Paintings Headed for Antique Week at Round Top, Texas

Good Cheer | © Beth Cole | Oil on Linen | 11 x 14

Since January I have been pushing paint to create a group of paintings to show at the spring show of Antique Week near Round Top, Texas. I was invited to display my work by the very kind and talented owner of Loblolly Goods, Marc Elson.

Blue Hills at Round Top is the location of his shop, there you will find all manner of beautiful lighting, antiques and repurposed items for your home.

A trip to Round Top will never disappoint. I went with my four sisters a few years ago and if you like vintage, repurposed items and generally very cool things for your home, you will love it. I understand buyers from large brands like Pottery Barn, Country Living, etc. always show up so something must be going well.

Here is a link with more information about planning a trip to Round Top, Texas

My husband and I will be visiting April 4-6 near the end of the Spring Show. Can’t wait!

Here is a quick little video showing some of the work that will be there.

As always, thanks for reading. Wishing you all good things today and in the days to come.

—Beth
Soli Deo Gloria

Critiquing Your Art Work

So far this year I have set a record for myself – the most wipers ever! By wipers I mean just what the phrase implies – wiping the paint off the canvas so as to start over. Ahhhhhh. Such a good feeling.

I went through all the steps for the wipers – i.e. value thumbnail, sketch on the canvas, and value under painting. But when the color was on and I stood back, the painting just did not work. Gah. I’m not sure what happened! I could have messed up the values when I added color, totally possible, but I just did not like the painting. So. Off came the paint.

I believe you are your own best critic when it comes to deciding what you will accept and not accept as representative of your work.

Here are some ideas for “critique” questions to ask your self. *

• Is it pleasing?

• Does it “read” from across the room?

• Does it look like it belongs with other paintings of yours?

• Do you like it?

• Would you hang this painting in your home?

If I can answer “yes” to these questions, I will keep the painting on the team. My photographer husband and I joke that we have varsity pieces, second team work, and third stringers. The ones I wipe off are probably third string. Sorry, dear painting.

There is a freedom in knowing you don’t have to keep a painting if you don’t like it. So many times I have just continued working on a piece, thinking somehow more work would bring it back from the dead. Sadly, so far, it has not.

So take heart my friend. You can feel good about the paintings you put out into the world by setting a standard for yourself and your work and putting your best paint forward. I’m with you all the way.

Weightless | 11 x 14 | Oil on Canvas | © Beth Cole

*Critiquing isn’t the same as problem solving. There are always problems to be solved as you are painting and there are ways to do that. More on that in the next post. Thanks for following along.

— Beth Cole
Soli Deo Gloria

You're Invited to Big Land, Big Sky

Gentleness | 11 x 14 | Oil on Linen | © Beth Cole

This Friday, February 1st, 2019 is the opening for a group show at the Burkholder Project in Lincoln, Nebraska. The show is titled “Big Land, Big Sky,” and you’re invited! The opening will be from 5:30 to 8:00 pm on the 1st.

I am honored to be part of this show along with these talented Nebraska artists:

• Patty Scarborough

• Roberta Barnes

• Patsy Smith

• Laron McGinn

• Anne Burkholder

• Alan Smith

• Bruce Thiel

• Richard Terrell

• Tim Timken

Two oil paintings of mine will be in the show. Above is “Gentleness,” a tonalist piece I finished at the end of last year. It is 11 x 14, oil on linen, one of my favorites.

The other piece is “Prairie Waterfall,” 18 x 24, oil on linen, painted from one of our road trips where we wander with cameras. I loved the little town and the sky falling down toward it.

Prairie Waterfall | Oil on Linen | 18 x 24 | © Beth Cole

Here is a list of all the other galleries that will be showing art for First Friday in Lincoln on February 1, 2019.

The show at the Burkholder will run from February 1 - 28th. Thanks for following along and I do hope you’ll be able to enjoy this collection of beautiful Nebraska art.

