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heck it out here happy holidays everyone posted by deborah paris at thursday december 13 2018 no comments email this blogthis share to x share to facebook share to pinterest labels online painting classes podcast savvy painter scatter creek the landscape atelier the studio podcast winter winter woods wednesday november 14 2018 visual thinking recently a friend of mine who is a writer said to me writing is thinking what she meant is that as we write we often discover the internal structure of what was previously a collection of random ideas and as a result locate the real intention of our work through the act of doing it the same can be said for drawing particularly certain types of drawing specifically i am thinking about thumbnails thumbnails are visual thinking for me thumbs are the place to work out visual ideas to search for and find the structure of a painting as such i invest enough time in them to explore the idea but not so much time that i try to turn each one into a perfect little drawing and thus limit the time i have to look around for other ways to express the idea thumbs are thinking visually that s all they are like first drafts of my painting those first steps toward finding the right structure for my visual idea here are some thumbs from a small sketchbook i often carry with me on walks it is 5 x7 important only for understanding the small scale of these thumbs they certainly are not great drawings and some are not especially good designs a few of them have since become paintings one of them became a monoprint in most of them i have seriously limited the shapes and values trying to get down to something essential a few are more developed some are abandoned a trail i didn t follow because i lost interest or got a better idea while i was working working out my visual ideas this way has become automatic and my sketchbooks become a rich repository of ideas that i can use together with memory and imagination for years to come posted by deborah paris at wednesday november 14 2018 no comments email this blogthis share to x share to facebook share to pinterest monday october 29 2018 the power of selection through memory as many of you know i primarily work from memory and imagination many years ago i started to explore this way of working and now it has become second nature to me it is also part of the method i teach my students i wrote more about that here and here one of the strongest reasons to train your visual memory is the power it has to distill and intensify your experience of the landscape and as a result of that to assist you in creating a very personal response to it in your art as carlson says this helps us to locate the source of our originality it is our personal response to the landscape we seek to express rather than a copy of the scene in front of us because memory acts as a filter to select certain information while rejecting other information it is a highly personal tool for art making i spent last week in fredericksburg texas with mallory agerton a friend and former student mallory completed the atelier program in 2015 in fact she was part of the first group of students that i used as guinea pigs for my memory training exercises today as a professional artist she works from the drawings she makes in the field and memory no photography we also spent a week together last year at about the same time of the year on successive evenings we went out just before sunset to observe the landscape we were both taken with a little creek we found and spent about 20 minutes each night for three evenings looking at it we both did drawings of it from memory later here is mallory s drawing and here is mine obviously they are very different after we made our drawings we talked about what we saw and what we were interested in about the scene for me the large tree and its gesture against the sky the intimate space around the creek and the sliver of water made a big impression i also wanted to get my drawing dark enough to suggest the failing light mallory noticed a smaller tree in front of the big one and the filigree of its branches against the sky she also wanted to simplify the whole scene into very simple shapes she depicted it as more open when i got back home i painted this little study from memory the idea that i captured in the drawing was further distilled and sifted again through memory including remembering the color hill country dusk 10 x 9 of course there isn t any right or wrong here both mallory and i responded to what was most interesting and our memories were strongest of the things that interested us most those things to a very large extent reflect our personal aesthetics memory if properly trained and used will help you identify the things you really want to paint not things that are merely interesting but the things you find truly compelling posted by deborah paris at monday october 29 2018 no comments email this blogthis share to x share to facebook share to pinterest labels dusk hill country memory stream tonalism tonalist landscapes training visual memory thursday october 25 2018 moonrise spring moonrise 24 x 24 available at hildt galleries chicago hello all yes it s been a long time it s not that i haven t been writing i have but just elsewhere but i have wanted to get back here for a long while and here i am hope some of you are still out there moonrises have been on my mind this week i am teaching an online class on nocturnes right now and since this week is the full moon it is not only the best time to observe the moonlit landscape but also to observe moonrise and moonset that s because when the moon is full it rises at about the same time as sunset and sets at about the same time as sunrise the sun in the opposite sky from the moon makes for lots of evocative light and color and also for interesting compositional opportunities moonrise flood tide 24 x 30 private collection the moon and moonlight are full of mystery and mood at full moonrise before it is dark we can feel the day slipping away giving way to the night unfortunately for me the skies in northeast texas are too cloudy to enjoy the show but if its clear where you are be sure to watch for moonrise at sunset tonight and moonset at dawn tomorrow moonrise over the pines 36 x 30 private collection posted by deborah paris at thursday october 25 2018 no comments email this blogthis share to x share to facebook share to pinterest labels early moonrise full moon moonrise tonalism tonalist landscapes thursday december 10 2015 training visual memory morning walk fence line painted from memory one of the key ingredients of the drawing painting program of the landscape atelier is the training of visual memory many years ago i embarked on a journey to find a way to use memory in my own work over time i developed some techniques and strategies which helped me retain visual information as a result i became comfortable working from both memory and imagination when i started the landscape atelier in 2014 i knew i wanted to make memory training part of the curriculum last month i gave a paper at the trac 2015 conference entitled the training and use of visual memory for representational landscape painters which describes why memory training is important the literature and history of memory training the method we use in the atelier and the results we obtained over the first year using these methods my paper is now available to read online here s the link this