Adventures in Paint & Pastel
Posted on 6/8/2020 3:37:40 PM
By Sharon Will
Comment on this
"Last Purchase of the Day" 14.5 x 11.5 pastel - Sold
The Thumbnail - As artists we do small sketches to work out our design. And that has been my personal history, using either pencil or markers and keeping it limited to 3-4 values. That value sketch has been golden for me to explore the big shapes and value placement for a strong design. It serves as my road map when I get off track in the painting process. The design or composition after all is the foundation to a good painting and should have at its core a strong abstract design.
Websters definition for a Notan is "The combination of lights and darks especially as used in Japanese art: The design or pattern of a work as seen in flat areas of dark & light values only."
The Yin Yang symbol traditionally stands for this light-dark Harmony. Not necessarily equal amounts of each, but balanced. The Japanese used this light and dark expression from the 1600's, and it made its way to the west after 1850's. Some Notans include gray as an element, others just black and white. But the idea is still the same, braking the design down to its simplest form of flat graphic shapes and contrasts.
I never made the connection with the importance of a Notan until working on the thumbnails for a painting "Last Purchase of the Day" from photo reference.
Photo reference Notan "Last Purchase of the Day" pastel
This street scene at dusk served as my learning curve (above left). I struggled with simplifying the horizontal shapes at the base of the building, or the first floor. There were so many "things" going there all in darker values. Up to this point I was familiar with a Notan, but have never used it. So I reduced the scene down to just black & white shapes, and when I did that, I saw all the strong verticals already there with the building, street poles, windows, road stripes (above middle). It was clear the first floor needed to be a horizontal shape in a light value to contrast those verticals and help point our attention to the figure. The light bulb went off for me!
Above right is the completed "Last Purchase of the Day" 14.5" x 11.5" pastel.
Many Grey Scales are divided up into 10 gradations. For a Notan, the values white through #5 is represented as white, while #6 through black is represented as black. My personal handmade grey scale is 9 values with an obvious middle grey (below). You can swing that middle grey either way on the black/white scale, but I tent to include it as a black.
Below are a few paintings along with their value thumbnails and a Notan that I used in the composition process.
For "Beach Party" (below) I started out with a value thumbnail.
(A) represents how the shapes actually looked in this sunset.
(B) shows the sky shape inverted. But at this point I still couldn't tell which worked better, so I did a Notan of each. 
(A) Beach Party Thumbnail (B) Beach Party Thumbnail
Notan "Beach Party" 18 x 24 Oil
"Beach Party" Notans (above left). It's when I saw this, it was then obvious to me that the lower one or (B) showing the inverted sky shape, portrayed more variety and directional movement, instead of the repeating shapes in the same direction as in (A).
(above right) The finished "Beach Party" 18" x 24" Oil on canvas.
Notan "Winter Farm Tracks" 12 x 18 pastel
"Winter Farm Tracks" Above left Notan, and finished pastel 12 x 18 on right. Color and intensity can often be a confusing element in seeing value and design. So the Notan helped me break it down without the distraction of color.
WHAT to look for in a Notan? Shapes, Movement and Dominate Value!
First I look for a variety of interesting shapes - no two shapes alike. And though not a hard rule, I have found that usually the largest shape has the center of interest in it or is connected to it. I look for the dark shapes to connect to each other, as well as the light shapes connecting with each other. That connection creates movement to take the viewer through the image, as well as strengthens and simplifies the design. Lastly I look for a dominance of one of the values. More black than white shapes, or vice versa. The concept of dominance also holds true for a 3 value thumbnail too. For example if the the largest value quantity is middle values, then lights and darks should be in a descending quantity. Again, just like shapes, no two value quantities should the same, which makes for a more interesting design.
"Winter Farm Tracks" (above) has more white than black shapes, as well as the darks are connecting, so I felt it held up well.
Notan "Shadows" 11 x 14 Pastel
"Shadows" 11" x 14" pastel (above) was easier for me to see it's design in the pencil thumbnail. But then doing the Notan helped me redesign the land and snow shapes even further from what they were in reality, creating a more stylized flow and movement.
Notan "Dinner Time" 12 x 16 Oil
"Dinner Time" 12 x 16 (above) and "Big Red" 11 x 14 (below) are both examples of compositions where there were a lot of shapes and busyness in middle values going on. The Notan me helped rearrange those shapes, decide which to eliminate, simplify and then assign a light or dark to them.
Notan "Big Red" 11 x 14 Oil
Since that first practice with the Notan, it has continued to be a valuable and powerful tool for me to work out compositions, taking them to the core of their simplicity; shape and value. I'll also use it as test for a 3-4 value thumbnail to see how it stands up to being reduced to black and white. Thanks to the Notan, I believe it has helped strengthen my eye for design.
