Sunday, March 16, 2008

Plein Air Workshop - Demo Painting


"La Capillita", 8" x 10" oil on board, 2008
$720. Framed, Available at Galeria Gardner

This is one of the demo paintings from my five day plein air landscape painting workshop last week. The week went really well. The group was small and everyone put in a lot of effort. I would say that the group as a whole was the best that I have worked with yet. There were no whiners or slackers, and they eagerly tackled each of the exercises that I put out for them.
I will write more about the class and post more photos soon. For now, here is a quick one hour sketch that I did using a neutral toned smooth board. The tone related well to the scene, and I left a lot of it showing through in the finished painting.
Below is the view with my painting almost finished.


Tuesday, March 11, 2008

Puertas (Doors)

There are a lot of really great doors here in San Miguel de Allende, Mexico. This is just the tip of the iceburg. Some of my favorites.
Below is a list of links to posts by other bloggers that are doing door posts today.
I look forward to visiting them and seeing what they have to share. Maybe it will be photos of doors, maybe art, maybe a poem. Who knows, but it will be fun to look. There are over forty bloggers participating. I count at least ten countries. I may have missed a few on this list as I have been very busy this week with my painting workshop. If I have left off your name, I am sorry. There may be a few names listed on"The House in Marrakesh"that are not listed here.
Thanks to everyone for sharing Doors, and thanks for looking.




This is one of my favorites. The photo is from my first trip to San Miguel in 1985 with RISD. This was the front door at a glass factory. It is now a very large business and this door is gone. I love the color, shape of the door, and that white hand print.




This door is probably the most photographed door in town. I left the image large. Click on it and you can scroll around to see the details.




There are lots of old doors like this all over town.




This door is on a large antique shop near our house.




Here is a door and a half. I wonder who goes in the little door.




Another beautiful old door near my gallery.




This guy fixes locks and electric windows in doors.
Nice sign.
You can tell what he does even if you can't read Spanish.




Another nice old door with character.




These look more Moroccan than Mexican to me. These are just off the main square.


Thanks for looking. Please visit some of these other bloggers that are joining in on this group post of Doors of the World.


Elizabeth Wix, "The House in Marrakesh", Marrakesh, Morroco

Frank Gardner, "My Paint Box", San Miguel de Allende, Mexico

Ambera Wellmann, Halifax, Nova Scotia, Canada

Constance, "Rochambeau"

Jennifer Thermes, "Art-Words-Life" - Connecticut , USA

Joanne Giesbrecht,"Thistledown Arts", Alberta, Canada

Jack Riddle, Portland, Maine, USA

Christine Mercer-Vernon, "An Artist's Log", Pennsylvania, USA

Faye Christian Phillips , Kentucky, USA

Britt-Arnhild, Norway

Kate and Roger "The Skophammers", Norfolk, Virginia, USA

Terry Rafferty, USA

Barbara,"Ramblings from an English Garden", London, United Kingdom

Pam Aries,"Art and Soul", Charleston, S.C. ,USA

Mary Sheehan Winn," Just Painting", Florida, USA

"Some Pink Flowers", St. Augustine, Florida, USA

Merisi,"Merisi's Vienna for Beginners", Austria

Paz, "Paz's New York Minute", New York

"Down Under Dale", Australia

The Aesthete, "Aesthete's Lament", USA

Mari/ Kameravena, Finland

Willow from "Willow's Cottage", California, USA

Ari, "Typo Blog", Finland

Lea,"Tales from the Labyrinth",USA

Stephanie, "Rodrigvitzstyle"

