The Question is The Answer – My Story

The Question is The Answer – My Story

Is Something Missing in Your Art?

In art school I was trained to paint realistically by using art rules and principles. Though I had twelve years of art classes and art painting classes eventually I felt like something was missing in my art. I started searching for more. More what? Over time I found “more” of a lot of things. I found a magic glaze medium (thank you Rubens!), an amazing Portrait palette, and various color schemes. But in spite of a fruitful career painting realistically, I QUIT painting. Never mind studying in Italy and the national awards. Never mind that several of my private commission clients were among the wealthiest in the country, hanging my work among their Rembrandt’s, Sargent’s, and Degas’. I didn’t paint. Instead I spent the next twenty-five years teaching others how to paint at my own art school, all the while lamenting, searching, examining other work, and coming up blank. I had questions and no answers. I wanted to know more.

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John S. Sargent “Mrs/ Boit” 1880-1882

I found the answer at the Museum of Fine Art in Boston and spent another ten years unpacking it. It started the first time I saw John S. Sargent’s “Portrait of Mrs. Boit,” (1887). I was blown away by Sargent’s command of what I understood to be the classical art rules. As my eye followed his powerful brush strokes and bold contrast, I saw how he found specific edges and how he weaved his lost and found edges into his figure ground relationships. I saw that his beautiful and intentional placement of the color’s intensity, and how he used that intensity to move my eye, was done deliberately – and I saw how it evoked a specific mood. I saw his understanding of Monet’s color. I stood for an hour and a half…seeing.

Before that day of seeing, I had viewed some of Sargent’s work at different places, but those paintings were beyond my understanding at that time and some where solid black silhouettes that lacked dimension and so I did not find Sargent to be very impressive.

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John S. Sargent “Madame Edourd Pailleron” 1879

How could he be perceived as Great?                                                                                                                                If the work is not realistic,                                                                                                                                                    I had thought, then it can’t be art.

But on that day in Boston, for the first time, Sargent gained my respect. He had to show me that he was better than I was for me to be able to listen to him. So I started seeing Sargent and listening to him. I saw his paint go down on the canvas as a voice, speaking something to the viewer.

sargentBlog_image1

John S. Sargent “Mrs.Boit” 1880-1882

John S. Sargent close up of

John S. Sargent close up of “Mrs. Boit ” 1880-1882

Sargent wasn’t done with me yet. A few days later at the Sterling Francine Clark Art Institute, I saw “A Street in Venice 1878 ” and “A Venetian Interior 1880-1882.” Sargent painted these around the same time as the Mrs. Boit portrait 1880-1882.

John S. Sargent

John S. Sargent “A Street in Venice” 1880-1882

Yet in this painting he left out the beautiful use of color.

Monet Close up

Monet Close up

He left out the figure ground relationship. And he left out most of the intentionally lost edges. Standing there I thought, why would Sargent, who was clearly better than any artist I had ever seen, leave out some of the art rules he knew and had so clearly demonstrated in another work during the same period of time?

John S. Sargent Watercolor

John S. Sargent Watercolor

Really? Sargent was messing with my brain. (And my way of life! I like things the way they are. I’m like a dog, I do things the same way. I want my bowl of food on the floor in the same place every day! This was uncomfortable for me).

John S. Sargent “A Venetian Interior” 1880-1882

John S. Sargent “A Venetian Interior” 1880-1882

As the years have gone by, I finally see Sargent. I see that all the classical art rules, taught by the traditional art academies (including the French Academy where Sargent studied and which are no longer a part of our modern art schools) are optional. I see that they must be mastered and understood so they can be used with purpose and intent, just as Sargent has done. Sargent saw, and showed me, that the “rules” of classical art are really art TOOLS!

John S. Sargent in his studio in front of ” Madam X Madam Pierre Gautreau” 1883-1884

John S. Sargent in his studio in front of ” Madam X Madam Pierre Gautreau” 1883-1884

Inside my heart, soul, and spirit I connected with his way of painting, taking each stroke captive in a thought. The way he painted was purposeful and I wanted that. I recognized Sargent was equipped to master a painting through precise steps and used the Tools like no other artist. He knew how to deliver a message to the viewer, fostering an exchange between the sitter, the viewer, and himself. Sargent’s knowledge of the classical tools, and his thoughtful application of those tools to convey his specific message, was pure genius.

John S. Sargent watercolor

John S. Sargent watercolor

The discovery of John S. Sargent’s genius back in Boston, and my later examination of his other work — and the work of others — fueled the flame inside of me in a more directed and purposeful search for “more.” The Greats discovered things that we can employ today:
Different ways to change the intensity of a color.
Different reasons you bring attention to an area.
HOW to bring attention to an area.
The different ways to make a brush stroke, and why you should use one over another.
The list goes on.

By understanding all that was already discovered and invented, we have a wealth of understanding to pull from — and we do just that at the art school I opened in Atlanta in the early nineties. The success of my art program comes from my ability to see these connections and communicate them to others. Artists are introduced to methods of drawing and painting that can help them take control over their art and achieve beautiful outcomes on purpose!

Do you want more?
Yes, I’m painting again, and this time WITH A PURPOSE ! by using Art Toolz Today! P.S. I just found out about a lovely series of brushes while attending The Portrait Society of America this May (ah, Rosemary Co.!)
Chris diDomizio

Chris diDomizio “ The Light Awakens The Darkness”

Chris diDomizio
“ The Light Awakens The Darkness”                                                                                                                                     

 

My New Rosemary brush: DI DOMIZIO “DAB AND SMEAR”

I would like to thank Rosemary Brush Company who has designed an outstanding brush with my name!
CHRIS DI DOMIZIO “DAB AND SMEAR”

DI-DOMIZIO-DAB-AND-SMEAR-ROSEMARY-BRUSH-COMPANY

The question is why this brush?
“DAB AND SMEAR” thats why! The best way to soften an edge is to use a fan brush (see future blog on “Sargent and the Fan Brush”). The DI DOMIZIO “DAB AND SMEAR” brush is made specifically for artist to leave the perfect amount of paint on medium/coarse linen. Too little paint does not allow blending and too much paint smears into each color into each other therefore destroying intensity and beauty of the color.

