Nascar Crash

My semi-abstract painting: "Nascar Crash" (40" x 30") was accepted for inclusion in the August show at the Art League Gallery at Torpedo Factory, Alexandria VA. This is an interesting painting, painted for a show which didn't occur while I was a member of the Max21 group a year or so ago. I have always liked it but didn't have a clear exhibit opportunity until now, the annual "'Scapes — International Landscape show." Art League shows are very competitive. There were over 700 entries for this show. Typically, only about 100 paintings make it in. Juror for the show was Joey Manlapaz. Manlapaz maintains a studio on Capitol Hill and is a faculty member at the Corcoran College of Art and Design.

Sunflowers follow the sun

sunflower drawing by Pam Coulter

Yesterday, I settled down to draw a sunflower.

On smooth Bristol, I worked with 2B pencil, first outlining each part and petal, then shading. Finally, I darkened the middle area and several of the leaves with 8B pencil. In the process, I discovered an interesting thing. Sunflowers really do react to the sun, even when cut. My little sunflower looked quite different at the end of the drawing session. Sorry I can't show you the change here, but I didn't photograph it. To me, this is one of the awe-inspiring things about life -- it moves!

Practice, Practice, Practice

I just completed a small painting (12" x 12") of a jar of pears and a pomegranate and it is hanging in the "Bin Gallery" at the Torpedo Factory for the month of July.

I can't emphasize enough the importance of practice to an artist. Musicians realize this, if they are professional. I remember when I was a child the sound of a neighbor who was a violinist in a nationally recognized orchestra practicing hour after hour. The student or wanna be artist who says "I just can't ..." or "I should..." is basically saying, "I don't have enough intention to be a professional." (This applies to me too, of course, and when I rest on my laurels and don't put in the time on practice, I see a decline. It may be slow, but it's the slippery slope!

Practice can include drawing, sketching, painting. You don't always have to get a product. Just moving the paint around, or trying a new color or medium, counts.

In The Way to Happiness, philosopher L. Ron Hubbard says:

"Learning bears fruit when it is applied. Wisdom, of course, can be pursued for its own sake: there is even a kind of beauty in it. But, truth told, one never really knows if he is wise or not until he sees the results of trying to apply it.
"Any activity, skill or profession, ditch-digging, law, engineering, cooking or whatever, no matter how well studied, collides at last with the acid test: can one DO it? And that doing requires practice." — LRH, Chapter 17-3, The Way to Happiness.

Splash and Stream with rapids—Winter were selected for inclusion in the "Corcoran/MPA Student Show" at the Ramp Gallery, McLean, running from June 17 to July 31.I actually think that the resource photo for the stream here pictured was taken during a trip to Martinique (in the Caribbean) but I can't confirm that. The technique includes a "sponged" multicolor underlayer and overpainting with oil using scumbling and glazing.

Painting in Oil or Acrylics

Teacher: Pam Coulter 6 weeks, Sundays 3pm – 6pm Artspace Herndon From June 27 to August 8th (no class July 4; extra makeup class August 15th)

Cloudy Day, Riverbend, by Pam Coulter

Class Description: This class is suitable for all levels of competence. I work individually with each student to help him/her develop skill in the basics of art and to define his own aims as artist. What excites me about art is that there is no limitation on creating. Put pen, paint or crayon to paper and you have created something. From that as a starting point, we can work on professionalism. I will give each student two photos which can be used as resource material. However, if you have a project you would rather work on, you are free to do so. Cost: $125 (no lab fee. each student supplies own supplies. See my recommendations.) Location: ArtSpace Herndon, 750 Center Street, Herndon VA 20170 703-956-6590 To Register: Contact Pam Coulter Blehert at 703-945-0011 (c) or pam@blehert.com I can accept check or credit card (through PayPal). Please enroll early to secure your place.