Leslie,"Snips and Snails and Puppy Dogs Tales", Pennsylvania, USA

Karen Cole,"Artsortments", Pennsylvania, USA

Barrie, San Diego, California, USA

Sherry/Cherie, Toronto, Canada

Claudia Schmid, London, United Kingdom

Sue, "The Magic Armchair Traveller", Congresbury, Bristol, United Kingdom

Gemma Wiseman, "Greyscaale Territory", Australia

Neulekirppu, Finland

Laura Fortune, "Amongst The Oaks",California, USA

Sara Lorayne, "Much Ado About Something", California, USA

Melanie,"Little cabinet of curiosities", Aubagne, Provence, France

Mari, Finland

Julie, "Virtual Voyage", United Kingdom

"Pigtown-Design", Baltimore , Maryland, USA

"Pret a Voyager", Baltimore , Maryland, USA

Julia Rose, "Verdigris Rose"

Sunday, March 9, 2008

"Last in Line" 24 x 30


"Last in Line", 24" x 30" oil on canvas, 2008
Private Collection

This is the larger version of "Last in Line" 14 x 18, that I posted in November. I have had this finished for a while but I had not posted it.
I will not be able to post many new paintings this week. Most of my energy will be going into teaching my plein air workshop here in San Miguel. I went out painting yesterday and the weather was great. I'll post what I came up with at a later date. We should have sunny skies in the high 80's all week. Great painting weather.



Detail "Last in Line"

links for Doors of the World post

This Wednesday, March 12th, are the blogger posts about DOORS.
I have moved this list and any additions to the
post on Puertas/ Doors.

Thursday, March 6, 2008

Doors


There is something intriguing about doors. Doors are all over the world. Doors lead somewhere. They keep things in, they keep things out. Doors have histories, stories, mystery. Let's share some.

An invitation:
I would like to invite anyone who would like to join with me and Elizabeth, from "The House in Marrakesh", in doing a blog post about doors.
It will be fun, and interesting, if lots of us posted photos, paintings, drawings, poems etc. about doors. Your choice. It just has to be about doors.
We will all be posting next Wednesday 12th.
Join in.


So far bloggers from Morocco, Norway, USA, Mexico, Finland and a few other countries will be posting.

Here's the deal.
(A). make your intention to join us known to me, or Elizabeth, through a comment posted here or on " The House in Marrakesh" blog, or send one of us an email. That way we can keep track of who is going to be posting.
(B). Get your post together and ready and post it on your blog on Wednesday the 12th. It has to really be something about Doors.
(C). Everyone should include in their post, links to all of those participating, so we can all share our posts. Don't just post the list, it is a pain to have to copy and paste all of the names to roll through them all. Let us know by say, Monday? so we can get the list to everyone else.
(D). If you have a suggestion, go ahead and make it. This is a group thing.

Tuesday, March 4, 2008

"Atotonilco Evening"


"Atotonilco Evening", 14" x 11" Oil on Linen, 2008
Private Collection

I was out in Atotonilco Sunday and realized that they are going to be giving this church a face lift. There are scaffolds along the front and up at the dome that I edited out.
I like it just the way it is now, old, but nobody asked me.
I am going to have to get some more reference shots while I can and maybe I'll get a chance to paint on location one or two more times before it is all plastered up and looks like a cake. They have been doing this to all the churches around town in a bid to get World Heritage status or something. I think they had more charm before, but I guess in another 20 or 30 years they will be back to the old look that I like.
This is painted on a neutral gray panel that was a wipe out from a painting that was not cooperating. It was a perfect tone for this one because there was so much gray in the shadow. I really wanted the golden evening light to pop, and the gray helps to make that work.

Wednesday, February 27, 2008

Bill Gilbert 1964 - 2008


"Portrait of Bill" , 28" x 36" ? Oil on Canvas, 1989

My dear friend, Bill Gilbert, passed away this Sunday, February 24th, after fighting a long battle with cancer.

Bill and I met our first day at RISD and became friends right away. We shared an apartment beginning our sophomore year and were pretty much inseparable. "The Frank and Bill Show". Bill was a Jewelry and Light Metals major and I was a Painter, but we always took pleasure in discussing each other's work and he always had something constructive and honest to say.

This is a portrait that I painted for Bill before I moved to Mexico. It pretty much says it all. He loved buying old cars and fixing them up. He loved old industrial buildings, later buying one in Philadelphia and converting it to living and studio space with his wife Maryanne. He almost always had on a brown leather jacket like in this painting of him parked in front of the old Providence Electric Company in Rhode Island.