I first heard this art term while researching my favorite portrait artist…John S. Sargent and his academic studies in Paris. The term refers to a brush technique taught at Ecole des Beaux Arts during that time in the nineteenth century.

This technique is when you place a “DAB” of paint placed next another ”DAB” of paint while taking the brush to “SMEAR” the two edges of adjacent colors together. Hence the term “DAB AND SMEAR”.

Bouguereau_William color extra

 

 

I remember a day I had enlarged an image by Willam Bouguereau and noticed the “DAB AND SMEAR” technique.

 

 

From a distance His paintings have the appearance of over blended color.

 

 

 

 

But upon careful examination I noticed the “DAB AND SMEAR” application from one of the leaders of the Ecole des Beau Arts. Read my next blog called “DAB AND SMEAR and Translucent Color” for more on this topic.

Bouguereau_William color extra-3

In todays art, I believe the “DAB AND SMEAR” technique is best used for blending DABS of color also known as “broken color”. Monet and the Impressionist discovered that one color by itself could not make the color they desired. They recognized colors surrounding that one color influenced the perception of that color. The “interaction of color” and “simultaneous contrast” (a color’s perception is directly affected by it’s surrounding colors, temperatures, values and intensities) collectively have the ability to give the appearance of the actual color perceived i.e. Joseph Albers.

_DSC0914This“broken color technique” is great for impressionism, but how does the artist who is trying to paint realistically achieve the high degree of blending and yet the actual perception of color?

I believe it takes careful precision to get this effect. For example, what I believe creates beautiful flesh tones is to use broken color. The difficulty is maintaining the identity of the one local color while dabbing around it with many other colors yet without Dabbing additional colors there is no local flesh tone achieved. While knowing if you over blend you may loose the luminosity and richness of the color

_DSC0914-2The new “DAB AND SMEAR” brush allows me to load the perfect amount of paint on my brush to keep the separation of colors and over blending from hapening. Yet it allows me to blend for the representational art which is the direction I have always leaned toward ( though my wife has been nudging me toward a more contemporary painting techniques).

Its funny but I do not paint to be a famous artist. I paint to have a voice in the art community. I believe I have a calling to help people/artist step into their desire by equipping them with art tools for success.

This brush excels on Fredrick’s Oil Primed Linen Panels.
If the painting surface is too smooth than the bristle brush will not lay paint down. In that case I love Rosemary Brush Co’s Eclipse brushes and her Sables.

Keep an eye out for the following blog on where broken color and DAB AND SMEAR started for me.

Chris diDomizio’s Favorite Brushes

Chris diDomizio’s Favorite Brushes

CHRIS DIDOMIZIO FAVORITE BRUSH LIST:

Brush Holder :
American Journey Brush Holder AJBHB A14003 $26.99                                                          short handle is a typo on their part This brush holder is the best holder for Rosemary Brushes Longer handles

Rosemary Company is definitely my favorite brush company
It appeared to be the #1 used brush in the Portrait Society of America International Show in Atlanta 2015:
All of the brushes seem to have a tip at the end of the stroke, could be the taper, but there is a new vocabulary for me. a brush stroke use to be measured by its length but know it also is used by its physical depth sticking out from the page. all of this is achieved by still allowing me to be in control of the brush stroke. there is a sensitivity to the stroke and the power and length at the same time.
On all rosemary brushes I believe you have a choice between short handle for watercolor and long handle oil paint  brushes.
I prefer the long handle.

* Rosemary Ivory Egbert size size # 0. drawing with a paint brush.

*The Signet robert Simmons Egbert bristle size # 2,4 brush strokes out of control

*Ivory Filberts size # 0,1,2,,3,4 on Arches Huile Oil Paper for plein air painting

*Rosemary Long Eclipse size #0,1,2,3,4, detail work, on smooth linen and paper

*Rosemary Pure Sable 81. Sizes.# 1,2,4 detail work, fine blending

*Robert Simmons Signet #42 filbert. Sizes #1,2,4. Bristle brush work horse used for everything!

*Rosemary DI DOMIZIO DAB AND SMEAR BRUSH My brush is the bestest Favorite bristle brush. For all paintings 16:x20” and smaller. Used on Fridricks Oil Primed Linen Panels.

*Silver Company Grand prix 1003 filbert bristle size #0  brush smaller paintings

*Silver Company Renaissance 7102 bright, red sable, size # 2 this smaller sable is for eyes if you do not have any Rosemary sable brushes

*Signet Bristle fan brush size # 3

Brush description:

Egbert Ivory:
My drawing in brush: A lot of the portrait painters I have watch demo will start with this brush to hope to leave brush strokes in the beginning of the painting than refine with other brushes while leaving these early brush strokes “ artsy” marks.

This brush has synthetic hair and excels with different mediums,my preference is Natural Pigments Oleo Gel. Loading this brush with a lot of medium is where it shines.
Strokes which show confidence and command, action and spontaneity.

1.Starting the painting with a gel product either Oleo Gel or Walnut Oil and thin paint You feel like you are John S. Sargent and drawing with a paint brush. The hair is long enough to draw with , like a piece of willow charcoal, very artsy feel,

Sargent_Lady_Agnew high resulution copy

 

2. With any size you can make incredibly longer marks than any brush i have used on the market, 6-8 inch strokes, the larger brushes will make a 12’ or longer mark.

