-Robin Hall- paintings

2012 Workshop Classes

2012-01-16T16:42:00.000-08:00

March Workshop

STUDIO PAINTING- Dynamics of a Strong Painting

Dates: March 28-30 Wed- Fri. 9am – 4 pm Cost: $375.

This 3-Day Workshop will utilize exercises toward a goal of developing strong paintings. We will be working in the studios of the Laguna Canyon Studios located in Laguna Beach. Areas of concentration will be focused on everything to help you make your paintings better, stronger and more vibrant.

10-Student limit. $100. Deposit requested upon sign-up. Please call to ensure space availability (949) 496-2993

Supply list and info packet mailed upon receiving deposit.

**If you need to cancel a class, your deposit will be refunded, provided you notify me 2 weeks prior to the beginning of the class. After this date refunds will only be granted if there is a waiting list. Deposits may apply toward another class in the future.

Mail deposit to:

Robin Hall Studio

P.O. Box 2952

Capistrano Beach, CA 92624

Any questions… please call Robin at (949) 496-2993 or email her at robin@robinhall.com

April Workshop

COLOR THEORY CLASS

Dates ALL Saturdays, April 7, 14, 21, 28 10-4pm Cost: 425.

Keeping your colors clean and fresh is one of the issues all painters are challenged with. Here is your chance to have a real understanding of chroma, value and hue… wrapped up in a concentrated program of study. This 4-day course will help train your eye to see steps in value, understand temperature changes in hues and how to make high key chroma as well as low key of chroma. You will also learn WHY you should choose certain colors over others to achieve the desired color … all while keeping your colors clean. Knowledge is powerful.

This class will be working on a 3-tiered color wheel. We will not be working on creating paintings. You will have a strong understanding of color mixing at the end of this workshop. This class is beneficial for all levels, from the beginner to the professional. Class held at the Laguna Canyon Studios, Laguna Beach.

10-Student limit. $100. Deposit requested upon sign-up. Please call to ensure space availability (949) 496-2993

Mail deposit to:

Robin Hall Studio

P.O. Box 2952

Capistrano Beach, CA 92624

Any questions… please call Robin at (949) 496-2993 or email her at robin@robinhall.com

July Workshop

COLOR THEORY CLASS

Dates July 25-28 Wed- Sat 10-4pm Cost: 425.

10-Student limit. $100. Deposit requested upon sign-up. Please call to ensure space availability (949) 496-2993

Supply list and info packet mailed upon receiving deposit.

**If you need to cancel a class, your deposit will be refunded, provided you notify me 2 weeks prior to the beginning of the class. After this date refunds will only be granted if there is a waiting list. Deposits may apply toward another class in the future.

Mail deposit to:

Robin Hall Studio

P.O. Box 2952

Capistrano Beach, CA 92624

Any questions… please call Robin at (949) 496-2993 or email her at robin@robinhall.com

August Workshop

STUDIO PAINTING- Dynamics of a Strong Painting

Dates: August 1-3 Wed- Fri. 9am – 4 pm Cost: $375.

10-Student limit. $100. Deposit requested upon sign-up. Please call to ensure space availability (949) 496-2993

Supply list and info packet mailed upon receiving deposit.

Mail deposit to:

Robin Hall Studio

P.O. Box 2952

Capistrano Beach, CA 92624

Any questions… please call Robin at (949) 496-2993 or email her at robin@robinhall.com

Making Plein Air Panels

2011-11-16T11:33:00.001-08:00

Fall is here! Hard to believe how quickly the year is going by. Fall is one of my favorite times of the year to get out and paint. The weather is perfect – not too hot and not too cold. The trees are dropping their foliage, which gives them a more interesting personality and the grasses are turning russet. The skies are free from smog, yet moody in character.I recently gave a painting demonstration and had several of the artists interested in the panels I use as my supports for outdoor painting. Since this is such a great time of year to “get out there”, I thought I would share how I make my homemade panels.These are the most affordable, lightweight panels of the highest quality I have found.I hope you find this post informative and something you will want to explore.MATERIALS:I use a 3/8” gator board. You can find these at your art supply store in varying sizes. Find a size that fits your budget and size you can comfortably work with. For this demo, I am using a small size panel and Claussen #66 oil primed linen. You can use any linen or canvas for this technique I am about to explain.You will also need a brayer, iron, newspaper (or something to protect your table/ floor from excess glue), mat knife.

First step is to cut your gator-board to a size you want to paint. I suggest trying a smaller panel to start out. Cut your linen or canvas to a size about ¾” to 1” larger than the gator board, so you have a ¼ to ½” overlay of canvas on all sides.

Use a foam roller to apply a thin layer of water based archival ph neutral glue -such as Elmer’s, Miracle Muck, lineco, to one side of the gator board and also a thin layer to the back-side (non gesso-ed side of the canvas or linen).

