Life's A Trip...

 

Life's a Trip . . . . . . when you get back up   How are you doing during this unrest and an unworldly pandemic?  It seems so long since I have seen a familiar face within 3 feet of me, sharing a good laugh, feeling the summer heat together while outside in the July air.  Personally, I have noticed that my way has been negotiating with my will, and I'm trying to find balance with what is more important: whether I stick to my old routine (which has been cut short), or just relax a little more ... and take another nap. It seems that my motivation is slipping, so I figured I would Google "getting motivation" and this is the first thing that popped up:   Set goals Choose goals that interest you Find things that interest you within goals that don't Make your goal public Plot your progress Break up your goal Use rewards Don't do it alone. Everything looks attainable, but there is one item on this list that is really challenging, and that is #8.  Don't do it alone?  REALLY?  It's the one ingredient we all need the most in these unprecedented times...and that is togetherness!  So, reach out to one another, volunteer, write a love letter, send a long lost friend a text or email, or better yet...an overdue phone call. I love to hear from friends from time to time to rekindle that togetherness we need right now.  And if you are motivated enough, reach out to me with a photo of you and a beloved, or perhaps with you and your favorite piece of art. Let me cheer you on so that you and I will know we are not alone!      #8  Don't do it alone.   By the way... in the course of having painted with either pastel or with oil paints, I have figured there is a one in 30 chance my easel will fall over.  I'm still smiling, still grateful to those who help me out, and laugh when the numbers are in my favor.

Morning Birches 10x8

 

Morning Birches 10x8" o/l  

Overlooked, average, and often undiscovered spaces close to home can be the most inspiring places to paint.  Once you slow down and really look around you, you will find all sorts of unsung beauty.  Here is a spot just around the corner from my house that I drive past nearly every day.  It was a chilly Fall morning with the sun rising just behind the rooftops, and there it was...this stand of small birches highlighted by a glowing, rainbow-like mist. I gotta STOP! And so I made a swift U-turn back to my house, picked up my painting gear and returned a few minutes later to paint it.  Now every time I drive past this unnoticed spot of beauty, I will always remember what I saw and what was painted. Art does that. It takes us somewhere else, calms us, and settles our busy lives down.  Take in a moment and look around you while running your next errand. What do you see? 

This piece is headed to the New Visions show at The Mission Gallery in St. George, UT. March 21-22, 2019

5 Simple Tips for Plein Air Painting

 

“Sun Day Off,” oil, 11 x 14 inches

No-fear plein air painting requires a little planning, a healthy dose of respect for nature and a keen sense of humor. With my five simple tips for painting en plein air, you’ll be able to hit the ground running and make the most of your experience.

1. Practice setting up your easel a few times before your first outing. Navigating an umbrella can be a humorous endeavor for others to observe, so practice where and how to hook it up to avoid frustration and wasted time.
2. Your first mark should be the horizon line. This grounds your painting and immediately navigates the space.
3. When dressing, think thin-to-thick. Wear layers of clothing to avoid colder-than-expected or steaming hot conditions.
4. Be courteous and respectful with nature and your fellow painters while out painting. In that way, painting outdoors is a little like camping. If you are in a very wild area, expect natural things to happen. Bug bites, wildlife, unexpected weather conditions, or a potential angry farmer, as well as the best painting subject matter, are all part of the plein air experience. Leave no trace behind.
5. Have a sense of humor at the easel. This keeps things simple and not overworked — not to mention, the “fun factor” is definitely increased.

Clip of the Crop 11x14

Clip of the Crop

(11x14" oil on linen)

Being out in the sunshine painting a beautiful scene with bold color like this makes for a fulfilling day. This piece was created with an accompanying 3-part video short in order to share with you an inside look at my process. Jane Bell Meyer of The Mission Gallery has conceptualized the idea of presenting several plein air artists painting for three days in a row.  It's quite a kick to see how each artist conveys what they see, where they are, and how they communicate it in paint. 

Here is my very attempt at trying to tape myself at the easel, not very easy and not an Oscar winning moment either, but you get the gist.  Enjoy!

Watch HERE.

I have a new workshop to share with you!

Offering a 2 day "Pastels en Plein Air" workshop. Come join in a fun and highly educational plein air pastel workshop for all levels of painters. Plein air painting has its own challenges and advantages, offering quick studies to beautiful finished works in just a few hours. Get to know the best practices, methods, materials, and how to select a scene that will cement your solid foundation of plein air painting. We will focus on how to build a painting through design, values, shapes, and color to jump start your plein air journey. Brenda will offer a brief demonstration each day to help you focus on the essentials of plein air. Additionally, there will be personal advice at your easel and we will wrap up each day with a group discussion/critique at the San Clemente Art Supply.

