Working from photographs

With winter approaching, I know I will have to use more photographs as reference and tools for my work. It doesn't particularly thrill me as I frankly prefer to work from reality. Making sketches on location allows me to observe many details, such a the correct light and colors, shadows and their color too, the overall landscape rather than a framed one, I can move around to see what's behind a rock, even far, I can jot down notes about the true green of trees, and much more. Using watercolor helps a lot too. 

So, photographs limit the artist vision. First, they never truly represent the colors, and the lighting can vary. A camera will never replace your eyes. Photographs are also flat, where the world is 3-dimensional after all. Finally, they are tiny ! When looking at a landscape, the scale isn't comparable and it can be difficult to work from an 8x10 print or smaller if you don't know how to scale it down accurately when you do your preliminary sketches.

That said, they are valuable for other reasons. When cold temperatures hit and snow covers the ground, sketching or painting on the spot isn't easy. That's where photographs come in the picture, no pun intended ! They are a good tool, but you need to keep an editing and evaluating eye while using them.

Finally, it's important to use only your own photographs, first from a copyright point of view, but also because when you take them, you will be better able to translate the emotion from it onto canvas or paper than using someone else's. You did take that photo, your mind and eye remember it, and translating it will be much easier than using one that you know nothing about. 

But if given a choice, do work on site if you can, it will make you a better artist.

Very best,

Aude

Painting clouds with acrylics

Stormy range - 6x12 in. acrylics on deep cradled wood panel.

Painting clouds with acrylics is not that difficult, it turns out. But if you feel challenged by it, here are some tips to help you out.

First of all, you need to practice with the concept of scuffling, which is essentially using a bit stiffer brush, a little white paint at first and starting in a center point you gently "scrub" the paint around lightly, further and further around until the brush is out of paint. At that point, you should have a pretty fuzzy shape, lighter and fuzzier on the perimeter so that it seems to disappear. Then you simply repeat the same procedure, and again, and again, until you feel that it looks "airy" enough. Try to avoid hard edges.
In the painting above, I used only Cerulean Blue, Raw Umber, and white for the clouds. I kept mixing various tints in order to get the right variation in clouds. I never used black.

At some point in this process you'll have to decide where the light is hitting the clouds and apply more white consistently so that it makes sense visually. So go ahead and practice on your favorite surface.

Now, for my personal technique: I work on wood panels, and since they tend to lack texture like a canvas, the paint slips around a little more (make sure you do coat your board with gesso, but it's not a fix-all solution.) For that reason, note that scuffling is more difficult and you just have to practice a little.

Because I live in a dry climate, I like to use Liquitex blending medium. I don't use a lot, just have a little pool of it ready to dip in. It really helps in the scuffling method and extends slightly the paint wetness without keeping it wet too long like the Open series. I also work a little faster. Note that the blending medium dries glossy so I make sure that after my painting is done and very dry (1 week), I apply a satin varnish to even out the whole surface.

Finally, a great video to watch is https://youtu.be/OIB1Rddh2p8

Hoping this was hopeful, let me know how it's going for you.

Very best,
Aude

Landscapes are fun too.

The fall is a very inspiring season in Jackson. Colors abound, contrast too, and the light is magnificent. I feel that everything looks "yummy" and I want to paint it all. I recently finished a painting on leave, which you can look at on my website.

I have also decided to tackle a beautiful landscape view I took a photo of recently. The Teton range presents a variety of looks depending on the season, the conditions, the light. This time, it was dimmed under the clouds' shadows, allowing the enormous field of blonde grass to look stunning, and the distant hills be another lovely element. So, I had to paint it.

I still need to add the mountain range, but the main challenge is painting the clouds, as I'm not sure how I want them to look. I need to experiment on a test panel with varied medium mixes in order to achieve the right effect. I'm also not looking at copying exactly what's there. I know I will come up with something great as I am not satisfied if it's not making the whole look harmonious.

Off to my brushes!
Au revoir,
Aude

Jewel-like or eggshell finish, and edges

I have recently discovered a wonderful way to finish my paintings, which lend them this beautiful jewel-like or and eggshell quality, depending on the very final steps.

The first one is definitely more sexy, similar to Ferrari car finish, only thicker and more luscious. The other goes a couple of steps further, and the result is a soft satiny finish, yet as transparent, and it seems more appropriate for some of my nature related art, requiring a more organic look.

As far as edges go, I let the painting guide my decision. Not all paintings look good with natural wood edges, in spite of the panel birch wood color being beautiful. At times, I can simply see that the whole will look more appealing if painted. I also do not like to attract much attention to the edges, are the painting needs to be the focus. For this reason, I never use any type of finish that could distract the viewer, such as paper pattern collaged on or textured paint.

Finally, I have opted out of using frames all together as I feel that it is an unnecessary element. I like how the imagination can expand beyond the sharp edges of the painting and a frame would create a stop to that. That said, at time I have considered using a floater frame and that is something that may help me enhance my work in the future. For now, simple and beautiful is best.