Always up for an adventure or a road trip, Bill jumped at the chance to drive with me from Rhode Island to Mexico in 1990. He was always ready to hop in one of his old cars, put the top down, and just go "cruising".

Bill loved anything old and gritty. He was a big fan of flea markets, antiques and dare I say, dumpster diving and trash picking on those days when Providence households would put out larger items for the trash collectors. He was a Jeweler and Metal smith by trade. Besides making his art, he ran a business repairing antique metal of any sort. Always willing to help others, he taught jewelry and metal work at several Philadelphia area colleges. Bill's jewelery and sculptures had a style that was all his own. Isn't that what all of us artists hope to achieve? There was an honesty to his work, his personality shined through in everything that he made.

Bill and Maryanne have three children, Tyler, Max and Sofie. Although our lives grew apart over the years, I know that he was a great Dad and Husband. A talk on the phone with Bill would always last an hour or more. Dyslexia kept him from becoming a big email communicator like I have become, so a call from Bill was always a special thing. I am grateful to his wife for emailing updates on their struggle to all of us that live so far away.

Maryanne was a pillar of strength for Bill throughout his struggle. I don't know how anyone could handle all of the ups and downs of surgery, chemo, tests, doctor visits, caring for Bill plus caring for the kids, run a house, continue with her job and still keep a positive attitude. I see why Bill loved her so much.

How does someone begin to organize memories of someone so important in their lives? All of those burgers, grilled cheese sandwiches and fries in "The Pit" at RISD. Late night trips down to the "Silver Top Diner" or Sunday mornings spent with a big stack and coffee at one of the other greasy spoons around Rhode Island. There were late night drives up to Lake Winnepesaukee in New Hampshire at any time of year. Water skiing, driving on frozen lakes and hoping the car would not go through the ice, trips to Block Island. There are the ups and downs we had with assignments and crits throughout our years at RISD. The many late late nights of working hard to get assignments in on time. His stacks of Easy Rider and Heavy Metal magazines. There are so many more stories and so many memories. Is there a way to organize memories, or is the beauty of memories the way in which they just randomly pop into your head at the most opportune moments?

Bill had the biggest smile, and the biggest heart, of anyone that I have ever known. He was truly loved, and will be missed by all.

Friday, February 22, 2008

"Sock Monkey"


"Sock Monkey", 6" x 8" oil on board, 2008
Not For Sale

This is my second still life. I guess I can call it a series now. I don't usually take many commissions, but since "Every Cowgirl Needs a Horse" I have gotten a few requests that I just can't turn down. For the most part, I find that kids who are not actually "paying" for a painting are pretty easy to please.

There were a few issues with lighting that I struggled with. I don't usually paint at night so I don't have good lights. I just used one 60 watt bulb to light the monkey, the painting and my palette. The light from an incandescent bulb is pretty warm. That makes the paint look warmer than it really is. I adjusted pretty well for that, and the colors are actually pretty accurate when I look at it this morning. I had a hard time seeing into my values while I was painting it though. A good challenge I guess.

A still life set up like Carol Marine's is what I need to get for these.

I have added a few close ups as well. I've found that some people like scrolling on a large image to see details and others do not. I prefer to post an image that is closer to the size of the original on these small ones. Details are cool because they give you that feeling of getting up close to check out the brushwork.



detail 1



detail 2

Wednesday, February 20, 2008

Untitled Work In Progress-Step by Step

I am about done with this 11" x 14" studio painting. It still needs a few adjustments. The main thing is that I want to put a little foliage back onto the main tree in the middle. I'll let it sit for a day or two before I mess with it.
Here are a few step by step photos from along the way. They are pretty self explanatory, so I am just going to post them without rambling commentary. I'll post the finished painting once I've had a chance to wrap it up.
Some people have ask about my painting supports. This one is on a Raymar, single oil primed linen, panel. I use these, or Sourcetek panels a lot. Sometimes I use gessoed masonite boards that I prepare myself. For anything bigger than 24" x 30", I use stretched canvas.