Brenda is a Signature Member of LPAPA & the Pastel Society of America, and has been an instructor at the 2nd ,3rd, and 6th Plein Air Conventions.

Dates: 8/26/2017 - 8/27/2017

Pre Demo date: 8/25 at 4:00pm

Tuition:  $275

Register through San Clemente Art Supply and Framing (patience please...class may not yet be listed)

or visit Brenda’s workshop listings at https://brendaboylan.com/workshops

Contact Heather Raposo to register at scaclasses@scartsupply.com

949-369-6603

Afternoon Adagio, 20x16"

It is with great anticipation that I post this new piece "Afternoon Adagio. You see, I will be sending this piece off to Atlanta for the Olmsted Plein Air Invitational. It is a rather new event located in Atlanta, GA. and boasts a large following in a very short period. I will be 1 of thirty plein air artists that will gather from across the US to paint for Olmsted, and as part of the event we are required to send in a piece for the Collector's Preview Gallery. I am so excited to be a part of it! Since the weather has brought us snow I kept inside my studio and created something warm and summery.

The Collector's Preview Exhibit will be at The Booth Wester Museum in the Bergman Gallery, during the month of March, 2017.

Cattails, 14x14

"Cattails" 14x14" Oil on canvas panel (plein air)

Brrrrr. It's winter alright. Here in Oregon we are being treated to the coldest temps in a long time. Makes me wish for the heat of summer, but I think I'd even settle for mild temps of Fall. I painted this scene last October at the edge of a swampy wetland on the property of a horse stable. I went there to paint horses, but came home with a cattail painting.  Subtle greys, inspired with a hint of warm and cool colors.

The Strada for Pastel Plein Air

As a traveling plein air pastelist, I have found one thing to be true. Carry less so you can have more. More freedom, more practical thought, more ability to move about, and more joy. You see, pastels are like a piano. You need each key to make a beautiful harmonic composition. With oils, you can travel with as few as four colors to make a painting. Not with pastels, oh no. I would jokingly compare it to carrying an upright piano on your shoulder. I think I carry about 250 pastels in my plein air box and the weight adds up. Some pastelists carry more. My plein air box weighs 14 pounds when fully loaded and so I lovingly call it my "Box of Rocks". So it is no wonder why I am always on the lookout for ways to make my set-up less heavy and complicated.

If one were to calculate all the miles I must have hiked with my current pastel box, it would probably be a combination of 40 miles. If you were to count the time I had to run down the halls of the Portland International Airport with my pastel box back to the North 40 after I discovered I left my precious box behind at the TSA, well then that's another 2 miles. Honestly, I tell you, my pastel box is heavy and cumbersome as with all of them out on the market today. They are just heavy and no getting around that. But what if you could fit it into a backpack and free up your arms, then would that be better? Well yes it would. 

You see, I currently use an Open Box M that I have modified to allow the best set up situation and ease of use, but honestly, I have been using it less and less in long distance events because of it's size and weight.  Also what adds to the total bearing weight is the tripod I have to tote around for which it sets upon. A tripod must be lightweight as well as able to carry a payload of 10 lbs over the box's weight. So say your box weighs 11 lbs., then your tripod should be able to withstand 21 lbs. Why the extra payload requirement? Ballast. You need ballast to hold your box down on the tripod so it won't blow over in case of a hefty gust and to avoid a top-heavy set up. No pastel artist wants to pick up a pile of broken pigment chips on the ground in the middle of a beautiful painting experience. 

Well, that wish may come true. I am partnering up with artist, owner, and developer Bryan Mark Taylor of Strada Easel to modify his sweet little pochade box into a pastel box.  The Strada box is sleek offering a tension closure that acts as a panel holder. That means there are no nobs or wing nuts to catch onto anything and making it easy to put into a backpack.  It is sturdy. The Strada is made of powder coated aluminum that makes it nearly bomb proof.  It's compact, making it smaller than the average pastel box. It has additional "wings" that can be added to the sides of the box for extra pastels and can be folded upon themselves to easily pack away.

So in order to make the Strada "pastel friendly" I made a few simple modifications that I will share with you here:

A good pastel box needs to be lined with foam to keep the pastels from rolling around and getting crushed. So I searched for Memory Foam online and found Foam Source, a manufacturer who will customize memory foam to fit exactly the parameters set.  I measured my Strada Box's interior dimensions of depth, width and height for both the bed and the lid and a little extra for the walls of the box, as well as the side wings. 

For the 11x14 Strada Box, I ordered:

(1) Soft Memory Foam 16.5 x 12 x .5" (for the bed of the box)

(1) Soft Memory Foam 15.5 x 12 x .5" (for the lid)

(1) Soft Memory Foam 15.5 x 11 x .5" (extra just in case)

I tacked on an extra inch to measurements of the bed to tape to the walls of the box.