—Beth Cole
Soli Deo Gloria

Fresh Off The Easel

I wanted to share with you some of this month’s efforts. And when I say “effort,” I mean this with all sincerity! I have wiped off at least three, ha!

This painting, “Fallow,” is one of my favorites. The sky is what drew me to the scene, but the suggestion of the farm is dear to my heart. Having been raised on a farm, I have such good memories of those growing up years.

Fallow | 18 x 24 | Oil on Linen | © Beth Cole

This next piece, “Meandering,” is the second I have painted from a meadow north of Mullen, Nebraska. It reminds me of gentleness, the way the water moves through the scene.

Meandering | 18 x 24 | Oil on Linen | © Beth Cole

I’ll share one more -it is titled “Weightless.” I have painted this scene before, too…..I came back to it because of the atmosphere. The ethereal quality of this painting somehow reminds me of the connection of heaven and earth. Soli Deo Gloria. This piece is part of a collection I am painting for a display at Blue Hills at Round Top, Texas March 23-April 6, 2019. More on that later!

Weightless | Oil on Canvas | 11 x 14 | © Beth Cole

Thanks for keeping me company. Enjoy the day.

—Beth

More Learning from the Masters

My most recent master study is a painting by Alexei Savrasov entitled “The Sea Shore in the Vicinity Oranienbaum.” Oh how I loved painting this!

The Sea Shore in the Vicinity Oranienbaum
by Alexei Savrasov

His shifts of warm and cool are ever so slight and masterful. The colors sing against one another. I was amazed at the detail in the painting. See the two canoes and the seated figure? The figure is so small, just a few brush strokes at best, but calculated in order to get the gesture. Hard! I had to hold my breath!

See the glimmer of water in the small puddle on the shore? The light carries through there. And the fishing nets draped quietly to the left. If it weren’t for my iPad lighting, I might have missed it.

Here is my version. Each study like this teaches me something and I am thankful for the mini-workshop afforded by taking time to see.

Beth Cole after Alexei Savrasov | The Sea Shore in the Vicinity Oranienbaum | Oil on Linen | 6 x 8

--Beth Cole

Soli Deo Gloria

Master Paintings Are Great Teachers

I like to take at least one great workshop every year and I have been considering several for next year but haven’t decided anything for sure. While I wait, my learning continues in my studio with the selection of several master paintings I want to study. You can read more about the ones I have chosen in this blog post.

I kicked off this series with Isaac Levitan’s “Sunny Day.” I started with this one because I think (I’m not sure though) it might be the hardest one. Why I do that, I do not know! Gah. I think it’s because my dad taught me to do the hard things first, and it is a lesson that has helped me so much in life. Thanks, Dad!

Sunny Day by Isaac Levitan

I did an under painting in thin paint to try to get the drawing down. I struggled with how to block in the darker areas and the structures amongst all the foliage. I ended up blocking in the buildings and roughly sketching in the foliage with a thin layer of paint. Then I went back and forth with the drawing trying to get things right. As everything started shaping up, I reached for a small brush, way smaller than I am used to using. This is what it took for me to be able to do tree branches, leaves, and detail on the buildings. I think I held my breath much of the time. Ha!

What I admire about Isaac Levitan’s painting can’t fit in this post – there is so much! He is a master with color, setting the mood, juxtaposing warms and cools, creating just the right shadowing. His composition is interesting and masterful.

I loved painting this and I hope you enjoy his beautiful work and my study of it.

Master Study | Sunny Day | Beth Cole after Isaac Levitan | Oil on Wood Panel | 8 x 10

January 2019 Workshop at The Wild Rose

Workshop Demo | Oil on Linen | 8 x 10 | © Beth Cole

I’m happy to share that I will be leading a painting workshop on Saturday, January 19th, 2019, from 10am to 2pm at the Wild Rose Gallery in Broken Bow, Nebraska. The cost is $35 and lunch is included.

The workshop will be all about getting a strong start on your painting. There are some steps we can take before we ever pick up the paint brush to help us cross the finish line with a smile on our face! These techniques are nothing new and nothing secret. They have been used by artists for hundreds of years.

