Final Show Details

During the last five days, Dan and I, with the much needed help of loved ones, have been busy putting the gallery together. Painting walls, making walls, adjusting lights, moving furniture, cleaning, hanging, etc., all the wonderful things that go into a gallery exhibit.

Together, we have 70 pieces of art in our Landscape Bodyscape show. Image sizes range from 3.5×2.5” up to 36×48”

Those of you in the area, see you at the reception, Sept. 8, 5-7pm.

Have a grand day!

The Making of Blue Lady

Countdown! When the exhibit opening is less days away than fingers on the hands, the scrambling really begins. So much to do, so little time…. Anyway….

For today’s posting, I want to share with you a little about my process for the making of Blue Lady. I did this piece specifically for the Landscape Bodyscape exhibit. My intent was to make it a crossover for the two subject matters of our show.

This piece is done on Ersta, a 400 grit sandpaper that was originally made to be used for leather tanning, but then pastel and colored pencil artists discovered it. The down side that has concerned some of us is that the paper is not acid-free on the back side. (I’ve been spraying the back with a product to make it acid-free.) So the company that makes this paper now makes sandpaper called Uart that comes in 400 to 800 grit and it is acid-free.

Drawing on sandpaper does eat up the pencils, but having this extra “tooth” also allows for many many layers of color to be put down. Generally, I choose to use sandpaper when I want to work with tones first, as I did with this piece, by doing the entire project in grays, setting up the light and dark areas. This is also referred to as studying the values. Then I build the color on top of the gray values. By the time I get to the color, I already have a “few” layers of colored pencil on the paper. I followed this same process for another piece that will be in the show, Ray, At the Window. Upon completion, both of these pieces have fifteen or more layers of colored pencil on them. Time intensive, yes, but colored pencil artists can be a strange lot.

Thanks for reading!

Exhibit Partner, Dan Trimbath

I first met Dan Trimbath at the life drawing sessions held every Saturday morning at Eastern Michigan University. Since we both have a real love for drawing the human figure, we just knew it had to be a part of our exhibit together. So when we narrowed our focus to landscape and figures, Landscape Bodyscape seemed the fitting title.

Dan is a registered Electroencephalographic. Yeah, I know, it’s enough just to see the word, you don’t have to say it. It’s a medical thing. He works for the University of Michigan Health Systems. Dan is also pursuing a Master of Arts degree at EMU. He has spent several summers studying painting with Lois Griffel at the Cape Cod School of Art, developing a keen interest in the relationship between light and color.

The Cape Cod School of Art was established in 1899 by Charles W. Hawthorne and was the first American school dedicated solely to the ideals of Impressionist painting. Dan’s work reflects those ideals.

“The truth in the color theory taught by Ms. Griffel was such a gift. I could always see the color before me, but I could not describe the light. To have this key of understanding has unlocked one of the small secrets of the universe for me. I have learned enough to know that I will always remain a student of nature.” Dan Trimbath

Thanks for reading. Have a grand day!

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