Painterly yours,

Aude

Quote of the day:

"The purpose of art is washing the dust of daily life off our souls."

~ Pablo Picasso

It's about sharing

I feel very postive about the recent change of direction in my work. Sometimes it takes some real tuning in, listening, and it can be a very subtle realization or a loud one. Personally, it was both! It was like a bud developing and giving me hints of what I should be doing and stop doing, and then the flower opened, and I knew.

What I absolutely love about creating my art is sharing. We live in society and we need the connection to others, at least most of us, and sharing art is most rewarding. I know that what I draw or paint usually bring a reaction in most people, and that's what I'm after. Sharing means allowing people to express what it is they like, dislike or are indifferent to, basically opening a conversation with them. I doubt that my artwork ever disturbs anyone (although if it does, do let me know why), particularly since I've gone back to painting figuratively. So if it makes one feel more at ease, enjoying what they are looking at, then I feel happy that I've contributed for a moment to a positive state of mind.

There is enough sadness and suffering in this world that if we can bring a little joy to anyone at any time, then it's an act of kindness.

Finally, I feel I am doing the right thing with being on a new path. I have painted 5 paintings and sold 3 within days. That is most encouraging. I am grateful and wish to be bringing you more art often.

Aude

An AHA moment and everything changes!

When you are a creative mind, it is usually good to push through difficulties in order to progress. I supposed that's what having "grit" is about. There might be moments when you feel like giving it all up because it's simply hard. There are good days and bad days, and when the bad ones are around we face what Steven Pressfield calls resistance in his book The War of Art. It is like a part of you, yet it could care less about you, trying to coax you to stop in order to stop the suffering. After all, it's all about living in the most pleasurable way, seems like. Or at least, that's what our primal mind thinks: if it's hard, don't do it. Most creatives go through this at some point and the key is to keep doing what you're doing, not stop. However, there are times when one might want to listen deeply and pay attention. That's what I did.

Rcently, I was struggling with my abstract work. There was a disconnection from it, I felt lost, and unsure of what to create, not enjoying my creative time. I tried a different style, more textural, simplified, etc. It wasn't working. It was becoming stressful to the point of dreaming, one night, of being inside a sinking boat and going down with it.

Yet, in that dream, the boat popped back up and I didn't die! I took the time to reflect on my work and realized that I was not enjoying this abstract style because I missed sketching and doing more figurative work. I missed it terribly, in fact. I had this vision of painting some simple flowers on a small panel, in a spontaneous way. I did some quick sketching and my painting evolved as I went. It was fun! I painted another 8x8 in. panel with a flower arrangement I made, and loved it. In fact, a friend of mine said at once she wanted to buy it. Wow. I did a third panel, more natural history-like, and had a blast, even though it was challenging in its ways. Texting it to another friend to get her opinion, she said too she wanted to buy it. Double wow.

And so, I am shifting my work. I have listened to what it is that I needed. It's not that I'm not plowing through difficulties as I should, as those 3 panels had their problems to solve, but I have listened to what my heart was telling me and now it's singing again. 

Those 3 panels are what you're looking at above, and I will have many more. My intention is to open a shop on Etsy and paint a real variety of subjects. I am not stopping my abstract work but pausing for the moment. There is no such thing as utter joy when you are doing what you love. I am now!

Blissfully yours,

Aude

Minimalist paint kit for trekking

I was just on a 7-day trek in the Teton range, on Teton Crest Trail, a fabulous experience. I so love hiking and being out on trails for that long period of time, it rewinds my clock, energizes my creativity and allows me time to reflect on aspects of my work and life.

With my backpack weighing around 42 lbs, I had to really trim down on the art supplies! So I chose my little watercolor notebook, a Moleskine one with 60 pages, and good paper, my mini box of watercolors, 1 yogurt pot lid for a palette, 2 tubes of gouache (white and black), 1 small pencil - no eraser (I never use them anyways), 1 apple sauce container for water, 1 tiny light ruler, 1 #3 brush and 1 Niji waterbrush, 1 Copic Multiliner brush 8mm, and 1 Artline pen 0.1.

With the pouch to carry all this, the kit weight is 325g, or 11 1/2 oz. Not bad!

Thus I had the opportunity to write, sketch scenery, work on abstract vignettes too. I never totally stop doing art, it's simply a part of my daily life one way or another.

I'm set for the next trip!

You know the feeling when you've been doing something you love but at some point you need a little break in order to renew your mind, your muse mind, and your ideas? That's where I'm at today.

The past few months have been spent painting regularly and it's been rewarding as the more you do something, the better you get at it. My work has benefited from this commitment and now shows a more refined approach as well as more defined elements, while remaining abstract. I feel very positive about my progress, and intend to keep at it.

If you visit my website you will quickly see what I'm talking about.

I have about 8 new panels completed, 4 of them are showing in "Tiny Art Show" curated by Meg Daly and Alissa Davies, on Wednesday, August 3, 10 and 17 at the People's Market. The other 4 panels need their edges painted and varnished but that's easy although lengthy as I make sure the panels look professional.