Next, carefully adhere the glue side of linen to the glue side of the gator board and using a brayer or rolling pin, roll from the center of the board out to the edges, pushing out any of the air gaps.

Now it’s time to iron… (Do not use the iron you use on your clothes, instead look for one at your local thrift store and keep it for craft use). Put the setting to low/ synthetic. It should be fairly warm but not hot as for cotton or linen (remember you are ironing over gesso).Make a quick pass over all the fabric. The heat will suck the fabric to the board. Be sure to pay special attention to the ends and corners, to prevent puckering.

The next step is to weigh down your panel(s) and let it dry overnight. I make sure I wipe off the panels with a damp cloth to ensure there is no glue on the linen or backside of the panel. You can also put a sheet of wax paper under and between panels to protect all your surfaces. Here you can see I am weighing the panel down with some heavy art books… and yes, I have used wax paper to protect them. I will leave this overnight before trimming.

Trim the panel. In this view the gator-board is the correct size and all I need to do is simply trim off the excess canvas.

Once you get the hang of this, you can make larger panels and cut them to smaller size panels. If you are cutting multiple panels from one large board, you will need a sharp mat blade and a metal straight edge.Here I am cutting through the gator board from the linen side to make a smaller panel or crop the panel to a smaller size. Note: This is also handy if you wish to crop a finished piece. Make sure you have cut through the fabric and at least half way through the gator board. Then you simply snap the board for a straight edge.

TA-DA! Finished smaller panel.

I find that figuring my sizes and cuts ahead of time, makes for very little waste.Hope this has been a useful post and it makes for some great lightweight panels that you can transport out to the field and create gorgeous plein air studies of the fall landscape around you.

A new challenge

2011-10-11T21:05:00.000-07:00

Creating in another medium.

I have been distracted for the last 3 months with a project that utilized some creativity along with endurance and muscle. It was spent remodeling a rental property that my husband and I own, which had been neglected for the past 12+years. Luckily our last tenant stayed for that duration, but on the other hand the deferred maintenance took a huge toll on the poor dwelling. It required a total gut job from the floor up.

Since this is “income property”, there was no time to dally around and put it off… like we have done with so many other things in our life (tenting for termites, constructing a trust… and deferred upgrades in our own home). It put me on a timeline to go from start to finish. Something we can’t always do with painting.

So… this quick little post is to let you know, I’ll be back into posting again… but more importantly to say that sometimes there are situations out of our control that keep us from getting to the finish line when we expect to. I know for me, this can happen with painting.

Don’t let the pressure of deadlines dictate a finished painting. Be your best judge to let things go out when you “know” they are ready.
Let the canvas sit in the studio longer, look at it in different rooms, under different light. Then set it into the frame and look at it more. The time you spend “vetting” your work, will ensure that you have given it the time needed to bring it to the finish line.

In closing… remember to make time to take care of yourself and the things in your life that matter.

With much gratitude,

Robin

Summer- is Here!

2011-06-28T20:47:00.000-07:00

Garage 10

Summer is here! And the Festival of Arts is about to open. http://foapom.com

I wanted to post a few images of some of the new paintings I have recently completed. They will be on exhibit- either at the Festival of Arts, Laguna Beach or at one of my local galleries. See http://www.robinhall.com/bio_08.html

Since my last post, I had been busy the past 3 months getting a studio ready for classes & workshops, but in the end…dealing with a landlord that refused to put anything in writing and his failing memory , posed a hurdle that finally gave way to me packing up and leaving my newly refurbished and painted space.

With that behind me, I threw myself into- what else- painting. I am very happy with this collection of work and hope you like it too.

In a few months, I’ll be back in the hunt for another space, but for now the paint is flowing and I want to keep in the stream.

Check out the new California Light: A Century of Landscapes: Paintings of the California Art Club, written by Jean Stern and Molly Siple, published by Rizzoli Int. A beautiful richly illustrated coffee table gem!
I have a full-page image in this beautiful book! Whoo-hoo!

And: In the latest issue of Fine Art Connoisseur, August 2011, I am featured in an article “Artists Making Their Mark”. Thank you Peter Trippi, Editor, for recognizing my work and including it with two other such talented artists, Sarah Lamb and Alan Graham Dick.
If you’ve never read a Fine Art Connoisseur… do! It is one of the finest art publications available.

Lots of new work continues to spin off the easel. Hope you have a chance to peruse the summer –Festival of Arts- and new work at my galleries.