We will talk about simplifying our scene down to four or five shapes, and experiment with value studies using grayscale markers. After that, we’ll complete a one-color underpainting to match the value study. If time allows, we’ll add color and work to get a finished painting!

Here is a recommended supply list. If you don’t want to buy the markers, don’t worry….I have extras.

• Oil paints of your choice (white, and a blue, red, yellow for sure so we can mix)
  I use the following but please don’t feel you need to run out and buy these if you don’t have them.
  —Titanium White
  —Warm White
  —Yellow Light
  —Yellow Ochre
  —Transparent Oxide Red
  —Alizarin Crimson
  —Cad Red Light (sometimes)
  —Ultramarine Blue
  —Cobalt Blue
  —Raw Umber

• Small canvas, 8 x 10 or 6 x 8

• Photograph from which to paint

• Paint brushes, palette knife and mixing palette

• Apron, tissues or paper towels

• Gamsol (odorless mineral spirits) for cleaning brushes

• Sketch book

• Tombow 56171 Dual Brush Pen Art Markers, Grayscale, 10-Pack. Blendable, Brush and Fine Tip Markers (can buy at Amazon)

To register, call the Wild Rose Gallery at 308-872-6345. Space is limited, so please do call to register. If you have questions, you can contact me here.

Here is the workshop flyer as a PDF.

Thanks for your interest, and hope to see you in January!

Merry Christmas!

—Beth Cole

Landscape Master Painters Long Admired

Landscape by Asher Durand, 1857

Lately I have been loving the work of a few master artists, long gone from us. Asher and Durand and John William Casilear were American artists of the Hudson River School era. Their landscapes are a wonder. I was lucky enough to see a John Casilear in person recently at the Denver Museum of Art. Wow. I will be studying both artist’s work in the coming months and sharing what I learn as I go.

River Landscape with Sheep by John William Casilear

Another favorite is Russian painter Alexey Vasilievich Hanzen, a law school graduate turned painter. He was mostly known for his marine and coastal paintings. I love the softness and atmosphere of his paintings, as well as his color palette. I am looking forward to doing some master studies of his work as well.

Sunset Over The Sea by Alexei Vasilievech Hanzen

Russian artist, Alexei Savrasov continues to be a favorite. I have studied a couple of his works before, and continue to find pieces that I absolutely love.

Sea Shore in the Vicinity Oranienbaum by Alexei Savrasov, 1854

Finally, what about Russian master painter, Isaac Levitan? He is known as the founder of the “mood” landscape. His work is captivating. I am looking forward to learning by studying his color palette and composition.

Sunny Day by Isaac Levitan

What a wonderful era in which we live with such easy access to painting super heroes like these! Here’s to learning from those that have gone before.

—Beth Cole
Soli Deo Gloria

Fresh Paint and a Holiday Opening

Sacred Sunrise | Oil on Linen Panel | 18 x 24 | © Beth Cole

Last October I spent a few days in Mullen, Nebraska, for a painting workshop with Shanna Kunz. (Fabulous). The last morning, I got up early and went out with my camera to the place we had painted the previous afternoon - a meadow with the Middle Loup running through. I wanted to see what it was like in the morning light. It did not disappoint. The water was glittering. The air was cool and a little misty. And the sun was starting to warm everything and give it a glow.

This painting is inspired by my visit to the meadow that morning. I took lots of photos to use as references, so I’ll be painting more and more of this in the days to come.

When I shared this on the socials, it was unnamed, and I asked for suggestions. One of my friends (thank you Karen S.) suggested “Sacred Sunrise,” and immediately I knew that is what it should be named. I believe there is an unseen spiritual realm all around us and I believe our Maker created light and the earth upon which it falls. When I paint, I am always aware of this and I think that is why I am drawn to atmosphere — that veiled effect of light and air. To me it symbolizes the spiritual realm which also, for me, symbolizes comfort and peace. So I hope this painting, Sacred Sunrise, speaks, in its own way, to you.

