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So.....What is HartNews? HartNews is my attempt to write about life and watercolor from where I see it. As a teacher, I enjoy passing on some of the things I think about , that inspire me - or make me laugh!. I've included you in this issue - you who are painters, friends, former guests and/or family - some of you without your expressed permission. So…please reply and ask to be removed from this mailing list if you'd rather not get monthly (hopefully) HartNews editions - or just delete me!
In this Issue:
  • Quote of the Month
  • Painting Spring, Demo by Jan
  • 1st Installment - "1500 Miles in a '38 Plymouth"
  • At Ranchito San Pedro
  • Websites to check out
  • On the Horizon - Workshops, Etc.
    Quote of the Month

    "Do studies, not pictures. Know when you are licked - start another.

    Be alive, stop when your interest is lost. Put off finish as it takes a lifetime - wait until later to try to finish things - make a lot of starts. It is so hard and long before a student comes to a realization that these few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting."

    from Hawthorne On Painting, 1938, 1960, Dover Publications, Inc. Published notes by students of teacher, Charles Hawthorne who taught at the Cape Cod School of Art for 31 years.

    Painting Spring, Demo

    A few weeks ago we celebrated spring in the studio by painting our feelings and ideas about spring! Our mission was to go beyond a mere description of apple trees in bloom or vivid yellow forsythia against a pink adobe. We wanted to e xpress what spring means to each of us - exhilaration, new growth, new beginnings, bright unabashed colors, wind, and even allergies (which unfortunately prvented a few people from participating....). The week before, on a glorious spring morning, I drove several miles north to Velarde to see the apple orchards in bloom. There I photographed some of the splendor, returned to my computer and printed up some fresh images!

    So - here's the orchard in full bloom! The apple trees are all lined up behind the bright green foreground tree! I began in my usual fashion - by talkingto myself, saying to myself - what I see or feel. By verbalizing I begin to get new ideas, new views. I usually start with similes. "The green tree is like a dancer. It's the star, surrounded by the apple trees all dressed in white, frilly gowns. The limbs are heavy with white blossoms - but light as they rise to the sky. They're puffy and white and they make a lovely silhouette against the blue of the sky. The shadows on the ground are horizontal darks - like spotlights of dark beneath each dancer." I just thought of the name the painting." Spring Ballet!"

    Now I'm ready to begin.

    n

    (Left) I begin with a value/composition sketch - establishing the values and identifying the major motion gestures. A 5 value scale helps to be sure that I've included values from darkest dark (1) to lightest light (5) - the white paper. I also identify some of the pigments I'd like to use in the painting. Spring is my opportunity to use Opera!!!

    (Left below) I paint the first washes with dancing strokes of my 1" flat brush, beginning with the wet i wet sky and then on into the foreground tree. The Daniel Smith paint, Napthamide Maroon is what I've decided to use for the dark side of the tree trunks because it is dark, yet warm. Each object or group of objects has at least two colors in it, mixed on the paper, wet into wet. I can't resist Opera - around the center of interest! If I've got it too bright, I'll worry about it later.

    (Middle below) I paint the horizontal darks of the shadows with a dark green I mix myself. I negatively paint around some foreground grasses, just to indicate grass without painting it directly.

    (Right below) I re-enter the sky, darkening it around the tops of the apple trees. Then I add some very light detail within the apple trees - soft and pale and loose.

    The painting is now an "Adolescent". At this point I generally take a break so I can get a freh look at the "adolescent" later, helping me to decide what next to do to finish.

    Finishing

    (left below) I begin working on the foreground tree, adding darker greens on the undersides of the leafy branches. I also refine some of the gestures I've established earlier in the branches. he Opera pink seems like too much, right in the center of the painting. I decide to extend it into more of the apple trees rther than to try to diminish it.

    (right below) I like the extended pink notes. Now I can darken some more areas where needed and add in some more cast shadows on the grass at the far right. Little things, but I will likely continue for days or weeks - adding, lifting, refining until I believe it is completely finished.

    Spring Ballet, 15 x 20, watercolor

    ©Jan Hart, 2002

    painting available

    @ Ranchito San Pedro

    The poster will not be available until around mid-summer - but if you're interested, let Allen know or email me and ARTE.S. will notify you when its available.

    Allen's email StevensonBrown@aol.com

    on the Horizon....