"Xotolar", 11" x 14" oil on linen, Frank Gardner © 2008
$950. Framed, Available at Galeria Gardner

Saturday, February 16, 2008

"Every Cowgirl Needs a Horse"


"Every Cowgirl Needs a Horse", 6" x 8" oil on board, 2008
Not For Sale

One goal of mine for the new year was to do some art that would push my comfort zone a bit. I have been putting it off long enough. Today I decided to shake it up.
I have not painted a still life in years. That was a good start, but I wanted to step outside of the box even further and go with a little girl subject.
Our daughter Erin will be five on Tuesday, so I decided to paint a still life of one of her stuffed animals as a present for her. The victim was a horse that her Grandparents gave her when she was little. I got a bunch of good hugs and kisses, and she says she really likes it.
There are a lot of blogging artists, that I really admire, painting still lives these days. I was inspired to try my brush on a few.
Some of my favorites right now are: J Matt Miller, Jason Waskey, Carol Marine, Qiang Huang, Aaron Lifferth, Duane Keiser, Michael Naples, and Simon Andrews.

Wednesday, February 13, 2008

"In Front of Arturo's Store"


"In Front of Arturo's Store", 8" x 10" oil on linen, 2008
$720. Framed, Available at Galeria Gardner

These women set up in front of my friend Arturo's store, in Atotonilco, to sell framed pictures of saints, prayer books, crosses and other religious stuff. Pilgrims that come from different parts of Mexico, to spend a week doing pentinence at the church, are their main customers.

The overcast day made it so there were no strong light and shadow patterns to work with.


"In Front of Arturo's Store" Detail 1

I don't like posting images that are so big, when clicked on, that you have to scroll to see them . I would rather post "detail" images. They are fun, because they are like little paintings in themselves. It also allows for a close up view of the brushwork. It's just colors and shapes in the right place.
Any opinions on this? Which do you prefer? Large images to scroll over or details like this?


"In Front of Arturo's Store" Detail 2

I tried to keep this painting simple. I wanted the gesture of the people to tell the story.


"In Front of Arturo's Store" Detail 3

Tuesday, February 12, 2008

"Boca de la Cañada"


"Boca de la Cañada", 6" x 8" oil on linen, 2008
Private Collection

The little white church in this painting is in Boca de la Cañada (Mouth of the Canyon).
There is not a lot of spring color around here yet. In a lot of places there is a fine white dust on everything. I had to rely on a simple value plan and not bright colors for this one.
(Side note added Feb. 13th) I meant to mention that this was done in two sessions in the studio from a recent photo. The first day I used the photo as reference. I found myself getting caught up in too much detail for this small size. I did not need every rock and branch etc... For the second round, I did not look at the reference at all, and I found that I could simplify the painting quite a bit.

Thursday, February 7, 2008

"Good Company"

I have been working on a large painting and a small painting, but they are not finished yet. I'm not feeling gutsy enough to post a work in progress today, so I would like to share this one that I painted last spring.


"Good Company", 30" x 24" oil on canvas, 2007
Private Collection

This woman sits in front of the church every day crocheting. Her cat often joins her. There is a special energy about this place that I can't really describe with words. I think the peacefulness of the place comes across in this painting.
I have included a few detail images. You can get a good feel for the original if you click on them to enlarge.


Detail "Good Company"



Detail 2 "Good Company"


I wanted to try the same scene with a little more of the architecture of the church. This one gives more of a sense of the location. "Good Company" is more about the woman and her companion.
"Good Company" has found the home where it was meant to be. "Sitting by the Church" is available at my gallery in San Miguel.