 

I do not like the bristle version “Classic Egbert” and do not see a difference between Rosemary and Robert Simmons Signet “Egbert”. this loads so much paint and can leave a texture depth unachievable than any other brush, this is in brail for the blind.

 

I Need a little control. and they load more paint than I can handle, it may be just me. I do plan on practicing with it…

Rosemary Co “Ivory Filbert”

Plein Air laying in brush
It is so similar to the Princeton 6300Fb size 4 but:
Leaves a little longer brush length to fill in the canvas area just a little faster with the same amount of paint, brushes are so similar but …not, just a little longer stroke length. I use both brush companies, i believe it too leaves a hint of a brush mark behind at the tail end of the mark.

Rosemary Co “Eclipse Long Filbert”
Is a wonderful blending brush. Detail finishing.
Allows a longer stroke before losing its paint. other synthetics lose their paint sooner.
The Hairs seem to have a blend of firmness which at the tail end of the brush stroke it leaves a small hint of a very light “ bristle “ look, just barely but enough to give a visual language to the brush. I do not know what John .S Sargent used on his painting of Lady Agnew on her leaves but this brush reproduces these marks.

_DSC0132

it is a blending brush and it leaves textures at the same time when wanted.

works for softening edges like hair
the key to the brush is the tail end of the stroke, it finishes the end of the stroke well, just a hint of texture if you want it
works well with walnut Oil Gel and thinking out, a true pleasure to use when you need a certain mark

_DSC0137 _DSC0119

Rosemary Co “Filbert SER 276”
i only use the smaller sizes, softer detail brush with a little different look than the sable line
Rosemary Co “Pure Red Sable SER 81”
For a sable brush there is nothing like this.
blends like no brush, leaving just enough paint to blend with a fan brush with out ruining the color from the fan brush. it blends so well i do not need the fan brush.
it also has that same ability to leave a brush stroke at the tail end oof the stroke. leaving a thiner level of texture. I do not know a portrait painter who does not use this sable brush. period.
enough spring but not too mush.
when the brush is stiff it pulls off paint or make too short a length of stroke. the way the ends of the hairs with the taper allows the soft finishing stroke giving me control to leave or not leave a mark it also has a hint of a point when i rotate the brush while I movie it.
Rosemary Company Kolinski Sable Brushes SER 66 sizes # 0,2. Detail brush highly small refining has a slight point on it.

didomizio-brush-rosemary-brush-co.

diDomizio’s Arts Center’s Student Wins National Competition!

diDomizio’s Arts Center’s Student Wins National Competition!

It is time to recognize a couple of our art program’s high school art students awards of the past.

GREAT JOB SALLY BECK!!!!

Sally Beck WINNER of National Congressional Art Competition

Congressional Johnson applauds  students efforts, awards college scholarships: Lithonia, Ga Rep. Hank Johnson (ga-04) announced the winners and warded four college scholarships.

Sally BeckHigh School Student - National Congressional Award Winner

Sally BeckHigh School Student – National Congressional Award Winner

Tucker high School student Sally Beck won the competition with ” Post Earthquake: A Day in Haiti.”

She traveled to Washington D.C. to have her art displayed in the Capital Tunnel.


 

Congratulations to Christina Bantz for her second place award in her regional district in the National Congressional Art Competition! After three years in our art school and spending her last year as my assistant teacher Christina has now gone to the University of Georgia.


 

Congratulations to Bella for her acceptance into Rhode Island School of Art and Design.


 A longs time ago…. time to recognize this too,

Congratulations to Megan Berner for her winning of the Governors Honors award Competition!                       Sorry, I do not have Megan’s high school image and Megan is now a college graduate, Nurse and Married-the name has changed to McCaul and has returned to art class. This is an amazing image of a child in Africa as Megan makes the next step into her professional art career. I truly believe Megan can be among the top artist in the country if that is her desire.

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Megan McCaul’s drawing of a child from Africa


 

Julian Smith for second place award Bob Jones University High School National Art Competition

Julie Ann Smith

Julie Ann Smith

student art work-624

Julie Ann Smith Pastel drawing 2nd place Bob Jones University National High School Competition

 

 

 

 

 

 

 

 

 

 

 

It has been an honor to be a small part of these young adults art careers. They have persevered through the art course and each of the art lessons. They have shown amazing fortitude and desire. I wish I would have taken photographs of all the students and their art work of the past. I am proud of each and everyone of them who have joined our art community. 

Words Spoken Over Us

Words Spoken Over Us

Words Spoken Over Us

In the early nineties, after working for an art school, I was given an art class of four students in Atlanta. Margaret Hutchison, one of my first art students ever, was in this class.                                                                                                                                                                             After the first or second day of art class Margaret said to me,

“I’m not sure I’m getting this, should I continue?”

Earlier that morning the director of the art program had notified me that if I lost any art students I would have to take a cut in pay. Even though it was my first day and I was taking over for a different art teacher, I was about to go from $45 for three hours to $30 and Margaret Hutchison who had never had art before said that sentence..                                                                                                   “I’m not sure I’m getting this, should I continue?”

I’m hoping I said YES to her because I believed she could succeed…                                                                                                           Margaret is truly a wonderful person and artist, as demonstrated by her art work

Margert Hutchison Oil

Margert Hutchison Oil

I once had an art teacher in college tell me                                                                                                                                                “to stick with photography you are a better photographer than artist”.

 

I’m so glad I did not listen to her, but it wasn’t until late 2014, almost 30 years later,                                                                               that I realized I had believed those words spoken over me, that I was a better photographer than an artist. But one day, while working in Adobe Lightroom, using the photographic tools to convey my message, I realized I was thinking like an artist. I was making decisions using photographic tools used by an artist to convey an artistic message. And it was my message.