Posted on 7/19/2018 7:15:45 PM
By Sharon Will
1 Comment
The Juried Great Lakes Bay En Plein Air Competition in June, sponsored by the Saginaw Art Museum in Saginaw Michigan, culminates in 3 painting submissions from each artist at the end of the week long event. Included are daily 2 hour "Quick Draws" in the various cities of Saginaw, Bay City, Midland and Frankenmuth. The areas Review Magazine interviewed each winning artist. Below are my responses along with my winning 3rd Place entry "The Fine Art of Graffiti" 12 x 16 pastel.
1) Robert Martin: Please give me a bit of background in terms of how you became interested in painting and pastel work; and what you feel is the most distinguishing quality about your work.
Sharon Will: My introduction to the arts was through the commercial/advertising arts. I received training in graphics and illustration, and then apprenticed in one of the large illustration houses in Detroit. Then I worked in ad agencies, doing product illustration, automotive related work, as well as freelancing magazine illustration, logo design and a bit of sign painting, etc. Being in the arts makes you versatile! Computers were changing the illustration world and I knew if I wanted to be competitive, I had to get computer training or turn to the fine arts. I couldn’t see myself sitting at a computer all day, so I opted for the fine arts.
I started painting in oil, studying with the late Russell Keeter and then pastel with the late Marie Larson, always working from life. Pastel got me hooked and I worked exclusively with it for the next 25 years. Its endless versatility of being an opaque drawing and a painting medium kept my attention and exploring it. Today I work alternately in both oil and pastel, with the landscape as my main source of inspiration.
As far as what is the most distinguishing quality of my work? What I can tell you is my goal in painting. I’m a firm believer in learning and working from life, so I do that when ever possible. In my work I want to be true to nature. And what I mean by that is, I want to be true to the principles of light, form, value and color. Not to copy nature, but find that something that excites me about a scene and then capture it in a way that is first designed well, painted simply and then put a bit of myself into it. That “something” or the idea to paint for me could be an interesting light or shadow pattern, contrasting color relationships, or an overall mood of a scene. Hopefully, it’s then painted it in a way that others will resonate with the subject as I initially did, elevating the simple beauty around us in everyday situations. I also want the character and texture of the medium, whether oil or pastel, to shine through.
2) Robert Martin: What do you enjoy most about plein aire, or 'open air' creative projects and what gave you the inspiration for creating this winning entry The Fine Art of Graffiti?
Sharon Will: I enjoy just being outdoors. There is an immediacy or energy, and a “truth” to work that is done from life, that just doesn’t exist in working strictly from photos. And being a representational painter, there’s just no substitution for it! Everything we need is all there in nature, we just have to spend the time observing and learning from it, in all light conditions and all seasons. When I started working plein air, I think my landscapes took on more subtleties of value and color that exist in nature.
Experiencing the out doors with all our senses: the sounds, smell and wind on your face, I believe somehow finds its way into the painting. Painting things that are moving in the wind, though challenging, is the only way to really learn its character and rhythm. That can’t be seen through a photo. I like the idea of capturing a slice of life as it’s happening.
3rd Place Award “The Fine Art of Graffiti” 12 x 16 pastel. I’m always attracted to architecture and color. In past years in Saginaw I recall seeing this bridge with its colorful graffiti, but couldn’t remember exactly where it was. So I took a shot and early my first morning decided to start at Ojibway Island. And around that last bend, there it was! The morning light lit it up beautifully and I knew I found my subject. I painted on location there two sessions to complete it.
3) Robert Martin: As an artist, what do you feel is the most challenging component involved with your work?
Sharon Will: The more I learn and grow as a painter, the more I realize how far I want to go. Painting is about solving problems for a specific idea. First, finding what I want to say about the world around me and painting it in a way that brings beauty to the subject in a simple and unique way. I want to always be growing and challenging myself in that process.
4) Robert Martin: What are some of the current projects you are involved with and what are your plans for the immediate future?
Sharon Will: To keep painting and growing as a painter! I’m enjoying the challenge of doing more plein air events. They hone my painting skills, while getting to visit new areas and meeting other great artists and collectors.
Much of my plein air work has been smaller so I’m looking to push myself to work larger. That may mean bringing a larger canvas on location for several days or doing the smaller color study plein air and working from that in the studio.
I continue to look for more marketing opportunities on a national level through exhibiting through competitions, as well as further gallery representation. With the recent purchase of a camper I look forward to more travel and painting slices of life along the way.
5) Robert Martin: Please feel free to add any additional thoughts or comments about any topic that I may not have touched upon.
