A Trip to Remember
This was a commission for clients who who typically visit Paris in November because there are so few tourists and no lines. My clients had a candid photo of themselves in front of the Square du Temple, an English landscaped botanical garden in the heart of the city. I love this image because my clients seem delighted to be together in the City of Lights, and not at all bothered by the late fall temperatures.
Starting on Canvas
Top left: I started with a 6x6 pencil grid on my 30"x30" canvas, and used that to place the elements in roughly the right spot. Then I refined the drawing and used grey and white paint to show the darkest and lightest values. Lastly I continued to refine the drawing using a thick black line.
Top right: Here I started to block in color, just using two values for most forms. I wanted the warm muted fall colors in the background to contrast with the cool colors of their jackets and the bench in the foreground. I put the faces in very loosely.
Top left: Here I continued to refine all aspects of the painting. I decided the tree in the middle distance on the left needed some green leaves, even though it was November. Artistic license! :)
Top right: I worked further on the faces and clothes. I lightened the foreground bench and the distant grass. I added texture to the ground under their feet and put more detail in the orange shrubbery behind them.
The Dance of Painting
I never start a painting knowing exactly how I will paint it or how it will look. I have an idea, but the painting really takes form step by step as I react to what I see on the canvas. I see something that needs to be changed; made lighter, darker, warmer, cooler, bigger, or smaller. When I do that, then I see something else that needs to be modified. So it's a dance, a process that creates the painting from a series of decisions, each flowing from the one that preceded it.
"Fall Vacation", Paris, oil, 30"x30", commission, ©Linda Hugues
It All Comes Together
Here's the final painting of "Fall Vacation", Paris, oil, 30"x30", ©Linda Hugues. I think the colors and values work beautifully together, and my clients' expressions and poses make the painting.
Below you can see a detail of the faces and figures. The challenge with this kind of commission is to have enough detail on the faces to make them recognizable, but still keep the image loose and painterly.
The Clients Love It!
The clients were delighted with the commission. She said,
"We love the painting and will cherish having it. We always love to buy paintings to remind us of where we've been on our travels. This one is extra special because it was such a special time for us."
Detail "Fall Vacation", Paris, oil, 30"x30", commission, ©Linda Hugues.
Great Camera, So-So Photos?
There are so many great camera options today; smart phones, point-and-shoot cameras, and DSLRs. No matter what you use, my tips (and example photos from our vacation in Greece) will help you take more photos that you'll want to share. If you're already a pro, skip to the bottom and leave me your best tip! If not, read on:
Tip 1: Experience First, Then Shoot
Vacations can be overwhelming! I understand the temptation to look quickly, take a photo, and move on to the next thing. But that robs you of actually experiencing your vacation. And a photo can never duplicate the in-person experience. What I try to do is to give myself time to just be, to feel what it feels like to be there. This allows me to decide what is unique and wonderful about this place and to then try to show that in my photos. In the photos above, I liked the contrast of the solid historic buildings with the delicate, fresh flowers so that's what these photos show.
Tip 2: Place the Subject Off-center
Centered subjects can be powerful, but they can sometimes be boring. I usually find it more dynamic to have an off-centered subject that is balanced by other objects in the composition. One easy way to do this is to mentally divide your viewer into a 3x3 grid and place the subject roughly on one of the 4 intersection points. My iPhoto editing function has that grid built in so its a snap to do this when I crop the photo.
Tip 3. Think: Foreground, Middleground, and Distance
Did you ever photograph an amazing vista–like a view of the Tuscany countryside–only to be disappointed by the result? In the photo everything just looks small and distant. Instead, include objects in the foreground, middleground, and distance, to provide a more interesting composition and show scale.
Tip 4: Cull Frequently
It is a good idea to take lots of photos; trying different viewpoints means you have a better chance of getting a great shot. But you know you won't want to wade though hundreds of photos when you get home. I like to eliminate the duds daily. When we sit down for a meal or a break, I pull out my camera and go through what I've just taken. I usually edit out at least half my photos this way and only keep the promising ones. When I get home, I cull even more.
Tip 5: Crop, Crop, Crop!
In my experience amateur photographers don't crop nearly enough. When you crop you have an opportunity to straighten the horizon (do you do that too?) and re-compose the image to make the forms bigger and place the focus where you want it per Tip 2. Here I eliminated the busy left side and cropped the top and bottom of the image. This makes the fortress bigger, the dark dock on the left is now a nice foil for the bike rider, and your eye moves easily around the image.
