drawing or painting a diagonal, or near vertical, entrance into the composition.  This is all subconscious, I don't purposefully, nearly always, place these entrances on the right side.  But, it would be more awkward for me to reach my right hand across to the left to draw in the same entrance on the left side of the canvas, unless I think about it (which I can guarantee you that I will be doing now) and make that conscious choice.  Also, my mechanical paint applier, my arm and hand, are on my right side... 

This seems to be a mechanical issue because I don't have a problem with placing other dominant compositional items on the left side, it's just this placing the entrance in on the right side that is interesting to me.  

A side note that may be related... When I was younger and skied, I taught skiing and did some casual racing and was coached.  I was always told that my turns, when on my right side downhill ski, were beautiful, very well done.  But when turning onto my left side downhill ski, I was told that I was "blocked" on that side, I don't perform a right hand turn as well.  Could that also be because of a dominance favoring my right?  Don't know.

Enough on that for now, but the way our brains work without our being aware of what they are up to sometimes is fascinating.  And thank goodness for artist friends, our 'third eye' contingency, for being honest in relating what they see in our work.  It's always helpful.  

Getting back to the topic "The Abstract of the Block-In"... To me this is the second most important stage of a painting, be it in the studio or in the field.  The first most important step is forming a Concept, an idea about what you're going to paint.  Without that, you have nowhere to go, not even enough information to get to the Block-In.  Concept is a blog post all by itself.

I use the block-in as the abstract break up of the blank space, the visual reminder of my conceptual idea about where I intend this painting to go.  It can be very complicated, or very simple, very specific or very loosely defined.  Either way, it sets the stage for the next steps in paint application to come.  

This is the way that I am able to see the 'big picture' of my idea for the painting.  If these big idea shapes aren't working, not proportioned in a pleasing way, not balancing each other, not providing a color scheme (loosely stated) that I am happy with, I will never improve the painting past this point.  

This is a critical stage. 

I'm asked often about using a toned painting surface.  As you can see in the photos of block-ins here, these are all painted on an untoned surface, linen on board to be exact.  That's one way.  I also sometimes tone the surface ahead of time and paint more directly and opaquely with out this same kind of a start.  Having many methods in your technique bag is never a bad thing.  

The other thing about beginning to place your Conceptual idea on the canvas in this way, is that it's a fluid situation, it can still be changed, moulded, wiped or continued at anytime.  The paint is thin, like a water color wash, nothing is locked into place yet.  This is the time to make the decisions...

If you normally get out the small brush or charcoal and begin to draw the little pieces of the composition instead of going for the large masses, try this way out, it might fit in some cases.

Thank you... Marc

These area few examples of slightly more drawn out block-ins.  In the one directly below, I began to use the middle to dark values that made up the road, weeds, treeline and buildings, to paint the negative shapes of the snow on the ground.  

Demos from my last Taylors Falls Workshop

I've just finished a great workshop, my last at my Minnesota studio, the 6th Annual.  Below are the full demos that I did for the class and a group shot of some wonderful people who came to study painting with me from 7 different states.  It was a great week, I'll miss holding classes at this location.  

"Tree-O" - pastel - 9x12 ©2012 Marc R. Hanson

I neglected to add this piece which was done as the last demo on Friday afternoon for about 7 of my students who wanted to see me do a pastel.  I hadn't had time, until we were finally done with the critique early.  Everyone was spent, including me, but we found some shade, they got some chairs, and I painted the trees up the hill behind me in the yard.  I enjoyed using the pastels after a long week of oil painting.

'Crex Sun' - oil - 16x20 ©2012 Marc R. Hanson

'A Brief Respite' - oil - 14x18 ©2012 Marc R. Hanson

'Croix Tones' - oil - 11x14 ©2012 Marc R. Hanson

The last class at my Minnesota studio in Taylors Falls.  Artists from 7 states, some who've been with me a number of times, some who I've just had the pleasure of meeting and painting with.  One and all, a wonderful bunch of people and artists.  Thank you all for the time you gave to learn and enjoy this love we share.  

August 2012

It's been so long since my last post that the entire system for posting on the blog has changed!  I've had a busy spring and summer, and the fall isn't looking any different.  I'm just coming off of teaching my 6th Annual Landscape Painting five day workshop up here in Taylors Falls, my last one at this location because I will be relocating to Colorado in September!  

My resolution is to revive my blog as a place for conversation about my happenings and about Art and all things related.  For now a couple of items to get things rolling again...

In July I took part in the Peninsula Art School's "Door County Plein Air Festival" in Fish Creek, WI.  It was a week of amazing weather, artist camaraderie, and painting.  This years' line up of artists and the work that they produced was the best ever without a doubt.  The staff at the Festival did an amazing job  of keeping everything running smooth and creating the environment for the artists that led to great painting which resulted in many sales on the weekend.  Once again, a big thank you to the Peninsula Art School's staff and volunteers.

I took a little different approach to my own painting at the Festival this year, my 4th year, and painted larger and fewer paintings.  I stretched up linen for them all, smallest size for the exhibition was 12"x16", and I used Floater Frames on them all.  I was very happy with my choices, I prefer to paint on stretched linen.  I think it gives my work a more sensitive and softer feel than painting on a harder board does.  Of course there are times and situations for both, but for now, I'm really enjoying painting this way.  

I was honored to have been awarded the 'Best of Show' for this painting 'Monday Morning', given to me by Steven Doherty, former editor of American Artist Magazine since 1979, now editor of Plein Air Magazine.  It was such a treat to have had Steve select my painting, I've collected American Artist Magazine for a long time and still have all of the issues beginning with January 1979! 

To top that, the Featured Artists at the Festival selected the same painting for the 'Artists' Choice Award'!!!  That one is very special, to be honored by your peers is the highest honor an artist and painting can be given.  It was a wonderful feeling to be in that place.

"Monday Morning" - oil - 16x20 - ©2012 Marc R. Hanson

"Rolled" - oil on linen - 16x20 - ©2012 Marc R. Hanson

'Ephraim to the South' - oil on linen - 12x16 - ©2012 Marc R. Hanson

"Sister Bay Mood" - oil on linen - 12x16 - ©2012 Marc R. Hanson

"Wall Flowers" - oil on linen - 12x16 - ©2012 Marc R. Hanson

I will be back in the Midwest in mid September to teach at the Madeline Island School of Art, a workshop on the beautiful northern Wisconsin Island that sits just off the shore near the Apostle Island National Seashore in Lake Superior.  There is still space available in this workshop... if you're looking for a beautiful location to come and paint some field studies that you then take into their art studios to enlarge, and see my process demonstrated, this would be the place and time for you to join us.

See you next from Colorado!!!  

2009 Workshop Schedule

I have set my workhop schedule for 2009. This link... 2009 Workshops... will take you to the information for each one.

Here are the locations and dates-

April 17, 18, 19 - 'Pastels in the Studio' - Stillwater, MN

May 22, 23, 24 - 'Landscape from Life' - Taylors Falls, MN

August 10, 11, 12, 13, 14 - '3rd Annual Taylors Falls Landscape' - Taylors Falls, MN

(More details soon on this New York workshop)

August 24, 25, 26, 27, 28 - 'Landscape Painting at Tilly Foster Farm' - Brewster, NY

Hope to see you at one of these!