Wednesday, April 29, 2009
President Dieter F. Uchtdorf: The desire to create is one of the deepest yearnings of the human soul. You dont need money, position, or influence in order to create something of substance or beauty.
Don't let the voice of critics paralyze you.
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Monday, April 27, 2009
This piece I worked under Jean Grapp and was introduced a different approach to oil. Her work is amazing and she is successful with this system. Having completed the piece I find that for ME, I prefer to work in a different way. I studied four years in Maryland under Alan Fink. His method of underpainting for composition and value on canvas prior to color really resonates with me. I am better able to focus all my attention on proportions and value in the beginning. When I am working in color I want to keep all my focus on the way light effects each hue rather than on top of this wondering if it is dark enough or light enough and if the positive/negative space is accurate. I will do a workup on that process once I have completed my next oil...until then here is a sample of this technique.
Process:Transfer of Underdrawing
Process:Diluted Color Wash of Walnut Oil Paint and Turpentine
Process: Primarily Walnut Oil and Liquin Medium
Process:Last Stage of Adding Highlights
Wednesday, November 12, 2008
Wednesday, May 28, 2008
Thursday, May 8, 2008
Illustration Collage Spring 2004
My Dad is colorblind (he sees Blue), my mom is partially blind in one eye and has a 'black hole' in the other, and I see things 'artistically'-or try to at least. The lower piece is a collage illustrating the way we all see things.
The top two are of a color grid comparing hue. The black and white shows how significant the blue and red colors are. Granted this isn't a true color test because it is paint but you can still pick up interesting comparisons from the perspective of value on each hue.
Wednesday, May 7, 2008
These 4 shots (above) are of a piece for Drawing Class. This focus was titled nontraditional art. So here is my nontraditional utencil-cut paper silhouette and bouncy ball painted white. I enlisted my uncle's help and we welded the stand for my "world". At the time I was working part-time as a substitute teacher, I had been married for 3 months, ran my first 5K, and been sealed in the SLC Temple.
3D Design Spring 2003 2003 -"Yoga Lady"
This was for my 3D design class. The goal was to take 3 shapes and integrate them into one. If you squint when you look at it you might be able to see where I was going with this. This is the backside of a woman with her hair blowing to the left shoulder. She is in a sort of squating position with her arms in front of her torso... perhaps it's a stretch but remember I had a week and a half to do it and it started out as a leftover supporting beam from a house. It wasn't intended to be an anchor but I got a lot of those comments during class critique. Ah well.
Sunday, May 4, 2008
***If I had felt full liberal licence when creating I would have cut off all but the right side first 4 bldgs. The balconies are my absolute favorite and I love it so much because my reference photo was grey and dirty (it was January) so this was all created in my head. I didn't realize the colors and everything until it was finished. I had one of those wait did I really do that moments when it was finished. I feel blessed to create these pieces. ***
Anderton Segovia Landscape Commissions 2006
"Mary", MacDonald Portrait 2007
These two pieces were created for people I love. I have the utmost respect for these two women and will forever cherish their friendships. The first pastel scenes are of farms in Delaware. If you haven't had a chance to go to Delaware I would definately recommend it. It's just lush with landscape material.
The second pastel is of my dear friend's mother Mary. Mary was diagnosed with cancer around Thanksgiving and passed away at the end of January in 2007. She is such a poised and elegant woman on the photo despite the chemotherapy treatments. I felt the most beautiful peace whenever I worked on this piece. To date it is my fastest work 45 days and my largest too. I feel such joy whenever I think of the time working on this piece. I went through some real personal trials while working on this and I am grateful I had Mary's portrait to release those heavy emotions into.
These pieces are all part of my private collection. The first is my first pastel study, the second is of my oldest daughter, and the third of my husband and daughter. The last piece is for an international juried art exhibit for the Church of Jesus Christ of Latter Day Saints. I need it to be completed by October for the deadline (yikes because I started last July!). It really would be an honor to have it in the show but if not...it's wonderful to try anyway.
I first caught the artbug from my grandmother. She loved paint in oils. She was pretty good actually. One day in the car I remember her pointing out the mountains surrounding my house and showed me how the ridges looked like fingers curled in. She said, "See Stacey, you're growing up in the palm of God's hands." I have never looked at mountains the same since. That is what art is to me. Remembering the great gifts from our Heavenly Father in the world around us.
My uncle also has a tremendous artistic gift. He helped me weld a shield in high school for a humanities project and again it opened my eyes to the way materials can be manipulated. That same year in school was the first time a teacher ever expressed that I might have a raw talent. I was a sophomore in high school. As a junior I was invited into the AP Studio Art class based off some continuous line drawing exercises. I received a 3 for my portfolio that was judged by instructors from Princeton University. That summer I traveled throughout Italy, Austria, Switzerland, Germany, Lichenstein, France, and England taking in as much as a 17 year old can. I followed up my senior year with AP Art History and received a 4. I thought that was the end of my art escapades.
In astronomy I was asked to create a constellation from the stars and write a story to back up the image. I guess it sort of beat out the usual dot to dot imagery and my class was rather impressed. My friend April was in the class and asked me to draw a portrait of the Beatles for her dad for Father's Day. I guess that was my first commission. Again I hadn't put any faith into my abilities and tried to let it go.
My husband encouraged me to take it up again when we got married and I switched my major from Biology to Illustration. Quite the transition. I learned a lot in those classes but I think the most useful was the Color Theory course from Ann Stevenson. Thanks Ann. My husband and I were moving to the East Coast and I was still a semester shy of graduating with my Bachelor's so I thought I might be dropping it once again. Little did I know what would await me in Maryland.
I looked into transfering and realized I would be repeating my generals all over again rather than taking more art classes so...I withdrew before the courses even began. Nate noticed I started to decline in enthusiasm prompted me to look into private classes. A little present from my friends at Google and Voila STA School of Traditional Art popped up. Of course I couldn't bear to lose yet another night of the week away from my husband (I was working 6 days a week and recognize Sunday as a day of worship) so he suggested we take a class together. It was a success and I feel I owe most everything I know to Alan Fink. Thanks Alan for the best 4 years in art.
There you go my story. Now let's see some pictures...