Did this help? I hope so! Please leave me a comment to share your favorite photography tip.
Did you ever look at a painting and say, "How do they DO that??" Well here's your chance to see. This is a step by step record of my progress (and missteps) as I painted one of my latest.
"Follow Me" is a scene from St. Petersburg, a beautiful city on Tampa Bay that attracts retirees from around the world. I wanted to capture the chic, laid-back vibe of a Saturday morning on Beach Boulevard.
Not A Piece of Cake
When I look at these images of my progress it looks so easy and straightforward! But with each step I consider multiple options for form, line, value, and intensity. I ask myself, "Does this part work? Does it work with the rest of the painting?"
When I think I'm finally finished, I put the painting away for about a week so I can look at it with a fresh eye and make final adjustments. Then all that's left is the signature and a coat of varnish. And on to the next painting!
What are Your Plans?
Do you have travel plans? Are you going to any wonderful cities with great museums? Museum visits are always on our travel must-see list, and we plan our vacation around them.
But what about planning the museum visit itself? Do you actually have a plan? Or are you like I used to be, just expecting to show up and see everything possible until you drop?
But after visiting many museums, I realized that a little planning goes a long way. Here are my 10 favorite tips to make your visit more enjoyable and fulfilling.
1. Select just a few art museums per visit. We rarely do more than one museum a day. Buy tickets ahead of time to avoid the line.
2. Wear comfortable shoes and bring an extra layer. I bring a super light shopping tote that holds my essentials and I leave everything else in my regular tote in the cloakroom. Lugging my regular travel tote around with a guidebook, camera, etc. for hours is fatiguing.
3. Read up about the museum and look into their special exhibits. It really helps if you aren't starting from zero.
4. Research the best time to start. Usually this is first thing in the morning before the crowds get there. Plan to visit must-see exhibits first and then fill in your time later with whatever strikes your fancy.
5. Be realistic about how long you'll last. We're really only good for two hours or so before we need a break. We like to get to the museum when it opens, visit the special exhibit first, then stop for lunch. Many museums have great cafeterias that are a welcome respite to refresh, refuel, and think about what you've seen. After lunch we might be good for another hour. Or not.
In the Museum
1. Get the audio guide. It's almost always worth the price and sometimes it's fabulous. I love audio guides because I can go at my own pace and only view what I want. The guides give so much more context to the artwork that just reading the labels.
2. Don't try to see everything. Give yourself time to experience the few pieces that you are really drawn to and understand why it affects you. For a few really special artwork, give yourself a lot of time. If I can find a bench to sit on while I do this, I'm in heaven.
3. For thoughts on what makes an object a worthy of a place in a museum see my blog post Why Is That Art?.
4. When your visit is over, celebrate by buying something at the gift store. Really! It will give you a fun memento and it supports the museum. Win-win!
5. Afterwards, allow time to digest and discuss the art with your travel partner. Art is even more interesting when you can experience it from another perspective.
What are your favorite museum-going tips? I'd love to hear!
Paintings By An Introvert
From my very first paintings, my work has almost always included people which is kind of strange because I am a major introvert. You would think I would paint lonely buildings and solitary people like Edward Hopper, but I prefer more happiness and activity in my paintings, plus I like the challenge of painting the human form.
I feel that people add life and interest to my work. The shape and orientation of the human body depicts energy and emotions, even without clear facial expressions. And the combination of the figure's movement and body language contribute a story to a landscape that would otherwise be static.
My Favorite Things
So when I travel I'm always on the lookout for people to photograph, especially people in groups who are interacting. It doesn't take much, maybe a glance or a tilt of the head to say that one person is listening to the other.
I do have favorite things I like to include in a painting. I look for people in motion; walking, running, or on a bike. I love hats, interesting bags, suitcases, and anything red. I especially like scooters, motorcycles, and people walking dogs. I do sometimes show people with cellphones, because they are ubiquitous. But cellphone use tends to be an isolating activity, so I am judicious about including them in my paintings.
I tend to avoid painting facial expressions. This is because I want to keep the face as simple as possible to make the people more generic and maintain the focus on the overall story.
I like the interplay of figures in their urban environment. I find myself wondering; do they live there or are they visiting? What are they thinking? How are they experiencing the city? I find that having figures in a painting encourages the viewer to imagine themselves there and experience the scene more fully.
I enjoy the challenge of capturing people in my photographs and using them to enliven my paintings, and I continue to look for ways to tell interesting stories in beautiful cityscapes.
Thanks for reading! What are your favorite cities that I should visit next?