Thank you for visiting my blog. -Robin

Cove Garages

Trolley Station

Montage Beach

Randolph's Kitchen

#27

Daybreak in the Pasture

Mission Gate

El Matador Coastline

Ancestors

Saltwater Nocturn

MUSEUM CRUISING- Oceanside Museum of Art

2011-05-17T20:23:00.000-07:00

GOLD COAST:

Paintings of Southern California

April 30- June 12, 2011

Oceanside Museum of Art
704 Pier View Way
Oceanside CA. 92054

The Oceanside Museum of Art is hosting the California Art Club’s latest juried exhibit -GOLD COAST: Paintings of Southern California... The paintings are visual descriptions of the diverse topography and life style found in Southern California. Be it a day at the beach, a spring time vista or a glowing sunset, this is a beautiful and color-rich collection of paintings.

also.... Don’t miss the new book out by the CAC- California Light, A Century of Landscapes, available in the gift store. A beautiful coffee table book written by Jean Stern and Molly Siple, published by Rizzoli International.

Here are a few tidbits of the GOLD COAST exhibit… to whet your appetite.

After the Sunset; Marianne’s Birthday, by Cathy Cadieux

Sunset Laguna, by Junn Roca

California Breakers, by Victor Riesau

Whatcha Diggin For , by Scott W. Prior

and lastly.... mine.

Montage Beach by Robin Hall

.......................... Get out and explore good art!

ART SWAP

2011-05-09T09:46:00.000-07:00

Breaking News!

I am hosting an “Art Swap”! This is an artist swap meet or “yard sale”. Art supplies from artist’s -for sale at heavily discounted prices.

Items up for sale are: frames, frames, frames…& canvases, heavy duty large scale stretcher bars, display art walls with flourish black linen covers (for outdoor or convention exhibits), guest book pedestal with locking cabinet, paints, art books, display easels… and who knows what else.

Location: 26944 Camino De Estrella, Capistrano Beach, CA 9262
In the parking lot ***** If it rains, we will be inside the tackle shop at the end*****

Day: Sunday May 15th, 2011

Time: 9am to 1pm

Come and find some great art- indulging deals!!!!

Your Palette to Success

2011-04-11T12:40:00.000-07:00

Palette organization can help keep your colors fresh and radiant, which is just one way to keep your paintings “winning”.

Here are some tips to keep your palette working for you and not against you.

Step one: Lay out your colors the same every time. Every time. Every time. They say if you read or hear something 3 times it will sink in. So here is one extra mention to make sure it sticks… Every-time.
If you are painting outdoors, you may be working with fewer colors, as opposed to when working in the studio. When using fewer tubes, still lay the colors on hand out in the same pattern. Here is the reason: so you never need to look or think about the color you are dipping into. You should be able to paint in total darkness, because you know where every color is.

Think of your palette as your keyboard. You are going to write a novel, and the letters on the keypad change every time you sit down to type, consider the time and energy it will take you to find each letter to form a word, to structure a sentence and ultimately write the book. The same is true when painting. If you have a color in your mind you want to mix and find yourself looking around your palette for where you put the blue, your concentration has now shifted from that color you wish to mix to searching for and locating the blue. Now you have broken the flow of creation.

Painting is difficult but we can lessen our struggles with an organized palette.

Lets make a note here also about squeezing out enough paint. Paintings can appear dull and drab if you are miserly with your paint. Make sure you put enough down. That way you won’t need to continually stop to add more. Also, squeeze out all your stable of colors. Just because you think you will not need “red” – still put a little on your palette. You will need it! Why sacrifice the quality of your art, by pre thinking what you might or might not need. Give yourself every opportunity for success.

Below is a palette that has colors laid out in an organized manner. This palette has had years of use. You can see that the colors have always been put out in the same place every time. How you decide to arrange your colors is entirely up to you. This example is a prismatic layout (rainbow order).

Palette laid out…Now for Puddle Jumping.

Mix your colors in puddles.

Example:

The reason for puddles is that when you make a color mixture, that new color will be unique with it’s own hue and value. This puddle holds valuable information. When mixing another color of the same value… the reference is right there to compare, side by side. Or possibly you need the same color with a darker value. Again you can reference from the original puddle.

The other great advantage to keeping paint puddles, is that these puddles can be treated as additional colors on your palette. Different from your tube paints, these are colored mixtures are available to use in new mixtures. Using puddle mixes can also help paintings keep a cohesive finish.

Eventually the puddles will take over the palette. Don’t be lazy. Wipe the mixing area off, so you have a clean area to work in. Color gets dull and muddy from working on a disorderly and chaotic palette.

Check your palette score.

Organized Layout.

Enough Paint squeezed out

All your colors on the palette

Clean mixing area

WINNING!!!!!!

California Art Club's 100th Annual Gold Medal Juried Exhibition

2011-04-03T12:16:00.000-07:00

Opening today to the public, this magnificent exhibit runs through till April 24, 2011 at the Pasadena Museum of California Art.

This is a show to see. It was beautifully hung with groupings of analogous themes. The artistry of this show is one you should not miss.

The art displayed at this years exhibit is of the highest caliber, and as many an artist at the opening declared... "The artists really stepped up this year to present a best ever exhibit".

