Posts Tagged ‘acrylic’

6guys header



May 20, 2016

I saw a painting at a gallery here in Puerto Vallarta recently that gave me an idea.

Actually it reminded me of an idea I’d already had—one of the many painting ideas that bounce around in my brain for years sometimes before finally getting insistent enough that I start to act on them. The painting I saw that triggered this was a grid of several faces on colorful backgrounds. Because I’ve done a lot of Expressionist portraits over the last 2 or 3 years, the idea of doing something a little different and new with the same subject matter appealed to me. It also made me think of some other works I like, like Andy Warhol’s iconic multiple portraits.

Andy warhol a set of six self portraits 1967

Andy Warhol's self-portrait is similar to the painting I saw which gave me an idea for a new approach to my Expressionist portraits.

I thought about this over a couple of weeks while I was working on commissions, then some time opened up and I started work on my idea. The first thing I did was search through one of my many image archives, this one of intriguing male faces. These are photographic images I’ve found online which I use as inspiration for drawings. I picked out a bunch, then I started sketching. I had a very good day and did around 20 different sketches. I liked a lot of them, so l would need to choose which to use.

12up sixguysroughs

Here are 12 of the 20 or so sketches I did to get ideas for the painting.

My next step was to scan my sketches, then use Photoshop to group them and find the most appealing combination. I had been planning to do a grid of 8 portraits but I realized that was going to be an unwieldy shape—too tall and skinny for most walls. So I decided to do a 6-grid. I tried several combinations and ended up with the 6 you see here.

6upfaces 1

I used Photoshop to try different combinations of the preparatory sketches to see which grouping I liked best. This is the one I liked most and decided to use for the painting. NOTE: The one at lower left is actually a sketch I did a couple of years ago, Asian Male Portrait, which I liked enough to revisit for this painting.

My next step was to cut a piece of canvas for the painting. I decided to make each portrait 14 inches square, which meant the entire image area would be 28″x42″. After cutting the canvas, I drew a grid, then transferred my rough sketches to their appropriate positions in the grid. Next I used one of my favorite tools, a Montana black acrylic marker, to re-draw the faces in black acrylic paint. When that was done, I painted a neutral cool brown wash over the whole thing and while I waited for it to dry, I began mixing my colors.

6guys inprog1

In-progress shot 1: After penciling in the sketches on the canvas, I re-drew them using a black acrylic-paint marker. After I let this dry, I painted a neutral-colored acrylic wash over the whole thing and let it dry while starting to mix my colors.

Then I began painting. I wasn’t sure of the background colors I would use, just that I wanted them bright. As it turned out, I used the 3 primary colors (red, blue and yellow) and their complements (green, purple and orange). I didn’t plan this; it just worked out that way. For fleshtones, I used just about every color of the rainbow, since my six portraits constituted a broad spectrum of ethnicities and skin colors. (That was on purpose, by the way.)

6guys inprog2

In-progress shot 2: I've roughed in all the background colors, and 3 of the portraits.

I’m noticing as I go along that unlike working out the fleshtones for a single portrait, each of these portraits must work not only on its own but in concert with the other faces and fleshtones. In other words, they are individual portraits but they’re also part of a larger composition and I need to constantly be aware of that as I work.

6guys inprog3

In-progress shot 3: At this stage I've roughly painted in all the faces and their backgrounds.

At the end of the second day of work I’ve got all the faces painted in. I quit for the day, knowing that the next day will be about taking the painting to the next level of finish, and maybe completing it. My goal is to be satisfied not only with each individual portrait, but also happy with the way they all work together when I stand back and take in the entire composition.

6guys inprog4

In-progress shot 4: At this stage I've worked on all of the faces to bring them to a higher level of finish. Some have needed more work and revision than others.

In in-progress shot 4, shown above, you can see there have been big changes to the two center faces, the African guy and the redhead, but I’ve also revised the Asian guy at lower left by making his left ear visible. I’ve also reworked the colors somewhat in most of the faces.

The next day I spent quite a few hours bringing the painting to completion. At the end I was happy not only with the portraits on an individual level but with the feel of the whole painting. I call it Six Guys.

6guys final

Final stage of the painting Six Guys. This image isn't that different from in-progress shot 4, but this has been properly scanned rather than just photographed in the studio, so you can get a better idea of the actual colors and tonal qualities of the painting.

Below are some closeups of the individual portraits so you can get a better look at each one.

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6guys upperrighttCU

6guys africanCU

6guys redheadCU

6guys asianCU

6guys lowerrightCU

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February 23, 2016

On February 23 I put on a live painting demonstration in my studio at ArtVallarta.

I’ve done painting and drawing demonstrations before, but I’d never done a full-on three-hour demonstration of how to create an acrylic painting. My momentary nervousness faded as soon as I started mixing colors and painting, and I found myself thoroughly enjoying the process.

Toranoinpool sourceimage

I used this photograph of Torano from a Hawaii photo shoot as the source image for my demonstration painting.

I chose a photograph from a Hawaii photo shoot with Torano in the pool of my Honolulu condo as the subject matter for my demonstration. This was a good image for my purposes because it’s a clearly defined face with strong light coming from a single direction. The less complicated the light, the easier the painting—–and with only 3 hours to complete most or all of the work, I wanted to keep it simple.