At that moment I realized that I AM an Artist first and photographer second.

Sometimes we have words spoken over us that somehow continue to falsely guide our lives, keeping us from stepping into our destiny. I believe art is about equipping the artist with the tools to communicate a message, your unique message.

 

What comes against our desire to do art?

margaret hutchison pastel

margaret hutchison pastel

 

Just for argument sake:                                                                                                                                                                            When your art work starts to get difficult, or a little confusing,                                                                                                         I wonder if you hear those feelings or thoughts from the past?

Voices from the past, that you cannot do this… I wonder if not someone else’s voice over us but maybe our own voice?                   Voices from the past sometimes defeat us.

Plein Air painting is great example of how frustration and discouragement can come against us. Too often, within the first 30 minutes of being outside painting, I am ready to quit but as I have realized to just keep working through the painting and the difficulties disappear and I start to enjoy the day outside painting.

Is it possible that others do or have had these things said to them?

Margert Hutchison

Margert Hutchison

 

 

 

  I formed logic from the undeveloped brain of a 5-year-old (frontal lobe of logic is not fully developed until the mid-twenties) from things that happened and were said to me. I am so loved by my folks and they were so easy to please.

They loved everything I did. My mom had a Christmas wreath I made in second grade where I glued elbow macaroni and spray painted it gold.

                                                                                                                      But I said to myself, “ If you like what I just did, wait till you see the next thing that I do” and that 5 -year-old started this “measuring up-perfectionism” without anyone knowing what was going on in that undeveloped brain.

 

 

 

 

 

 

 

About six years ago before I started to oil paint again (see my story in my Blog “How To Enjoy The Day Painting”) Margeret returned to the art school and I had shared with her that I realized what John S. Sargent may have done in his oil paintings and I could explain it through the artist story. After explaining this I asked Margaret to draw this image from Haiti for our Haiti fund raiser through  y wife’s 501c3 called Art With a Mission Atlanta (AWAM ATLANTA) because I always loved this image and I would help her and explain the steps. Margeret is the only one I trusted to draw this image,                                                                                                                                                                                       yet it is interesting that I gave my best image to someone else to do. Was  I was too afraid to do it myself?            

In my mind I was not good enough?

Margeret Hutchison Graphite

Margeret Hutchison Graphite

So I asked a student to do it for me, for the children in Haiti.

 Margaret is an amazing woman, a wonderful artist, and one of the most talented artists I have ever had the privilege to teach. What if someone did not stand in for Margaret and believe in her?

What is the sentence that you might say or hear?                                                                                                                           Where did a belief start?                                                                                                                                                                                    Isn’t it time to step out of that shadow and step into your desires through art?

 

…Or speak life into someone else who cannot speak it into his own life?

 

Margeret Hutchison Graphite

Margeret Hutchison Graphite

 

I wish I had more of Margeret’s beautiful art work to show the world, she was in the art class before I realized as an art school the need to advertise, our art program has always had between 150 and 200 students and it has been by word of mouth.

Is it time for you to step into your desirer and maybe to speak into someone else’s desire?

thank you ,Chris diDomizio

p.s. interesting that I asked her to draw it and that I had held in reservation the oppertunity to paint this image.

How to Enjoy the Day Painting Chris diDomizio

How to Enjoy the Day Painting Chris diDomizio

I saw something about myself when I told the art class that I was going to do a painting after a twenty year break. I was stepping out and it was time to return to portrait painting. After gathering my thoughts and sketches and setting up the three cameras to film this video for our online art classes, I began!

Chris diDomizio “ Step of Faith” Oil on linen 32”x 32”

My wife has a 501c3 nonprofit called Art With a Mission Atlanta which aids students from an orphanage in Haiti to go to college. The artist in our Art School help raise funds to support this project. The image I am using is a little boy named Kiki. He has known so much heartache in his young life.

 

When I started this painting I did not understand why I was attracted to this image, but I was. With over 300,000 Mission’s Photographs from all over the world I chose this one.                         I knew I wanted to connect to the viewer through his eyes. His apprehension is obvious, yet somewhere inside of him is a desire to ask for help. His arm is closing us out. He would have to make the first step;                                                                                          hence the title “Step of Faith” by Chris di Domizio

As I teach the artist in our painting classes, start the painting where you wanted the viewer to connect with first, in this case it is the eyes. Then I chose the places for the viewer to look based on KiKi’s story, not wanting any texture from brush strokes which would add confusion to the viewer and to remove all confusion around him meant to remove all the texture. The surrounding white background represented God’s presence of purity and incense bathing him, regardless of his actions and the actions of others against him.

Close Up of Step Of Faith by Chris diDomizio, please forgive the flesh tone colors from an unedited video clip

Wanting this stillness to evoke a connection between                   “ just us”.

Having the eyes become the most important place in the painting without the use of two very powerful visual tools (color and contrast). Most of the teaching in our art program from the drawing classes and the painting classes almost solely focus on Color and Contrast and now I was about to leave them out of most important part of my first painting back in twenty years.                                                                                                                                          I choose to leave out the color in the eyes because the color could have changed the message from hardship to something else. On the other hand I  knew my job of getting you to look at the eyes would be easier with the addition of color to the eyes by adding visual weight to that area.

The next choice I was given was adding a highlight to the eyes. This is an easy way to bring attention to this area by adding contrast but it also can add different psychological aspects to an eye. I once heard that a high light to the eyes could give the person hope and  alertness. My message was that life has been hard and there has been hurt in this little person’s life afraid tom have hope. So the two most powerful art tools I could use were off the table. The art tools our entire art school is built on and at the most important place of the painting. But I also teach that these “art tools” are not rules just tools for the artist to choose when to use and not to use.