Along with the pleasure of viewing this exceptional body of paintings and sculptures, the California Art Club has just released a deliciously colorful book "California Light, a Century of Landscapes by Jean Stern and Molly Siple. The 264-page book published by Rizzoli International, showcases 300 landscape paintings by both living and deceased artists. I am happy to say, I was included in this beautiful book. Be sure to get a copy, while it is still available. In addition, the "100th Annual catalog to the Gold Medal Exhibition", is available. You can find each of these books at the Pasadena Museum of Art, or online at http://www.californiaartclub.org/.

The Pasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101
(626) 568-3665

www.pmcaonline.org

You can also preview the paintings of the exhibition at http://www.californiaartclub.org/

Seeing them in person is a different experience, as I noticed much of the beautiful use of color in each painting was only visible in person.

Remember my advice "Look only at good art". You will most definitely see it here.

MUSEUM CRUISING- The Irvine Museum of Art

2011-02-22T10:18:00.000-08:00

One of my first painting workshops, the artist-instructor gave a bit of his philosophy, which was “Only look at GOOD art”. At the time, it struck me as an off comment, but as I have grown in my quest to be a better painter, I have come to recognize that what he said was profoundly powerful. When you focus on looking at good art, you begin to identify and absorb those elements that make a painting (or art piece) strong. There is a filing system where our brain sorts and archives the great art details, be it composition, color combination or application. Focusing on looking at GOOD art introduces and reintroduces us to ideas and techniques that make for pushing us to "know" more... and let's not forget all the visual pleasure we get from it.

Last Tuesday, I visited the Irvine Museum to see “ALL THINGS BRIGHT & BEAUTIFUL”. For those of you that live within an hour of travel to the Irvine Museum, I encourage you to see this delicious collection of paintings. It is certainly a strong representation of the early century California Impressionist and GOOD ART!

Below are a few of the paintings in the collection of paintings now on exhibit at the Irvine Museum.

All Things Bright & Beautiful 
Exhibition open November 10th and continues through June 11, 2011

18881 Von Karman Avenue Ste. 100 (Ground Level) Irvine, California 92612 www.irvinemuseum.org
Information and Directions: (949) 476-2565 Offices: (949) 476-0294  
Open: Tuesday through Saturday, 11 a.m. to 5 p.m. Free Admission and Free Parking

One of my favorite Northern California artists, Armin Hasen, is represented in this exhibit with an unusually tender painting. This particular painting of Hansen’s is different from his typical Monterey paintings, which usually have bold color, illustrative qualities and articulate compositions. The painting “The Farmhouse” 1915 has a softer edge to it with an impressionistic style.

Here is a striking painting by Arthur G Rider, The Spanish Boat

Another of my favorite artist, for his use of bold color and strong brushwork is George Brandriff, and the collection includes his painting of Newport Beach "Cannery Row"

Hanson Puthuff, "Mytical Hills" has beautiful subtle value changes and soft chroma. You can feel the light cascading over the peaks and feel the distance of those hilltops.

Marion Kavanagh Wactel Landscape with Oak Trees"

This beautiful tonal watercolor is powerful!

This dark and jewel toned beauty has a bold and descriptive brush work. Joseph Kleitch "The Oriental Shop"

So many beautiful and GREAT paintings in this exhibit! Be sure to put it on your list of things to see before it is gone. You will be rewarded with an abundance of visual pleasure.

How To Stretch a Canvas

2011-01-30T20:06:00.000-08:00

“How To Stretch a Canvas for Painting”. Stretch your dollars, define your dimensions….and then canvas your world.

TOOLS NEEDED:
canvas pliers (I recommend the ones that have a rubber grip)
Heavy-duty staple gun. “Powershot” is my favorite.
Wood Stretcher Bars: 4 total, (2 pair- each of duplicate length).
Canvas or linen.
square
tape measure

All stretcher bars come with at least one side that has a raised ridge along the edge (some bars are raised on both sides). If your bars have only one side with the ridge, make sure they are fastened together so the ridges are all on the same side. This matters.

Step 1:
Your support (stretcher bars) for the canvas must first be put together ;each length has a 45˚ angle on each end. Once they are joined you will have a frame (support) square or rectangular with 90˚corners.
Measure to insure you have a perfect right angle (90˚) on each corner. To check this -measure each diagonal with a tape measure and confirm the diagonal lengths are the same . The example below shows each diagonal to be 17.5 inches.

Once you are confident the bars all have a 90˚ angle, staple each corner of the wood bars to secure them. If you wish to use canvas keys later (small wooden wedges), you can remove these staples once the canvas is attached.

Step 2:
Linen and/or canvas can be purchased either in a roll or by the yard. I think the roll is a better value, but if you are trying this for the first time, you might want to buy your canvas by the yard for your test trial. I will use the word “canvas”to represent both canvas and linen. Notice there is a gesso side and a raw side to your canvas. You will want to do your painting on the gesso side.