Demo 01

I began by mixing paint and laying in large areas of the painting loosely, to see early on how my colors were working.

Demo 02

Demo 03

Demo palette1


Demo palette2

Demo w lucien

Demo 10

My audience of painting students seemed to be delighted to be ‘let in on the secrets’ of creating a painting. They watched intently, taking notes and asking questions throughout—about the nature of acrylic paints, brushwork, composition, mixing colors, working from photographs, and much more.

Demo 04

Demo 05

Demo 06

Demo 07

Demo 08

Demo 09

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Demo 12

Last shot

Here's the painting as it looked at the end of the three-hour demonstration. I spent a couple of hours completing it the following day (see image below).

In 3 hours I managed to get near completion on a lively, exciting painting, while narrating my process. Thanks to my students for sharing with me some of the photographs they shot during the demonstration.

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Here's the completed painting, which I entitled Fourth of July.

The day after the demo, I spent a couple of hours in my studio moving the painting to completion. It’s now showing online in my Paintings Gallery. It’s called Fourth of July.

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February 23, 2015

I’m now about 4 months into my Mexico experience, and I can finally say the studio is firing on all cylinders. And so am I.

I went back to Nebraska at Christmas not only to spend the holidays with family but also to pick up some much-needed artists’ supplies. I mentioned in an earlier entry that Mexico does not seem to have something I consider essential to acrylic painting, disposable palettes. Well, they have them but the ones I’ve found here are like tissue paper and basically useless. So I brought back some good disposable palette pads in my suitcase. I also brought some other necessities, like my portable Bose speakers so I can have music playing while I paint—another essential. I also brought more blank canvas and some other things I needed.

Now my studio, while not as great as my Lincoln studio, is fully functional. I could use more space and I’d kill for a rolling metal cart like the one I have in Nebraska, but the bottom line is, I can paint, and I am painting.

PAINTING FAILS

Avery painting fail

This image of Avery from an early-morning Diamond Head photo shot has a lot of potential. I lost my nerve halfway through this one, but I think eventually I'll be able to pull it off and it's going to be great.

When I use a title like PAINTING FAILS, it’s a bit tongue-in-cheek; I don’t really consider any painting a a failure. I’m always learning and I think I learn more from the so-called failures. Plus there’s such a thing as warm-up exercises, and that’s another good way to look at a painting that didn’t turn out the way I thought I wanted it to. There were several of these on the way to getting rolling in my new studio.

Khanh painting fail

I did a lot of preliminary sketches for this one but I never quite got the composition and forms the way I wanted them. I thought it would come together in the painting phase but it never did.

In case you’re wondering what happens to a ‘failed’ painting: I gesso over it and then it’s ready for another painting to go on top of it. I have some canvases three or four paintings thick. I’ve explained in previous blog entries that if you’re pushing yourself and growing as a painter, you’re going to have a lot of ‘failures.’ But I think it bears repeating. A lot of people, especially those who’ve never painted, think that a ‘successful’ artist like myself steps into the studio and starts painting and everything he touches is great. IT’S NOT TRUE. I have long stretches, sometimes many weeks, where nothing turns out. Then there are other periods where almost everything seems to flow and every painting turns out well. These ups and downs are part of an artist’s life, and the only exceptions I know of are formula painters who basically paint the same thing over and over again—and that’s not me.

Fortunately I’ve been doing this long enough to not take it too seriously when nothing seems to work. I just keep painting.

PAINTING SUCCESSES

Vinicius in hawaii

Vinicius in Hawaii was a small, relatively straightforward painting that came together pretty easily.

The first painting that worked after I got back to Mexico after Christmas was a nude of Vinicius. I played it safe with this one, and that was what I needed to do. I needed a little confidence builder, so I chose an image I knew I could pull off without too much stretching. Dramatic lighting and a simple composition make things a lot easier. I was able to do this one in a few hours, and while it’s not great, it’s a nice little painting and it made me feel more ready to tackle whatever came next.

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Modern Times, an abstract grid painting done in a loose, gestural style.

The second successful painting I did in January was an abstract. This was an abstract grid painting, of a type I’ve done a lot over the years, but in keeping with my direction over the past couple of years, I painted it very loosely, with lots of broad strokes and drips. This one came together pretty easily and I had a good time painting it. I call it Modern Times.

The next painting I tried was a face. Again, something I’ve done many times before. I kept this one pretty straightforward, too, although I did experiment a bit with color. I kept the whole painting very muted, using only greys for most of it. The touches of red and orange you see in this one are actually very muted as well, but next to the greys they really pop out. Again, not a huge challenge, but a good effort, and one I like. I titled it “Limbo.”

Limbo

Limbo is an Expressionist portrait in muted tones.

My next painting was another nude, and this time I did push myself. The style I’ve been developing recently is very loose and gestural, with lots of drips. This is something I admired in other artists’ work for years but was never quite able to get to myself. Until recently. The big breakthrough for me happened last summer (see my entry called “Painting Blind” for more details).

