Day 8

Day four through day seven have been all but a complete wash. While I did get the luxury of blowing a load of money at Dick Blick on some high end watercolours (I am still short a couple for Millard's full palette in Joy), I basically have not had the free time allotted to effectively continue to pursue this project.

Apparently, what is a priority to me, is only optional to everyone else. All I am really asking for is two hours a day. If more occurs, fabulous, but no less. But it just isn't happening, no matter how I explain, discuss it. And I am weary of being frustrated and angry over the inevitable conflict of time. I am weary of my day job stealing away precious hours beyond the call of duty. And I have gotten so weary of not getting enough sleep. Going full tilt on four hours or less just isn't as easy anymore.

I don't know what the rest of today will hold. Besides a nap, and some serious pain meds to stem this incessant pounding in my skull, and ease the intense pressure over my eyes, I have no plans once this day is over. If I feel more myself by the end of the day, I do have my field easel and supplies in the trunk of my car, a plein air oil is not necessarily out of the question. But I would need to feel a helluva lot better than I do right now.

Day Three

Well, it is late. Or perhaps it is really early, depending on your perspective. But I am exhausted, and that means this entry may ramble a bit. It doesn't help that there is a serious front moving in, and it is making my head pulse like a jackhammer.

Not sure if I am getting everything I need out of this section. But I will see. As these basic principles transition to the more advanced techniques I will find out. As I am typically an oil painter and prefer opaque to transparent applications, there will be, I fear, a serious learning curve. I hope it all clicks sooner than later. I am surprised on how much I am enjoying these simple 5 min (or so) contour and freehand sketches. They are not pretty. And they are definitely not drawings. But they are fast and get down a great deal of info in a short, short, short period of time. I used to be quite the dedicated sketcher. But when I discovered the thrill of tonal work, I let that aspect of my artistic development slip. I am looking forward to the possibility of regaining some level of facility of rapid hand - eye - pencil coordination. Even if I gain nothing else in these first few weeks, that alone will make it worth it.

Upcoming are some more basic stuff. Designing with darks, and figure placement. Then to more detailed rapid drawing and simple shading. All of which is old hat of course. Going at it so loose and rapidly will be not only an adventure for me, but will be of intense benefit to me as I struggle to improve my en plein air painting skills. Painting outdoors directly from life has been one of the more difficult things for me. I enjoy it, of course. But my development seems to have hit the wall. The 300lb artistic gorilla has bogged me down. But even at this early stage, I am seeing the potential benefits of tackling this project will have on that particular aspect of my painting.

Good night

Day Two (A few hours late)

Sorry this is a wee late. But either due to the storms we had passing through last night, or problems at our provider, or possibly both, I lost my connection to the Internet. Which obviously impeded my posting here after my studio session. I will post a couple of photos or scans of my sketches from last night with the ones from tonight (Day 3). At least nothing severe is predicted to cross our path tonight or tomorrow.

I have appreciated David Millard's work since seeing an exhibit in the mid 1980s, about the time these books were originally published. It comes as a surprise to me now, that I haven't taken a much closer look at his methods, until now. Certainly, I have perused Joy and More Joy on several occasions, and have used parts of the first few chapters to help me with my sketching. But, I had yet to take an honest hard look at what Millard was saying nor taken a critical work at his approach for my own benefit. Much to my loss I suppose. While these books do have a personal feel, I do now wonder what it would be like to actually have taken a class from him. But alas, I will never know, as David Millard passed away in 2002.

I have found the quick contour sketching to be quite liberating. I am by nature a tonal drawer, preferring charcoal and graphite sticks. But the freedom of the contour has proven to be quite relaxing and invigorating.

Take care, one and all. I will post more tonight.

Day One

Today starts a little slow. Following the preface, I read through the text, all thirteen chapters, before setting down and getting started. Chapter one opens up with the basics. The 5 min and 15 min contour sketch.

