5/9/23

The Gift of being Present

"Five Fifteen"  24x24" Pastel on sanded paper

The gift of being present...what a concept! I dare to suggest that most of us live in an interruption-based society and are simply busy working to live and survive. And when all our needs have been met we naturally move towards new goals. 
Planning, dreaming, and navigating the world around us can give us a sense of purpose. We can also get hung up on worrying about the past and lost opportunities. Why not? How come? Not me? Or how about the voices in your head that keep reminding you of all those "Honey do's"?   


What if you let off the gas and just coasted for a while? When was the last time you did that? A long overdue vacation? That in itself could be exhausting! Do you need more time for yourself? Living in the moment is possible with a bit of thoughtful effort. Become more aware of your surroundings. Quietly sit down and look outdoors at the colorful Spring season. What do you really see? When have you just sat and listened to the quiet sounds around you? Can you identify them? Being present in the here and now is such a gift to your well-being. Take a deep breath, pray, meditate, fill your lungs, and clear your mind. Just be here, and gift yourself the present.

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12/20/18

Your Hidden Gifts... or Art they?

When I was a littler kid, I was usually found quietly entertaining myself by making something with my hands, and pestering or instigating trouble with my sister. My wild side provided endless curiosity to make things; whether with crayon, pencil, paint, clay, wire, tissue paper, gum wrappers, mud, food...you name it. Sometimes the result was a mess!  Making something out of nothing was pretty much a self-driven therapy. I often thank the heavens I'm not crazy...or am I?  So to all of you creative souls out there, I'm sending you suggestions for a year filled with curiously fun adventures, creative opportunities, artistic possibilities, and hopefully some new art supplies that will keep on giving for years to come...

This Advanced Pastel class is an 8-week series that will cover the finer points of pastel painting and beyond, with the still life as our subject. Designed for the artists who have a solid understanding of pastel painting. Artists will have the choice of painting a still life that is composed and worked on each week over a series of sessions, OR, from a new still life composition each week. The artist must have knowledge of painting vernacular and skills based upon previous lessons, experience and instructor approval.  

In this course we will cover everything pastel that is 'chalk full' of information with plenty of time to practice and finesse your newfound knowledge. We will build upon your skill, understanding, and confidence in the medium through a progression of exercises on the many aspects of pastels.  We will be breaking down the values of pastels, exploring the facets of mark-making, discovering your style with pastels, under-painting techniques, and more. This is a great course for those who wish to discover the medium, learn about pastel on a broader level, or for those who wish to push their pastel work to the next level.  Perfect for Beginner to Intermediate levels.

Wishing you a wonderful, adventurous 2019
Brenda

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12/8/16

A Lite Meal, 9x12

I am really enjoying teaching pastel. I think it's because my demos are much more looser than a long term studio piece that I tend to grovel over. Having a crowd behind me makes me work faster, with pure intension.  Here is a piece on watercolor underpainting.

I started out with a sketch. I had to use a blue hard pastel because it was the only midtone value I had in a hard pastel. Funny though, as it seemed to resist the watercolors.

Blocking in the values

Added in the light values and midtones. I tried not to overwork the details 
because they can easily kill a piece.

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11/27/15

Laguna Plein Air Invitational Day 1

(sorry for the centered format, I'm not sure why it's posting like this...)

I've been home now for nearly a month and a half from painting The Laguna Plein Air Invitational, and it has taken me some time to digest it all. It was a challenging event for me mentally, because of the lack of sleep from the rolling and rewinding conversations in my mind on the "what, where, and when" I was going to paint. I finally did get that sleep, long after my return home and still alive to tell you about it. There was so much that went on to share with you, too much for just one post, that I've decided to post each day as it was held. a few pics for each day I went out to paint. This post has three short days, but first, I'll begin with some history...

Laguna Beach and its' neighboring coastal towns is a beautiful area for a plein air artist to paint, offering a fast tempo of energy, clear sunshine and a varying scenic coastline. It is about 1 hour south of Los Angeles so it is definitely in the heart of Southern California, and perhaps, I'd say it has a culture all it's own. What also is attractive for artists is the plein air history dating back a century. Noted artists George Garnder Symens, Franz Bischoff, Marion Wachton, William Wendt, Edgar Payne, and many, many more artists were instrumental in bringing impressionism to California.  The Laguna Plein Air Invitational was formed about 17 years ago by the Laguna Plein Air Painters Association to continue the spirit of California's plein air movement. The Laguna Plein Air Invitational is one the foremost events in the plein air community today.

I flew out on Thursday and found my way around a bit with Jennifer Diehl. Here is Friday's short and sweet warm up at Huntington Beach by the famous Huntington Beach Pier.

"Daywatch" 8x10" Pastel  ©Brenda Boylan (sold)

The event began on Saturday morning where all 35 artists had to gather at the Festival of the Arts for canvas stamping, a quick orientation, and a nice breakfast buffet. 

LPAPA Invitational artists and Organizers.  Too many to mention.

Then all the artists took a private trolley ride to Heisler Park to create our 2-hour Quick Draw piece. Quick draws are really challenging because a location has to be decided without fuss and easel set up so that the painting can be completed in a certain time. We started at 11:00 and ended by 1:00 pm. 