"Sitting by the Church", 18" x 14" oil on linen, 2007
Private Collection

Monday, February 4, 2008

"Las Sombras del Ranchito"


"Las Sombras del Ranchito", 14' x 18" oil on linen, 2008
Private Collection


I am happy with the way this painting turned out. My method is not always the same with each painting. An artist should be like "Felix The Cat" and have many options in their "Bag of Tricks". That way, the process does not become too much of a formula.
In this painting, I wanted to get a lot of color into the shadows without breaking up the strong pattern of light and shade. I decided to start with one basic value for all of the shadows with lots of color changes not value changes. There is a lot of reflected light bouncing around in this scene. That made this part even more fun. I linked everything in the shadow into an interesting pattern taking care not to vary the values too much just yet. I did not paint any light colors until I was content with this step.
Sombras, by the way is Spanish for shadows.



Step One - Shadow Pattern


Below is the step one photo turned into black and white in Photoshop to show how there is pretty much just one value at this point. The only darker value is in the trees to the left, which I chose as my darkest shadow to judge the rest of my values against.
I checked the values in black and white as I was posting this, but you could take a picture of your painting along the way and try this to check your values. There are a few strays, but most of the values fall into a very limited range.
The next step was to add the color into the light areas. Again, I did not want too much variation in the values. I also did not put as much color variety into the lights. I wanted the shadow color to remain the focus.
Adusting the colors and values of both the light and shadow, I added some highlights and dark accents. This unified the painting a bit and made certain areas "read" better.
When I felt like I was thinking about the details too much I stopped.



Step One - Black and White

Friday, February 1, 2008

Two New Paintings


"Chilis and Beans", 6" x 8" oil on Linen, 2008
Private Collection

These two paintings took me way to long to complete. I had a lot of trouble with "Chilis and Beans". Maybe it was the cool overcast light in a predominantly warm colored painting or maybe it was too much detail for the small format. I worked out most of the issues that were giving me trouble including some values that I was not getting right. After days of fighting with this one it seemed kind of picked at, so at the end I went back and simplified things a bit .



"Loaded Again", 8" x 16" oil on Linen, 2008
$930. Framed, Available at Galeria Gardner

"Loaded Again" went smoother than the other painting, but it is not as loose as I had envisioned when I started. I am happy with how it came out though. There was just the boy and horse at first. He looked like a man with nothing to compare his size to, so I added another figure a little bigger. You can tell how big the trees are because you have the people and horse to compare them too. Everything is relative.
I am feeling a little stressed about how these two were going, but they are done now and I am ready to loosen up a bit with my next few.

Tuesday, January 29, 2008

Xotolar (Shotolar)

I didn't get any painting done today, I went riding with a friend. So, I thought that I would share some photos of where we went. Things are pretty dry at this time of year. The Mesquite and Huizache trees will be blooming soon and in the summer all of this will be green.


We started out pretty high up. San Miguel is across the lake at the top left.



Then we dropped down into this canyon. It is real steep and pretty rocky.



Once we made it down there was some room to ride a little faster. That is Felix, they are his horses. This one is a little blurry because we were galloping.



We came out on the bottom side of the canyon.



Had to stop and get a cerveza in this little town before the ride back up on another path. I really love all of these rock walls that are all over in this part of Mexico.



After the ride, Canguro needed a little dust bath I guess.
I'll try and get some painting done tomorrow.

Monday, January 28, 2008

Plein Air Landscape Workshop in San Miguel de Allende, March 10th through 14th


I am have confirmed the dates for the March '08 plein air landscape workshop in San Miguel de Allende. The class will be from Monday, March 10th through Friday, March 14th.
The cost of the workshop will be $480. This includes daily transportation to and from the painting sites, some lunches, painting instruction and any fees needed for entrance to locations. These are full meals not bag lunches. People compliment the food as much as they do my teaching or the painting locations.




Mixing color with a limited palette, premixing colors on your palette, and choosing the best design for your composition are a few of the things that we will focus on in this workshop. An emphasis will be on getting a strong start to your painting so you don't need to waste time reworking the design later. Accurate color mixing is key to capturing the mood of a location.
I will do several demos, but the majority of the time will be for painting and individual guidance. There will be some quick painting exercises as well as time for longer painting sessions. Each morning we will be transported to that days painting spot. On at least three of the days we will be treated to a delicious meal prepared just for us by the owners of the beautiful properties where we will be painting. On the other days there will be a small restaurant available for lunch.