Holiday Opening at the Burkholder

The Burkholder Project in Lincoln will host the opening for Holiday Mosaic today, December 7th, from 5:30 to 8:00. This show features over 50 Burkholder artists plus the work of woodturner, Harold Adams.

My piece, “To A Faraway Land,” is a part of this show and will be available there through the end of the year.

To A Faraway Land | Pastel on Paper | 18 x 24 | © Beth Cole

I hope you are doing well and enjoying the festive Christmas season. We put our nativity set and tree and stockings up last weekend. I love the extra special light in our home this time of year.

Thanks for reading, Be well. I am grateful for you.

—Beth Cole
Soli Deo Gloria

Plein Air Color Studies

Color Study 1 © Beth Cole

It’s a bit brisk in the hinterlands, but I’ve been forging outside to paint as much as possible. My teeth chatter, my fingers are numb and the wind blows my trash bag away, but hey….I’m outside painting and I couldn’t be happier. I was standing on our back deck painting a few weeks ago. It was drizzly and …… well, just kinda miserable. My husband came outside for a bit and said, “I guess you must really like painting, otherwise you’d never be out here.” That pretty much sums it up.

Color Study 2 © Beth Cole

To be honest, painting outside kicks my patootie each and every time, but I like the challenge. There’s something so complicated about figuring out the scene, narrowing the choices, sketching it all in, and choosing colors, that really resonates with me. It’s hard! And I’m not an expert, but I really like the practice, and I like being outside, even if it is cold.

Color Study 3 © Beth Cole

The area right around our home has been my subject matter. It’s interesting how different each painting looks, even though I’m looking at very similar scenes each time. The cottonwood trees around the homestead place have been my fascination.

I’ve been trying to get the airy feeling of the trees which are fairly leafless this time of year. I’m also in love with the golden color of the cornfield that borders our back yard. It has been harvested so I can see again. I like that. I have been trying to mix the color I see, it’s harder than it looks.

Color Study 4 © Beth Cole

I’ve also been experimenting with the time of day and light, shifting the key of the painting up and down regardless of how the light conditions were at the time I was painting. Also hard, but great practice.

When I’m not painting outside, I’m in my studio working on commissions and paintings for next year’s commitments. I was talking with my niece the other day about whether or not a dream job exists, and if it does — I think I have one.

Hope all is well in your corner of the world. Thanks for reading to the end.

—Beth
Soli Deo Gloria

Talking About Your Art - Part I

“At Peace” | Plein Air Oil on Linen | © Beth Cole | SOLD

I always want to write about things here on the blog that I wrestle with as an artist, so this new series is on talking about your art. So awkward, right?

This first post will be about writing an artist statement, and I also will share about writing art descriptions and writing your artist bio.

Your Artist Statement

by Beth Cole

So how is it for you and writing an artist statement….a struggle or a piece of cake?

I am still trying to figure out the best way to talk about my art and why I make it, you too? It is difficult to put into words what my art is all about. It has taken several years to begin to understand my materials and how to apply them to achieve the vision in my head. To articulate a deeper meaning seems, most of the time, beyond my grasp.

Nonetheless, I have heard and read so many times that people want to hear from you. They want to understand what you are thinking when you paint and why you chose the subject matter and what it means to you. They want to hear about your emotional attachment to the art.

Why is this? I don’t know for sure, but I believe it might be because deep down everyone wants to be emotionally attached to something and some people have a hard time with their emotions. They have forgotten how to feel. Art helps them feel in a way that nothing else does.

[warning, slight rabbit trail]

After all, art has a purpose. If it didn’t, it wouldn’t have survived since pre-historic days when drawings were made on cave walls. It has survived and developed and thrived because, I believe, it helps people connect with their emotions and it touches a part of humanity that can’t be touched in any other way. Art can be glue, it can hold us together, bring us together and bind us together. It can be fuel for ideas and dialogue and discussions. It can say something more clearly than a million words. It speaks a universal language that requires no translation because the beauty is in the eye of the beholder.

