Beautiful day. Decided to experiment with Golden Open Acrylics. Mixing is a challenge. Wind dries the paint pretty fast. Painting outside is a lot of fun. Like the shadows and curved shapes of the old plow.
Thursday, April 29, 2010
Vernon Farm Acrylic 11x14
Beautiful day. Decided to experiment with Golden Open Acrylics. Mixing is a challenge. Wind dries the paint pretty fast. Painting outside is a lot of fun. Like the shadows and curved shapes of the old plow.
Friday, April 23, 2010
Vernon Marsh
Perfect day to paint. Perfect temperature and not too windy. The road to the marsh's parking lot was blocked off so we just parked along the side of the road and painted there. Some cars drive pretty fast down this road. I'm practicing drawing within a rectangular frame on my substrate.
Wednesday, April 21, 2010
Birch Reflections - Marinette County
Lot colder today. Browner up here. Birches seem to be the last trees to get their leaves.
Sunday, April 11, 2010
AC Art Association Spring Exhibit at Harbour Village April 10-May 1
Put an oil pastel plein air painting of Mukwonago River in winter in the AC Art Association's Spring Exhibit at Harbour Village, 5700 Mockingbird Lane, Greendale WI which runs from April 10 - May 1, 2010.
Still have 4 paintings in Martini Girls Exhibit at St. Marks until April 30.
Still have 4 paintings in Martini Girls Exhibit at St. Marks until April 30.
Artist Bio
On April 10, presented 3 oil pastel paintings to League of Milwaukee Artists for new member jurying in process. http://www.leagueofmilwaukeeartists.com/public/join.php .
Here's LMA New Member Jurying Criteria:
Here's my current artist bio & statement.
Artist Bio:
I was born and raised in Wisconsin by non-artist parents. As a child I loved drawing and creating but as a young adult I put art aside. Within the last couple of years I rediscovered my love of art. My desire to improve my skills and techniques, prompted me to seek out fellow artists and groups. Currently I am a member of the Milwaukee Sketch Club, the AC Art Association and the Wisconsin Pastel Artists.
My main focus is Plein Air Painting. I love the outdoors with its magnificent scenery and changing spectacular color pallets, no matter what the weather. I also enjoy honing my figure and still life drawing skills. I keep growing as an artist by attending many classes, workshops and demonstrations.
The mediums that I use are varied. Much of my work is in oil pastel, regular pastels and acrylics; but I have also work with graphite, colored pencils, charcoal, conte crayon, watercolors and oils.
My inspirations include a wide variety of subjects. I hope that many pieces convey my love of the outdoors, peaceful scenery and all nature has to offer. In my pieces I strive to evoke an emotional response or memory from the viewer.
Artist Statement
My art is a constant work in progress. it represents a playful, organic growth of ideas, documenting my journey into an exciting, unknown future.
I like to work and experiment with a series of new ideas. Experimenting and developing traditional areas such as plein air, live figure drawing and still-lifes help to further my expressive education. I continue to learn as a member of the Wisconsin Pastel Artists, AC Art Association and Milwaukee Sketch Club. I enhance these experiences by attending various workshops.
I currently work mostly with pastels, both oil and regular, for their immediateness of application and vibrant colors. I also enjoy acrylics. I do minimal blending, instead I prefer to layer, scrub and scratch design into the art so it seems to vibrate and come alive. I want the painting to reveal more depth the longer it is looked at.
I strive to express emotion rather than solely reality although there are realistic elements in my paintings. I love the excitement of working on a painting and experiencing the evolution of an idea to its final outcome.
Here's LMA New Member Jurying Criteria:
- Body of Work reflects effective use of Design Principles in regard to each Art Element to create an effective composition. Design principles are variety, balance, gradation, repetition, contrast, harmony, dominance, unity, rhythm, economy. Art elements are line, value, shape, texture, color, space. Examples: Art element color: cool or warm dominance balanced by some color from the other side of the color wheel. Does the artists effectively use warm/cool color contrast in addition to or as an alternative to value contrast? Is the artist's palette harmonious? Art element shape: Does the artist use a variety of shapes to create a rhythm throughout the painting? Is the composition balanced by use of large and small shapes. Are the shapes of the negative space interesting? Art element value: Does the painting show a contrast and variety in value? Are values used effectively to create a rhthm or movement throughout the composition? Are the values used to create atmospheric perspective where applicable?