Sharon Will: A selection of my original pastels and oils can be viewed on my website: www.sharonwill.com. Along with painting, I also teach private lessons and periodic workshops, as well as run a side business of custom framing from my home/studio.
Posted on 1/16/2017 6:57:13 PM
By Sharon Will
37 Comments
I am writing about my journey because I know there are so many people suffering from chronic Lyme Disease, Borrelia Burgdorferi. It is an epidemic. The symptoms imitate so many other diseases; arthritis, fibromyalgia, MS, the list is endless, and symptoms vary for each person. It can be physically and mentally debilitating, with irreversible damage, and it's all over the globe, leaving no one exempt. People are not being correctly diagnosed, treated, or even taken seriously by doctors, let alone friends and family for that matter. And if you find a doctor willing to treat you, the standard protocol is 2 - 4 weeks of antibiotics.....period. Many don't even consider chronic Lyme to exist, or want to deal with it.
Hooray!!! My 11 year battle with Lyme has ended (13 years infected) and I want others to know there is hope to be healed and not just having to live with it or have it control you! For me, my healing breakthrough came through prayer and alternative therapies, involving Bio Resonance or Frequency Medicine.
Initially I was infected while vacationing in Tennessee. My husband pulled a tick off my neck. At that time, we had never seen a tick in real life or even heard of Lyme - it was totally off our radar. With no immediate visible symptoms, I ignored it and went on with life. Fast forward 2 years and I'm experiencing serious fatigue, which I just figured my hormones were off again. My Doctor, which amazingly is one of the rare Lyme-literate doctors around, did a Western Blot Test and it came back positive.
Over the next 8 years we did pulsing of various antibiotics along with a holistic approach of getting rid all obstacles that stand in the way of the body healing itself. I did chelation to get rid of the heavy metals, kept my hormones in balance with bio-identical hormones, worked on balancing my thyroid, getting rid of Candida, testing for food allergies, and supplying supplements of vitamins and minerals I was low in. In addition I used Artemisinin, Cats Claw, Samento and other herbs I don't even remember now. These approaches worked to a certain level. Eventually, the pain and swelling in my joints went away, but my top issues of extreme fatigue and heavy brain fog never really left. I'd need about 12 hours sleep at night, and then need another 2-5 during the day, depending on my activity level. To function, I'd sleep in between every activity. I actually looked forward to each time we'd start up the antibiotics, as it would take the edge off these symptoms, but never eliminated them. During this time, I also got re-infected while plein air painting in Michigan, which meant stepping up the antibiotics for a while.
At the end of the 8 years (10 years of being infected) my Adrenals now became exhausted (added stress I'm sure was an element here) and now I'm even more fatigued. I was put on Pregnenolone to feed the adrenals.
The Turning Point!
At this time, my Doctor started working with a Naturopath Doctor (ND) and sending "problem" patients to him. I admire my Dr. for thinking outside the box, but I remember rolling my eyes when he said something about the ND working with "frequencies"..... so I went reluctantly with skepticism. But the visit confirmed a previous unknown element, the co-infection Babesia, as well as confirming Lyme. Right now, traditional blood tests for Lyme only tests for the "antibodies" your body produces, not the bacteria itself, let alone any of the serious Lyme Co-infections, Babesia, Bartonella, Ehrlichia, Rocky Mountain Spotted Fever, etc. Which is why so many Lyme tests are likely to test negative, when it's really positive. I stopped all antibiotics and tried this alternative method.
1st Alternative Approach - Bio Resonance Medicine
This resonance medicine is a form of homeopathy. It's based on the principle that the whole universe is made up of energy, and all "things" have a specific frequency. If you're not familiar with frequencies like I wasn't, I like the example of the wine glass shattering in the presence of a specific high note or frequency. Only there's no sound with these frequencies. A simplified explanation of the process is: while holding 2 electrodes, this QEST 4 System sends a current (no pain) through the body. As the computer scans your body, it identifies any imbalances, stresses, deficiencies, bacteria/viral/fungus, etc. that are in your system. It's sensitive enough to pick up slight imbalances in the body before they would even show up on standard testing. Specific "frequencies" for your situation are then infused in a liquid and then the liquid is taken orally by drops on the tongue. My ND even goes a step beyond most, and scans all supplements you take to make sure they are in "balance" with your system. It's amazing technology!
2nd Alternative Approach - Rife
Right after starting the first therapy, I ran into a friend who had just invested in another type of computerized frequency machine: A True Rife F-117 Machine. The original Rife was invented by Royal Rife in the 1930's which successfully cured some terminal cancer patients. Later in the 1980's, Doug MacLean began experimenting successfully with electromagnetic frequencies for Lyme. True Rife F-117 emits frequencies from which you can generate a program custom to your body and condition. In my case, it was the specific frequencies of Lyme in all its stages, and co-infections. Neither system of administering specific frequencies are painful in anyway.