[rabbit trail ending]

So to make sense of your art, should it speak for itself or do you need to explain it?

The “art world” says we need to explain it and so an artist statement helps us articulate in a general sense, what our art is all about. It is still up to the viewer to interpret the piece through his or her lens, but I think people want to hear from your heart. For example…..

• Why do you create what you do?

• What moves you?

• What materials do you use and why?

• Who has influenced you?

Answers to these questions are, I believe, what makes up an artist statement.

I have tried several ways to write an artist statement. I have just been trying to find my way, and honestly, it is only recently that I feel like can articulate answers to these questions without sounding like a cliché.

So how has it been for you to write an artist’s statement? A struggle or a piece of cake?

Thanks for following along….I’m ever grateful for you.

--Beth

Soli Deo Gloria

Nebraska Rural Living Art Show - Opening Nov 2, 2018

“Prairie Glass” | Oil on Canvas | 30 x 40 | © Beth Cole

Five artists from the Nebraska Rural Living Gallery will be showing work in a group show at the Red Cloud Opera House, November 2 - December 28, 2018.

I am honored to be joining artists Susan Hart, Garald Horst, Desiree Hajny, and Sondra Jonson.

The artists' reception will take place on November 10 at 5:30 p.m. All are welcome at the gallery for drinks, hors d'oeuvres, and conversation with the artists! Here is a link to the event on Facebook.

I have not visited this gallery, but I am looking forward to it as I understand it is quite beautiful.

What a wonderful opportunity to see a beautiful space and Nebraska art! I am grateful!

—Beth Cole

Old Feed Store Turned Art Center in Bassett, Nebraska

Old Feed Store Art Center in Bassett Nebraska | Beth Cole Exhibition October 2018

The Old Feed Store Art Center in Bassett, Nebraska

by Beth Cole

There is a most lovely art oasis for Nebraska art in Bassett, Nebraska, thanks to vision, many hands, and a multitude of big hearted givers. The Old Feed Store Art Center opened in early 2018 with an exhibit of Joel Sartore’s Photo Ark in cooperation with the Museum of Nebraska Art. Since then, other Nebraska artists, musicians and poets have shown and performed in the space.

Old Feed Store Art Center, Bassett, Nebraska

I am thrilled to be showing my work in this beautiful place through the month of October, 2018. With gallery lighting and museum style gallery display, the artwork seems to come alive.

Old Feed Store Art Center, Bassett, Nebraska | Beth Cole Art Exhibition October 2018

Thank you to Ki Slaymaker and Loranda Buoy for scheduling and hanging the show and making everything look great!

Ki Slaymaker, Beth Cole, Loranda Buoy

These artists, along with many, many other leaders and volunteers, have all worked together to create something with meaning and purpose. I am so impressed.

A beautiful Gale family private collection of masterful works is also on display.

Beautiful Gale Family Private Collection on Display | Old Feed Store, Bassett, Nebraska

Beautiful Gale Family Private Collection on Display | Old Feed Store Art Center

I hope you will get a chance to stop if you are anywhere close. The center is open four days a week by a staff of volunteers.

Old Feed Store Art Center, Bassett, Nebraska

Look for this building. It’s right on main street.

Old Feed Store Art Center, Bassett, Nebraska

“Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.
”

— Margaret Mead

Thanks for supporting art! And reading to the end!

—Beth Cole
Soli Deo Gloria

Taking Photos For Your Art - Part III

Work In Progress © Beth Cole

This is the third in a series of posts about Taking Photos for Your Art. Here are the first and second posts.

Gridding Your Canvas

by Beth Cole

If I am painting something that really needs to be drawn well, like a portrait or figure, I always grid my photo and canvas.

One way to do this is to use a printed copy of the photo. Make sure your photo is the same size ratio as the canvas, very important! Fold the paper in half lengthwise and widthwise. Your creases will act as your guidelines.

Then, just draw a line halfway down the middle and across the center of the canvas. Voila. You are gridded.

