Sunday, 28 September 2014

My First Book

Painting the Belcarra Cottages inspired me to write a little picture book. The fictional dialogue between cottage features art from the Passionate Outdoor Painters and has been well received.

Ebook available: http://store.blurb.com/ebooks/489008-between-cottages



Tuesday, 11 December 2012

Meeting Robert Bateman



Showing Robert Bateman my sketch book and having him sign it was exciting and validating. He using one all the time.

When he mentioned he particularity liked an abstract of the ocean I completed at Galiano I felt understood in my intentions of expressing the essence of the scene. This connecting with art is especially important when outdoor painting as something of the experience is shared.

At his artist Talk for the FCA group I took in at Salt Spring Island this fall, he mentioned that His realistic paintings are often based from abstract compositions.

Abstraction always has a place in art. To me it is art.

If you ever get a chance to talk with a seasoned painter take it. Ever word speaks as much as their art.

Jane

Check out more art reflections at:  http://janeappleby.com/reflections


Sunday, 12 February 2012

Rain on My Palette

Rain, rain on my palette
is one way to keep it wet

While the painting left out
becomes an abstract, I bet.

Even in bad weather
an adventure presents,

A creation of art
while putting up tents.

If too cold to paint
the camera wins out,

Taking a few shots
to later muse about.

Paintings or photos,
keepsake of the day,

Helping us to remember
what creation has to say.

Jane Appleby



For more photographs visit:
                                                      http://janeappleby.com/photography





Thursday, 9 February 2012

Textured Panel



Using pre-textured panels allows for quick expressions on location. Moulding Paste was palette knifed ahead of time on a low cost 8 x 10 canvas board covering most of panel with sweeping strokes and hatches. 


The abstract expression then was influenced by the texture and further brushstrokes while the scene in front was the inspiriation. I could work and overwork this till I felt satisfied with the expression. In this case it was not a rendition of the landscape but the flow I felt by being beside it.





FOR MORE REALISTIC OCEAN PAINTINGS VISIT MY WEBSITE: http://janeappleby.com/artwork/gallery/44-oceans

Wednesday, 8 February 2012

In White

This was a passionate expression completed in my studio however was undoubtably influenced by all that I saw as white: Snow, Mist, clouds, icicles, reflections, fabric, homes, etc. I recall picturing these things in my mind that I had experienced outdoors.

"In White" was meant to be an expression of something good. 

This Abstract Expression has received an Award of Excellence at the Federation of Canadian Artists Abstract Show (February 2012) in Vancouver and a first for me. 

I was pleased that the Jury was touched by this piece somehow. 

May our art involve our senses, emotions, and soul. 

Further reading about my art can be found at:


Tuesday, 7 February 2012

Tools of the Trade

Q: Why is it so important to have the right tools and what are they? 
A: If we have what works with our nature and personality, and this is strictly individual, then I believe we are more free to create well. We do need certain tools in our artist process and I have found the list below to be helpful in mine. Please share what works for you if you happen to read this. Thank you.


Jane's favourites:
Fluid acrylics are preferred as they flow well and do not dry too fast and if they do they are quick enough to squirt out a small amount on the palette board.

Colours: Cobalt Blue, Priamry Magenta, Primary Yellow, Oxide Red, Napthol Red, Ultramarine, and Titanium White.


Brushes: A large and small filbert fine hair brush like Isocryl or Acyrilex,and a round with good point.


Pallet: regular white foam board that have been cut into two longs strips and taped together so that they fold on each other and cover the wet paint for transport. It dries eventually to be reused.


Easel: half box french easel by Juillian or a sturdy wood easel that pierces into the ground for support.


Water containers that when filled do not tip like a 750 ml plastic yogurt container (after you have enjoyed the yogurt of course), and soft cotton rags to wipe paint and brushes. Small Spray bottle to mist paints.


An adjustable viewfinder to compose scene and mirror for design checks of finished paintings. 
By looking at the painting in reverse you may see compositional errors in it easier.


Lastly, but most importantly: to be open to a good attitude, use your tools well, and be thankful for the experience. These are the essential tools :). 


More from Jane at:


www.janeappleby.com

Monday, 6 February 2012

Cypress Mountain Prep

There is something exhilarating about being outdoors or in its vicinity. I happened to ski late one evening and captured this shot which was certainly a starting point to my demos at Cypress Lodge. Cypress is my favourite mountain to go and be inspired. In winter glistening distant mountains or city vistas, snow capped peaks  and powdered trees that are never the same always captivate.
Here is an evening shot last week that I had to run to get my camera for.
I have found that taking photos helps me become familiar with the scenes I will paint and often are the first expressions of them. I do not reference to photos as much as recall the experience from them. This scene was a gift that helped in my public demonstration preparation.
More Photos from Jane at:
http://janeappleby.com/photography