Amount: You will need your fabric to be a minimum of 4” larger than the dimensions of each length of your desired canvas size. As an example – a canvas size of 16”x20”, would require a swatch of canvas to be no smaller than 20”x24”, or as another example an 8”x10” would require a sample of 12” x 14”.

Step 3:
Layout: Important- do not fail to pay attention to this step. Make sure that when you measure and lay out the fabric, the woof (weft) and warp is perpendicular and parallel to the stretcher bars. (http://en.wikipedia.org/wiki/Weaving) Basically the threads that run horizontal must line up with the horizontal bars. The vertical threads must be parallel to the vertical bars. If the threads do not line up with your bars, your finished canvas will have puckers or ripples.

Step 4:
Cut the fabric so you have 1.5” or 2” beyond each stretcher support. This will allow you to have enough fabric to grab the canvas over the wood bars with your pliers. Example:

Step 5: Lay canvas -Gesso side down. Place your stretcher bar support on the raw unprimed side of the canvas. The raw fabric side should be facing up toward you. Make sure the wood support frame has the raised lip facing down against the raw canvas.

Once your support and canvas are properly aligned, lift one edge of the canvas and staple it to the support. Do this with care, so you don’t disturb the layout position of the canvas and support.

Step 6: On the opposite end, use your pliers to stretch the canvas over the support, so now you will have 2 opposite ends stapled.

Step 7: Now rotate your support (wood frame) and canvas and stretch a 3rd side and staple along end.

Step 8: Repeat on the 4th unattached length. You should now have 4 sides stapled. It will have a diamond shaped pucker on the gesso side of the canvas. example:

Step 9: Now you will pull and staple the canvas on the left side of the existing staple- and then the right side of the first staple. Keep your staples evenly spaced, approx. 1” apart. Rotate and repeat this process until you have staples all 4 sides. The diamond shape pucker on the front of your canvas will get larger and less pronounced as you work toward the edge of your support. NOTE: you are only putting 2 staples in at a time and then rotating. Do not attempt to staple an entire length or side all at once. You must keep rotating after you have added 2 staples.

Step 10: Repeat step 9: 2 staples 1” away from each existing staple -and rotate. 2 staples and rotate, 2 staples and rotate, until you have completely fastened the canvas across the entire edge of each length. The diamond pucker on the front should be completely gone now. Your canvas should look like the example and have no puckers. (If you have puckers, go back and check what is off. Either the canvas was not true to woof & warp, or your stretcher bars were not at true 90˚ angles. You will need to remove all your staples and try again).

Step 11: Securing the corners and finish: fold one corner over, make a pleat and fold over again as shown. Then staple the corner down.

You’re done! Bravo.

MUSEUM CRUISING

2011-01-10T10:54:00.000-08:00

Yesterday I visited the Oceanside Museum of Art, located in Oceanside California.
http://www.oma-online.org/

I went especially to see an exhibit of Botanical Photography by Imogen Cunningham, titled “BOTANICALS. BOTANICALS: THE PHOTOGRAPHY OF  IMOGEN CUNNINGHAM  January 9 - May 22, 2011

Imogen, a professional photographer and a mother of 3 boys, focused her attention to photographing objects that (1) she was passionate about and (2) were available to her while she juggled household and child rearing responsibilities.

Imogen Cunningham’s bio: http://en.wikipedia.org/wiki/Imogen_Cunningham

The reasons of my interest in going to see the photography exhibit had several layers.

Layer 1: Several years ago I took a photography class to learn more about digital cameras. What I hadn’t planned on was the direction it would take my oil paintings. Composition and light became a larger focus to my work. Oh, for sure I thought I was pushing for that before the photo class, but in reality the class put sunlight on the subject.
It made me look and pursue the “shock” of light where hard sunlight hits deep recessed shadows: or the soft atmospheric light that happens when the moisture of evening air mixes with the heat still on the earth’s crust.
Surely another reason for a shift in my paintings, were the class assignments of cropping with the camera. Learning to define the composition ahead of time was proprietary. Looking for strong patterns and values. It carried forward in my paintings long after the class. I am not suggesting you need to have the idea and patterns pre-planned with a camera, but the idea and vision of how you see the finished painting helps tremendously. When I don’t have a clear view of where I am headed before starting a painting, the canvas seems to stay on the easel longer… and many times finds it’s way to the chain-saw folder. It’s much like driving to a destination without directions or having the address of where you are going.
Layer 2: Imogen Cunningham, A woman artist, raising a young family…. A woman working in what many considered a man’s profession. I personally know the struggles of being a mother and trying to forage a career in art- much like balancing two fragile ecosystems.

The Botanicals exhibit is wonderful. Imogene was a master at capturing intricate detail alongside her dramatic architectural and contemporary compositions.

Examples of work on display.

