Back in April I got to spend a half a day doing something amazing. I attended a plein air painting workshop taught by Randy Blasquez at the Horton Farm Iris Garden in Loomis, California. The view above was my chosen landscape and I attempted to crop it down to a 12 x 8 canvas and just show the middle part. The day was warm and gorgeous, and I prudently parked my easel, Anaïs, in the shade. Something about that chartreuse tree, the lavender in the back, the dark right side, and the red-orange irises in the foreground was very attractive to me.

Maybe it’s because these were named “My Friend Jonathan.” Jonathan is my brother’s name.

We spent about an hour or so watching our teacher Randy do a demonstration after we arrived that morning. Then we all fanned out and found our spots. I found myself struggling with wanting to paint, but also wanting to walk around and admire the irises and take photographs. I buckled down and painted for about two hours. Then I allowed myself to wander just a bit before rushing back to work on an editing project at home.

My painting from that day isn’t good, isn’t finished, and I don’t care much for it—except that I learned a lot in painting it. I learned that simpler is better, when it comes to landscapes—at least for a beginner like me. I learned that the point of painting outside is to capture colors and shapes. That the light will change while you’re painting, and your painting won’t look much like the landscape does at the time you stop. Also, I learned that my eyes worked really hard at adjusting between seeing the landscape in sunlight and seeing the painting in the shade. By the end of the day I was a trifle sunburned and my eyes were sore.

No matter, though. It was a glorious day. And maybe someday I’ll work on that painting some more. Bring in more light, darken the bare ground with a warmer brown, etc. Maybe.

Light-and-dark blue “Mariposa Skies” was so lovely.

The farm is gorgeous in every way. Rows upon rows upon rows. I bought three irises in gallon pots that day to add to my garden: “Widdershins,” “Smoke Rings,” and “Obi-Wan Kenobi”—how could I resist? All of these are rather unusual colors for irises, which suits my garden just fine. I didn’t really have to be too choosy anyway; so many were gorgeous.

I liked this place so much I took my mom there the following weekend. No painting that time, although they were having an event for painters that weekend.

Mom and I just enjoyed wandering and admiring and iris shopping.

Surprisingly, Mom was attracted to all the purple irises that day, instead of the yellow ones. Yellow is her favorite color.

Oh, and there were super-cute goats. And a lizard. And a bunch of rusty old farm equipment! And a rundown barn. Truly a delightful place.

It’s been a little while since I posted about my experience of learning to paint with oils. I’m finishing my third set of studio classes now.

This is my biggest painting yet—a 16 by 20 canvas. I used my photograph of my neighbor’s magnolia blossoms as a reference. I am very pleased with how this came out. I tried to paint quickly and with emotion. I allowed the underpainting to show through for the first time in the hopes that it would lend a dreamy kind of atmosphere. I see a couple of things about this that I would like to fix, but I think it’s basically done. I think I’ll even sign this one.

I’m really enjoying my teacher, Randy Blasquez, and my classmates. I’ve now been coming to class long enough that I’m getting to know other painters and see and learn from their processes, too. Everyone is different. Everyone struggles with different aspects of painting. Each subject we attempt has its own challenges. I love tackling new things, and I feel I’m learning with each painting I do.

I’ve done a very little bit of work at home, which was very fun. My new easel, whom I named Anaïs, and my new “French Mistress,” whom I named Genevieve, are working out really well. Genevieve is a wood palette box that holds my glass palette and keeps paint from getting everywhere. These gizmos are beautiful and functional. I waited about six months before investing in these items. I think I had to prove to myself that this painting this wasn’t a fly-by-night whim.

This is a shot of my slightly damaged painting I did in class back in February. Some “helper” seems to have dragged a little finger from the dark center of the poppy down into the pot and the blue of the tablecloth. I’ve managed to take out most of the line with some very careful scrubbing, but I still have to repaint part of the poppy. I like this painting, too. I like the shadows especially. While working on this painting I was consciously trying to use more paint. That probably sounds funny, but I have a tendency to be conservative—oils are pricey. I wanted this painting to have more flow and texture.

Last Friday I got to go to a plein air workshop. It was my first experience painting landscapes outside. I’ll write about that another time. For now, I’ll say it was amazing and fun—and full of new challenges.

In mid-November I went back to my painting class after a two month hiatus. I had to earn some dough before I could return to class. In the time that I was away from it, my stress levels soared, I got depressed, and things looked bleak. I’m not saying all of this was related to not painting—there was plenty of other stuff going on. But I remember thinking during all of that, I just want to paint. I yearned for it. I decided for the sake of my mental health that continuing my classes was good for me.