_____________________________________ About the teacher: Pam COULTER Blehert paints primarily in oil and acrylics. She has around 400 paintings in private collections and 4 in corporate or government collections. She is a three-time “Best of Show” winner at the Art League of Alexandria monthly juried show at the Torpedo Factory, Alexandria, VA, and multi-year invited member of the “Bin Gallery.” Her paintings have been featured in the Elan Magazine (April 2009) and American Artist magazine (Feb. ‘95) and included in the North Light Book of Acrylic Painting Techniques. She has participated in regional juried shows and had a number of one-person shows. She was represented by Venable-Neslage Galleries (now closed) in Washington, D.C. She has twice had a painting accepted for display in the National Art Club (Salmagundi Club) in New York City. She participates regularly in juried Art League shows at the Torpedo Factory, Alexandria and in Reston Virginia art shows. She teaches art locally at various venues. For more information, visit http://www.blehert.com/gallery/

Putting the life into portraits

A neighbor recently gave me some feedback on my portraiture. I like feedback, particularly when it's positive, but negative feedback is also OK if honest.

He said that he was visiting a mutual artist friend, and, as he walked into the living room, he saw a portrait of the man. He immediately thought, "that reminds me of Pam Coulter's style." Not wanting to be offensive, he asked the artist, "Is that a self-portrait?" "No," said my artist friend, "that was done by Pam Coulter."


My neighbor then said, "I just knew it. You put life into the portrait."

How does one put life into the portrait?

Well, I'll tell you, it's a great deal easier when you are painting from life. Particularly when you have a friendly relationship with the sitter. It's more of a challenge when you are using a photo. There you must "grant life" (so to speak) realizing that the photo is a vehicle for getting to the essential person. And this gets a bit into the spiritual universe. Assume that the photo is a dull image of reality. (In fact, the body is a dull image of reality.) The reality is the person himself (or herself) at their very best and brightest. It's the spirit. And that's what you are set on portraying.

In another instance, I recently did a corporate portrait of Mr. Sam Church Jr., past president of the United Mine Workers of America. His widow did not see the portrait until the unveiling, but emailed me and said:

"I wanted you to know that my son, Nathaniel, and I unveiled your portrait at the UMWA headquarters in Triangle this morning. I was overwhelmed. A close friend of Sam's, Nathan Landow, joined us and immediately commented that it was the "Sammy" we remembered from his tenure as UMWA President.

What a surprise. Not a dry eye in the room! Thank you for the remarkable work. I am so proud that the portrait will hang in the new offices for the UMWA and that Sam's legacy is honored."

Blending with oils

Some of my students have difficulty with blending. here's a tip. For a smooth transition between two colors, both should be wet. Using a large (size 8 is good) bristle brush that is clean and dry, place 1/2 the brush on one color and 1/2 on the other and slowly stroke back and forth to get a smooth transition. You can blend into a dry color as well this way, but using this technique with wet into wet should provide the most satisfactory blend. If this is not clear enough, visit Bill Martin's explanation, which has pictures.

Pouting Child

I am very pleased with this painting of a toddler done as a demo of portrait painting for my class. I thought I would share it with all of you. This is painted in oil on canvas, 20 x 16 (a good size for a headshot like this.)

Aerial Perspective

dictionary.com gives the following definition:

–noun

a technique of rendering depth or distance in painting by modifying the tone or hue and distinctness of objects perceived as receding from the picture plane, esp. by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color.

Also called atmospheric perspective.

Where I find a student having difficulty with a landscape painting, it's sometimes due to the use of photographic reference material. "Depth of Field" on the camera is often (if not always) the default setting and many of us use the "point and shoot" technique. The photo prints out "less interesting" than the original scene. 

If you squint your eyes way down and look into the distance, you will often see the effects of atmospheric perspective. The strong contrast and sharp edges in the foreground fade and grey (or blue) to  less distinct colors in the distance. Now, even if you don't particularly see this, you should try it in painting a landscape. For example, in this autumn painting, I emphasized the light blue of the background to "push" the distance into the picture plane. Of course, there are other depth cues in the painting, not least of which is the lane which dwindles to a point at the horizon.

Two paintings on display in the May Reston Community Center show

I have two of my paintings, "Monument Valley" and "Zefferelli's", on display in the annual student-teacher show at the Reston Community Center(RCC) this month.

Pictured here is "Monument Valley". You can see a larger version on my website.

And this is a painting of Zefferelli's restaurant in Herndon.