Rife machines are not FDA approved, so you're not going to hear about it from any traditional health practitioner. My Lyme-literate Doctor would not even talk about it until I brought the topic up. So you're pretty much on your own. Rife machines can be purchased on line, but they're marketed without any health claims, for FDA adherence. Some people make homemade Rifes. The frequencies have to be manually entered and it doesn't scan/diagnose like the True Rife F-117.
I was blessed to have access to these two frequency technologies. In the beginning I used both, and then alternated between the two. I did not have them both attacking the Lyme at the same time, as that would have been too strong for my body to deal with. I'd do a Rife treatment about every week - 10 days. In the beginning with the Rife, the Herxheimer reactions were very severe, so my ND with the Qest 4 System kept my kidney, liver and lymphatic system from over loading and kept the toxins moving out of my system. After that, I'd alter between the 2 therapies. The Rife gave what felt like a stronger treatment. But the beauty of using the ND's remedy is I could regulate number of drops or quantity, if I was herxing too strong. That way I could be more functional while still attacking the Lyme. If I hadn't taken such long breaks in between sessions, it would probably have taken just 2 years instead of 3 to beat the Lyme. The last few years using frequencies did more than the previous 8 years with traditional antibiotics.
I know now that I would have never been cured from Chronic Lyme by staying on the conventional method, even with all the other holistic approaches. The Lyme spirochete changes its shape into 3 different shaped cells - a kind of "shape shifter." When Lyme enters the inside of a cell, antibiotics are not able to penetrate the cell wall, so the Lyme can never be reached. Along with its shape shifting characteristics, there's also the problem of Biofim, which also becomes a barrier to antibiotics, as well as the fact that the body doesn't always recognize Lyme, so it won't even fight against it. But frequencies do successfully penetrate the cell wall, and kill all three cell forms, as well as the Lyme in any of its egg to adult stages. For antibiotics to be truly successful with Lyme, they need to be taken right away, personally I'd say within the first 2 weeks of being bitten.
Can You Know If You're Ever Lyme Free?
Yes! In the beginning with the True Rife F-117 machine, a scan was run and a specific set of Lyme "hits" recorded that showed up in my system that identified Lyme in various stages, as well as the co-infections. So I had a "print out" of a starting reference point to compare to. At the end, as well as every few months to see progress, I was scanned and treated until ZERO Lyme hits showed up. No Lyme or Co-infections! The Qest 4 System also confirmed me Lyme-free. There are no tests in traditional medicine to diagnose that accurately. Doctors will say when you feel better, or your particular symptoms are gone, you're better. But with Lyme, you can't trust how you "feel". It's a slow growing bacteria that buries itself deep with in the tissue and can stay dormant for a very long time and then resurface, acting like a virus.
So after 13 years, I've been Lyme-free since May 2016! I've now been building back my immunity, specifically raising back my Natural Killer Cell count, which I believe were the effects of so many years of Lyme. Also trusting to gain back what feels like a bit slower memory and brain function :). I'm also involved with Prolotherapy and PRP treatments to rebuild the tendon and ligament degeneration in my joints. I continue to see my ND with the Qest 4 for ongoing health and maintenance, along with my Lyme-literate Dr as needed.
Prevention is the Best Medicine
Having protection is the best thing to do. Cover all limbs with light colored clothing to see ticks better. Permethrin is the best tick killer/deterrent, more effective than Deet. Spray Permethrin on your clothes first, letting it dry thoroughly before putting on. Never spray it on your skin as its too toxic. As a plein air painter, I'm out in a field for a 2-3 hours at a time. So to be honest, I really watch and limit where I go now, even with the Permethrin on.
Finding a Practitioner that uses Bio Resonance
There are other systems out there, but Qest 4 is just my experience, as it's what my ND used.
To find a practitioner ( all may not be ND's) trained in the Qest4 in North America and Europe,
go to: www.qest4.co.uk/find-a-practitioner.
Other Resources
Facebook: "Lyme Success Stories"
"True Rife Successes" and "True Rife Healing"
Find a Lyme Literate Doctor in your area:
Send a tick for testing: www.TickReport.com
www.TickCheck.com / 1-866-713-tick
Find a practitioner in the USA and Canada and Europe trained in Qest 4 Bioenergetic Medicine.
www.ILAD.org International Lyme and Associated Diseases Society.
The documentary "Under our Skin" - Gets into the severity of Lyme and the politics surrounding it.
www.myDoterra.com/1340 - My contact that is very educated in Essential Oils. EO can be successfully
used in conjunction with other treatments.
