<![CDATA[Lynda A Colbeck Paintings - Blog]]>Mon, 19 Feb 2018 14:38:20 -0800Weebly<![CDATA[A line is a dot out for a walk - Paul Klee]]>Mon, 19 Feb 2018 17:35:44 GMThttp://lyndacolbeck.com/blog/a-line-is-a-dot-out-for-a-walk-paul-kleePicture
                                         "A line is a dot out for a walk." - Paul Klee

The simplicity of the line in our work is paradoxically one of the most complex and multi-layered of the design elements.  The line can say so much with so very little.  

·         Controlled line is rational.  A gestural line is emotional.
·         Gestural lines capture basic forms and proportions – the emotion and essence of a subject – without focusing on detail. Gestural lines are completed rapidly and suggest movement and action.
·         Practicing gestural drawing increases drawing speed, confidence and intuitive mark-making skills.
·         Line provides shape and structure.
·         Lines can be literal or implied.
·         Line provides a pathway for the eyes to follow throughout a composition.
·         Line implies motion or movement.
·         The first four lines of every painting are the edges of the canvas or paper.
·         The emotion of line direction: horizontal (peaceful, serene), vertical (power, strength) and diagonal (energy, excitement.)
·         Those lines parallel to the outside edge lines are considered static while not parallel lines are dynamic.


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<![CDATA[Painting Expressively and the Expressometer!]]>Wed, 07 Feb 2018 21:55:03 GMThttp://lyndacolbeck.com/blog/painting-expressively-and-the-expressometer
Is painting loosely and being more expressive all about lack of control?  Letting go?  Being child-like?

I have been thinking a lot about this in preparation for the Painting Expressively course that starts next week at The Old School House Arts Centre in Qualicum Beach.  

It seems there is a time to be out of control heading quickly for chaos and a time to apply skill and knowledge to your work. 

So the idea of an Expressometer popped into my head.

Push down hard on the Expressometer pedal when you need to introduce child-like energy into your work.
The harder you push, the faster and without intent you apply colours and marks. The wild, intuitive self is free to make random and expressive brushstrokes. No overthinking allowed when you are working in an intuitive state.  The outcome is unknown, and the control is limited.

Let up on the pedal when you want to introduce more exacting work with skill and knowledge.

Seems simple enough but knowing when to push down hard and when to back off seems to be the tricky bit of “painting looser.”

All I know is that working exclusively on either extremes of the Expressometer leads to either chaotic or “bordinary” (as penned by Robert Genn) work.

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<![CDATA[Creativity and Expressiveness: Can It Be Learned?]]>Wed, 31 Jan 2018 23:56:30 GMThttp://lyndacolbeck.com/blog/creativity-and-expressiveness-can-it-be-learnedPicture
Most of us want to develop our artwork to become more expressive - work that reflects our own unique personalities and temperament.  But how do we go about it?  Is creativity innate and limited or can it be learned?

Nita Leland, in her book The Creative Artist, thinks that creativity can be developed and nurtured.  She outlines the creative process as developed by IA Taylor in 1959. 

The five levels of creativity are:
Level 1.  Primitive and intuitive expression as in the spontaneous drawings of children and in adults who have no training.  There is directness and sensitivity in the work and it is created for the joy of expression.
Level 2.  Academic and technical expression when the artist learns skills and techniques, developing a proficiency and mastery of craft.
Level 3. Inventive expression where personal expression is displayed with materials, methods, and techniques. The artist becomes increasingly adventurous and experimental. Inventive creators use their academic and technical training and skills as a stepping-stone into new frontiers.
Level 4. Innovative expression where the artist becomes more original. Materials and methods that are out of the ordinary are introduced.  Now the artist breaks the rules and boundaries.  The academic foundation remains as a substructure of unconscious thought guiding these creative efforts.
Level 5. Genius wherein the artist is truly unique and whose ideas and accomplishments defy explanation. Genius is arguably the one level that is unexplained and perhaps unattainable through persistence or applied work ethic.

The important aspect of considering these levels is that to attain Level 3 – Inventive or Personal Expression, both Level 1 and 2 are required. 

For many of us who wish to paint more expressively or loosely, we need to resurrect the intuitive aspect (Level 1) within us and meld it with the technical skills we have developed (Level 2.)

​And that can be difficult, particularly when we have focused so much time and effort into developing solid painting skills.  But by taking risks, experimenting with materials and techniques and allowing our intuitive selves to flourish, we can learn to expand our creative and expressive selves so that our artwork becomes more expressive.

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<![CDATA[Expressive Painting Workshop Starts in February]]>Sat, 06 Jan 2018 21:38:13 GMThttp://lyndacolbeck.com/blog/expressive-painting-workshop-starts-in-februaryPicture
Have you ever heard a painter say "Gee, I wish I could tighten up and be more accurate!"  It seems we all have the desire to loosen up, relax and enjoy the process of painting.

​That's the theme of the workshop coming up in February at The Old School House Arts Centre in Qualicum Beach. 

​We will be deciphering what we mean by "expressive" painting (and it is, no doubt, a personal and subjective concept) and what tools and approaches we can use to release the inner perfectionist and claim our inner expressive selves.

My sense of "the desire for expressiveness" is that it is an eventual destination in our artistic journey.  Some of us arrive there in our first attempts at painting and enjoy its freedom and the positive response it receives from others. Others focus on skill and accuracy initially and then reach for a more expressive approach as they mature and develop as painters.