The “Painting Blind” approach is simple—close your eyes and attack the canvas without seeing where your paint is going—but it’s really difficult. It’s a bit like walking a tightrope with your eyes closed. Scary! Getting myself into the frame of mind this kind of painting requires is the real challenge. The thing that works the most consistently for me is to find inspiring works by other painters and look at them intensely, letting the energy kind of soak into me. Then I get up, pick up my brush and load it with paint, and with eyes closed, let ‘er rip!

The other important part is to keep the paint really sloppy and wet so there’s lots of dripping. It may seem like a superficial effect, and maybe it is, but it helps keep me in the space where I need to be: committed to the painting but willing to keep it messy and imperfect.

Steve at nudebeach

I had to get into a very particular state of mind to manage the looseness and spontaneous energy of the painting Steve at the Nude Beach.

This was the approach I set for myself for this nude. I chose a photograph of Steve Chen from our Malibu photo shoot. Even with all the warming up I’d done over the previous weeks of painting, I was still a bit nervous about this one. But as it turned out, it went fine. I was able to stay loose and keep the painting messy and I was very pleased with the result.


PLANTS

Since I moved to Mexico a particular type of painting keeps popping into my head. This place is bringing out my love of vivid colors and heavy outlines, and I’ve been wanting to try something like that in my paintings, but wasn’t sure what subject matter I wanted to use.

When I bought my Waikiki apartment back in 2008, I immediately started buying potted plants and soon the place was a jungle. For some reason owning my own place made me want to fill it with plants! When I left Hawaii in 2012, I had to get rid of all my plants. I hated that. Living in Nebraska, I just didn’t feel the urge—I knew I wasn’t going to be there that long. But now, living in Mexico and having my own place again, I find I’m once again starting to fill my space with plants.

So, given my love of plants. my fascination with plantforms, and the fact that I have several great live-in models, I decided painting some plants might be a good way to explore this vivid colors-heavy outlines thing that was forming in my mind.

Plantwarmup1

This is one of the 'plant warm-ups' I did.

I did quite a few warmups, and that helped. Then I decided to do a plant photo shoot. I have several pothos plants and I shot about 100 photos of one of these plants from lots of different angles, mostly pretty close-up. Then I started drawing from some of those photographs.

This turned out to be fun, and some of my sketches were getting interesting. I was enjoying the simple shapes and their complicated relationships. I didn’t yet know how it would translate into paint.

Pothos1 sources

Here's the source photo and the preparatory drawing I did to prepare for the first plant painting.




Pothos1 inprog1

I drew the image onto the canvas, painted thick black outlines, let that dry, and did a purple wash over the whole thing.

I used everything I’ve learned over the past couple of years in the first painting I did of my pothos plant. By that I mean that once I had put the basic shapes onto the canvas, I attacked and painted blind and wet. Lots of can’t-see-what-I’m-doing brushstrokes, which meant lots of energy and interesting textures, and lots of drips. Of course in between the blind painting, I’m standing back and deciding what area needs what colors, where it needs to be darker, where lighter, etc. It’s a dance between conscious control on the one hand, and blind passion and physical motion on the other.

Pothos1 inprog2

The painting in progress.

The result can be magic, and Pothos 1 definitely has some of that. I was very pleased with how it turned out. I’m beginning to feel like I can consistently do this messy, drippy energetic style, and that makes me happy because I love what happens when I get this approach to work.

Pothos1

Here's the finished work: Pothos 1.

I decided to do a series of three pothos paintings. For #2, I kept the process as much like the first one as possible. This one was a little trickier, but it still worked out well.

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Here I am with Pothos 2.

The final painting was the hardest, probably because I was starting to lose interest. I don’t usually do a series of several paintings focused on a single subject or theme because I am easily bored. Yeah, I’m sure there’s some ADD going on there. So it was a good challenge for me to see if I could stay focused long enough to do 3 paintings in the same vein. Plus I had in mind blue, yellow and red backgrounds for the 3 paintings, and I wanted to see what they looked like together.

Pothos3

Third and last in the series: Pothos 3.

I did stick with it, and I did finish the final one. I learned something, too. I can stay focused long enough to do something if I have a clear enough picture of the goal.

Pothos series 3up

Here are all three Pothos paintings. I like the way they look together.

(By the way, each of these paintings is approximately 24″x32″, or 60x81cm.)

I’m pretty excited about two things. One, I find I am able to consistently get myself into that brave, willing-to-risk-it-all space that my current painting approach requires. Two, I’m really happy to see myself getting more disciplined and focused with my painting.

Oh, one other thing I’m really happy about: I LOVE living in Puerto Vallarta!!

P.S. If you’re reading this blog before March 25, 2015, these paintings are not yet available for purchase and shipping, since they are here with me in Mexico. I’ll be taking them back to the U.S. March 25 and then they’ll go up on the website and become available for sale. If you’d like to reserve any of them, that’s possible; just e-mail me and I can let you know about availability.

Visit the Douglas Simonson website here.

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BREAKING IN MY MEXICO STUDIO

December 15, 2014

I was still in the process of setting up my Mexico studio in December 2014. I hadn’t yet completed a painting there—at least not one I was happy enough with to keep.