- Artists work shows proficiency and confidence in chosen medium: Examples - sound drawing skills - knowledge of subject, perspective, etc. Strong painterly approach - Econom of brushwork - painting not overworked, consistency of brushwork in oils or acrylics, freshness in watercolor with clean colors, effective glazes, confidence in paint application.
- Artist approaches subject matter in an interesting way. (a different view, tell a story, innovative use of art elements, etc.) SUBJECT MATTER ITSELF IS NOT THE ISSUE, it's how the artist might take a common subject and make it interesting.
- Work engages and holds viewer's interest. (This addresses having a strong gut reaction to the art. Does it stop you in your tracks or could you easily walk by.)
- Presentation: How do the three paintings reflect and represent the artist as a whole? The work should reflect the artist's personal style.
Here's my current artist bio & statement.
Artist Bio:
I was born and raised in Wisconsin by non-artist parents. As a child I loved drawing and creating but as a young adult I put art aside. Within the last couple of years I rediscovered my love of art. My desire to improve my skills and techniques, prompted me to seek out fellow artists and groups. Currently I am a member of the Milwaukee Sketch Club, the AC Art Association and the Wisconsin Pastel Artists.
My main focus is Plein Air Painting. I love the outdoors with its magnificent scenery and changing spectacular color pallets, no matter what the weather. I also enjoy honing my figure and still life drawing skills. I keep growing as an artist by attending many classes, workshops and demonstrations.
The mediums that I use are varied. Much of my work is in oil pastel, regular pastels and acrylics; but I have also work with graphite, colored pencils, charcoal, conte crayon, watercolors and oils.
My inspirations include a wide variety of subjects. I hope that many pieces convey my love of the outdoors, peaceful scenery and all nature has to offer. In my pieces I strive to evoke an emotional response or memory from the viewer.
Artist Statement
My art is a constant work in progress. it represents a playful, organic growth of ideas, documenting my journey into an exciting, unknown future.
I like to work and experiment with a series of new ideas. Experimenting and developing traditional areas such as plein air, live figure drawing and still-lifes help to further my expressive education. I continue to learn as a member of the Wisconsin Pastel Artists, AC Art Association and Milwaukee Sketch Club. I enhance these experiences by attending various workshops.
I currently work mostly with pastels, both oil and regular, for their immediateness of application and vibrant colors. I also enjoy acrylics. I do minimal blending, instead I prefer to layer, scrub and scratch design into the art so it seems to vibrate and come alive. I want the painting to reveal more depth the longer it is looked at.
I strive to express emotion rather than solely reality although there are realistic elements in my paintings. I love the excitement of working on a painting and experiencing the evolution of an idea to its final outcome.
Buildings near Horn's Feed Mill in Mukwonago
Felt really cold after the nice weather we had. Some sleet.
Ken Bronikowski Landscape Demo in W/S oils at AC Art Association Monday 4/5/10
Here's some information on Ken.
His substrate was masonite, coated with 2 coats of gesso using coarse brush for texture and acrylic burnt sienna sponged on.
His palette for landscapes is cadmium yellow light, cadmium red light, alizarin crimson, phthalo green yellow shade (used to use viridian?). Doesn't use black in landscapes. Combines alizarin, phthalo green & ultramarine for his darks.
His palette for portraits is titanium white, ivory black, cadmium red hue & yellow ochre. He combines the white & black to get a gray that passes for blue.
Usually initial session is about 2.5 hours. Tries not to overmix. likes to paint wet into wet for softer edges and a soft look to the piece. Then he'll look at it the next day and make any necessary adjustments.
After his painting is dry to touch (usually takes about 2 weeks) he sprays on a Krylon retouch varnish. Joe Stanke uses a brushed on varnish. He blends a gloss & matt varnish 1:1, then applies multiple thin coats brushed on with a 2" very soft sable brush in multiple directions.
Still lifes are like portraits in that they are a little more demanding with drawing skills.
He likes to use a limited palette to automatically get a color harmony. Paints darks more transparent and lights more opaque
He started by painting the dark abstract shapes first. Blocks in big areas first. He half closes his eyes (squints). He basically uses one fairly large brush so not get caught up in the little details. He rinses his brush with water in between colors. He likes to push the paint and paint with the side of the brush. He uses inexpensive acrylic/oil brushes from tradewinds. Uses his little finger to blend. Lets some of the toned burnt sienna show through. Likes to mix colors on the canvas for a more interesting effect.