This workshop focuses on landscape painting. However there are lots of painting opportunities in town as well, and you might want to consider spending a few extra days in San Miguel to explore.
San Miguel has many lodging possibilities. There are many fine hotels, B&B's, apartments or houses to rent. Everyone will be responsible for their own lodging and transportation to and from San Miguel de Allende. The closest airport is in Leon, (airport code BJX), about and hour and a half ride from town. I can recommend a transportation service to shuttle you to and from the airport. Mexico City is about four hours from San Miguel by bus.

This workshop is for oil painters only. All levels are welcome, but you should have some experience painting on location. If you are interested, email me at frank@frankgardner.com for more details and the materials list.
The class size is limited to 9 or 10 participants.
For info on San Miguel and lodging visit portalsanmiguel.com
If you would like other lodging options or have any questions, email me at frank@frankgardner.com.
Please do not finalize any travel plans or lodging until you have confirmed with me that there is space available in the class.

Thursday, January 24, 2008

Top Ten Books on Oil Painting- March Workshop

This is a list of Ten Books on Oil Painting that I recommend to students in my workshops.
I am only going to be offering one five day workshop in plein air landscape for oil painters this winter.
There are a few more arrangements to make before I list the dates and enrolment info, but it will be the first or second week of March '08. Monday through Friday. Five full days of painting landscapes around San Miguel de Allende, Mexico.
If any of you are interested you can email me at frank@frankgardner.com. I will be posting the dates and more information here soon. Class size is limited.

I have read each of these books many times. My copy of "The Art Spirit" has been read so many times that it has fallen apart and is now just loose pages gathered together.
Emile Gruppe is one of my all time favorite artists and his book "Gruppe on Color" is the most cherished book in my oil painting library. His books are out of print but they are worth buying used.

1. "Hawthorne on Painting" Hawthorne - Dover
2. "The Art Spirit" Robert Henri - Harper and Row
3. "Gruppe on Color" Emile A Gruppe - Watson Guptill
4. "Gruppe on Painting - Direct Techniques in Oil" Emile A. Gruppe - Watson Guptill
5. "Brushwork - A Guide to Expressive Brushwork for Oil Painting" Emile A. Gruppe - Watson Guptill
6. "Carlson's Guide to Landscape Painting" John F. Carlson - Dover
7. "Composition of Outdoor Painting" Edgar Payne -Payne Studios
8. " Landscape Painting Inside and Out" Kevin Macpherson - North Light Books
9. "Fill Your Oil Paintings with Light and Color" Kevin Macpherson - North Light Books
10. "Alla Prima" Richard Shmid - West Wind

I decided to limit my list to my ten favorites. Do you have other favorite books on oil painting techniques?

Tuesday, January 22, 2008

More "Morning Vista" Series

I have not finished any new paintings in the last few days so I am posting these two small paintings that I did last month. ( Actually, I did three others as well.)
You may have seen my previous post on the "Morning Vista" series. I revisited the same view of San Miguel with a slightly different take on the color and composition. My goal was to try and capture the light effect looking into the sun as it came up above the hills behind town. These are on small boards which made it easier to not get caught up in the details of the scene. I just wanted to think in terms of color.


"Morning Vista, Into the Sun", 6" x8" oil on board, 2007
Private Collection


"Morning Vista, Radiant Light", 6" x 8" oil on board, 2007
Private Collection

James Gurney describes this light effect well in a post on his blog Gurney Journey.
Looking toward or into the sun is something that pops up again and again in my paintings. With enough practice I hope to be able to get better at it.
In the top painting I reversed the standard cool colors recede principal and put my warmer colors where the sunlight is starting to break into the scene and the cooler colors are in the foreground. In the second painting the sun is a little higher so the light has radiated out into the whole view.