    Seattle Workshop coming up! Carol and I are off to Seattle and environs very soon. First, I'll be teaching at Ft. Worden in Port Townsend for a wonderful group of very good painters, the Seattle Co-Arts painters. Then, I'll be doing a demo and 2 day watercolor workshop at Daniel Smith Art Store in Seattle.

    Painting the Spirit of the Landscape
    June 23 at 11 am & 1:45 pm
    I'll present a discussion/demonstration of a New Mexican landscape subject and my process, from beginning concept through the painting including color choices, pigments, subject ideas and techniques.

    The Drama of the Landscape
    Monday & Tuesday, June 24 & 25
    Jan has agreed to stay over and teach a workshop for a more in-depth look at her exciting approach to watercolor landscapes.  As in her demo, she will be showing her entire process, including color choices, pigments, subject ideas and techniques. The workshop will also cover issues such as: Creating Drama; Evoking Feeling and Expression; Using the landscape to suggest brush strokes, etc.; and understanding the landscape to add depth to your work.
    This one should fill quickly!
    $75 per day or $140 for both days
    10 am - 4 pm

    Websites to Check Out....

    WomanMade G A L L E R Y http://womanmade.net/forartists.html

  • Check out this non--profit resource / gallery / advocacy and support for and by women. I was fortunate to have June Bennett stay at Ranchito San Pedro, with her husband, Leo. She told me about WomanMade Gallery which is based in Chicago. I checked it out on the Web and immediately joined! $35/year is a great opportunity to participate in a world class organization which has made its mission to provide women artists with the opportunity to exhibit, perform, publish and sell their work! Please do check it out!
  • Artists Magazine Online http://www.artistsmagazine.com/listserv.html

    This is a great site - with lots of tips and ideas for artists. Check it out.

  • "Under the Eaves" by Allen Brown

    My Website is up and running! "The Road Most Traveled", watercolor

    Just click on the bar above and you'll be transported to www.janhart.com. Since I built it myself I plan to regularly change it - so that it remains kindof current. I also plan to find a place to store the past volumes of HartNewswhen I get them

    The entire west coast was enduring an unseasonal heat wave and Grants Pass at noon baked in the high 90’s. Our baggage was substantial – all of our painting gear, clothes for all seasons and reasons as well as various things we’d collected in Seattle thrift and art stores. We dragged it all into the back of my brother, David’s truck and headed for Elk Lane, the last home owned by my parents. My father had died the previous Thanksgiving, my mother was in a Rest Home in a nearby town. The house now felt strange and sad, but I was eager to get there and meet my mobile inheritance, a beautiful blue 1938 Plymouth Coupe. As we drove up the curving driveway, I craned my neck to look. It wasn’t there. Hmmm. We greeted Ann, who was the current renter. David called his friend, Bob - a local mechanic he had hired to get the car ready for the anticipated 1500 mile drive to New Mexico. We were told that Bob and the Plymouth were out on a test drive.That sounded hopeful to Carol and me.

    We dragged our luggage into the house while David repeated his unending words of advise - we’d be wise to ship the car to New Mexico. He added that he’d talked with Bob the day before and was told it would not be a good idea to drive it that far. We’d heard it all before from several others plus statements such as "Are you crazy?", "Two women – alone?", "If I were you, I’d…." But we were steadfast. Both of us were adventurous, 50-something women who loved a good road trip. I knew that I’d be up for the drive and willing to make decisions as we encountered problems. Carol was the "Jill of all trades", having learned her mechanic basics on motorcycles and honed her skills with a variety of "fixer uppers" including a ’39 Ford and a ’64 Volvo. She was willing to donate her talents as long as we could get back to New Mexico in 6 days. No problem, I thought. Curling up into a window seat with a portable fan, I withdrew into my mystery novel and waited for Bob’s call. The phone rang at 9. He reported that the test drive was "interesting" and we agreed to pick up the car at his house the next morning. Carol and I mused about the word "interesting" and went to bed. Our adventure was beginning!

    Day 2: June 26, Monday Grants Pass, Oregon

    Ann drove us over to Bob’s the next morning. As we neared his driveway, I saw her! My parent’s ’38 Plymouth. She looked wonderful – a shiny medium, cerulean blue with chrome. I’m not sure when we discovered that the Plymouth was female, but we’d named her Elizabeth weeks before. Bob walked out to greet us. In the next two hours Bob mostly talked, Carol began her acquaintance with the car’s mechanical parts and I listened and admired.