If you need a closer grid, you could fold the paper into fourths both ways, and add four more lines on your canvas and you’ll be good to go.

I have tried gridding in thirds but honestly, I don’t like math and it is really just easier to fold in half.

What is your best way to grid?

I hope this series has been helpful to you. Next up, I’ll be writing about ideas to help you prepare for holiday sales.

If you have any comments and ideas for other things you would like to talk about, I’m all ears!

Take good care now and thanks for reading.

--Beth Cole
Sola Deo Gloria

Taking Photos For Your Art - Part II

Nebraska Vintage Grain Elevator | © Beth Cole

Editing Your Photos

By Beth Cole

This is the second in a series of posts about taking photos for art, you can read the first post here.

Rarely does a photo come straight from the camera ready to paint. I have found that taking a little time to analyze and edit the photo makes for a stronger inspiration photo and a stronger painting.

Unedited Photo on Left | Edited Photo on Right | © Beth Cole

Here are the steps I take when editing a photo.

• Crop it to the size of the canvas. This is very important. If you are looking at a photo that is a different size than your canvas, your drawing and perspective may throw everything off.
• Check light and shadows. The camera doesn’t see as well as your eye and the shadow areas of most photos are too dark. In Photoshop or Photoshop Elements, try Image>Adjustments>Light and Shadows.
• Check the levels. The Levels adjustment in Photoshop will help with exposure, evening out the dark and lights. Sometimes I use the “auto” adjustment, or just move the sliders on both ends closer to the middle. Play around with it until you find the happy place. If it is better without a levels adjustment, then that’s great, just let it go.
• Add a texture filter. If I am going to use the photo for an art project, i.e. photo/cold wax project, I usually add a texture filter and in Photoshop, use the layer blending mode to adjust the lighting on the layer. I have purchased textures from Kim Klassen and Paint the Moon, or Lost and Taken. There are many others which I haven’t tried. I try to apply the texture in a way that alters the photo just slightly and doesn’t make it look too weird. The best way to find your style is just to experiment.
• Save the file. I usually save the file to the cloud so I can pick it up with my iPad or my phone. Sometimes I print the photo and work from paper, but I usually have the digital version as well because the colors are backlit and I can zoom in if I need to.

That’s about it. Next post I’ll write about gridding your photo and canvas to help with your drawing.

What are your photo editing tips?

Thanks for following along, I’m grateful for you.

--Beth Cole
Soli Deo Gloria

Taking Photos For Your Art - Part I

Photo/Oil/Cold Wax | ©Beth Cole

Taking Photos For Your Art - Part I

by Beth Cole

This is a new series on taking photos for your art. I believe taking your own photos is a big part of the artistic process. When you use your own photos for painting you are already connected in a way to the scene you want to paint. It is always just a good policy to work from your own photos.

One of the biggest helps I have found in taking photos is being intentional about taking them, i.e. giving myself time and space to do this. I often carry my phone with me when I’m walking and I always have it when driving and I have been known to pull over many times to capture something that catches my eye. Sometimes I don’t stop driving but shoot sideways out the window…..eeeeeek……not recommended!

Another way to be intentional is just to take an afternoon and drive around your area to see what you can see. Don’t forget to look in the alleys and out of the way places, there is beauty to behold in all corners.

I have painted many a failed painting from a poor photograph which I fell in love with when I took it. I have learned the hard way that not all photos will translate into a good painting. Sometimes I omit much of the extra stuff that’s in the photo and just simplify the composition to include the main thing the photo is about.

For example, I am just getting started on a painting of a puddle of water near the railroad tracks.

©Beth Cole 

I absolutely love the puddle and the reflection so this is what my painting will be about. See the row of trees and a bunch of complicated grain elevators in the background? The elevators will be omitted and simplified into a row of distant trees. I love the elevators but the photo is not about them. Maybe another day, I will crop the photo and paint the elevators just by themselves. Here is my value study showing the simplified photo. I hope it will work because the shapes and values have been simplified.