A few Lyme authors/doctors to Google are: Greg Lee @ www.LymeResearchCenter.com
Dr Joseph J. Burrascano Jr.
Dr. Dietrich Klinghardt
Dr. Richard Horowitz
Dr. Kevin Conners
Bryan Rosner
Connie Strasheim
Posted on 1/3/2017 3:18:53 PM
By Sharon Will
Comment on this
Drawing of sculpture by Antoine-Louis Barye 1831
As artists, we thrive on inspiration. Often my painting buddies and I will take a trip to our area art museum, which is for me The Detroit Institute of Arts to see a new exhibit, draw and learn something new. Part of the joy for me is visiting favorites paintings. It's like spending time with an old "friend" I haven't seen in a while. My recent trip to the DIA was with my husband. Many decades ago it was one of our first dates, so we enjoy doing that together when we can, and it's always followed by lunch in famous Greek Town!
So the following are just a few of my favorite "friends" at the DIA....for today. I'm sure on future visits I'll have some new favorites.
One of my all time favorites: "Chevy" 1868 by Edwin Henry Landseer, English, 1802-73. This is a large painting. I love the composition here, how everything is framing the two animals, even the birds in the background leading their way to the foreground. If I stop and think about the painting really just being about a dead animal, it actually would be a turn off, as I'm not so much into the "dead" part! But instead, I see beauty! Beautifully designed shapes and painted so simply, without fuss. Below is the close up of dog. Now that is one fine painted dog - it's a must see in person!
"Scene at Giverny", 1890 by Theadore
Robinson, American, 1852-96
Love the mood and subtle grays/violets.
"Unfolding Buds," 1909 by Willard Metcalf
American, 1858-1925. The feel of bright sunlight on
the landscape could not be handled more perfectly!
"The Four-Leaf Clover", 1873 by Winslow
Homer, American, 1836-1910
I enjoy the airy dappled foliage and the subtle
value difference between the pane of glass and
the space behind it.
"Notre Dame Cathedral, Paris" 1888 by
Childe Hassam, American 1859-1935
The looseness and understated treatment of how the
figures, cathedral and smoke are painted, just makes
me say, "Man, I wish I painted that!
"The Blue Pool" about 1922-23 by William Victor Higgins
American, 1884-1949. I appreciate the stylized shapes in this
painting, so representative of the whole Art Deco era. But if
truth be told, I do like Art Nouveau a bit more.
"Madam Paul Poirson," 1885
by John Singer Sargent, 1856-1925
Sargent-a master and favorite to us all. What
looks like detail from a distance, Sargent
masterly does it with a single brush stroke
when revealed up close.
And his use of "edges" are exquisite!
Jan Baptist Weenix, Dutch, 1621-59
More dead animals! Beautifully done and the radiating light reminds me of Rembrandt. I have
painted several small studies of dead birds and
find this large scale painting very inspirational.
My dead bird paintings will be a whole
other blog! And I feel validated when a
1600's artist also finds it a challenge to come up
with a creative painting title :)
"Noah's Ark: Genesis", 1984 by Charles McGee, American, 1924-
It's true that much of my personal inspiration for painting comes from painters
from the 19th century period. But painting is first about the idea or concept, and then how
you break that into shapes, value, color, texture, edges, etc. I've always admired
Charles McGee's creative designs and rich layered textures.
"Come Fill the Cup", about 1906 by
Frank Brangwyn, English, 1867-1956
The bold colors, thick paint and strong design
always draws me in from across the room.
"Annunciatory Angel" about 1450-55 by
Fra Angelico, Italian, about 1395/1400-1455
For me it's taken some understanding of art history
to appreciate painting of this period. Rich in symbolism
and stylized figures, rather than the natural realism that
came later, and the rich graphic quality that gold leaf brings.
I also enjoy how the frame is the extension of the image
here.
"Tiger Devouring a Gavail" 1831 by Antoine-Louis Barye, French, 1796-1875
My sketch of this large sculpture doesn't even begin to capture the detail!
Sketch of clay sculpture by J. Michallon the
Younger, French, 1810-40
These Caricatures always make me smile.
"Genius of the Dance" 1872 "The Hammerman" 1886
by Jean-Baptiste Carpeaux by Constantin Emile Meunier, Belgian, 1831-1905
These last four are pencil sketches I did from sculpture at the DIA. I believe growing as an artist is
in the "doing;" drawing, painting and sculpting from direct observation/life. But looking at, and studying great art
that inspires us, also plays a huge role in our maturing and evolving as an artist. Surrounding ourselves with
great art will always find its way "through" us, and into our own work.
Hope you enjoyed visiting my museum with me. Now, surround yourself with great Art and go visit your local musuem
and find your inspiration!