She studied at the Pennsylvania Academy of Fine Arts, and then in 1865 she convinced her family to send her to Paris. There she took private lessons from academic painters since women were not allowed to study at the School of Fine Arts. Although her European art education was interrupted by the Franco-Prussian war, she was later able to live in Italy, Spain, Belgium, and Holland and study the works of European masters, as well as learn from local experts. She eventually settled in Paris, where her work was regularly shown at the Salon.
The American Impressionist
In 1877 Edgar Degas asked her to join the group of independent artists that were later to be know as the Impressionists. She exhibited in four of their eight exhibitions.
Cassatt was influenced by all the avante guard artists, especially by Degas, who would become a mentor. However she developed her own style and subject matter, painting scenes that related to the world of upperclass women of her era; tending to children, socializing, reading, and going to parks, cafes, plays, and the opera.
I am especially drawn to the work of Mary Cassatt because of her insightful paintings of people. She was a master in both pastel and oil. Her canvases show a mass of loose brushwork that convey a sense of movement and life, but at the same time her figures seem both solid and three dementional.
Mary Cassatt never married and had no offspring, but she clearly had an understanding of the special bond between mothers and their children, which became a specialty for her. These portraits are tender and warm, depicting intimate everyday moments without sentimentality.
In the late 1800's Japanese woodblock prints became available and were very popular for their artistic merit and their novelty. In 1890 after seeing an exhibition of Japanese prints, Cassatt began to work on a series of etchings and aquatints that have a distinctly Japanese feel. She experimented with designs that cropped and flattened the subject, creating dynamic compositions with interesting negative space. (Negative space is the shape created by the subject against a background.)
Another reason I admire Mary Cassatt's work is her use of bold, painterly brushstrokes and varying patterns and textures that support the figures in her paintings. In the painting above the textured upholstery contrasts with the girl's frilly dress, the smooth carpet, and the plaid sash and socks, while the shapes of the chairs move the viewer's eye around the painting.
In this painting I love the soft enigmatic features of the women as well as the beautifully rendered silver tea service. The texture of the wall, chair, and chair fabric all support the strong figures and convey the feeling of a comfortable bourgeois household.
A Trailblazing Artist
Mary Cassatt was a master painter in a time when it was extremely difficult for a woman to be educated in art, be financially successfully as an artist, and receive acclaim for her work. The fact that she was able to do all three is a testament to her determination, drive, and vision.
You can read more of this "My Favorite Artists" blog series here: John Singer Sargent, Claude Monet, Joaquín Sorolla, Fairfield Porter, Tim Horn, David Hockney.
Thanks for reading! I'd love to hear your comments.
Short and Sweet
As my husband will tell you, impatience is my middle name. So before I click on a video I check the run time. If it's longer than two minutes I move on. I use the same philosophy when I create my own videos. I want my them to be short and watchable.
For this one I wanted to record my painting of "Late Light", start to finish. However--due to the hours of work involved in this 36" x 36" painting--that would have taken a lot of time to view, even with the magic of time lapse photography.
So I've condensed it to make it easy to see the progress on the painting without watching every brushstroke. This is a scene in late afternoon on Avenue Emile Zola in Paris. I really wanted to capture the sense of the strong golden light and the long shadows.
Enjoy the video!
Go Big or Go Home
Other artists often ask me how I paint so loosely. And I tell them my secret; use big brushes! Really. That's it.
But that's not what they want to hear; they say "I've tried that". Well, it is difficult. Forcing yourself to use large brushes means you must edit what you are painting; you have to omit small details in favor of larger statements that define the most important shapes, angles, and proportions. That's the real challenge.
That's the next question. The short answer is, "the biggest you can deal with." For the long answer I've diagrammed the brushes I used on two recent paintings. To understand the proportion of the brush sizes, know that these paintings are 36"x36", and that my brushes vary in width from a #12 (1" wide) down to a #4 (1/4" wide). The brushes I use most often are #10 (3/4" wide) and #8 (5/8" wide). By the way, the width of a brush is measured at the ferrule, the metal part, not at the bristles, which can splay.
Natural vs. Acrylic
You might notice that I have two types of brushes; the green handled ones are natural bristle brushes (Grand Prix by Silver Brush) and the blue handles are acrylic bristle brushes (Bristlon by Silver Brush). I like the natural ones for large brushes; they hold a lot of paint and give me a soft edge to my stroke. I like the acrylic for small brushes. They have stiffer bristles with lots of spring which gives me a lot of control and a sharp edge to my stroke. (See this blog post to learn more about how I select and care for my brushes.)