Part of that was because I didn’t yet have some of what I needed, most of all a decent disposable palette, which is my longtime preference (I was making do with a wall mirror). But it was also because I was in a new place, a new situation, and my confidence wasn’t what it needed to be. Painting, in case you didn’t know, requires a lot of confidence! Painting doesn’t just snap into shape with a lackadaisical approach. You have to be bold and assertive with the paint. I wasn’t quite there yet.

Source img

This is one of my favorite landscape photographs from my Dominican Republic trip a couple of years ago, and I chose this as the source image for my next painting.

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Here's the photograph above after some Photoshop tweaking to make it easier for me to paint from.

That was demonstrated with my first try at a Dominican Republic landscape in early December. I did everything I usually do to get a painting off and running. I chose a landscape photo I liked a lot (one of the images I shot on the beach at Las Terrenas), tweaked it in Photoshop to get the look I like and to help me with the colors, then I drew it onto the canvas with pencil. I kept the pencil underdrawing fairly faithful to the photograph but didn’t bother with much detail, just general placement of the large masses. Then I added a wash and started mixing colors.

DR 1sttry 2upinprog

In-progress shots of my first try at the painting. I could have finished it and it would've been passable, but I was not feeling it. If I'm not feeling it, painting becomes a tedious, unhappy experience. And who wants to look at the product of that kind of process?

Then I dove in and started adding color. This is always a crucial phase, where the magic is either there or it isn’t. This time, as I saw fairly early, it wasn’t.

I won’t lie, I was discouraged. This was the 5th or 6th painting I’d done in my Mexico studio and I still hadn’t found my feet. I sat down and looked at the lacklustre landscape I’d just put several hours into, and asked myself what was missing. Almost as soon as I bothered to formulate the question, I knew the answer.

BALLS.

Or, to use a more delicate word, courage. Or yet another word I like: BOLDNESS.

I had been playing it safe. Why, I asked myself yet again, is it so difficult to remember that playing it safe NEVER WORKS?? Ah, the perversity of the human mind. It keeps convincing us that we should do what’s easy and comfortable and not dangerous. Then we find our lives have grown boring and we wonder why.

This also goes back to my comment in the first paragraph above. Painting (at least what I consider GOOD painting) requires boldness and assertiveness. It’s like a rebellious wild beast that requires you to prove over and over again that you’ve got what it takes to master it.

I really liked this image and I wasn’t ready to give up. I decided to get out my big whip and try again to tame this lion.

DR 2ndtry inprog1

First in-progress shot of my second try. This one has more energy right from the beginning.

I began again, and this time I spent a bit more time working on the underdrawing. Rather than just trying for accuracy I paid attention to the vectors. By that I mean the lines of movement, or force, that draw the eye across and through the image. This additional attention to the actual structure made a big difference. This time the underdrawing had some life and energy of its own, and while not enough to guarantee success, at least it was a better stage setting for its possibility. I drew over it with a black acrylic pen and liked the base drawing even more.

Then it was time to start painting. I knew I had to jump off the cliff this time; no playing it safe. I prepared for the big jump as I often do, by looking at the paintings of other artists who inspire me, paintings with bold, exciting brushwork and the willingness to give up humdrum accuracy and clearcut edges for energy, life, excitement. These are paintings where I can clearly feel the courageous jump that has been taken by the painter.

Looking at these paintings and letting them soak into me for a few minutes gave me the courage I needed. I loaded up the paintbrush with some blue for the sky, aimed at the canvas, then closed my eyes!—and let ‘er rip! That first stroke obscured part of my careful underdrawing, which would seem disastrous at first, but no, it was exactly what was needed. The underdrawing was a mere suggestion, and not meant to be followed too closely. What was more important was the energy of the stroke. I repeated the same sequence, and then did it again, sometimes leaving my eyes open, but more often closing them so that I was less in control and the paint was having its way with the canvas. (See my blog entry from June 10, 2014, Painting Blind.)

DR 2ndtry inprog2

Halfway through...things are happening fast this time.

I was keeping the paint very wet, too, so that it would drip and run. This is an important component for me these days; it’s a visual reminder that the painting is about the paint itself more than the image. It’s also another way to ‘break up’ the image, which I find much more visually exciting than mere accuracy.

By this time I was sailing! I had had the balls to dominate the painting right from the first stroke, and it was paying off. For the rest of the painting it was just a matter of staying in that space….which is not an easy thing either. As the painting gets more and more exciting, there’s a very strong tendency to want to keep from screwing it up. That’s when you have to renew your determination to dominate the painting, even if it means destroying it over and over again.

Finished CU1

A closeup of what magic can be produced when you close your eyes and throw caution to the winds.

I managed to do that: mess the painting up over and over again until it was perfect. Yes, I know how crazy that sounds, (and nothing is ever perfect except maybe a painting that doesn’t want anything more done to it) but that’s exactly what happened, and what always happens with my best paintings.

Finished CU2

Another closeup of the kind of brushwork I can only get to by closing my eyes and giving up all hope that the painting will be any good.

I called the finished work “Republica Dominicana” and besides being a terrific piece of work I’m very happy with, it also served as the true christening of my Mexican studio. Turns out I couldn’t properly break in my new studio until I broke through my own walls.

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The finished painting: Republica Dominicana.