"Laguna Overlook" 9x12" Pastel


Laguna Overview, 9x12" Pastel ©Brenda Boylan  (available)

Silent auction

After painting the quick draw piece, the artists had to quickly frame and hang their art at the Laguna Festival of the Arts for a silent auction and a small lunch.  Afterwards, we were off to paint whatever we wished for the bulk of the week. I began working on an urban scene that late afternoon which ended up being pretty ambitious. I first started out by drawing in a loose composition with a pastel pencil, and then blocking in the underpainting with a pastel stick and then washed it with Gamsol on a sponge brush. Here you can see I had an orange and blue underpainting, but I ended up changing the blue to a dark orange to make the underpainting all warm and consistent in hue.

This piece measures 16x16", sanded paper dry mounted on conservation board.

That night, if I remember correctly, I went to my generous host's home to shower up and plan my next day. I will post more on Sunday about the next few days of the event. Thanks for hanging with me!

~ Brenda

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7/14/15

Intoxicated by Plein Air

Largely employed by the sunny weather, I have nearly abandoned my studio life.... and the electric eye. Alas, I take a moment to check in with you and the world beyond my measure. I love the warmer weather and its lure of adventure and color.  My journey is swift and so is this update.  Be well my friend, as I have not forgotten you.  

~Brenda

"An Alternate Route" 12x16" Pastel  Los Gatos Plein Air ©Brenda Boylan

"Brunch at Zeppo's" 12x16" Pastel  ©Brenda Boylan
Lake Oswego Festival of the Arts "Sponsor's Award"  

"Purple Penumbra" 16x20" Oil ©Brenda Boylan
Willamette Valley Lavender Festival Plein Air event, Honorable Mention

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11/15/14

How to be a Cover Girl, well sort of...


I would've never expected it, but my piece "Stopping Point" was selected for the December 2014 cover story for the Pastel Journal.  I can now honestly say I am a Cover Girl, but not the kind that renders up images of a 13 year old with Photoshopped lips, but I digress.

"How did that happen?" one would ask.

Well, it all began a few years back, I think it was back in 2010, when I met a journalist named Angie Young at a plein air event showcase.  Our discussion revolved around the challenges of being an artist with a young family, like how can one have an art career and still be a Mom? We continued our conversation for some time and then I hired her to write a story of these very challenges with the intention of getting coverage in an artist magazine. The story took a circuitous route, but we finally agreed on the direction of the story. I paid the writer, after discovering that there was a procedure process from which we did not follow, and I thought the submission would be filed. I submitted the story anyway, along with several images to support the story to The Pastel Journal. Then I waited.....

Then on a summer day, I think it was July or August of this year, I received an email from the Editor of the Pastel Journal, Anne Hevener, that she had some of my images on file and was wanting to know if I'd like to be interviewed for an article on my work.  Are you kidding me?  "Why YES I would" I replied.  So I was contacted by journalist Michelle Taute and we set a date for a phone interview. She dove right into the story with some great questions about my fascination with urban scenes and my "how" of pastel painting.  She wrote the article as if she lived inside my mind, clearly writing my thought process without any hesitation. 

The article was polished with accompanying imagery and then I was able to review it for accuracy and content. Then sometime in September, Anne Hevener informed me that one of my images was being considered for the cover and I had to be hush hush about it.  Woah! How cool would that be?  I asked,  "What are the deciding factors for a cover image?" Apparently the Art Director , Marketing and other important decision makers have the challenging job of selecting the cover image based on interest, sales potential and color. I'm sure there is a lot more involved with this editorial decision than one could imagine. Anyway, it seems to be a pretty tough job, much like a jury for a national competition.  

HOW Do you get into a magazine?

So you may be asking "How do I get noticed by an editor or staff writer for an article on my work?" Well, I'm not an expert here but I can offer some ideas that may work, some of which I employed over the years.  First of all you have to ask yourself "Why do you want coverage"  Do you create something interesting that is unconventional and can be interesting and new to the readers? Or do you wish to be "famous" just so that Mom and Dad have bragging rights over coffee and donuts?  What is your motive?  Magazines find artists and subject matter in a number of ways. Participation in National shows comes to mind, perhaps your online social media can assist in name recognition, but did you know that most magazines have a process of inquiry?  Publications typically post the guidelines inside the cover page. Sometimes a magazine may support a National arts organization, giving the magazine first opportunity to see who the rising stars are.  You can find most of your magazine inquiry information on the net these days. Here is one magazine submission process clearly posted for The Artist's Magazine.   Or check out Empty Easel on the topic HERE

So there you have it!  What month will you be? 

~Brenda

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11/10/11

Cowhand Roger, 12x9

"Cowhand Roger" 12x9" Pastel on sanded paper ©Brenda Boylan

click to view close up of Roger's face

Now that the weather has cooled down substantially, I have been painting figures from a live model with a few other like-minded artists in my area. Today our model was Roger and he had on the full "cowboy" ensemble, including those jinggly spurs on his boots. Ohh, I liked this one! The lighting on his face had that hint of mystery, from the underlying cast shadow from his hat to the glint of light on the end of his nose. Pleased that this one just painted itself albeit difficult with nubby pastels. Just need to adjust the legs a tad and call 'er good.

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