So, after all this great work, I'm off for a 7-day trek and glad to take a good break before getting ready for more art-making. I'll be in touch soon again!

Au revoir,
Aude

When do I paint?

Like everyone these days, I'm very busy with various projects. Most of them are art-related, which is what I prefer by far. But many are not, and this is what our life is made of: following our bliss, when we dare doing so, and everything branching out from it. Then there is... the rest. Some of that "rest" can be quite fulfilling as well, and is necessary; otherwise, as artists, we would be way to obsessed with doing only what we love doing. The rest of life is here to allow us to spend time with family members, walk our dogs, see friends, help others, etc. and address more mundane chores such as shopping for food, cleaning, bills, and more. You know your list, don't you? Some are fortunate and can hire help. Many of us can't and we have to take care of things on top of pursuing our passion.

When do I paint, then? I know morning are when I'd prefer to, but last fall I decided to help a friend of mine for a few hours in the morning during the week. It does help paying bills and it's a fun opportunity to be out of the studio, surrounded with people and helping. I now have as a habit to paint in the afternoon instead, after lunch and exercise. My sessions often start around 3:30 pm and can run until 7 pm with a couple of breaks here and there. I don't like to fall into a rabbit hole while painting and it is good to distance myself from my work. Looking at swallows flying around while sipping on a coffee, or lying in the grass on my back and staring at the clouds are my favorites.

This daily commitment to painting is a great way to progress. There are days, indeed, when I can't paint, or have very little time, and I will always try to get in my studio, even for half an hour. I don't wait for inspiration, I don't let myself be distracted, I simply commit to showing up every day.

It's this constancy that allows my work to move along. 

Best,

Aude

Painting on wood panels

I do all my work in acrylics on wood panels instead of canvas. I prefer by far using a hard surface since I layer a lot of paint. But, mainly, I distress paintings with gusto, using sandpaper and all sorts of gouging tools from dry points to screwdrivers and knives. A canvas absolutely cannot withstand this treatment, neither does illustration board, although I made a couple of paintings on the latter and it was more forgiving than canvas, but was way too porous, and sanding didn't work very well.

What I like best is when I sand is that the results are usually beautiful. This process allows me to get a softer, worn out look, sometimes even grunge-like and adding a glaze or paint on top is like the cherry on the cake. I can build much depth, and no other surface allows me to do so.

I also, on occasion, add collage to my work and paper glued onto wood is perfect, since it's made from trees. There are no issues as long as you use medium properly and here too, the result is gorgeous. Same with transferring an image from a laser printer copy, which I'm starting to explore some. One more process is using artist tape to get very straight lines, and that would not work so well on canvas.

My favorite suppliers are RexArt and American Easel. RexArt even creates custom sizes.
Here are the links to their sites:

• http://www.rexart.com/canvasmain.html
• http://americaneasel.com/cradledpaintingpanels.aspx

Best,
Aude

Upcoming solo show in June and July

Last September, I was one of the lucky 9 nominees in the Jackson Rising IV exhibit and had the privilege to have been given a large space on the wall for several pieces. Witnessing the curiosity and interest the audience had in my work was most rewarding and encouraging. 

I am very happy to see my second show happening. And this time, it's a solo show! It will be in Isabel Jewelry & Gallery in Pinedale, WY, an hour away from Jackson, and there will be a reception on June 17, from 5 to 7 pm. Come for a great time and it's a good opportunity to see my friend Isabel beautiful and classy jewelry work.

I have been painting a lot, and will have new work, and some from last year. I am experimenting and learning a lot these days, so my style is maturing and evolving. I intend to post regularly now on, and have been, in fact, on Instagram where you can follow me anytime @audenevius

I want to share my process as I work and make you a part of it.

So, come on June 17 if you are near, if not, keep reading my blog!

Thank you,

Aude

Spring!

Yes, it's spring, finally happening in Wyoming. It has been raining a bit and everywhere I look is green as can be. This is so refreshing after the monochromatism of gray winter days. Nature has come to life again and because of the harsh climate, it's a yearly celebration.

I find myself wanting to paint everything green, in fact. It's such an amazing color and it's fascinating the know that most of the world is green -except for the oceans and seas, indeed. So it's the most "natural" color around, but it's never been an easy color to reproduce. What comes out of your tube of Permanent Green Light you will never find outside. Green is difficult to reproduce, and it has often been made of metal, or rather, the corrosion of metal.

I am loving all the nuances and thinking I need to explore a painting that encompasses them all, without being boring and overly uniform.

In the meantime, I'm back in my studio painting a lot! I had a difficult winter with my sweet beloved dog being sick and passing away and it took me a long time to recover. Now on, my art will always be dedicated to him, for he was a grand presence in my life.

Here is one of my latest studies, mainly green, I guess. It will most likely change in design and values, but for now this feels good.