Another visual treat at the Oceanside Museum is the Quilt exhibit
QUILT VISIONS 2010: NO BOUNDARIES  October 24, 2010 - March 13, 2011

Some of these quilts are just amazing and intricate beyond words. Here are a few examples of the quilts now on display. I highly recommend a visit to see these two exhibits while they are up.

In closing- there are many medias of art existing all around you, immerse yourself and leave open the opportunity to see and explore that diversity. You never know just how it will reflect in the artistic course you are on. And during my first painting workshop, the teacher told me, ONLY look at GOOD art, it will inspire you to move forward. Best advice given ever!

WELCOME 2011

2010-12-31T21:23:00.001-08:00

Happy New Year!

Yesterday I took my 30-minute morning walk to the beach. On this day it was actually more like an hour (due to picture taking).

One of the best ways to keep your creative energy streaming- is to start your day with a brisk walk. A walk will stimulate blood flow to the brain, which boosts creativity, helps you problem solve, strengthens your stamina to maintain the energy needed to paint for continuous hours.

I decided to take a camera with me to document the last morning of 2010.

Most mornings, my walk consists of nothing more than elevating my heart-rate, but on occasion I can spend an hour unplanned, because I run into a neighbor, friend… or because a lost dog needs to find his way back home.

Below I share a few images I took documenting the last day in Capistrano Beach, CA on Friday, December 31, 2010.

This is the view from Palisades Drive on the way to the beach. This is unquestionably a beautiful day.

And.. the rain we experienced a week ago caused a few slides on the hillside road, heading to the beach. There were many of these slips on the hill... this is one.

AND... what could be more fun than swishing down a slide built from a berm in the sand or building sandcastles on a beautiful sunny winter day. These two little ones enthusiastically shared their wonderful hand built slide- and giggled as they anticipated more fun playing in the sand.

Lastly... more rain ahead. Here are the rain makers. Planes lining the sky with "cloud seeding" (chemical Silver Iodide). Notice the X. This year I noted them at work almost every day.

Wishing you a healthy, fruitful and happy 2011. Hoping the year ahead brings you much inspiration as well as positive finishes.

Now... go out for a walk.

Keeping the tools ship shape

2010-12-17T16:56:00.000-08:00

What is the best way to clean a brush?

After years of cleaning brushes and all the different methods I have tried, (brush soaps, shampoo, conditioners, oils…etc., the method illustrated below is the quickest & simplest method and will keep your bristles in beautiful shape and flexible for a long and useful life.

One note about the lasting quality of brushes: if you paint on a rough, course linen or canvas, your bristles will wear down, much like running acarrot over a grater. Your brushes will wear regardless of how you clean them.

HERE IS MY BRUSH CLEANING METHOD:
First wipe the excess paint from your brush using a rag or paper towel.
Next, use your cleaning solution, thinner. I like Gamsol, as my thinner-cleaner solution as the emissions from this solvent is lower than other mineral spirits.
Swish the brushes in the Gamsol and get the majority of oil paint off. Do not scrub the brush- just swish them with some vigor.

Now- it gets easy- set the brushes in a solution of concentrated Simple Green. You want to place your brushes so the brush-handle rests against the side of the solvent container (as shown below). This will keep a minimal amount of pressure on the bristles and they won’t loose their original shape.

You will want to make sure the bristles and the very bottom section of the metal ferrule is immersed in the Simple Green. Do not let any part of the wood handle to be in contact with the Simple Green. Simple Green is very effective in removing paint and it will also remove the paint from the handle and the glue attaching the ferrule to the wood handle.

I leave the brush in this solution overnight and then rinse under cool water the next day. (I have left my brushes in Simple Green for days, with no damage)
When rinsing your brushes, do it under a good stream of water and press the bristles against the bottom of the sink, again do not scrub it. If it seems there is still paint left up in the ferrule, put the brush back in the solution for another day. Paint trapped in the ferrule will cause your bristles to eventually fan out and loose their shape.

When you are satisfied the bristles are clean, tap off excess water and leave to dry in a horizontal position where air can circulate all around the brush. Your brushes should be dry by the next day and ready to use. Note, some pigment colors will stain the bristles, and this does not affect the life or flexibility of the brush.

Note: You can also remove dried on paint from palette knives in the same way. Leave only the metal blade in the simple green, you will be able to wipe the built-up paint off after leaving them soak for overnight, maybe longer if you have a lot of build up. Remember… don’t let the handle be in contact with the Simple Green- only the blade.

Happy Painting!

BRUSHING UP

2010-12-01T16:22:00.000-08:00

Let’s talk about brushes. Students ask me what to look for when purchasing brushes, as there are so many out there to choose from.