And it is. I’m now three more classes in and I’m still loving it. This is a series of three paintings of a copper kettle. The first was the black and white one above. We were instructed to use only Payne’s gray and white. The point of the study was to focus only on value and not on color. I have a lot to learn about this, but value is the relationship of dark and light. With the two paint colors I mixed a middle gray, then a light gray and a dark gray.

Modern Color Wheel from My Class

Goethe’s Color Wheel (for Fun and Because It’s Pretty)

After Thanksgiving we were given a new exercise: Paint the same subject in basically the same position on the same background using complementary colors, which are opposite on the color wheel. When mixed in equal proportions, they should create a neutral gray. I’ve learned that in painting “gray” is not so specific a shade as it is in my mind. There are lots of grays and, well, isn’t that wonderful?

This second study above was painted with a blue-green and a red-orange. All the colors you see were mixed from those two and then tinted with white to ultimately fill my palette with 15 different colors. My kettle wasn’t in the exact same position as in the first study, but the effect is the same. (I just noticed there is a diagonal shadow in the bottom right corner of these photos. That’s not in the painting; it’s in my window and the photographs.)

This one is last night’s study: same kettle, different exercise. The point of this study was to use three colors from the color wheel, a triad. (A color scheme in which three colors of equidistant distribution on the color wheel are used, e.g., red, blue, and yellow.) We could pick any three, so long as they had the right relationship to each other. I chose green, orange, and violet. I mixed and mixed these three colors and then tinted with white to get roughly 17 colors on my palette. Just doing this was awesome. I also had three goals in mind when I was painting this third kettle study: 1) paint a little faster, 2) paint thicker (use more paint), and 3) take more risks.

Now, this copper kettle isn’t exactly the thing I want to have a painting of in my home, much less three paintings. But this was a fascinating exercise and I’m so glad I did this. I have a much greater appreciation for color and mixing than ever before. Also, I no longer feel that every painting has to prove anything. The doing of it was the thing.

I had my “final” painting class on August 23. We worked on a still life of watermelon on a table draped with black velvet fabric. I tell you, painting black velvet was really tricky for me. Is it green-black? Purple-black? Mixing blacks from transparent ultramarine blue, alizarin crimson, and thalo green was quite remarkable. I painted a small 8- by 10-inch canvas that night.

A few days later, while the paints on my palette were still wet, I finished it at home. I elected to work on that black velvet some more—it was looking wimpy—and to dull the green in the rind of one section of melon a bit more. Here’s a photo of the finished, still-wet painting. Such a simple, one-object subject, and yet it presented many challenges. It felt perfectly marvelous to use all those reds!

Above, I said “‘final’ class.” I have to enroll in another session because I’m not done with this yet. I’ve taken a haitus of a couple of weeks now and I and really miss it. I’m hoping to return to class next Tuesday.

To all of my darling friends who made it financially possible and shoved me into this dream of mine (because I wouldn’t go there otherwise), thank you. Thank you from the bottom of my heart. I’ll never forget this birthday present.

I’ve already written about how my gorgeous, generous friends gave me oil painting classes for my birthday here and here. I figured I’d better report on how things are going.

I LOVE IT.

This was my first setup, in a too-dark shot taken by my cell phone, which doesn’t capture even half the necessary composition, beauty, perspective, color, or light that made up these sunflowers.

This is my finished painting (and a detail is at the very top). See how I avoided those wicked stripes? Too hard!

In class, my makeshift palette box (glass from my fridge shelf that broke in a pizza box) stands near my borrowed easel. I try really hard not to knock stuff onto the floor. I have a new brush cleaning jar with a fancy coil thingy that’s supposed to keep my brushes in good shape. I used some old cadmium yellow light paint that my Nana had; I had to squeeze hard to get it out of the tube, then it squirted everywhere. So far, there’s little grace involved. Still, painting is challenging and thought-provoking in the most delicious way.

Here is my second painting in progress; the photo was taken at the end of the third class. I had too much solvent on my canvas by the middle of this class, so my paint wouldn’t stick properly, especially on the vase. I was still working out my background color. During the second session working on this painting (fourth class), that wasn’t the case and I was able to finish it.

This is what the studio looks like. There’s my second (silk flower) setup in the lower middle.

My teacher and my classmates are very supportive and said kind things. I’m very happy with this painting, all things considered! Can’t wait to do more. I think my brain is growing and my eyes are seeing more.