Posted on 7/12/2016 8:59:33 AM
By Sharon Will
2 Comments
"Hope" 16 x 16 oil
"Joy in the Daily Chores" 20x16 "Dawning of a new Future" 16 x 20
This is a part II of the previous Blog "Painting with a Renewed Purpose." The two paintings above continue the theme of landscapes from where girls that are victims of human trafficking are from and then restored to. The true identity of the girls are hid in these Nepal landscapes. Artists are asked to portray the rescued victims in a positive light of hope. Statistics report there are 30 million people in this world experiencing injustice.
"Hope" 16 x 16 oil
"Free" 16 x 16 oil
"Joy" 16 x 16 oil
"Pamela" 14 x 11 oil
The above 4 paintings are portraits of rescued girls. These paintings and many others will be part of exhibits called "Faces of Freedom" that will travel the country to bring awareness of human trafficking and raise funds as well. Their story of redemption is displayed along with each painting/portrait. Freedom 58 partners with organizations like CRU, International Justice Missions, Love Justice International, Agape International Mission and 10 Thousand Windows. I was personally amazed when I looked up International Justice Missions and saw the diverse work they did in not only rescuing, rehabilitating, but also prosecuting around the world. More artists are needed to tell the victims stories. Contact Bob Swenson at [email protected] to get involved. Its truly been a privilege to paint these works for this important purpose. Visit www.Freedom58Project.com to learn more and partner with them or any of the above organizations making an impact!
Posted on 1/19/2016 6:21:21 PM
By Sharon Will
5 Comments
"Back Home" The Streets of Nepal - 24"x18" pastel
I've been painting now for about 35 years. The versatility of the medium, whether oil or pastel has kept me learning and growing. Working in new mediums along the way like clay and dabbling in water color has kept me exploring. "Plein Air" painting has such satisfaction at a core level for me that its hard to put into words. Just the act of dealing with esthetic decisions like design, shapes, color, paint texture has been enough to fuel my inner excitement and need for purpose and expression. Then there's painting for an exhibit, competition, gallery or commission deadline, and years of commercial deadlines in the early days. All of this in the past was enough to keep me passionately going forward over the decades.
However recently it has stalled, that is, my core purpose for continuing to do what I've been doing. Avenues I enjoyed painting for and selling has changed. Doors that were opened, now seemed to be closing. I think of the definition of insanity: "to continue to do what you've always been doing but expecting different results." So I'm the first to admit I need to change and grow and head in a new direction. An increasing inventory has put a mental block on my creative purpose. Marketing is just as important as the painting process, but when I found myself asking, "Why am I painting this ?" I knew something was off.
Then a friend introduced me to the "Freedom 58 Project"! Freedom 58 works to help lay a foundation for justice, by creating awareness about human trafficking and raising funds for its partner organizations that actually rescue and restore lives. Portraits of the rescued girls are created by artists for their new traveling "Faces of Freedom" Exhibits. Each portrait/painting created is accompanied by a brief explanation of the survivors story. Some are representative portraits, other paintings like this first one I did called "Back Home," 24" x 18" pastel (below) hides the girls true identity, but shows her in her home environment in the streets in Nepal. The paintings will never be sold, but will continue to be exhibited for awareness and fundraising purposes.
With my first one done and several others planned, It's just the project I needed to find my purpose again in painting. I couldn't think of anything more important right now than honoring these precious and courageous lives with art that helps to tell their story of redemption and healing. After all, it's the heart of God for all people to be free physically, emotionally and spiritually in this world filled with much evil. It's the core of the Lords prayer... "Thy kingdom come, thy will be done on earth as it is in heaven." There isn't human trafficking in heaven, so the question is what can we do to join God in ushering in His healing here on earth? We all have different talents to contribute and get that done, so I figure this is one small thing I can do for now.
The Charcoal drawing below is what started me on this new purpose. This was done for Esther's Children which is in Recife, Brazil. They have a preventative program that fights the causes of sexual exploitation and child prostitution with girls ages 4-18, and works along with their families. I'm not sure what needed new direction my art will take after this, but I know I just have to do this first. Life is like painting: When there's and area in a painting you don't know how to solve yet....first paint what you do know to do, then the rest will fall into place. That's what I'm counting on in life!
Posted on 9/29/2015 2:39:08 PM
By Sharon Will
2 Comments
A pastel by Jerry Power
Last Friday was the opening for a retrospective of the work of the late Jerry Power, called appropriately "The Power of Pastel" This September marks the 6th anniversary of his sudden passing. Family and friends gathered to remember and celebrate the life, talent and friendship of Jerry. Over 40 pastel works are on exhibit until November 7, 2015 at the Charlevoix Circle of Arts in Charlevoix Michigan. It's an inspiring show and worth the trip where ever you're coming from.