32"x32" oil on linen Chris diDomizio

32″x32″ oil on linen Chris diDomizio

As I finished the eyes I started painting the forhead, but this part of the face was to represent the harshness of his experiences. Keeping the “pretty” color of the flesh tones to a minimum using the greyed colors to evoke this message of harshness. Knowing I needed gray color, I subconsciously loaded my brush with bright orange – red flesh tones as bright as the scarlet red shirt.

close up captured from video camera

close up captured from unedited color correction from video camera

There I was in front of three cameras and I needed grey and I grabbed bright orange – red,                   Boom! Mistake. It took minutes to remove the scarlet red and make it gray.

Close up from video camera

Close up from video camera

Starting again I reloaded because I needed gray for the message and Boom, I loaded bright red.

close up captured from video camera

close up captured from video camera

Like Smeagol and Gollum in Lord of the Rings, with a multiple personality,                                          I verbally said to myself  “what are you doing? I answered… I don’t know.                                                 What do you mean you don’t know…

Gollum-smeagol-gollum-32113839-200-200

You know to make the painting about contrast and not color and that putting the grey first will keep the color calmed down. I answered… I know” and at that moment I realized that my precious ego is more important than my message.

As this battle in my mind continued I realized that I had to put the color first to make the forehead come forward, but the painting was about contrast and not color and then I said to myself ”it’s more important to show off what I can do and make it realistic than to communicate a message.”

300x300The entire first day all I did was worry about the camera watching every stroke. Portrait painters will know when you get the color off or mess up on the drawing and Gollum had a field day with

  1. Welcome back painting! Are we having fun yet?

 

 

 

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The next day I realized what had happened.                 I was so worried what others were going to think that I lost my painting’s message of connecting. As I started to paint on day two, but this time it was about connecting my message, one stroke at a time. I had a great day.

Chris diDomizio Oil on Linen

Chris diDomizio Oil on Linen

 

 

 

 

Ironically, on the first day of painting for the instructional video I rarely spoke, all the talking in my head was to Gollum. Imagine a portrait training video with no words! (I will voice over the mistakes and have commentary like a tennis match, with the good and bad strokes, and why)

The second day I had a great day explaining the purpose of each stroke, and that each stroke went in with the right color, temperature, intensity, and texture. Everything I was trained to do was going into the painting.

Gollum-smeagol-gollum-32113839-200-200

 

 

 

I’d like to say day three was a good one but unfortunately it was a silent film and all the chatter and arguing was with Gollum. Imagine an instructional video without instruction!

 

Day four was a great day, explaining the purpose and execution of a message! Here is what I have learned:

32"x32" oil on linen Chris diDomizio

32″x32″ oil on linen Chris diDomizio

The days I paint for just me, connecting my message with my plan, placing each stroke with a place and a purpose, that’s the day I enjoy painting.

Chris diDomizio the return to painting twenty years later. Painting is fun and I enjoy the process of learning about myself with each stroke.

The title “Step of faith” was for me, it was up to me to “step into my calling in art” to trust in Him who has equipped me to be an artist. To be the Artist that I am today, not the artist I will one day become. I’m just to work on who I am today, One Step of Faith at a Time”.

Starting to Plein Air on a Budget!

Starting to Plein Air on a Budget!

How to get started into Plein Air Painting on a Budget!

think of it as buying and learning on a payment plan

PLEIN AIR DRAWING FIRST: SUPPLIES NEEDED $35.00

  • 1 Sketch Pad 9”x12” Canson Classic or Arches Pads in :Drawing in Sketch, Drawing or Creme
  • graphite pencil F, 3b
  • Powdered Graphite and store it in a small make up container for travel screw on top/ leak proof
  • ArtBin Twisterz 3.9oz large short container great to store dry products-powdered charcoal
  • Paper Towel 1 sheet to smear the graphite
  • stump and Tortillions $4.91
  • http://www.amazon.com/Art-Alternatives-Stumps-And-Tortillions/dp/B002ER8M0C/ref=sr_1_1?ie=UTF8&qid=1441549525&sr=8-1&keywords=drawing+stump
  • kneaded eraser
  • Kum Pencil Sharpener $11.76
  • http://www.amazon.com/Kum-As2M-Automatic-Point-Pencil/dp/B0084F7I1C/ref=sr_1_7?ie=UTF8&qid=1441547784&sr=8-7&keywords=kum+pencil+sharpener
  • Clear Mesh Bag with Zipper 5ish”x8ish” for drawing supplies
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All the basic art principles taught in our art program in Atlanta in the drawing classes and painting classes:                                                                                             LEARN TO MEASURE FORM LIFE, DRAW SIMPLE FLAT SHAPES, FIGURE GROUND RELATIONSHIPS                                 drawing form life is hard enough than having to deal with the paint issues. 

Bring Your Own Chair

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Camp Time Roll a Chair $49.99 amazon
http://www.amazon.com/Camp-Time-Roll-a-Chair/dp/B003C1EONI/ref=sr_1_1?ie=UTF8&qid=1441548201&sr=8-1&keywords=camp+time+roll+a+chair

travels and packs up well, I love the back support and the height off the floor for my legs.
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buy a back pack:
Back pack to carry everything, water, food, bug spray, and art supplies

Redwing Back Pack 44 or 50 if you plan on painting later I recommend one of these back packs and it is depending on the amount of stuff you pack
with the Couture Compact all you need is the 44, the Standard Couture requires the Redwing 50
http://www.amazon.com/Kelty-22615613BK-Redwing-44-Backpack/dp/B00AATRU8G/ ref=sr_1_1?ie=UTF8&qid=1441550544&sr=8-1&keywords=redwing+44


