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Do you like chocolate? Do you like epicurean dinners? Do you paint? The Hudson River Valley Art Workshops, hosted by Mark and Kim LaPolla was truly a memorable weeklong painting experience at their B&B facility, the Greenville Arms. Imagine staying at one location where you are wined and dined (and chocolated everyday!) and you get to create paintings 24 hours a day...
This Loosen Up Workshop is beginning to fill up again for next May. If interested, sign up now - not later! This workshop had a waiting list of 18. Here is info for next year: May 20-26, 2012
Art in the Mountains in Bend, Oregon.... described by a student as “FUN-TASTIC,” hosted by Tracy Culbertson and her super-helpful assistants. It was again, a worry-free week of making new paintings. This full class of 20 professional and new painters collaged and painted so many works of art, the room actually glowed with color, texture and images never seen before! Most painters created up to ten paintings - a day! Wow.
This group of eclectic artists (not a whiner in the bunch) filled this lively room with paintings that made my head spin. All ages, all styles and all original works of art, all in one creative environment.
Tracy and her support team provide a friendly and encouraging atmosphere for workshops. I even had time to make new pieces that started my next series.
More Great Trips! International Workshops - Please Join Us!
Painting in Tuscany!
Villa Fattoria Bacio, in the heart of the Tuscan countryside. Between Sienna, Florence and San Gimignano sits the beautiful Villa Fattoria Bacio. The villa is the perfect blend of old world ‘rustica’ and catered comfort, surrounded on all sides by spectacular views of the meandering hills of Tuscany. Seven nights lodging at the villa, nightly genuine Tuscan meals and fine wine are included. The five day workshop will take place Monday through Friday.
We did this trip to Tuscany in 2009 - went to Florence for a few days before the workshop started - I highly recommend going to Florence at least once! Click HERE to view our Italy Trip photo album on Facebook. Contact Sedona Art Center (888) 954-4442 or (928) 282-3809 www.sedonaartscenter.com
Paint with Bob in the Bahamas! Workshops in the Spotlight
September 25-30, 2011 October 2-7, 2011 Learning & Product Expo: Art! Art of the Carolinas, Raleigh, North Carolina For more of my workshops all over the county, click HERE check out my workshop schedule. Product Spotlight - Summer Special!
Robert Burridge's 3 Studio Charts plus the Creative Painter poster We Want to Hear From You!
Keep those Studio Tips and your questions coming! If we use yours in an ArtsyFartsy Newsletter, we will send you a Burridge Permission Mug.
Keri from Illinois asks: Dear Keri, Thanks for your question! Yes, as long as the varnish is water-based acrylic polymer. Acrylic adheres to acrylic. Do not use oil varnish, as the finish eventually turns amber. It’s oil! During the process of painting, I stop and let it dry. Then I apply a clear coat of gloss acrylic varnish (not medium). This not only brings out the color and depth I want - it really “seals in” the multiple layers of paint underneath. Adding an intermittent coat of varnish gives me a hard, slick surface to continue to paint on. When the painting is finished and signed I brush on a final coat of the same varnish and seal the entire painting.
Ann from Washington asks: Dear Ann, Great question - this is a popular question. I use regular gel gloss medium as my glue. It’s thick enough to trowel on heavily. I trowel a layer of glue over the entire canvas and also on the back of the paper to be adhered to the canvas. This assures me that I don’t miss any areas or pockets with no glue.
Bubbles, they are actually “air pockets” are caused from either not enough glue or not enough pressure squeezing the paper into the canvas. Air pockets are particularly noticeable if you use 140 lb or less paper. I use 300 lb for this reason. Refer to the January 2011 issue of the ArtsyFartsy news for my step-by-step technique for gluing watercolor paper onto a canvas. Incidentally, I just read in a recent issue Modern Painters that de Kooning adhered his paper paintings onto Belgium linen. Related to this subject is this question that came up in a workshop about collaging: I watched you demo how Citra Solv dissolves the ink in the pages of National Geographic magazine. You used these torn pages in your collage without getting little air bubbles. How can I prevent them?
I crinkle up the dried paper a bit to beak up the surface. A regular gel medium is my adhesive - lots of it all over. After my pieces are in place, I gently squeegee the excess gel medium off and let dry. Since it’s all acrylic-based, I continue to paint and collage until I’m finished. In my opinion, a hard wood panel substrate such as Cheap Joe’s Cradled Painting Panel is easier to work on than gluing collage material onto a standard canvas. These panels take a beating and handle aggressive gluing techniques well.