The five minute sketch is, in this instance, being used to generate an "abstract" sky piece. When applied this shape will be toned with a midtone wash of cobalt blue/raw umber. The 15 min sketch is for more detail for a more earthy subject. Primarily a collection of buildings. More on that tomorrow when I explore that with an actual subject and not just notes from Millard's book.

I apologize for the poor scan on the actual sketch. The paint was still wet, and I had it lifted up off the scanner bed.

Tomorrow I hope to be able to get a much earlier start, and tackle much more of this rudimentary chapter. The only difficult part is finding my own subjects for the lessons, as I don't wish to post elaborate copies of the book demos online. This time, many thanks to the Wetcanvas Image Library for the quick bailout tonight. I couldn't find my folder of cityscapes and street scenes.

As Edward R. Morrow said, "Goodnight and Good Luck!"

Rising from the Dead

I have to be honest. I have yet to totally get into the spirit of blogging. Not that I don't read them, as that would be a substantial untruth. But actually sitting down and daily or even regularly documenting my life's events to the online world at large, has perpetually been a challenge. And I had to be honest with myself, that if I truly wanted to resurrect this blog and instill in me the fortitude to keep going, I needed a focal point. Some item or project that I wanted to share, so even on the leanest of days, there would be something to write about. Something to share.

Which is what has brought me here today. I am going to try an experiment. Anyone who knows me, artistically, also is keenly aware that I go through seriously dry intervals. They may not be as keenly aware that it follows cycles of increased work related stress, but that is not as relevant as the attempts to ween myself off these dry spells.

Since I have limited art educational opportunities, do to geography, schedule, and budget. I have devised an experiment for myself. I am going to attempt to plow through and document my own "school" of hard knocks. I will select artists whose work I not only admire, but who also teach via books, blogs, and/or video and follow along, right here before your very eyes. I realize that some of the ground will be old hat, but much will be new, and some will familiar, but taken in a direction that I thought inconceivable before. But then, that is the point.

Due to my current schedule and I haven't the faintest idea of how much time will be involved on the blog side of this experiment, I am going to start simply. One teacher, one set of books, and a basic time frame. If this works out productively, I will add more to the process, as I grow and become more facile and more comfortable with the process.

I am going to begin with watercolor (or watercolour). My artist of choice is David Lyle Millard, and I will be using his books Joy of Watercolor and More Joy of Watercolor, with supporting lessons from Charles Reid and Vincenc Ballestar. All of whom share a similar approach, but with drastically different results. My goal is to proceed through both books within 100 days, or one typical Semester. It is also my goal to document this as real time as possible. And I deeply hope, that those of you reading this blog will not only contribute your thoughts and criticisms (constructive are best), but also hold me accountable for my posts. Push me, goad me, or whack me upside the noggin' with a virtual frying pan (only my mother and wife are allowed the real thing), and do whatever it takes to keep me going.

I will need a few additional materials to get me started. The initial lessons, thankfully, use what I have currently at my disposal. Class starts this evening. Wish me luck!

I took a pass yesterday

I just didn't have it in me last night. It was hard enough keeping my eyes open for the drive home from work. Rather than fight the process, I gave myself the night off, had a beer (Sam Adams Black Lager - yummmmm), a melatonin, and crashed early. Refreshed for today.

I already started the setup for today's painting. Looking back at it now, I will most likely make some changes to the drapery and the arrangement. But the process is afoot.

Pardon this interruption

I was just sitting here, thinking over this decision to commit to a painting a day. It seems, on the face of it, insane. It feels like a monumental undertaking, without a pre-arranged endgame. Perhaps that is true, on the surface.

While, there will undoubtedly come a time where I will plan a change of venue, I have already felt the impact of the daily paintings. Each day I feel like I am accomplishing something. Even if the sketches (which haven't been scanned in yet), don't go well, or if I my meager study in paint is pictorially unsatisfying, I feel good. It feels like I have made a positive step and commitment to my overall artistic development. As Craig Nelson repeatedly points out Brush Mileage holds a lot of weight. I can't help but agree with that statement, even at this early stage.

Now back to our regular scheduled programming. . .