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PORTRAIT OF MY SISTER

July 10, 2014

My sister Kelly is not just my sister, she’s one of my best friends. I had tried many times over the years to paint a portrait of her, but they never worked out. In fact some were horrifyingly bad. Part of it is that I’m just not used to painting white people! Another thing is, it’s often harder to paint someone you’re very close to. But despite the misses I kept trying.

This blog entry is about how I finally succeeded.

Kelly sourceimg

I always loved this photograph of my sister Kelly and thought it would make a terrific painting.

I’d snapped a photograph of Kelly a couple of years ago that I really liked. We were hanging out with our sister Lisa and her family at their apartment which had a pool. Kelly was relatively relaxed. What that means is, she was only checking sales on her retail sites once every 20 minutes. It was during one of those moments when I saw the light catch her hair just right, and I snapped a picture.

Kelly sourceimg tweaked

I tweaked the image in Photoshop to make it easier to paint (among other filters, I used Posterize and Noise->Median).

Later I looked at that photograph and thought it would make a great painting. But I didn’t feel ready to tackle it. For over a year, every time I came across it in my Photo Archives on my computer, I would look at it and think, I’m not ready. But then one day in my Lincoln studio, for reasons I’m not totally clear on, I finally felt ready. I dived in, and magic happened.

Kelly inprog1

I started by drawing outlines of the different color areas on my canvas.

I’m showing you the step-by-step in-progress shots of the painting here, but they don’t really explain how it came together. The real defining factor was my willingness to keep it loose by not worrying too much about how it was going to turn out. I say that like it’s something I can call on at will. I wish that were true! I wish I could always be in that space. But it’s elusive.

Kelly inprog2

Rather than my usual method of doing a single-color wash over the drawing, this time I did several washes giving me a general idea of the colors of the painting right from the start.

That said, I find the older I get, the less I care about shit in general. This is one of the compensations of age. Your perspective broadens and you have an easier time staying focused on the stuff that matters and kind of letting the rest go wherever it goes. At least that’s how it’s working for me.

Kelly inprog3

My best paintings seem to happen all in one go, and this one was no exception. This is the painting about 3 hours in.

Kelly inprog4

Here's the painting about a half-hour later--99% done.

What that means in terms of my work as a painter is that I have a higher percentage of those days when I’m able to just paint, stay loose, and enjoy the process of moving the paint around without trying to make a perfect painting. I say a higher percentage—so now it’s maybe one painting session out of 5 instead of one out of 30! That still means things are less than optimal 80% of the time. That doesn’t mean I don’t do okay stuff during that 80% (I have developed some solid skills in 35 years of painting). But having everything come together in a painting session is still a kind of miracle, and when it happens even 20% of the time, you gotta feel blessed. I certainly do.

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The finished painting.

That day, I was blessed by everything coming together to make possible a terrific painting. And that’s right in line with how blessed I feel to have Kelly as my sister and my friend.

Oh yeah—I call the painting “Workaholic” because Kelly, like me, is one.

Paintingblind header

June 9, 2014

CONTENTS


• BACK IN THE STUDIO
• INSPIRED BY FITZ HERRERA
• THE PERFECT STUDIO SETUP
• PAINTING BLIND
• LETTING THE PAINTINGS SPEAK
• FLYING STARTS WITH JUMPING OFF THE EDGE

(Note: the above titles are clickable)


BACK IN THE STUDIO


I got back to Nebraska from Puerto Vallarta in late March, and after having been gone for almost the whole winter, I was really happy to get back into my studio for some extended painting time. With painting, it takes a couple of weeks to get back into the groove when you’ve been away. And if I want to really grow and develop and make some breakthroughs, I need a period of not just weeks, but months where I’m painting almost every day. That’s when the magic really starts to happen.

I got back from Mexico on March 19th, and by the beginning of April I was getting back into full swing. With, of all things, ABSTRACTS!


INSPIRED BY FITZ HERRERA


Fitzherrera greengreengreen

Green Green by Fitz Herrera.

In the past I often painted abstracts as a way to get warmed up before I dive into “the real stuff”—the male figure. But over the past few years abstracts and landscapes have begun to assume greater importance for me. Now abstracts and landscapes are “the real stuff” for me, too. When I got back from Mexico, I found myself getting captivated all over again by the abstract paintings of a guy from the Philippines named Fitz Herrera. I discovered his art online a couple of years ago and went crazy for it. For some reason the shapes he uses, the colors he chooses, his compositions, and especially the way he uses paint, all really speak to me. He’s one of those painters whose work I look at and go, “I want to be able to do that!” That’s what I call inspiration. And that’s the kind of excitement that has always pushed me to new breakthroughs in my abilities as an artist.


Fitzherrera brownnation

Brown Nation by Fitz Herrera.

So I printed out some Fitz Herrera paintings I’d found online and tacked them up next to my easel and started painting.


Fitzherrera yellow

Brown Nation by Fitz Herrera.

I didn’t quite know what I was doing at first, but of course that was perfect…I was going to have to explore and find new ways of doing things, which is always the challenge with painting, or anything where you want to stay excited and exciting.

So I spent several days in the studio, painting abstracts that didn’t work out. I kept trying to find my way into his style. I noticed I really liked the shapes he used, and I sat down and drew a bunch of them with pencil to familiarize myself with them. These were ovals, U shapes, and long skinny triangles, among other things.