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GETTING READY TO PAINT
oil/ watercolor/ draw using an easel

TRIPOD your own tripod is free! and the palettes all connect to all easels
Tripod for any paint box will work, start with your own tripod. if you do not have a tripod you might want a lighter and smaller one for transportation

Silk F740 economy Tripod $49.95 closed size 21 to 58 inches 2.8lbs
http://www.amazon.com/Slik-F740-Economy-Tripod-Large/dp/B002B8BKUS/ref=sr_1_1?ie=UTF8&qid=1441548412&sr=8-1&keywords=silk+f+740

Silk 8000 Tripod 49.00 Closed size 23” to 59” to 3.6lbs
has a slight more stability but is taller when packing airplane flights each item your bag gets another lb heavier and it adds up.
http://www.amazon.com/Slik-U8000-Tripod-Fluid-Head/dp/B0001PNLIW/ref=sr_1_5? ie=UTF8&qid=1441548456&sr=8-5&keywords=silk+8000
Guerrilla Painter No. 17 Flex Easel $73.78
great canvas/ drawing pad/ watercolor/ panel holder
attaches to any tripod,
http://www.amazon.com/Guerrilla-Painter-No-17-Flex-Easel/dp/B0072D1N3Q/ ref=sr_1_1?ie=UTF8&qid=1441550183&sr=8-1&keywords=guerrilla+no+17

Weather Stripping $5.65
I add Frost king EPDM Rubber Weatherseal 5/16 x1/4 weather stripping to the inside of the holder reduce the lip over hanging my art work
http://www.amazon.com/Frost-King-V25W-Weather-Strip-Inch-by1/dp/B000B4N3OA/ ref=sr_1_1?ie=UTF8&qid=1441550337&sr=8-1&keywords=epdm+rubber+weather+seal +5%2F16

Guerrilla Metal panel holder

Guerrilla Metal panel holder and Coulter Standard Easel

PLEIN AIR PAINTING IN OIL:
Easel Plein Air form Art Box and Panel COULTER EASEL
Standard size $145 is great when you are not hiking, my favorite,
Perfect for mixing the Triadic Circle Palette amazing harmonies
http://artboxandpanel.com/page/5755/prices

Compact Easel $135 travels well, just a great size
http://artboxandpanel.com/page/5755/prices

Newton Air Tight Deluxe Brush Washer $39.00
http://www.amazon.com/Newton-Air-Tight-Deluxe-Brush-Washer/dp/B0049UXD7Y/ ref=sr_1_1?ie=UTF8&qid=1441550716&sr=8-1&keywords=newton+air+tight+deluxe +brush+washer

Gamsol solvent

2 Clear Bag with Mesh 7″x11″ is for paints and supplies

Raymar Wet Canvas Carrier for Panels 9″x12″ or 12″x16″ $24.05

Brass Hook $4.00 from Open Box M
hooks to my Couture Palette to hang my turpentine wash tank
http://openboxm.com/brass-hooks/

clear mesh bag for supplies

clear mesh bag for supplies

Paper Towel Holder    $20.00                                                                                                                                              Open Box M     Open Box M paper towel holder

Saw tooth Picture Hangers $1.94
attach the picture hanger to the wood front right side or right panel to hold the brass hook
http://www.amazon.com/OOK-50203-20-Pound-Sawtooth-Hangers/dp/B000C140V2/ ref=sr_1_3?ie=UTF8&qid=1441550997&sr=8-3&keywords=saw+tooth+picture+hangers

Really works Paper Towels Cleaners by case only $90 / 6 containers / 90 towels in a container
unfortunately sold by the case find a friend and share
http://www.amazon.com/gp/offer-listing/B00AEU7NWY/ref=sr_1_2_olp? ie=UTF8&qid=1441551195&sr=8-2&keywords=really+works+hand +wipes&condition=new

Paint and Brushes

Rosemary Brush Co. Ivory Filbert for use with arches Huile Paper sizes 2-5
Robert Simmons Signet Fan Brush size 3 bristle

Robert Simmons Signet Bristle Filbert Brushes 1,2,4 works great on all other canvases other than Arches Huile

Plein Air Painting requires you the artist to focus on all the art tools which you have learned in the art classes and painting classes. at first it can be difficult simplifying and focusing. The first drawing class rule which is repeated in the painting classes 1. Breathing is good. 2. focus on the message. if rule two fails revert to rule 1. Breath

High School Student Wins National Art Competition

High School Student Wins National Art Competition

1st. Place at the Bob Jones National High School National Art Competition!

Congratulations to our High School Student Maggie Frick!

Maggie Frick WON: 1st Place in Painting!
First Place in Drawing!
Best of Show!

Sorry I do not have her winning drawing of ‘The Apples” and her winning drawing “the Harnet”. Since this is about Maggie the person I am hoping you will forgive me, I have requested the images.

diDomizio Arts Center is proud of our own student Maggie Frick.

Maggie has worked diligently on each art exercise. Learning not just how to do the exercise but also the concepts behind the art principle., learning when to use the principle and when not to use the same principle. Turning the principle into “ART TOOLZ TODAY”!

Since joining Our art program this last year last year, I have watch Maggie take diligent notes during the class lectures each day as well as during the explanation of the exercises. For each drawing exercise in the art drawing program Maggie has been a pleasure to teach and help. Now just starting to paint here in this photograph with her third painting she continues to flourish as she paints her way through the painting classes.
Her desire to learn and apply the art toolz she has learned have already yielded tremendous fruit.

Maggie Frick ,working on her 3rd painting, color exercise: painting with transparent oil paint colors.

Maggie Frick ,working on her 3rd painting, color exercise: painting with transparent oil paint colors.