Because the foam is a bit "stretchy" you will need to press firmly down to

trim the memory foam so it doesn't drag and allows a clean, uniform cut.

checking the fit before setting it with adhesive

There is a peg in each corner of the box where they poke through. I am not sure what the purpose is for the pegs, but I suppose they are important for it's oil painting purposes. I will have to remove the pegs so there won't be a hard bump for a pastel to break on.

I had my handy Dad machine them off in a snap. Thanks Dad!

Next, I measured the exact bed dimension and cut some double-sided

adhesive for the foam to stick to. You can see there is a small peg remaining in the upper center area of the bed. That peg is a "must" for the tripod head to attach. When I set in the pastels, I will have to "remember" to avoid resting them on that peg.

Peel the paper off of the double sided adhesive.

Also affix the double-sided tape to the inner sides and

place the foam and press into place.

Here is the bed lined with the memory foam. All while I am building this interior bed, I am always checking the fit, measuring, and testing any challenges. When I checked the closure or the lid, I noticed that the bottom panel bracket would have to be removed when closed as it would crush the pastels and the pastel cover.

So I needed a nifty little spot to put the bracket and decided to cut a bit into the bed

And protect the pastels from the panel bracket by tucking it behind the inner liner.

Nearly done, but just a few more special things to do...

Next, I had to make a padded cover to protect the pastels from the lid.

I measured and cut a piece of heavy duty illustration board to act as a base for the inner lid.
Again, I applied double sided adhesive to the inner lid
and then cut and attached the memory foam to fit.  

I modified the lower left of the inner lid to fit snuggly around the panel bracket.

Then the side trays were also adapted with memory foam.

The larger of the two side trays doubles as a lid and a working space.

The small side trays close up like a small box and then strapped closed with 3 super-duper rubber bands. Use (2) 6" and (1) 9"super-duper rubber bands from PanelPak.

Then I scored the middle of the foam so I could place a thin piece of foam core down the middle lengthwise to give support and structure to the loose pastels.

A perfectly pretty box in every way.

It closes up snuggly. 

Fully assembled with side trays and clip in place on the easel. Now all I need is to find that special tripod and I'm set for easy travel.  This entire set up weighs in at 11.2 lbs.

Things I learned:

Measure twice, cut once.

Always order a bit more than you need. In case you make a mistake, then you won't be delayed in another shipment.

Order a foam thickness of 3/8", not .5" so the box will close a little better. 

Constantly check for obstacles. There are always a few surprises when modifying a box.

Think of creative ways to solve a problem.

Strada weighs 11.2 lbs / Open Box M weighs 14 lbs. I lost 2.8 lbs! 

*  (Open Box M no longer makes a box for pastels)

To make this box complete and ready for the field, I will need a tripod that fits these specs:

Folded length:  16.5"

Weight:  2.5-3 lbs or less

Payload:  21 lbs

Clamp legs/ twist are second best in my opinion.

Carbon Fiber

Quick release ball head

Reasonably priced $200-$400.

Wishing my dreams will come true.

So there you have it, a modified Strada for pastels. What do you think?  I would love to hear your thoughts on this by sharing you comments in the comment box below.

~ Brenda

Laguna Plein Air Invitational final recap

The Gala Event and following show days...

(Sorry for the odd formatting, not sure why Blogger won't flush left.)

So it's Friday and the pressure to produce is off, making for a very low key day followed by the big artist's Gala. What does an artist do when they have time to burn? They paint some more! I headed out to Laguna's Main Beach and I spotted the iconic lifeguard tower and set up my gear, then along came participating artist Michael Obermeyer and then Jennifer showed up to paint too. It was a spontaneous, chatty time, with good laughs and sunshine

.

Painting the Life Guard stand of the Main Beach
with Michael Obermeyer and Jennifer Diehl.

"Day Watch" 11x14" Pastel  (sold) ©Brenda Boylan

After a great time painting, we headed out for some lunch and then home to shower up for the Gala. We had to be there an hour early so we could chill and see the work prior the guests.

My piece "Intersection on 1", 16x16" Pastel (sold)
Honored the Edward H. Boseker Award.

What an honor! Caught off guard by the big ribbon.

The Artist's Library:  artists' extra pieces painted from the week

 s well as from their studios.

Celebrating artists Lt to Rt: Brenda Boylan, Paul Kratter, Hiu Lai Chong, Aimee Erickson, 

Mark Fehlman, and Suzie Baker

My two favorite flirts, Jean Stern and Albert Handell.

The second day of the showing, the artists had to attend the event from 9-6:00 pm, so what do artists do when there is a lull in the day? They get out their painting gear and have a impromptu paint out.

Jennifer Diehl and Colin Page painting a portrait of a willing model.