Thanks for your questions! We’ll be sending both of you a Permission Mug! Bob’s Studio Tip for Loosening Up
Frequently I’m asked for my opinion on making a painting from a photo, either from a magazine or from one I’ve taken. I don’t do it. I make it all up! It’s more fun that way. I totally enjoy goofing around with paint for awhile before the paining begins to develop.
I start abstractly first - and pay attention to what’s happening all over the painting. I’m more interested in the process of painting - and all of its surprises. I’m not interested in duplicating an image or still life that’s in front of me. Even though I was classically trained that way in college and learned the rudiments of painting, I’m now more interested in the process, including the physicality, the spirituality, the emotional awe and the story I need to tell.
But then again, a photo file of ideas with lots of my notes are throughout my sketchbook. My sketchbooks are my memory file and my Idea Books, used for daily journaling, goal setting, painting in, collecting reference images and - oh - sketching! Several sketchbooks are scattered about wherever I am. I have a short attention span so, whenever I get an idea, or feel the need to draw, I reach for a sketchbook and wri.... Trust yourself and paint your own paintings! I have more tips for loosening up! Check out my Loosen Up Studio Workbook for more techniques to help you stay loose, relaxed and creative!
Click here for product information. Painting of the Month Club
Bob was out the other week picking up wine from our local winery. We’re members of their “Club” which means we receive a case of their favorite handpicked wine every month. This gave Bob a new idea! How about “The Burridge Painting of the Month Club.” You get an original painting every month!
The paintings are all originals - acrylic on paper or acrylic & combined media on paper. Each painting is completely painted and hand-selected by Robert Burridge, signed and dated. Each month will be a different subject matter, including still lifes, abstract, landscapes, figures, etc. and represents what he is currently working on in his studio. Each month you can expect high quality 6x9 inch painting on professional quality watercolor paper, matted to a 12x16 inch presentation. Bob works in a series for the Painting of the Month Club, so pieces will not be copies - but all similar. $75 + $12.50 shipping/handling monthly. If you live in California, sales tax will be charged. When you sign up, your credit card info will be kept on file and you will automatically be charged, usually around end of month. We also accept PayPal and personal checks. An email reminder/alert notice will be sent notifying you that the painting of the month will be sent in about a week. By purchasing the Burridge “Painting of the Month Club” product via our shop cart system, you agree that your credit card information will be kept on file and automatically charged a total of $87.50 monthly for 12 months. Sorry, no returns or special requests. All images are solely owned by Robert Burridge Studio. Ask Kate about Art Marketing
Barbara from Virginia asks: When the time comes, the body of work is assembled, is it advisable to put my work in the hands of an agent? What's your opinion on all of that? Hi Barbara, After you get a good, comprehensive list - then edit that list. Think what you can do, or what other people in your close circle can do for you... then, prioritize the list. Write out your reasons and purpose for hiring an agent. Look at the artwork you have that is "ready to go" - either ready to sell or ready to hang in a gallery. I always tell artists to have a body of work, at least 10-20 pieces ready to go, before approaching a gallery or an agent. You must be ready if they say, “Yes, we want to sell your work.” Be honest with yourself - if you aren't ready for an agent - maybe it's an "artist advisor" you need to get your act together first? Like your inventory, mailing list, photography, resume, bio, statement, etc. However you approach it - it's a good journey! And a great start!
Click HERE for details for Hot Art Marketing Workbook. Don’t forget to use your subscriber discount! Click HERE.
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Color Wheel
Another Way to Explain It!
My own Goof Proof Color Wheel is a loose interpretation of Munsell Color Theory. By loose, I mean I take “the easy-to-understand” part and make only ten colors that work for me. Then I make hundreds of very small practice paint sketches. That’s H-U-N-D-R-E-D-S! Does the word “Automatism” sound familiar?  Small Practice Paintings using my Color Wheel  Ooh La La - Color Wheel Explained The painting shown above is one of my latest 20x20 inch paper series called “Ooh La La” (don’t ask...).
The dominant and overall color tone is RED. But it’s not just one flame red color, but other “reds” as well. This point is important. I start with one dominant color all over. I goof around with a bunch of reds, plus black and white.
Early on however I established a point of interest with my focal point color. And by now I’ve detemined my compositional design. The result is pure “playin’ in the tub.” I splash, drip, scrape, glue things and draw into the painting until it shows my theme - my intentions.