I have seen Maggie with an openness to learn, to be TEACHABLE, To take an attitude toward doing everything she does to the best of her ability, a habit to make Excellence a way of life, I see this in her in every aspect of her life.

It is not something she can turn on or off.

Can you imagine what our life could start to be when we open our eyes and heart into avenues we never could image?

Maggie’s entire family seems to appear to have the same outlook on life as I have watched her older sister drive Maggie to art class with a smile and a heart to help each week as she carries Maggie’s art supplies into class
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Regardless of what Maggie chooses I believe this outstanding young lady will succeed in anything she choses because of the amazing job her parents have done instilling such wonderful work ethic and attitude in life to be open to learn and see things in different ways
. during a social time when entitlement and self centered attitudes seem to prevail.
I see Maggie succeeding in any avenue she choses to follow. This week I mentioned another previous high school art student in class who is also talented like Maggie, Christina Flores.

christina flores 3

( Here with her Painting while in High School) after John S. Sargent’s “Breakfast Table”. ( one of the last paintings in our painting program)  I saw the same attributes in Christina.
here is Christina Completing her oil Painting after John S Sargent. amazing job!

                                                   Here is Christina Completing her oil Painting after John S Sargent. Amazing job!

I have not held it against Christina when she decided to go to Princeton to study Pre- Med instead of art.

These young people are examples of what we all could strive to be. I have complete confidence that  both Maggie and Christina  will succeed in anything they chose to pursue, because I have seen their work ethic.

It is and has been a pleasure teaching students like both Maggie Frick and Christina Flores, they give me a desire to do a better job teaching and to look for more things to teach in new ways.

In my conclusion I say to their parents and to the students,

THANK YOU for allowing me to be part of your lives.

Chris diDomizio

diDomizio arts center

Plein Air Painting List

Plein Air Painting List

My list is from someone who wishes to enjoy the day and not have it be WORK. My goal is to use this time to refine my drawing skills by applying the 19c.French Academy’s dot to dot – in our art program in the art classes and in the painting classes we call ” Touch-Point-Drawing concepts of site drawing. As our goal in all of our art classes we are to refine our seeing and drawing of shapes both positive and negative shapes. To take the classroom art school exercises and to use them in the ousted classroom To look for figure ground relationships, To capture the Essence of my senses are experiencing. To look beyond any preconceived ideas of what to paint and allow a soaking in to experience the moment. To refine and map out a my storyline based on that discovery. Just as you are taught in our art program through our art courses So, here is my list of Art Tools:

  • Chris diDomizio working in Oil Paint and Dylan Scott Pierce working in Watercolor

    Chris diDomizio working in Oil Paint and Dylan Scott Pierce working in Watercolor

  • Camp Time Roll-a-Chair sold at amazon (1st to remember to enjoy the day)
  • Coulter Plein Air Easel from Art Box and Panel ( I use the Standard size but my wife uses the Compact size and it looks very appealing to me, I just ordered the Compact for myself – hiking and for flights. I like the box only not the kit. $135-$145. I lean toward the Compact if you are buying One.
  • Geurrilla offers a metal panel ( canvas Holder) Guerrilla Painter Guerrilla No.17 Flex Easel $75.00 ( –amazon gorilla link) which is great for drawing, watercolor, and oil painting. I would strongly consider ordering the box from Coulter and the canvas holder from Guerrilla and use your own easel.
  • I have different Plein Air Boxes they are all great, I like Coulter because the Standard size has twice the palette space of the other Plein Air boxes and it allows me to mix the Triadic Circle!
  • I love Arches Huile Oil Primed Paper 9×12 favorite size)  or 12×16 and tape it to a piece of 12″x16″x⅛” hardboard – the hard boards after cut : I find that sanding the edges and a water based poly urethane to cover the back side and edges keeps the hardboard flakes from falling on my wet paintings while in the wet canvas carrier. try doing 2-4 paintings on a single 12×16 panel, this way you spend 40 minutes a painting  
  • Paper Towel Holder by Open Box M $20.00
  • Raymar Art –  Wet Painting Carrier  I like 9×12 but if you paint larger the 12×16 is largest I would go. I love using the 12×16 and dividing it into 4 different studies on the same page. Great for travels abroad when having wet carrier space is limited when you can have 4 paintings on a single page..
  • Rosemary Brush Company “Ivory Filbert” sizes 2,3,4,5. is really the only brushes I need outside.
  • Rosemary Eclipse Long filbert size 1,2
  • Bristle fan brush size 3, Signet bristle brushes 2,4,. will not work on Arches Huile paper but is great for other surfaces.
  • I will try the Rosemary brush co Ivory long Filbert shortly and let you know.
  • Brush washer tank for plein air which seal closed to prevent leakage, I like the size close to 20 ounces.” Newton Air-Tight Deluxe Brush Washer”.
  • Mechanical pencil and eraser but, I draw with a brush
  • Gamasol cleaner, when I fly I will mail –U.P.S. Gamasol to the hotel in advance ( even to bellagio, Italy next may 2016)
  • Bestbrella  umbrella for keeping light off both  my canvas  and palette, this is a must for me, I like the air vents which allows the air to pass through. I purchased cheap quick Clips from Home Depot to attach the backpack to the center of the easel for wind.
  • Kelty back pack size is based on the Coulter box I use, my wife’s Compact uses Kelty 44, the Standard size Coulter Easel uses Kelty 50.
  • I tone my palette under my glass with a sheet of canvas pad. 4 parts Ivory black and 1 part raw umber and thin it out with Gamasol and wipe off till smooth and making a medium dark value. I then cut glass to go over the toned canvas for a neutral grey back ground, the reddish wood color can make it difficult for me to see the greenish and reddish colors accurately. When home I paint in the morning before work I will keep a sheet of glass with my colors premixed and stored in the freezer so I am ourt the door and painting the lake in painting in 3 minutes. I use diamond tip brads from our frame shop to hold the glass in place.
  • Bubble wrap  under the glass and toned canvas paper.
  • I tone the wood palette a neutral grey by using linseed oil with my grey paint mix ( without white) to seal the wood. This would allow me to not have to use a glass palette anymore. By using linseed oil 3-5 coats ( wipe off extra oil between coats) will saturate the wood with oil which will keep the wood from absorbing the oil in the paint while the paint is sitting mixed on the wood palette, keeping my palette wet longer. I dislike cleaning the paint off the wood and having oil paint all over me, toxic, so the tone is a back up if the glass breaks, it has not broken yet.
  • When I cannot freeze my paint while traveling, I scrape my paint daily. Since I am limited to how many Raymar Wet Painting Carriers I can pack, I use  Walnut Oil Alkyd from M. Graham to help dry the painting dry over night! My thought is by the end of the trip I could stack some of the dry painting sheets and reserve my Wet canvas carrier for just that, wet canvases.
  • Really Works Hand Wipes, but, i put them in a baby wipe rectangular box. the round tube the art wipes from different art companies top keeps coming off when in the back pack.
  • Small Items: drinking water with a top which does not spill!, paper towels!!!!!, snacks, small  plastic garbage bags!!!! , Hat, bug spray, suntan lotion Warning: if it does not fit in the back pack you might rethink bringing it. Our first trip we / I carried / a cooler on a ½ plus mile hike.  Never again.
  • I store my paints in the Art Bin 429048 , fits in my back pack, protects from punctures and travels on flights well.
  • small 2 oz. metal “painting medium”  cup
  • iPhone because who is kidding whom when a bird lands in your scene – it is gone in seconds, or a gondolier shows up…( ok I knew he would show up) where are the rules which say you cannot capture and add? This is about my time, my day, to enjoy and step into something I have been called to do and enjoy doing it.
Chris diDomizio Plein Air Grand Teton's Jackson Hole