A good oil painting brush is your tool. A brush should lay down paint on the canvas, not drag or scrape it. Many of my students show up to class with a handful of brushes, which are “over the hill”. It is frustrating for them, because the paint won’t come off the brush and lay over the paint layer under it. Brushes do not last forever, but with good care they will live longer. I will cover cleaning in another post. Hey, but don’t throw out your old brushes. I like to use my old brushes for other uses, like paint touch ups on walls, cleaning lint out of sewing machines, crafts, scouring drain openings… use your imagination, there are many useful ways to use that old brush.

"Over the Hill Brushes"

My favorite overall choice is a filbert bristle brush, second is a flat. That said, there are many different brands and quality of bristle brushes. Remember, this is one of your most important tools (next to your brain). Just like a chef needs a good quality knife that cuts with ease, you need a brush that will apply the paint without a fight and keep the process fun.

This is what I look for in a brush.
Flexibility: A good bristle brush should have flex and be long enough to bend in the middle.
There is a difference between flex and soft. A soft haired brush, as in sables, is good for softening edges in oil or in painting with watercolor. I prefer a natural hog hair bristle brush for the majority of my oil painting applications.
If the bristles are too stiff the paint will not leave the brush and lay paint over the layer underneath, it will merely scrape it. Your painting will look thin and anemic and your colors will be dull, not luminous.

Dimension: I choose filberts that have a thin profile. This allows the brush to be used as a drawing tool as well as for layering of paint. If the brush is too thick, you loose the ability to make beautiful thin linear notes as well as overall control. Notice how much thinner one brush is. These two new brushes are both size 8, by different manufactures.

Flats vs. Filberts: I really like flats when I am working with square shapes or wanting a sharper edge. Filberts are the brush I use 90% of the time.
Notice how the paint layers differently with a flat versus a filbert. The filberts add layers without a hard edge. Also shown is the path of each brush as it paints on a clean canvas. The flat & filbert brushes used are both size #6.

Remember: Our tools are an extension of our desire. Choose the best and make a beautiful mark on the World.

THE HOLIDAYS ARE HERE!

2010-11-20T15:35:00.000-08:00

During this time of year I took a look back and reflected on things past that have made positive impacts on my life and led me to the path I am on – making art.

As an artist, I realize how wonderful it is to wake each day, knowing that today will be unique from any day before it and that I will loose myself at some point into the “zone” of creating.

For the freedom to create is a glorious gift. I am very grateful to my Mother, who engaged me in art, as a child. It is because of that exposure, that I am an artist today.

If you are a Parent, Grandparent, Uncle or Aunt, and have the opportunity to introduce art to a young person, please do not hesitate. Sometimes the most insignificant exhibit, play, musical performance or book can make a significant impact on their attitude to art as they grow to be adults.

This year, I received many emails with request for more classes or more blog postings; it was amazing actually, that so many people even look at my website or blog. So, with that discovery, I am resolving to make regular posts on my blog this year. Anything from new discoveries, pigments, exhibits, workshop exercises, mixing color… just about anything current that I think will be of benefit. On this posting, I have just listed 3 new workshops for 2011. Look to the right for the Workshop link.

Thank you for being part of my artistic world and I encourage you to keep striving to squeeze more art into each day.

Thank you again for visiting my Blog.

Sincerely,

Robin

2011 Workshops

2010-11-20T12:40:00.000-08:00

MAY

STUDIO PAINTING- Dynamics of a Strong Painting 3-DAY Workshop Class full
Dates: May 25-27 Wed- Fri. 10am – 4:30 pm Cost: $395.

This 3-Day Workshop will utilize exercises toward a goal of developing strong paintings. We will be working in the studio of the Southern California Artists Association located in Laguna Beach. Areas of concentration will be focused on composition- values- color.

12-Student limit. $100. Deposit requested upon sign-up. Please call to ensure space availability (949) 496-2993
If you need to cancel a class, your deposit will be refunded, provided you notify me 2 weeks prior to the beginning of the class. After this date refunds will only be granted if there is a waiting list. Deposits may apply toward another class in the future.

Mail deposit to:
Robin Hall Studio
P.O. Box 2952
Capistrano Beach, CA 92624

Please look for further announcements of classes. As we get closer to Spring (a season of more cooperative weather), I will post Plein Air workshop and their dates.

OCEANSIDE MUSEUM OF ART

2010-05-12T20:20:00.000-07:00

Robin Hall will have a exhibit of new paintings at the Oceanside Museum of Art. The exhibit "IMPRESSIONS OF SOUTHERN CALIFORNIA" runs from May 25, 2010 through July 11, 2020.

IMPRESSIONS OF SOUTHERN CALIFORNIA:
ROBIN HALL AND JEFF YEOMANS
OMA Groves Gallery, May 25 – July 11, 2010

Impressions of Southern California presents captivating views of San Diego and beyond from the illimitable coastline to dense urban landscapes that color the city. Orange County artist Robin Hall and San Diego artist Jeff Yeomans will display new paintings of Oceanside inspired by the recent transformation of urban development in the area as well as endearing scenery from Southern California. Meet the Artists Robin Hall and Jeff Yeomans on Saturday, June 12 at 1:00 p.m. and hear them discuss the artistic process behind their artwork at 2pm. Wine and nibbles from 1 to 4pm. The talk is free with museum admission and complimentary for OMA members. Impressions of Southern California will be on view May 25 through July 11, 2010 in the Oceanside Museum of Art Groves Gallery.