Value Study for Painting

I also look for good light and shadow contrast. For that reason, I believe the best time of day for taking photos is the early morning, or the golden hour of the day in the late afternoon. The light is so magical at those times of day.

After I have gathered some photo inspirations, the next step for me is editing. I will share a little of my editing process in the next post.

I would love to hear your thoughts about your photo process, what do you look for when you are taking photos to paint?

Have a good week, thanks for reading.

--Beth Cole

You're Invited to Kearney Art in the Park 2018

You're Invited

Kearney Art in the Park is happening this Sunday, July 8th, in Kearney, Nebraska at Harmon Park. It is always a wonderful show with lots of beauty to behold, great food and an all around great vibe. If you are local, I hope you can come, and if you do, please stop by and say "hi."

This year I am limiting the work I am taking to 10 paintings of various sizes and a few small ones that are unframed. I want my booth to be uncluttered. I tried to select paintings that I think work well together and have a good atmosphere and mood. Some of the smaller pieces, like the one below are a bit of a departure for me, I wanted to experiment with morning light and how it ripples out.

Sunrise Study I - 8 x 10 - Oil on Panel - ©Beth Cole

We have a new pup dog, Kona Joy. I'm trying to decide if she would enjoy the day, and I'm thinking, hmmmmm, no. Too hot and too many people for such a young one.

Our new Cavapoo, Kona Joy

She is only about two months old. Maybe next summer she will be part of the art team and give hugs and kisses to the visitors. She is a lover for sure.

Hay's Down  - Oil on Canvas - 16 x 20 - ©Beth Cole

Anyway, hope to see you soon. Take good care now. Keep creating! Thanks for reading!

--Beth
Soli Deo Gloria

Dealing With Disappointments

Morning Walk Photo ©Beth Cole

Dealing With Disappointments

by Beth Cole

I was reading an article in Tabletalk magazine recently about disappointments in life and how we shouldn’t be surprised by them because the world in which we live is not perfect and WE certainly aren’t perfect. The article is much deeper than this and I thought it quite helpful. I mention it because I believe the principles also apply to art or any creative endeavor, as well as to our attitude about ourselves and our relationships.

I am sometimes disappointed by the work I create, not because I am not trying my hardest, but because making art is challenging and the canvas doesn’t always live up to the vision I have in my mind.  With the vision comes expectations. And when my expectations aren’t met…..disappointment. See the cycle?

The longer I paint, the more I realize how much emotional energy is required to bring the vision to life. These are the questions that are constantly rolling around in my head as I paint – is this too light? Too dark? Do I need more cool? More warm? Is this shape too big? Too small? And I am constantly comparing things to each other and to my inspiration photo. I don’t want to COPY my photo, I want to make a painting. So in addition to answering my questions, I am also reaching into the vault of imagination and memory to pull out the perfect something which the painting needs.

At the end of the day, it has been a mental workout to say the least. And sometimes, the canvas doesn’t yield a beauty equal to what I hold in my mind, those expectations, right? So. Yes. Sometimes I am disappointed. You, too?

But that doesn’t mean I quit or give up and throw something across the room and I hope you don’t either.

It means I try to learn from what’s not working. This is what I have tried.

I usually set the painting aside and come back to it in a few days or a week. Time is such a gift.

I often look at it in the mirror because my eye will see things differently there. I don’t know why this works, but it does.

I always take a photo of it because it will show me things, I can’t see face on, plus I can turn it to black and white and see if I have a value problem. Remember value does all the work and color gets the glory!

I share my work with trusted artist friends and with my husband. Another set of eyes does wonders.

If all else fails,  I get out the gesso and start over. Ahhhhh. A clean slate.

How do you deal with disappointments? 

--Beth
Soli Deo Gloria

The Gift of Time

I believe paintings have a mind of their own, and sometimes we just need a little time to bring them to their better selves.

Case in point, here is a sunset painting I did about a year ago. I was inspired by spectacular cloud formations and what the light was doing as it sank down toward the horizon.