Chris diDomizio Plein Air Study “Grand Teton’s Jackson Hole”

 

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Chris diDomizio, Venice Plein Air Study plus an Iphone “Hotel Cavaletto”

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Chris diDomizio Plein Air plus an iphone

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Chris diDomizio Plein Air Study ” Autumn on the Davidson River, N.C.

If we do our job teaching the art program through all the drawing and painting classes in our art program this step into plein air painting will gradually become a desire fulfilled.  Happy painting as the painting classes head outside..

What Makes a Painting Overworked?

What Makes a Painting Overworked?

What Makes a Painting Seem Overworked?

After going to the Brooklyn Museum of Art in New York for the John S. Sargent Watercolor Show with Dylan Scott Pierce we went to the Metropolitan Museum of Art and noticed a particular area in one of John S. Sargent’s paintings. As I looked at the hand I saw that there seemed to be an appearance of different marks made by different brushes.

Degas told John Singer Sargent – “…that anyone could keep a painting fresh and spontaneous in an hour and a half, but try to keep a painting fresh when you work on it for three years,” as did Degas in his Ballerina series!

Degas went on to say to Sargent
“…that if you do not like the stroke you put down than scrape it and do it again”.

Degas Classically trained Charcoal Drawing

Degas Classically trained Charcoal Drawing

This prompts my wild imagination, so here goes… Just Imagine Degas on stage trying to frantically capture the ballerinas who are frantically changing their clothes. As they peek through the curtain waiting to go back on stage, the ballerinas are not ready.

Degas has too many ballerina’s in his scene, too many with unfinished arms and areas not painted, yet he knows they are seconds from leaving his scene! Paint flying!, Areas unpainted!.

Degas

Degas

Degas

Degas

Sounds great, Plein Air Painting at it’s best!

Degas did not do many of those paintings on stage. He painted from photographs. Degas has a desired message, to make the viewer feel the ballerina’s feelings, as well as his. He did this through the mark he made, one at a time, analyzing each stroke and questioning whether that stroke added to his message. He did this for years while working on The Ballerina paintings.

Degas

Degas

John S. Sargent's painting: "The Wyndham Sister's"

John S. Sargent’s painting: “The Wyndham Sister’s”

What caught my eye was the variety of brush strokes in this small area

The longer strokes have some type of oil, as a medium- longer strokes, some strokes are without a medium – much shorter. Some areas are with a fan brush, some with a sable hair used while the painting was wet, some when the painting dried and he used a bristle brush leaving a much thicker, stronger stroke.

Why?
There they were, marks made with, and without, medium. Marks are made with different textured hairs, at different times in the painting. Some marks were made after the painting had dried with and without a painting medium!

This small area was like a symphony for my eyes, a real treat. The entire painting with its color, contrast and texture was Sargent’s Orchestra.

This has the appearance of a plan!

It was easy to see wherever Sargent wanted the paint to be thick he left the area next to it thin, like a watercolor wash. This could be intentional, purposeful, and well thought out. I am not saying that the entire painting was classically thought out, but some parts were!
That left me with these thoughts about art made today :

Do we plan our painting with the Art Tools we have?
Do we use different brushes for different messages?
Do we use texture as an Art Tool Today?

             Could each stroke start to have a purpose? a thought, a reason?
But then you would have to have a story or message to tell.
Then it would have to be your art, your perspective of whatever you were seeing.

Your hope, your wants, your desires, art tools – not rules. Then you would know that The Question is the Answer.

Do you ask yourself the question to find the Art Tool to use?

Chris diDomizio

In our art program in each drawing class and each painting class the sole purpose of each exercise is to teach the artist to hold every thought captive and to be aware that something happens with each stroke. In this art school we strive to train and equip the artist to make their art. Art tools not rules. Atlanta Art Classes.

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