His teacher, Moseby from Chicago, taught him not to change value until have to, instead change the temperature (warm/cool). White is your coldest color. Avoid using it too early, chalky.
Not a blue sky person so makes yellowish. balances warm & cool by how it strikes him at the time
Water reflections; Dark objects look lighter, light objects look darker. Lily pads a lot of different colors. Turn purple at end of year.
Tree skyholes are never as light as the sky about 1/2 value darker. If miss value, miss on the light side as it is more pleasant to look at.
Keep edges soft. Eye automatically goes to hard edges.
Occasionally uses palette knife for trees, brush & grass. However not like to use for entire painting because it gets boring, repetitious and looks the same with the same texture.
After retiring as an illustrator he wanted to loosen up his style so he practiced by doing 8x10" still lifes. He would set a timer for 30' and if needed would do another 30'.
Important to have fun. Use your artistic license. He uses the reference for structure but paints for effect. When painting don't be afraid to change things. Can always repair an area.
His friend Don Gearhart paints more realistically, models in costumes backlit at 6:30-7 pm. He uses the Andrew Zorn palette of red, black, yellow ochre & white
- http://www.finelinedesignsgallery.com/artists/KenBronikowski.html
- http://www.riveredgegalleries.com/REGBronikowski.html
- http://www.cedarburgpleinair.com/judgesbios.html
- http://www.manitowoc.org/new.html
His substrate was masonite, coated with 2 coats of gesso using coarse brush for texture and acrylic burnt sienna sponged on.
His palette for landscapes is cadmium yellow light, cadmium red light, alizarin crimson, phthalo green yellow shade (used to use viridian?). Doesn't use black in landscapes. Combines alizarin, phthalo green & ultramarine for his darks.
His palette for portraits is titanium white, ivory black, cadmium red hue & yellow ochre. He combines the white & black to get a gray that passes for blue.
Usually initial session is about 2.5 hours. Tries not to overmix. likes to paint wet into wet for softer edges and a soft look to the piece. Then he'll look at it the next day and make any necessary adjustments.
After his painting is dry to touch (usually takes about 2 weeks) he sprays on a Krylon retouch varnish. Joe Stanke uses a brushed on varnish. He blends a gloss & matt varnish 1:1, then applies multiple thin coats brushed on with a 2" very soft sable brush in multiple directions.
Still lifes are like portraits in that they are a little more demanding with drawing skills.
He likes to use a limited palette to automatically get a color harmony. Paints darks more transparent and lights more opaque
He started by painting the dark abstract shapes first. Blocks in big areas first. He half closes his eyes (squints). He basically uses one fairly large brush so not get caught up in the little details. He rinses his brush with water in between colors. He likes to push the paint and paint with the side of the brush. He uses inexpensive acrylic/oil brushes from tradewinds. Uses his little finger to blend. Lets some of the toned burnt sienna show through. Likes to mix colors on the canvas for a more interesting effect.
His teacher, Moseby from Chicago, taught him not to change value until have to, instead change the temperature (warm/cool). White is your coldest color. Avoid using it too early, chalky.
Not a blue sky person so makes yellowish. balances warm & cool by how it strikes him at the time
Water reflections; Dark objects look lighter, light objects look darker. Lily pads a lot of different colors. Turn purple at end of year.
Tree skyholes are never as light as the sky about 1/2 value darker. If miss value, miss on the light side as it is more pleasant to look at.
Keep edges soft. Eye automatically goes to hard edges.
Occasionally uses palette knife for trees, brush & grass. However not like to use for entire painting because it gets boring, repetitious and looks the same with the same texture.
After retiring as an illustrator he wanted to loosen up his style so he practiced by doing 8x10" still lifes. He would set a timer for 30' and if needed would do another 30'.
Important to have fun. Use your artistic license. He uses the reference for structure but paints for effect. When painting don't be afraid to change things. Can always repair an area.
His friend Don Gearhart paints more realistically, models in costumes backlit at 6:30-7 pm. He uses the Andrew Zorn palette of red, black, yellow ochre & white
Wednesday, April 7, 2010
Subscribe to:
Posts (Atom)
Posts