Last Light I - © Beth Cole

At the time, I wasn’t entirely satisfied with it, but it was as far as I could take it without working it to death.

Fast forward, one year later, and here is the same painting with fresh eyes and a new softer light and lots more painting time under my belt. I think it’s a step forward. What do you think?

Last Light II - Oil on Canvas Panel - 16 x 20 - ©Beth Cole

Time. Such a beautiful gift. 

Enjoy the day.

--Beth
Soli Deo Gloria

What I Have Learned About Teaching Online

Quiet | Oil on Canvas | © Beth Cole

What I Have Learned About Teaching Online

by Beth Cole

Last spring I was asked to teach a painting class online. I had been thinking of teaching, but I hadn’t come up with a plan or a deadline. Being asked to teach gave me both! And I must say, it is amazing what you can accomplish when you have a plan and a deadline.

I wanted to write a little about the practical steps I took in order to get stuff done. I am not an expert! I am just sharing what I have learned so far.

First, the gear. I knew I would have to invest in a small video camera as I didn’t want to record the demos with my iPhone. I could have researched this purchase ad nauseum, but instead I asked a few friends what type of camera they used and I decided on a Sony HDR-CX240 that I bought at Target.

It has done a great job for me. The menu buttons are a little weird, it is difficult to use from that aspect, but other than that, I have liked it just fine. I also bought extra memory cards and a storage case to keep them organized. I found I needed several to get me through the project.

I also knew I would need to be able to shoot overhead so I needed a boom or some type of system. Again, I could have spent lots of time on getting just the perfect thing, but my daughter helped me find a suspension arm that hooks to the end of my work table and it worked just great. In order to get the angle I wanted, I attached my camera to a guerilla tripod and wrapped the legs around the suspension arm.

I also thought about a microphone for the audio, I wanted to be sure my voice could be heard as I was painting. I didn’t think the camera would pick up my voice very well so on the first video I didn’t talk, planning to do voice over with my computer. That worked fine, but meanwhile, I experimented with just talking as I was painting and found that the camera picked up audio great because it was very near my mouth! So I didn’t buy an additional microphone.

Next were the software decisions, i.e. what to use to edit the video. In my former life as a web designer, I made tutorial videos for my clients using Camtasia. I loved the software, but I didn’t want to make that kind of investment for this project. Plus, I use a Mac now and I didn’t have the software on my Mac, but I did have iMovie. I am not as familiar with it, but I thought I would give it a try. It worked great! And you know what, you can Google practically any step you need help with, and there will be an answer for you online, usually a video tutorial. I did that a lot, and it really helped me to push through and not get stuck.

I wanted to add some music in the beginning and end, so I bought an audio clip at Pond5.

I also knew I wanted to make a nice looking promotional trailer for the course. To save time, I subscribed to Magisto and used some of the ready-made tools to help me put together this type of video. There are probably lots of other ways to do this, but again, I was on deadline and I just picked something! It worked great!

Now to the most important thing – what to demo and teach. I knew I would be sticking with landscapes because that is what I normally paint. So I came up with a theme that described what I paint – Earth, Water, Sky – and that became the title of the course and my guide for what types of demos to share. I combed through my photos to come up with class projects and I ended up instead going out with my camera so I would have fresh and inspiring images to paint. I chose three photos and one for a bonus project.

I didn’t use any special lighting for the project, although, again, I could have researched and spent lots of time and money on this alone. Instead, I chose to work with natural daylight. I had access to large north facing doors and windows so I set up my worktable there and only filmed during daytime hours.

Looking back, I am so grateful for the push I got from being asked to teach. It really gave me momentum and helped me break through all the barriers I had in my mind that had prevented me from starting. It was a wonderful experience, and I plan to do more of it. Now all I need is another plan and a deadline!

Have you had experience teaching online? I would love to hear any suggestions you might have…..let’s talk!

Thanks for reading.

--Beth Cole
Soli Deo Gloria

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