Step Away From Those Small Brushes
I do have to work on using big brushes. If I find my self reaching for my #4 too often I know I'm getting stuck in fussy details which is not what I want for my paintings. So I stand back to evaluate my canvas and determinedly pick up a bigger brush.
I hope this has been helpful. I'd love to hear your comments!
My New Thing
I've taken on a new artistic medium – film! I've always wanted to make videos so that I could share the process of creating a painting, but I was intimidated about the effort required to learn a completely new skill. However, recently I had the opportunity to study the basics of creating and editing video, so I took the plunge and created my first video, "Cafe de Flore: the Beginning"
How I Did It
For this first video, I used my iPhone to record a few painting sessions in stop-motion. Then, using iMovie software, I spliced them together with still frames of the painting at different stages. Then I added music, a voice-over, and a few other bells and whistles that I learned about.
That sounds very simple, doesn't it? Well, it wasn't. At every step I was stymied by things that didn't work the way I thought they should, and things I didn't understand. The whole process took waaaay longer than I expected.
But I persisted. I went to the Apple store twice to take classes on iMovie (those guys are great). I asked friends for comments on my work. And I let go (mostly) of all the little things that are still wrong about this video.
Putting It All Together
I do wish I hadn't been working on a painting that is just greys. But that was what was on my canvas at the time and I was itching to start. And now I can share with you the final painting in full color, which shows the result of those early grey planning layers.
I really enjoyed making and editing this video and I plan to do more. Please stay tuned.
Also, I'd love to hear your comments below. Thanks.
I'm constantly tweaking my palette. I'll add a new color that gives me a hue I couldn't mix before or delete something I'm no longer using, but I've kept the same general palette for years.
However, a while ago I replaced almost all of my colors at the same time. This allowed me to change the look of my paintings and more easily mix a wide range of lighter values Here's what happened.
My First Palette of Colors
When I began painting I focused on portraits. The traditional portrait palette is composed of mineral pigments (see explanation below), with colors primarily selected to be able to mix skin tones and include a wide range of reds, yellows, and browns, along with a few blues.
You'll notice that there are no secondary colors on this palette; no oranges, violets, or greens. In order to have more control I tend to mix those colors from my primary colors (red, yellow and blue) instead of buying secondary tube paints.
I used the above palette for many years, making slight variations when I began to paint landscapes and genre paintings.
The Big Switch
Then I heard about a new line of colors offered by Gamblin, my favorite brand of paints. Gamblin assembled a range of their modern organic pigments (see explanation below). These pigments are much more intense than what I had been working with and they retain their intensity when mixed with white.
For each color, Gamblin created a new companion tint, which they call Radiant Colors. Which just means they offered a tube of that color mixed with a lot of white.
What's on My New Palette
Look to the bottom left of the above palette. The dark pile is Phalo Turquoise, and to the right of it is a puddle with some added white to better show the hue. Above it is a pile of Radient Turquoise, which is simply tinted Phalo Turquoise, meaning it has a lot of added white. Moving clockwise from through to the yellows, you can see all my paints and their corresponding tints. On the right side are greys and Titanium White.
What's so exciting about mixing a paint with white?
Well, these modern colors are so strong its difficult to make a light color without overshooting the mark and wasting paint. Having the tints of each color already mixed allows me to make light colors more precisely and is a big time and paint saver.
What This Means For My Paintings
You can see the difference between the two palettes in the paintings above. The old palette, at left, has more earth tones, the brightest colors aren't very bright, and the neutrals tend to be muted.
With the new palette, on right, I can make very bright brights along with neutrals, like in the building and sidewalk, with a subtle range of colors. Even with only small touches of color, the painting feels very bright because of the intensity of the colors. Of course, neither one is better than the other. It's just a question of style and intent.
Changing an entire palette does take some getting used to. The new colors are really strong and can easily take over my painting, so I don't recommend them for beginners. While I'm still learning about what I can do with these new tools, I'm very pleased with the results so far and I'm having fun with it.
By the way, Gamblin Paint Company has lots of useful information on their website about paints and colors, including information on mineral and modern colors, and their line of Radiant Paints.
I'd love to hear from you. Please drop me a note below to let me know your thoughts on my new palette and if this post was useful.
I'm Linda Hugues and I paint cityscapes from my travels in Europe and my home in Florida. Here on my monthly blog I write about everything related to my art life, in and out of the studio. Enjoy!