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Hidden Treasures, the first successful abstract I did after getting back from Mexico. I was starting to use some of Fitz Herrera's shapes, and I like the painting a lot, but it was still kind of contained and 'safe'----I wanted more sloppy, drippy, explosive things happening.

I also worked at using sloppier, wetter paint mixtures so I could get more spatters and drips, because that’s one of the things I love about his paintings, too. It’s like he’s showing us the process of the painting as part of the painting. Plus it’s wet and luscious and sensual, and I find it sexy and exciting.

I noticed, too, that there are layers and layers going on in his work. I realized I would have to change my approach somewhat. I usually like to work fast and finish a painting as quickly as I can, before I lose momentum. I saw that in order to get these layered effects, I would have to allow time for one layer to dry completely before I could go in and paint another layer on top of that.


THE PERFECT STUDIO SETUP


But I had a perfect solution for that issue: I would keep several paintings going simultaneously, so that there would always be a painting that was dry enough to move on to when the others were still wet.

And my studio setup (which you can read about here) was perfect for that. Some part of me sensed, as much as a year previously, that I would be working more and more in this way, and would be needing a space with several easels so that I could move from painting to painting as I worked.

So I had the perfect setup, and I continued working to see if I could find the magic I saw in Fitz Herrera’s paintings.

Then, after a few days of this, I started to break through. One of the hardest things for me was to get in the habit of using really wet, sloppy paint, and just letting it drip and run. I’ve done this occasionally in previous work but never stuck with it. This time I did. I started to get used to it—and I loved it. I loved the freedom of it, and the fact that I was letting go of control and still getting what I wanted.

The other thing, and the really big breakthrough here, also had to do with letting go of control: I started PAINTING BLIND.


PAINTING BLIND


1679 eightyfootdrop

My first 'Painting Blind' abstract, and the first time I really started to feel I was getting the magic I saw in Fitz Herrera's paintings. It's called 80-Foot Drop because making it happen really was like jumping off a cliff.

I was painting in the way I always paint, which is: I stand back from the painting, look for an area that doesn’t work yet, and ask myself, what does this area need? Lighter, darker, warmer, cooler—a big broad stroke, a long narrow stroke, a little spot of color—what? When I think I know, I load the brush with paint, move in and lay down a stroke, or two or three or more, where I think it’s needed. This is pretty much my approach whether I’m painting an abstract or a realistic figure. It’s always about asking myself what the painting needs next.

1680martialart

My second successful experience 'painting blind': Martial Art.

Except this time it wasn’t working so well. I would look the painting over, see a problem area, decide what it needed, and add a stroke or two or three. And it kind of worked, but there was too much calculation going on. The strokes looked planned and boring. I thought, what can I do to introduce a bit less predictability here? And I thought, I’ll close my eyes.

Believe me when I tell you that was not easy to do. I’m a control freak, and I was going to paint with my eyes closed?? But I did it anyway…

I looked at the painting, decided it needed a bit of white in a certain area, then I loaded up my brush with white, and looked at the painting again, poised for action. When I had everything in mind and knew my intention, I CLOSED MY EYES AND ATTACKED.

After the first time I did that, I opened my eyes and went, WOW. It totally worked. I had just put down a series of brushstrokes that were exactly what the painting needed…and they had not come from conscious control, but from setting an intention, then letting go.

I didn’t do this all the time, just when the painting seemed to need it. But it worked almost every time.

Abstracts 4up

Four paintings that happened as I was starting to get into the swing of this new approach: Clockwise from upper left, Rolling the big Wheel, Lazy Susan, Surprise Garden, Little Lulu at the Circus.

I was not getting Fitz Herrera abstracts, but I didn’t really want to replicate his work anyway—I just wanted to see if I could get a bit of his magic. And I was finding my way into it.


LETTING THE PAINTINGS SPEAK


This continued for a couple of weeks and I experienced a whole new way of painting. Having several paintings going at once and letting some of them “rest” while I moved on to others is very different for me. But I found I’m able to see what each painting needs more easily that way than the usual way for me, which is where I focus totally on a single painting for the whole time I’m working on it. This new approach lets the paintings breathe a bit, and I end up allowing each painting to speak to me, rather than forcing it to tell me what it wants—if you know what I mean.

Horizabstracts 2up

A couple of horizontal abstracts from this period: top, Where the Flowers Were; bottom, Summer in My Mind.

The abstract paintings that resulted have gotten an enthusiastic response from my local audience here in Lincoln. The First Friday Art Walk which happens on the first Friday of each month, sends throngs of art appreciators into the hallways of Parrish Studios where my studio is located. This is a new experience for me, since I’ve been selling my art online for all these years and seldom interacting with collectors in person. The May 2, 2014 First Friday was the first time I’d ever done a showing of just abstract works, and it was a big success. People loved the new work and especially enjoyed finding out more about how it was painted.

The abstract paintings themselves have been a great reward, but an even bigger one is seeing how what I’ve learned with them has translated into my other work.


FLYING STARTS WITH JUMPING OFF THE EDGE

Monochromenudes 3up

Three monochrome nudes greatly influenced by what I learned doing abstracts: left, Asian Male Nude in Greyscale (model: Khanh); middle, Hiking with Manuel; right, Joyful Black Male Nude (model: Victor).