    Opening the center hinged hood, I saw what appeared to be lots of room and a very small engine. The most obvious things were the air filter and horn. Carol remarked on the flathead six engine. Bob reported that he’d rebuilt the fuel pump, worked on the brakes, cleaned out the carbuerator, drained the gas and added new, flushed the radiator, put in a new battery and a few other things. He hadn’t had time to change the oil and hadn’t been able to find new points. I asked about the tires. He said they looked good. I looked and they seemed fine to me. I climbed inside. The upholstery was a soft beige wool, perfectly preserved. Behind the divided seats was a split leather flap secured with a series of metal fasteners. On the driver’s side it covered metal shelves where I understood that sales goods were stored for the traveling salesman. The passenger side compartment contained the spare tire. The chrome details were beautiful – on handles, supports and knobs. There was even a beautifully detailed round chrome cover for the lock on the passenger door and the trunk to protect each from weather. I was reminded of the Art Nouveau and Art Deco periods as I gazed at the horizontal bar lines, the graceful Mayflower ship, the perfectly symmetrical dashboard with a fake front compartment mirroring the actual glove compartment on the right side. Even the knobs were unique, chromed and elegantly designed. In architecture school I had loved the design of the 20’s and 30’s. Now I was sitting in it. In a similar way, Carol was admiring the simplicity and beauty of the engine.

    Handing Bob the rather substantial check I asked how he felt the car handled. He shrugged. "It was a very interesting trip I took yesterday", he repeated. "All bets are off once you get on the road. Maybe you’ll make it. Maybe you won’t. Anything can happen with these old cars. If it was mine – I’d ship it to New Mexico." Carol and I looked at each other knowing once again that we would disregard the advice. After purchasing a spare water pump from Bob, we climbed onto the running boards and into the car – me driving, Carol beside me in the passenger seat. I turned the key and checking to be sure I was in neutral, pressed the floor ignition button. The engine started up. At Carol’s direction, I waited a few minutes "to let her warm up" and then we were off, Ann following in her car. Our first stop would be a lube and oil shop.

    We were greeted enthusiastically by the entire crew at Speedy Lube. Carol directed the process explaining that the existing oil filter would remain and to please check the generator fluids. As one of the mechanics was greasing the zerts (if you have to ask you must be either mechanically challenged or under 50) underneath the car, he noticed that the clutch had apparently worn down the battery cable producing a significant safety hazard. We decided to risk it now and return with materials to fix it later. Off to Wal Mart where we spent at least two hours getting everything we thought we’d need – 2 gas cans, 1 water can, tools, flashlights, an extra length of radiator hose to encase the skinned battery cable, duct tape, drinks, paper towels, baby wipes, silicone sealant and poster board. We found bailing wire which Carol declared "an absolute must have" at a local feed store. Returning to Swift Lube, Carol was invited into the pit so she could fix the battery cable. Elated and relieved, we decided to finish the day of preparation by searching the local thrift stores for appropriate road trip head wear! Carol found a dubiously stylish hat and I found a rhinestone tiara. Both were as close as we could get to 1938. The polyester beaver coat Carol found was the most convincing but would probably not be needed in the hot summer weather. On the way home we ran out of gas and discovered that the gas gauge actually worked very well - hm - and Bob had not filled the gas tank. Nothing could dampen our spirits, however. We were too busy preparing ourselves emotionally for the unknown adventure ahead.

    We continued onto Elk Lane and turned into my parents’ long driveway. Memories flooded over me. I thought about my father and his love of his antique cars. As the oldest child I had often been recruited to help him bring an old car home. I would sit behind the steering wheel of his "new" acquisition with my eyes intent upon the knotted rope, trying to keep it taut as my father drove showly ahead. I accompanied him to the junk yards when he searched for various parts with which to build my first car – a ’31 Model A with a V-8 engine. Mostly I helped him build it by handing him tools. But I loved the car and cherished the memories. That car was gone and my sister really wanted his Model B roadster. One of my brothers wanted the T-bird. No one wanted the Plymouth. I did. I remembered him telling me that this blue Plymouth was an exact replica of the one he and my mother had owned when they married in 1940. They had taken it camping on their honeymoon and slept in the ample trunk with the trunk lid propped open. In 1943 they had driven it from Lincoln, Nebraska to California. As a 6 month old baby I made the trip wrapped in blankets and lying on the shelf below the rear window. This car had been a sentimental favorite to them. As a member of the local antique car club, my dad had driven the Plymouth to many meetings, shows and parades during his last active years. I realized that it was a miracle of fate that I now had this particular car that had spanned and marked my own lifetime. Suddenly I felt very grateful for it all.