The focus of Robin Halls work is capturing the saturated light of California and the drama it creates on surfaces and architecture; giving more attention to how color and edges are affected by light and its absence. Hall’s paintings have been exhibited in numerous museums and galleries including the Laguna Plein Air Invitational at the Laguna Art Museum in 2009, and Sites of Southern California at the Bowers Museum in 2004.

California contemporary painter Jeff Yeomans paints to document California now, to remember the culture and “fabric” of the region. His work ranges from coastal studies to figurative work and urban landscapes. Yeomans recently had his first one-man exhibition at the San Diego Art Institute and in October 2007 Yeomans completed a commission for the Naval Hospital in Balboa Park, San Diego.

New Painting at Villas Gallery

2009-09-13T14:27:00.001-07:00

CORREDOR 27x34 oil on linen

2009 Painting Workshops- added

2009-03-27T16:58:00.000-07:00

Two NEW Workshops have been added to the 2009 Calendar.

Color Theory Class
Instructor: Robin Hall

Keeping your colors clean and fresh is one of the issues all painters are challenged with. Here is your chance to have a real understanding of chroma, value and hue… wrapped up in a concentrated program of study. This 4-day course will help train your eye to see steps in value, understand temperature changes in hues and how to make high key chroma as well as low key of chroma. You will also learn WHY you should choose certain colors over others to achieve the desired color … all while keeping your colors clean. Knowledge is powerful.

This class will be working on a 3-tiered color wheel. We will not be working on creating paintings. You will have a strong understanding of color mixing at the end of this workshop. This class is beneficial for all levels, from the beginner to the professional.

Any questions… please call Robin at (949) 496-2993 or email her at robin@robinhall.com

Mon- Thurs Aug 10-13 10am - 4pm $425 4days

San Clemente Center for the Arts 1531 N. El Camino Real (949)369-6603

Painting Architecture on Location

Description: This 3 day workshop will take place 2 days inside the Mission San Juan Capistrano and a 3rd day in the quaint town of San Juan Capistrano. Workshop objective: to develop skills for accurate perspective, strong composition and values.

Mission entrance is included with workshop costs.

October 5-7 (Monday- Wednesday) 9am-4:40pm Cost $350. Class size limited to 10.

To sign up- call or email me for available openings;
$100 deposit required to hold position.

Email: robin@robinhall.com Phone: (949) 496-2993

2009 SPRING STILL LIFE'S

2009-03-15T16:55:00.000-07:00

NOW AT ROGER'S GARDEN'S FINE ART GALLERY

PEARS & APPLES 9x12 oil on linen

THINGS OLD 10x12 oil on linen

ASPARAGUS 11x14 oil on linen

JASPER 8x10 oil on linen

PEARL 9x9 oil on linen

February's New Paintings

2009-02-12T14:02:00.000-08:00

2009 is here and I have just delivered a group of new paintings to galleries.

Here is a quick look.
FORTIFICADO 30x 45 oil

CACTI 5x7 oil

EVENING SURF 12x 16 oil

CEMENTARIO 8x10 oil

EL MORRO, LOOKING NORTH 30x 45 oil

EL PORTON 20x24 oil

FALLING LIGHT 12x 24 oil

HEADLANDS 8x9 oil

ORTEGA FLATS 11x 14 oil

RANCH LANDS 8x 10 oil

SPRINGS SPLENDOR 16x 20 oil

SUNDOWN 10x 8 oil

TWILIGHT - BACK BAY 11X 14

2009 Painting Workshops

2009-01-08T11:44:00.000-08:00

From Studies to Studio Workshop with Robin Hall

This 3 day workshop will illustrate successful ways to develop your Plein Air Studies into vibrant larger paintings completed in the studio. We will cover the approach and strategy to create a strong composition and clean color working from your small painting study and photo references to building a larger finished painting. Each student will be working toward a completed painting.

3 Day Workshop, Saturdays June 13, 20, 27 11am- 4:30pm $300.
Class limit 10 --enroll early

Location: San Clemente Art Supply
1531 N. El Camino Real
San Clemente, CA 92672

(949) 369-6603

Robin Hall's Painting wins Environmental Award

2008-10-03T19:05:00.000-07:00

Sunshine and Sandstone, 24x30 oil on linen, won the Environmental Award at the 6th Annual Coastal Splendor Invitational Art Show. The painting is currently hanging in the Irvine Museum, located in Irvine California. www.irvinemuseum.org