After about 10 days of painting abstracts in this new way, I decided to try some male nudes. I chose to paint monochrome (single-color) works so I could focus on the form and the way the paint is applied without having to concern myself with color. I produced 3 striking pieces, all of which benefited greatly from what I’d been learning with abstracts.

Landscapes 2up

Landscapes influenced by my latest breakthroughs: top, Windward Stormclouds; bottom, Ho'omaluhia Path.

Then I went back to abstracts for another three weeks before trying something else: landscapes. I did two landscapes in mid-May where I used the Painting Blind approach much of the time, and I was more than pleased with the results. With everything I’m painting these days, the abstracts, the male figures, the landscapes, I’m finding the same thing always applies: to grow and change and keep the work exciting, you’ve got to push the boundaries and take chances. You can’t fly without jumping off the edge.

I think it’s fitting to end this blog entry entitled PAINTING BLIND with a quote from Helen Keller:

“Life is a daring adventure or it is nothing at all.”

Walkingthetightrope header

February 28, 2014

CONTENTS


• A QUICK RE-CAP
• THE WINTER ESCAPE PLAN, PART 1
• BEING THERE FOR FAMILY
• PAINTING
• THE WINTER ESCAPE PLAN, PART 2

(Note: the above titles are clickable)


A QUICK RE-CAP



Back in June 2011 when I made the decision to leave Hawaii and go traveling for at least a year,
I knew I was making a big decision, and changing my whole way of life. But I didn’t know how wide-ranging and complete the change would be.

I’m now nearly 3 years into my “On the Road” lifestyle and I’ve spent less than half that time actually on the road. But it turns out On the Road has meanings that didn’t even occur to me when I began this journey.

PV beachshot01

I took this shot of Puerto Vallarta just a few minutes before sitting down to write this blog entry. This is about 2 blocks from the hostel where I'm staying, the Vallarta Sun (I recommend it!).

I’m writing this from a hostel in Puerto Vallarta, Mexico, where I’ve been for a couple of weeks. As you know if you’ve been following this blog, I moved my home and studio to Nebraska in April 2012 for a variety of reasons, primarily ease of travel and to take advantage of the great support system that is my sister Kelly.

Moving from Hawaii to Nebraska was not something I ever thought I would do, but it turned out to be the perfect next step for me. For one thing, I needed to reconnect with family, even more than I consciously realized. For another, moving to a quiet place like Lincoln, Nebraska where I don’t have a social network or a beach or a favorite bar meant much more time spent in the studio. And that has led to quantum leaps in my painting, both in terms of productivity and creative growth.

As I realized what a surprisingly great place Lincoln, Nebraska was for me painting-wise, and as I fell in love with my new studio there, a new plan evolved: I would stay in Lincoln and paint from April through October or so, then when it started getting cold, I would travel in warm places throughout the winter.


THE WINTER ESCAPE PLAN, PART 1


Winter 2012 was my first try at doing this. I went to the Dominican Republic for 5 weeks in November and December, and as you know from this blog, had a great time and photographed lots of new models. It was my intention to keep traveling until spring, but I went back to Nebraska for Christmas–and lost my momentum.

Las terrenas tweak

One of my photographs from the Dominican Republic. I spent 5 weeks here in Nov-Dec. 2012.

I’ve learned, especially recently, that traveling is all about just going ahead and doing it, trusting that somehow the money to pay for it will appear. It always does work out, often in amazing, miraculous ways. It’s about trust. But last winter, I lost that trust, lost my nerve, and out of financial fear, ended up staying in Nebraska through the miserable months of January, February and March. By the time spring finally arrived, I was clear that whatever it took, I was not going to spend another winter in Nebraska!

Snowy backyard

This is what my backyard looked like in January 2012.

I should mention here that despite the discomfort of that period, it was a happy and productive time for me in terms of painting because I was in my studio working most of the time. It also turned to have been a good thing that I had stayed in Lincoln for the winter because I was able to see my mother more often.


BEING THERE FOR FAMILY


I had been visiting my mother (known to everyone in the family as PJ) frequently during this period. She had dementia and was in a memory-care nursing home in Lincoln. I realized again how valuable and life-changing my Quantum-Touch training was during this time. Where most people’s experience of watching the progress of dementia or Alzheimer’s in a loved one is painful, even devastating, my experience was entirely different.

Ds runs energy PJ

Here I am running energy on PJ in early 2013.

Usually when I visited PJ I would sit down on the bed and place my hands on her body and “run energy” into her for 30 to 45 minutes. She would always become very calm and relaxed when I did this, and often she would fall asleep. The connection I felt with her during these times was probably the strongest, most loving and most intimate I’d experienced with her since I was a baby.

PJ fell and broke her hip in June, and we think she had a stroke simultaneously with this. She died 3 days later. This was a difficult period where she was in intensive care and had her family around her, but she couldn’t communicate. I was able to do energy work on her during this time and experience her body shutting down while I was connected to her. I strongly believe I was able to ease her pain and discomfort during this time, and when she made her final transition out of the body, I felt no sorrow, only a sense of rightness and completion.