will take you to a page on my website then just click on the title of the article http www deborahparis com asset asp assetid 42291 akey lcek6wcl posted by deborah paris at thursday december 10 2015 3 comments email this blogthis share to x share to facebook share to pinterest labels landscape memory trac2015 training visual memory working from memory thursday october 1 2015 let s try again new paintings drawings several readers wrote to let me know they were having trouble viewing the images in my last post so i am reposting them thanks to those of you who let me know you should be able to click on all images for a larger view this first image is a painting which is headed to the small works great wonders show at the national western heritage museum in ok city woods lake interior 20 x 16 i am hard at work on some larger paintings but here are several drawings and a few small paintings two trees charcoal on twinrocker handmade paper 12 x 10 woods charcoal on twinrocker handmade paper 12 x 20 morning walk fence line 11 x 14 backyard evening 8 x 10 posted by deborah paris at thursday october 01 2015 no comments email this blogthis share to x share to facebook share to pinterest labels aspens charcoal drawings tonalism tonalist landscapes twinrocker paper vine charcaol wednesday september 2 2015 gilcrease museum collectors reserve i am pleased to say that these three pieces are headed to the collectors reserve show sale at the gilcrease museum this fall the gilcrease has a fabulous collection of american art including some beautiful examples of hudson river school paintings and holds what is considered among the world s largest and most comprehensive collections of fine art artifacts and archives dealing with the american west located in tulsa oklahoma the museum grounds include 23 acres of thematic gardens showcasing the gardening styles of different time periods in the american west it is an honor to be included in this exhibition aspen brook study 6 x 12 late afternoon light 12 x 16 farm pond morning 16 x 20 posted by deborah paris at wednesday september 02 2015 no comments email this blogthis share to x share to facebook share to pinterest labels deborah paris gilcrease museum tonalism tonalist landscapes saturday july 4 2015 happy 4th and new work to all of you in the usa happy 4th of july this painting was begun before i went to colorado in june and was based on field work i did last year in june i had gotten it to a point and was really stuck so the trip came at a good time enabling me to revisit the motif and refresh both memory and inspiration last june i worked most of the time in a lovely aspen grove near my cabin i did numerous drawings of individual aspen trees as well as ponderosa pines which i posted here and here and some motif drawings as well but i did not really follow up on any of them until a few months ago the idea came from a desire to revisit the subject but also the fact that i had been looking at the work of emil carlsen quite a bit i was intrigued with his backgrounds and how he was able to create something that was at once atmospheric but also had some very definite decorative qualities and a flatter picture plane so my idea here was to not follow my usual method of creating a background with multiple layers of scumbles applied with rags but to use more of a dry brush approach with more texture and opacity but to try to make it read simultaneously as air but also decorative and somewhat flat at the same time i wanted to continue with the challenge of face lit subjects and to also play with the idea of volume and flatness in those forms aspen grove interior 39 x 33 oddly the experimental part of the painting seemed to go fairly well and i was happy with that part after a couple of passes here are a few details but the part that should have been easy the foreground grasses just would not come together i had originally envisioned some dappled sunlight in this area but every configuration i tried ended up detracting from the main event so eventually when i returned from my trip i eliminated it as a result i repainted the foreground about 6 times luckily although i lost the transparency as a result the layers and shifts in temperature which this image doesn t capture very well made up for it the more simple light shade of the foreground seemed a better fit for the image posted by deborah paris at saturday july 04 2015 1 comment email this blogthis share to x share to facebook share to pinterest labels 4th of july aspens colorado indirect painting method thursday may 7 2015 new work chroma is in the midtones this painting was started a year ago either at the workshop or just after the underpainting sat in my studio unfinished last summer i used it as a demo piece for the scumble with rag video i made the back trees then it sat around again with the coming of spring i felt inspired to work on it again i was particularly interested in working with some of the concepts we have been studying in the color ii class and which i discussed in this post on the field notes blog obviously vibration but also the idea that the mid tones can hold more chromatic color i lightened the value range from what i might typically do and tried to keep the color rich in the mid tones while keeping the lights a little darker and the darks a bit lighter narrowing the range i am interested in exploring this further and am working on two other pieces now which include these ideas spring morning ii 24 x 18 posted by deborah paris at thursday may 07 2015 2 comments email this blogthis share to x share to facebook share to pinterest labels chroma color vibration deborah paris indirect painting method online painting classes spring the landscape atelier thursday february 26 2015 new work winter came back with a vengeance this week giving us our first snowfall my favorite haunts were covered in four inches of snow here they are back in november shrouded in fog and rich with the color harmonies of late autumn november fog 20 x 20 foggy morning 20 x 24 november morning at the pond 20 x 24 posted by deborah paris at thursday february 26 2015 no comments email this blogthis share to x share to facebook share to pinterest labels deborah paris fog tonalism tonalist landscapes sunday january 25 2015 spring workshop hi everyone hope your new year is off to a grand start we are busy making preparations for our annual spring workshop to be held march 27 april 2 2015 this year promises to be better than ever our new studio on the historic square of clarksville is finished our printmaking studio is ready to go and as always our beautiful spring landscape is just steps away come enjoy acres of beautiful fields of lush spring grass huge oaks pines hickories and elm starting to leaf out and blooming dogwood and wild plum barn buildings wildlife and farm animals complete the list of motifs available to paint plus of course our gorgeous sunsets and twilights our spring workshop includes daily instructor demos help at your easel access to our 700 volume art library and some fine hospitality and home cooking too this workshop is organized as a field to studio learning experience for painters of all levels our first few days in the field will include several instructor demos both drawing and painting and learning a diffferent way to collect reference for studio paintings which will reduce your dependence on photography and bring authenticity to your finished studio work during the last half of the workshop we will ...