​No matter how or when we arrive, the urge to find self expression is, as someone said, at the tip of our paint brush.

​I am looking forward to exploring the ways of finding self expression in painting.  Hope to see you up in Qualicum.

​"Every production of an artist should be the expression of an adventure of his soul."  Somerset Maugham.

​P.S. - The Wednesday afternoon class is FULL, but there is still room in the Saturday afternoon workshop.


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<![CDATA[Nanaimo Art Walk December 2nd and 3rd 2017]]>Sun, 12 Nov 2017 01:18:22 GMThttp://lyndacolbeck.com/blog/nanaimo-art-walk-december-2nd-and-3rd-2017Saturday and Sunday from 10am to 4pm, you are invited to drop by the Central Vancouver Island Literacy Bookstore (Well Read Books) at 19 Commercial Street to see my new work.  Come out and support local artists.  Also at the Literacy Bookstore will be Grant Leier, Tony Martin, Nixie Barton and Donna Mattila.  For more information about the tour and to download a map, go to www.nanaimoartwalk.com
​See you there!
Picture
Kiss of A Rose 18"x18" Acrylic $225
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<![CDATA[Developing Your Style]]>Wed, 08 Nov 2017 00:22:26 GMThttp://lyndacolbeck.com/blog/developing-your-styleSubconscious evolution or conscious decision?  There are diverse opinions on how to develop your "style" in painting. 

​Many artists advise to forget all about "trying" to develop a style and work on the basic skills.  Your temperament and personality will evolve through the process of practice. 

Other artists believe that selecting a style that appeals and then deconstructing and replicating it until it blends with your  individuality is a quicker and more direct approach.

​My sense is that without the knowledge of and ability to apply the basics of design, artists may find a style that "works" and replicate it ad nauseam in every piece of work they do.  When challenged to produce a piece beyond their limited catalogue of techniques, they are overwhelmed and stymied.

​Learning the basics can seem oh-so boring and tedious.  Who wants to think about the theory of colour and saturation relationships when what is really of interest is to put pigment to canvas and feel all of that lovely stuff swirling around at the end of our brush?

​My collection of art technique books never ceases to provide a varied and intriguing curriculum.  Most  aimed at "finding your style" discuss the elements and principles of design and/or the various techniques to achieve them.  

Two of interest may be:
​David Friend's The Creative Way to Paint. Watson-Guptill, 1966.  "A bold new way to unlock your hidden talent: discover how to paint by creative improvisation, working from memory, working from imagination, developing personal colour, studying great paintings."  (out of print - used copies available)

​Dakota Mitchell's Finding Your Visual Voice. North Light Books, 2007.  Presents subject matter, various approaches to design elements (colour, line, value, texture, shapes, etc.) and interviews with artists on how they developed their unique style.  (out of print - used copies available)


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<![CDATA[TD Moss Street Paint-In]]>Sun, 16 Jul 2017 19:15:14 GMThttp://lyndacolbeck.com/blog/td-moss-street-paint-in
Thanks to everyone who dropped by, purchased paintings and cards and watched the demonstration at Saturday's TD Moss Street Paint-In.  Victoria is truly a beautiful place.

​Despite the gusty winds (we seemed to be in a particularly windy spot - lovely and cool but the tent wanted to take flight numerous times), we had a great time meeting old friends, clients and making new ones.

​Despite my broken foot, I managed to "clomp" my way through another fun day.  Thanks to all for a very successful day!

​Happy painting!
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<![CDATA[Spring Paintings]]>Thu, 18 May 2017 03:36:33 GMThttp://lyndacolbeck.com/blog/spring-paintings
My latest paintings will be available at the Esquimalt Arts Festival and the TD Moss Street Paint-In in Victoria this summer. Check Workshops and Events for more information.  Send an email to lcolbeck@gmail.com for prices and availability.
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<![CDATA[Hammond Bay Studio Tour]]>Thu, 18 May 2017 03:24:33 GMThttp://lyndacolbeck.com/blog/hammond-bay-studio-tourIt's that time of year again when artists and craftspeople living in the Hammond Bay area of Nanaimo open their studio doors and invite folks inside to see our studio spaces and our latest or in-progress works.

Hope you will drop by my studio at the end of the month.  It's Studio #1 on the map. 
Saturday May 27th and Sunday May 28th between 10am and 4pm. 

​There will be plenty of new paintings on display and my plein air kit will be set-up in the backyard (weather permitting) if you would like to try your hand at painting.  Art cards will also be available plus a refreshment and a homemade goodie.

​For a list of all of this year's artists participating in the tour, click here.
Picture
Wickaninnish Walk 9x12 oil on canvas $185
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<![CDATA[Thicker Paint]]>Wed, 05 Apr 2017 22:08:48 GMThttp://lyndacolbeck.com/blog/thicker-paintPictureJack's Pine Tree 11x14 oil on canvas
Throughout my studies, I have read repeatedly not to be parsimonious with the amount of paint you place on your palette or canvas.
I recall a few years back at a Golden Paint demonstration when the acrylic artist/representative squeezed out an enormous amount of paint on a plate and audible gasps erupted from the audience.  "It's so expensive," whispered the artist beside.  "I can't imagine squeezing out that much paint!"
While painting "Jack's Pine Tree", the scene seemed to beg for an impasto approach.  The scene is from Thetis Island looking toward Crofton, Vancouver Island.


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