I was and am deeply grateful for the fateful decisions I’ve made which allowed me to be in the right place, at the right time, with the right training, to have this experience of my mother’s death.

Ds kelly breckenridge

With my sister Kelly during a short trip to Breckenridge to celebrate her entering a new and expanded phase in her life.

A couple of months later I had another experience of being in the right place at the right time to give my sister Kelly the support she needed to end a relationship that no longer served her. I have to admit this was also a transition that served me–I moved into the bedroom her ex-boyfriend vacated!


PAINTING


At around this time I rented what I thought was the perfect painting studio in downtown Lincoln, only to move again a couple of months later into a studio that turned out to be even more perfect. (Read about that studio, and the studio design that allowed me to be more productive and efficient than ever before, here.) (Read about the move into the new studio at Parrish here.)

Studios 1 and 2

TOP: Studio 1, which lasted only 2 months. BOTTOM: Studio 2, in Lincoln's Parrish Studios, where I'm very happy and hope to stay for a while.

My painting continued to grow by leaps and bounds. In the last few years I’ve noticed my painting tends to jump between two threads: the Expressionist thread (lots of outlines, flat areas of color, distorted shapes), and the Loose Brushwork thread (loose brushwork, obviously, but a naturalistic approach that’s all about light and shadow). In July the Expressionist thread took off in kind of a new direction: Faces. I got inspired to paint big expressionist faces and had such a good time doing it I kept doing it for several months and eventually did about 25 of them.

I was additionally inspired by the fact that my collectors really liked them and they began selling immediately. (Unlike a lot of painters who feel every painting is their ‘child’ and they hate to let go of it, I tend to get energy from a painting’s being sold, and to be inspired to do more like it.)

Faces 6up

Some paintings from my FACES Series. The phase shown here lasted from about August through October 2013.

Along about late September, with cold weather approaching, I started putting my winter travel plan into action. Without paying too much attention to how much (or how little) money appeared to be available for it, I made reservations for a flight to Rio de Janeiro. In the days before I left, I had another burst of painting inspiration, this time in the Loose Brushwork thread.

Loosebrushwork 3up

In November 2013, just before taking off for the winter, I did a series of excitingly loose, energetic paintings in what I call the Loose Brushwork thread.


THE WINTER ESCAPE PLAN, PART 2


I left for Brazil on November 12th for a 5-week stay. I was nervous about how things would unfold financially, but decided not to worry about it, to just trust instead. As usual that was a good decision and everything went fine.

Slacklining photomalenude ebook

Two of the many wonderful things that happened during my late 2013 5-week stay in Rio de Janeiro: 1, slacklining with Oliver, and 2, completing a 2-year project, the e-book Finding and Photographing the Male Nude.

I had a great time in Brazil, completing a long-term project that I had actually begun 2 years previous on a visit to Brazil, an e-book titled Finding and Photographing the Male Nude. During my time in Rio, I also discovering an exciting and challenging new sport, slacklining.

I flew back to Nebraska to spend Christmas with my family before heading to Hawaii the day before New Year’s.

Ds hawaii jan2014 2up

Simonson in Hawaii January 2014: Top, hanging out with old friends and new friends; Bottom, at my old stomping grounds, Queen's Surf in Waikiki.

My good friend Allen Hanaike graciously offered me a place to stay, which allowed me to spend a month in Hawaii–my first time back in almost 2 years. I left for Hawaii on January 30, not really knowing how I would pay my ongoing bills while there, but trusting. Within days after arriving for my stay at Allen’s house, out of the blue, I received a $2000 illustration commission from a fellow houseguest who is the Art Director for a California magazine. Trust rewarded, again.

Psmag portraits 6up

Some of the illustrations I did as part of a commission I got while in Hawaii (I did this entire commission digitally, drawing on the computer using a Wacom tablet).

While I was in Hawaii I pondered the next leg of my escape from winter. I chose Puerto Vallarta, and flew here for a month-long stay on February 15. I’ve now been here for 10 days and every day has been sunny and 85 degrees. I am loving it. Staying in a hostel has its challenges as always, but more than makes up for it with the people I meet and the great connections that happen.

PVscenes 3up

Scenes from my Puerto Vallarta stay in February-March 2014.

When I’m not taking excursions and shooting photographs, I’m working on my next e-book and some digital paintings. Oh, and going out with new friends in the evenings.

I’ll return to Nebraska in late March. It will still be cold, but most of the winter will be past. I’m loving being in the tropics but there is a very strong pull to get back into the studio and paint again.

A lot has changed since I began my “On the Road” journey. What I’m realizing is that when I let go of most of my possessions and took off for a year on the road, all that was just a metaphor for the real journey going on inside me. Choosing constant change and adventure meant choosing a different kind of inner life, where I had to rise to a new level of adaptability and staying in the moment. By opening up in this way, I made myself available to take whatever path presented itself, whether it was staying in a hostel in Mexico, finding new models in the Dominican Republic, learning slacklining in Rio, or assisting a loved one in transitioning from one phase of existence to another.

I was practicing slacklining in Hawaii a few weeks ago and it occurred to me that one of the reasons I’m so drawn to it is because it’s the perfect metaphor for my life. I call this blog On the Road, but it could just as easily be called Walking the Tightrope.