    This trunk, large enough to sleep in - or so my parents said - was packed full of everything we thought we'd need.....and then some.

    At home Carol went out into the garage to try to find some tools that we would need. My father never threw anything away, but finding something one wanted might take awhile. Later she emerged with various old open end wrenches, an S&H Green Stamp ice pick, pliers, a tire gauge, various screw drivers, a pipe cutter, electric tape and a travel tool box from Daddy’s paraphernalia - and a point file, which we were unable to find anywhere in Grants Pass. The pipe cutter would find a later use in helping to remove the electric fuel pump. The wrenches were old – bearing names like Blackhawk, Fairmount Cleve, Ford USA, Matador Dowidat. We thought they were appropriate. We even found an old Western United States map by Texaco – complete with hand signal directions. We were now officially in tune! Our last job of the day would be to plan our travel route.

    We spread the maps of Oregon, Nevada, California, Arizona, Colorado, Utah and New Mexico over the dining room table. The maps of Idaho and Wyoming were abandoned since we’d spent more time in preparation than we thought we’d need. What would be our strategy? Two things were critical for the car. Mountains and Heat. It would be best to stay out of both, if we could. We looked at the maps. My preference was to drive down the coast of California, cut across Southern California into Arizona and then on into New Mexico. The biggest problem with that was heat. An unseasonable heat wave was in progress all along the west coast. Carol preferred to stay to the north and out of the heat. But getting to Idaho from Grants Pass seemed to take us pretty far out of our way as well as over mountains, which we weren’t too sure about. It looked like the compromise would be to go east from Grants Pass to Klamath Falls, on through northern Nevada into Utah, then south via the SW corner of Colorado and on into New Mexico. There were mountains, but not of the Cascade, Sierra Nevada or Rockies league. There could be heat, too – but probably not as bad as through the Mojave Desert. We decided that the interstates would be the best routes through mountains and that we would choose the smaller highways for the rest. They would be likely to have old towns and possible parts along the way.
    _ Carol. It’ll be hot in Moab. We could go from Salt Lake to Grand Junction.
    _ Jan. Except that it looks like there are some pretty high mountains around there. I’d prefer to just go south from Salt Lake.
    _ Carol. You don’t do well in the heat.
    _ Jan. The heat will bother the car more than me, I think. The car was overheating in town because of the stop and go. As long as I have ice I think I can handle it. I’m more worried about the car. Just what can she handle?
    _ Carol. She can’t handle the ups and downs. We need to avoid high mountains most.
    _ Jan. What about our weight? We’ve got the trunk full!
    _ Carol. That’s really not much. It probably doesn’t weigh more than another person.
    _ Jan. Yeah, but it’s a car built for just two. If going up and down makes most of the difference, I say we worry less about the heat.
    _ Carol. If you don’t mind stopping a lot along the way to cool off….
    _ Jan. I don’t mind at all. Let’s just head east to Salt Lake and make the next decisions as we go, okay? The goal is to get you back by Sunday. We’ve got six days and a goal.
    _ Carol. It should be nice to just go along without the daily deadlines, like at the workshop. I’m tired.
    _ Jan. Me too.
    We slept fitfully - with fans running and excitement building for the trip ahead. Tomorrow we begin!

    ..............................................................................................To Be Continued...........

    "1500 Miles in a '38 Plymouth"
    A memorable road trip that Carol and I made two years ago - from Grants Pass, Oregon to Española, New Mexico in 6 days........

    Days 1 and 2 included in this issue. Days 3 - 6 in future issues.

    Day 1: June 25, Sunday Seattle, WA to Grants Pass, Oregon by bus

    It was a 12 hour bus ride from Seattle to Grants Pass, Oregon – so Carol and I decided to do half of it at night figuring that we’d be able to sleep. We had just finished a week long workshop in Port Townsend – I as a guest watercolor instructor, Carol as my assistant, best friend and fellow adventurer. Eleven hours into the trip we stopped at a wonderful little restaurant called "Heaven on Earth" – and I thought maybe it was. The first "leg" of our adventure would soon end and we would be arriving at our eagerly awaited destination - Grants Pass, Oregon.