Jim McVicker and Ned Mueller painting Alber Handell's portrait

A willing subject, sunflower still life from the surrounding table tops.

"Sun Day Bouquet" 12x9" Pastel

available at Attic Gallery.

The event ended on Sunday, Oct 24th around 3 and then all the artists and organizers said their final goodbyes. What a wonderful week! I had very little time to gather my remaining art from the walls, get something to eat, share a piece of art with my gracious hosts as a "thank you" for their kind hospitality, and then pack up to catch my flight.  Whew, what a day! What a week!

Thanks for following along. I'm hoping you imagined yourself in this special place called Laguna Beach. Perhaps I will fortunate enough to be invited back to paint again next year.

Thanks for sticking with me!
~B

Laguna Recap Day 3

Third day into the event and Monday morning rolled around, and I was not up to getting out of bed. Since I first arrived, I had not been sleeping well with my spinning, busy brain and icky tummy. With just about 2 hours total to paint with, I was really beginning to feel it. So, I took it really easy... for awhile. I set out to paint the familiar Huntington Beach lifeguard by the pier. I took my time, trying to understand how life is for the locals. You see, I am not a nosy person, but when I am quiet and painting, every one of my senses is alert and I can hear everything. I heard bits of conversations from people walking just below the railing where I was perched; conversations about the film industry, family issues, interesting surfer slang, and the sound of sunbathers washing off the sand at the showers.

All done on the easel.  This piece measured 12x24"

"Out for the Day" 12x24" Pastel ©Brenda Boylan

Once I had this Lifeguard piece under my belt, I returned to Pacific Coast Hwy to complete my urban piece.  The late afternoon light was what I was after in this scene, so the orange underpainting I had started with really played an important part of the mood.

"Intersection on 1"  16x16" Pastel  ©Brenda Boylan  (sold)

All done! What a relief to have this piece done as I begin to feel more comfortable with my production..so far. It seems like all is downhill from here. I packed it all up and headed back to my host's home to get a quick shower then over to the Forest and Ocean Gallery for a discussion panel of artists.

As planned, LPAPA organizes a fun evening of 5 artists in a discussion panel moderated by gallery owner Ludo Leideritz. Invitational artists Cindy Baron, Lori Putnam, Michael Obermeyer, Bill Davidson and myself were selected to share our experiences and thoughts on plein air painting. We all had a great time answering the questions with humor peppered with a little bit of seriousness. It was an informative evening for the collectors and curious admirers

After all that was said and done, a few of us headed out for a bite to eat and to enjoy some camaraderie over a glass of wine.

Laguna Recap Day 2

(Sorry for the centered formatting, for some reason blogger won't let me fix it.)

Second day into the LPAPA event, me and Jennifer head out to the shoreline just below Heisler park in Laguna Beach. It was an overcast day with a hint of mist in the air. Unfortunately, I was not feeling very well and definitely not interested in painting an overcast day. I get enough of that in Portland. 

Looking south at Heisler Park in Laguna Beach.

So we decided to paint something on Balboa Island, an area just outside of Newport Bay where it appeared to be sunnier and more promising on the eye. I heard it was a very colorful, unique place and it sure did have plenty of subject matter for an artist to consume.  Even though there were a lot of beautiful boats and sparkly water, for some reason I wanted to paint an alley. I think just the sight of one took me back to when I lived in San Diego as a teen running up and down those long sunny alleys to pluck avocados and pomegranates from the neighbors trees.  Mostly, I was interested in the warm and cool temperature of the high key scene.  I chose a method of underpainting that I learned back in 2009 from Master pastelist Maggie Price. The technique requires 3 blue pastels and 3 yellow pastels, ranging in values from dark to light, and they should be intense hues.  

Here is my underpainting using  the 3 blues for everything cast in shadow, and 3 yellows for everything touched by light. It gave the piece a sence of bright light and cool shadow.  I haven't used this technique very much, but I think I just may.

The Backway, 14x11" Pastel ©Brenda Boylan

After I completed "The Backway", I picked up a lunch and then returned to Laguna Beach to continue work on my ambitious urban scene.

Still much to do...

I'm 2/3rds of the way through this piece on Pacific Coast Hwy 1, near a busy intersection. As I was painting this piece, my adventure gets a bit coincidental.  My aunt Linda drove by with her dear friend Mary. You see, she lives 85 miles from this spot, so it was truly a coincidence that she passed by that very spot, at that very moment I am painting. I hear and see a lot of things while painting on the streets, like people singing to the radio in their car, cigarette butts thrown by my side, homeless trying to survive, sometimes a loud roar of a Harley engine, but the joyful yell "BRENDA?"  "Hey that's Brenda!" was welcomed. I recognized those voices and so they stopped to visit.  Good times.

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