Then the final two pure spice colors are placed near the focal color - sparingly. As any spice color moves away from the focal point - and hence, away from its most saturated color, it is grayed down or blended until it disappears. The spice colors should not draw too much attention to themselves. They are supposed to show off the focal point. Their “foot print” size should not visually compete with the focal point - the Star of the Show! What “Painterly” Means to Me
The word “painterly” is often used to describe a painting or even a painter. But what does it mean? Again, a much anticipated and enjoyable debate amongst painters and art critics. For me, it means when the painter reveals a part of himself. Showing the passion with decisive brush marks, not fidgety, and a sense of story telling with telling marks.
Some artists do all this with just paint, while others apply paint like thick spackle, sculpting the texture and painting into this concoction of material with a swirling technique. What Fun! For example: Think Willem de Kooning, Joan Mitchell, Jay DeFeo and Jackson Pollock.
Painterly doesn’t always imply a loose, interpretive dash with the brush. Some photo realism can also be comfortably described as painterly. Think Chuck Close, Odd Nerdrum, Lucien Freud and other great painter storytellers, whose paintings, when viewed up close are executed with a confident, deft hand. Beautiful work. Painterly is also showing your passion with having a point of view, a theme, a concept. And when you figure THAT out, it’s painting a series over and over.
So, for me - briefly said, “Painterly is a painting that exposes the soul and confidence of the painter.” Think John Singer Sargent, Robert Motherwell and Franz Kline. ‘Nuf said. What's Up With Texture?
Book Review
There are many “How-To” books on the subject of textures. Many are excellent. Here’s the latest, greatest book that pulls together all of them with clear photos and understandable text. There are forty-five techniques, ideas and usable applications to get you started on your next series. The photos alone made me want to try everything! Surface Treatment Workshop: Explore 45 Mixed-Media Techniques by Darlene Olivia McElroy and Sandra Duran-Wilson
Learn to make your own handmade papers using creative recipes with extraordinary results. This book will keep you busy and inspired! 300 Papermaking Recipes Product Review
A light non-greasy cream rubbed into my hands before I paint forms a protection from harsh chemicals or paint. Marvelous Marianne’s soap and SkinSafer are produced from eco and bio-based farm products, such as corn oil - instead of petroleum. I buy several large 16 oz tubs and place around the studio. Her soap, Savvy Soap is a hand and brush cleaner! It works. Available though many stores, including Dick Blick, Cheap Joe’s Art Stuff and Daniel Smith.
I discovered a “must have” painting tape found in larger Home Depot type stores. Kleenedge Painting Tape does what it says it does! On a white sheet of charcoal paper I “taped” off a border all the way around, making certain the tacky edge is the inside edge. It makes a clean edge and is easily removed later on. Once down and the borders “protected” I go to work drawing on the exposed surface and having the time of my life playing.
When done, I spray a fixative on it. Four thin coats, let dry in between coats. And finally, I gently peel back the temporarily frisked tape, exposing the white of the paper. It looks like a print - but really is a charcoal drawing with an automatic clean border. Made in the USA. Recommended DVD
In the late 1940s, Mark Rothko explained, “The people who weep before my pictures are having the same religious experience as I had when I painted them.” Of course, he’s well known for creating wall-scale abstract paintings that filled the viewer’s field of vision and became a form of environment. With penetrating interviews from his daughter Kate and his son Christopher, this documentary is the best and most clear explanation on the famous Seagram's murals, and his now dedicated room at London’s Tate Modern. Rothko was with the period of Abstract Expressionists who wanted to be unique. Existentialism was a popular influence on the painters’ intellectual search. Imagine sitting in the center of a private room at The Tate, literally surrounded by huge Rothkos and listening to Mozart’s Don Giovanni or Brahm’s 3rd Symphony. You’ll see and hear it all on this well produced DVD. Rothko’s Rooms - The Life and Works of an American Artist Music to Paint By!
Download time! Music I’ve added to my stuff. Great painting time music with a dance beat. Gotta get’em - Enjoy!
Love and Rockets
Alf by Alison Moyet Inspiration - Children are Natural Born Artists!
All children make the most amazing art! Picasso has often confessed that he borrowed freely from the creations of children and always had their artwork hanging in his studios! While I was a child, my parents had set up an “art table” for me and for each of my four brothers. My “creative arena” was always setup and ready for me to play, build things, break things, make things and create endlessly. Art Making Table includes:
Emphasize “Express Yourself”:
Studio Painting Time
June is my birthday month - thanks for all my emails and Facebook posts! My daughter asked for a present suggestion and I told her I would like to have a Birthday poem written by my granddaughter Kylan. Well... it is perfect! And I just had to share it with you!
Yes Happens!   Copyright ©2011 Robert Burridge. All rights reserved.
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