One of Jerry's artist residencies was at Sleeping Bear Dunes.
His many paintings of the area are superbly done.
Just one of my favorites. I love this composition!
Jerry's wife, Pati Power next to one the many
beautiful Michigan landscape paintings.
I will always remember Jerry as my very talented friend. He had the ability to paint and draw anything and do it incredibly well. He was indeed a master of the pastel medium. His talent was topped of by his honest humility - a refreshing combination. I have fond memories of painting from the model along with Jerry and the gang at the studio of the late August Gloss. Allot of painting and allot of laughter! I use to kid Jerry and say that "he painted pretty good for a guy" :) He'd laugh.
The evening was a great time remembering our cherished friend and his talent. Former students recalled all they learned in his workshops. Jerrys easy-going personality made him easy to get to know and is loved and missed by so many. He lives on through the memories and his amazing gift of art to us.
Posted on 1/3/2015 12:52:41 PM
By Sharon Will
18 Comments
Antique Treasures 10" x 8" plein air oil
My early painting training began in painting the figure with traditional oils for several years. But after taking a pastel class, I was hooked and worked exclusively in pastel for the next 25 years. Reaching an artistic plateau with pastel, (the plateau was not with the versatile pastel medium, but with myself) I decided to return to my first love of oil. Even thought I loved the smell of turpentine, knew I wanted to avoid the potential harmful fumes this time around, which are there even with the odorless turpentines. So began my journey with water soluble oils. I first considered Grumbacher Max. Someone at the time had mentioned they didn't care for the texture and felt they were a student grade. So honestly I never tried them. Sorry Grumbacher! That said, this is not a scientific comparison of all the available w/s oils on the market, rather my personal experience and journey with them.
I then purchased Winsor Newton's Artisan water mixable oils. I used them for a while, enjoying their texture. They are reasonably priced with Hues rather than pure Cadmiums, but they do have pure Cerulean and Cobalts. I found the tinting strength to be week in many of the colors. It seemed I had to add allot of pigment to change a value, temperature or intensity of a color. That alone was my deciding factor to try another brand. But I do enjoy the W/N water mixable painting medium even now as well as their varnishes. I like the synthetic mediums without the Linseed oil or varnishes without Damar, which can lead to yellowing over time. Though I would not recommend their "fast drying medium." While using it on a warm summer day doing plein air, it virtually was drying on the spot, but going through a very sticky stage making it impossible to paint with.
So on to Duo by Holbein. Having more of a selection with Cadmiums/Cobalts, as well as the Hues for cost considerations. I am happy with their texture and tinting strength, (although the Cad Yellow Deep Hue seems a bit weak.) I should say here that my palette is not one where I've tried every color they make. I routinely use a limited double primary palette: a warm and cool of each primary with Titanium White. (Like a Cadmium Red, Alizarin Crimson, Lemmon Yellow, Cadmium Yellow, Cobalt Blue and Ultramarine.) I do add some convenient colors such as Yellow Ochre, Burnt Sienna, Viridian, and an occasional Orange, Prussian Blue, Cad. Yellow Light or Rose Violet.
The Duo Titanium White does seem to have a stiffer texture than the other colors. So I add a couple drops of painting medium to the pile of white. It helps the texture as well as assuring a bit of gloss is added to each color as its mixed, avoiding a mat finish, which I'm not a fan of anyway.
Martin F. Weber Co. was nice enough to send me a couple tubes of their water mixable oils to try. I did like the texture, consistency and tinting strength of the two I tried. They are the best priced oils of all of them out there, with all Hues and no Cadmiums. Weber has the least selection and I was surprised to find they don't make a Titanium White. Perhaps its coming? I know in the time I've been using Holbein they have come out with many more colors.
I've heard about Royal Talens Cobra, but just recently had a chance to try it. Now I've only tried a Yellow Ochre so far, but if this color is any indication of the whole line, I have to say it is the softest texture of all the brands. No medium needed to create a creamy consistency with them. Their line offers pure Cadmiums/Cobalts but no Hues. All of the above brands of water soluble paints are available online through Dick Blick. The only other existing w/s that I'm aware of is by Daniel Smith, but like Grumbacher, I have not tried them.
I am sold on the water soluble oils. If there is any drawback, I find you can't get as fluid of an under painting wash as I did with traditional oils and turpentine. If you add too much water the pigment isn't disbursed evenly, but adding a bit of water soluble oil medium to it helps. When working with w/s oils, the same principle of "fat over lean" applies. Drying time varies with each color, just like with traditional oils. And clean up with soap and water on brushes, clothes and skin is a bonus! I put a drop or two of liquid soap in my water. It helps clean brushes off in between colors and when painting outdoors in winter, slows down the freezing of water. Most of the brands recommend if mixing traditional oils to the w/s , don't go more than 30% in order for the "water mixable" part to stay true. Today I'm enjoying working in both water soluble oils and pastels. If you have further experience with the water soluble oils, I'd love to hear from you!
P.S. For those working in traditional oils, here is a blog by Wonderstreet that has reviewed the main brands available on the market. It includes health conscious brands like M. Graham and Gamblin, which use solvent-free mediums.
Posted on 11/20/2014 7:58:37 PM
By Sharon Will
1 Comment
"Cat Tails" 8 x 10 oil on panel
I had felt long overdue to attend an oil painting workshop to challenge my skills. With the following goals in mind: 1.) an artist who's work knocked my socks off 2.) was a plein air workshop 3.) could push me out of my comfort zones and ruts 4.) wouldn't cost me an arm and leg to attend, and 4.) was no longer than 3 days. With so many workshops out there to chose from, this past summer, I chose Josh Clare. His work fit all my criteria and the location being just 2 hours away from my home was perfect. The Franciscan Life Process Center in Lowell, Michigan was a great location, enabling participants to stay on the grounds during this 3 day study. I believe the Franciscan Life Center will be the new "midwest hub" for artist's workshops in this country. Its coordinator Kathy Bechtel is doing an awesome job of bringing top artists from around the country to teach in mid Michigan. Check out the 2015 line up of workshops - WOW! I'll be back there for sure!
Josh Clare's plein air demo.
What I gained from Josh was his fresh and direct approach of laying on paint, as well as his simplicity of shapes and appreciating the understated beauty of grayed color. Simplicity is always better and stronger of a statement. Lay it in and leave it - sounds simple right? For some reason, I needed some sort of permission or validation to do that, instead of including too much information. Just seeing it done well by another was validation in itself.
Posted on 9/9/2014 1:24:40 PM
By Sharon Will
5 Comments
"The Umbrella" 8x10 pastel SOLD
I've had a blast doing several plein air paint outs this summer around Michigan. I considered them to be great training, all while enjoying being by the water. Anytime I'm out there painting against the moving sun and weather is always training in itself. After all, I never consider a plein air session a waste, even if the painting is a bomb. The act of observing nature always gets put to use in future work. But painting under the clock adds a whole new dimension and pressure to the process. Learning to make composition and painting decisions quickly and decisively, creates simpler, stronger work...eventually!
One paint out in particular, had its "quick draw" the day before. I armed myself with pastels, as I felt I could paint faster with them. The time limit was 2 hours. So, then I got a bit cocky and thought why don't I try to do 2 paintings - 1 each hour! A stretch for me for sure, even with doing small 8" x 10"s. The first was the beach with a red fence. I'll post it later, as I want to rework it. It did not sell. However, the image posted was the 2nd painting. It is looser than I have ever painted before. I found my right and left brain arguing with each other as I sat on the beach painting. One part of me wanted to slow down and accurately get the light and shadow shapes of the figures. "After all," I told my other half, "I can draw that"! But instead, I found myself throwing down pigment that seemed to be more of an emotional gut response to color and design, with my brain disengaged. It was beyond being in the "zone". Certainly out of my comfort zone, as I prefer a more controlled purpose in the process.
When the time was up, it was very unsettling for me to turn "The Umbrella" painting in, in its loose state...but I did. What blew me away, was the positive response to it I received from many people. It immediately sold and could have sold a couple more times! The next day I painted in oils with no sales with them. Someone even approached me and asked why did I even switch to oils, as the painting the other day was so much better and had more life. He even said he was captivated by "The Umbrella" and stared at it for the longest time. Huh?... I thought as I sat back scratching my head. Did I need to reassess my whole painting approach - should I throw my drawing skills out the window?
I decided there's a place for every kind of painting. I was not going to give up totally on exercising a more controlled approach to painting all the time. But, I did need to take notice of this response to the bold color and looser style. This is what people reacted to. So the next week I was on the other side of the state for another painting event, and we had 1 day, or 6 hours to paint. I did 3 8x10 pastels. They were more refined than "The Umbrella", but they were full of bright color and fresh direct strokes. I purposely chose local businesses and boats that had bright color, and just felt like summer. People responded positively to them and they all sold!
So, lessons learned: 1.)Listen and watch how others respond, or don't respond, to the work. 2.) Let my "gut" or emotional response get more involved in the painting process. More "right brain," less left-brain. 3.) Just because I can render something with perfection, doesn't mean I should or need to. Less is more!
