David Slonim's Blog, page 4

Plein Air Intensive Sept 20-21

There are still a few spots open -

PLEIN AIR INTENSIVE | Sept 20-21

Zionsville, IN

Sullivan Munce Cultural Center, Zionsville, IN

East of Yellowstone | 9 x 12 painted from life

In order paint from life well, you have to edit.

In order to edit, you have to know what to emphasize and what to leave out.

To do that, you have to have a VISUAL IDEA.

Rotting Log | 16 x 20 painted from life

CREATIVITY THRIVES WITHIN CONSTRAINTS

Key Principles from master works that will take your work to new levels of excellence
Demos
One-on-one attention – instruction tailored to the individual
a relaxed, fun atmosphere that encourages experimentation and growth.
all levels welcome. All mediums and styles.

$300 for two full days | to register contact Cynthia Young 317-873-6862

cynthiayoung@sullivanmunce.org

Turned Earth | 30 x 48 painted from life

Come prepared to learn, laugh, and leave encouraged and inspired.

“The best workshop I’ve ever taken.” – J.K.

Space is limited. To reserve your place call 317-873-6862

Once you are registered for the workshop, a supply list and directions to the location will be sent to you.

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Obsidian Creek, Yellowstone | 8 x 10 painted from life

“You are very encouraging. I appreciate the tone you set and the atmosphere.” -J.D.

“Strengths as a teacher: intelligence, hard work, sense of humor, humility. I told Bonnie on the last day of class that I feel very lucky to study with you.” – L.W.

Mazza Museum Aquisitions

The Mazza Museum at the University of Findlay, Ohio recently purchased these original paintings for their permanent collection.   It’s an honor to have my work hang in the world’s largest museum devoted to children’s literacy and the art of picture books.

unpublished art from I LOATHE YOU by David Slonim | acrylic on board 9 x 13.5 | Mazza Museum Collection

Jerry Mallett, Curator, and Benjamin Sapp, Museum Director are interested in the process as well as the final result.  This unpublished painting for I LOATHE YOU (2012 Simon & Schuster / Alladin) will help visitors to the museum see that even good art may need to be redone.  In this case, the art director wanted simpler clouds so the text would read more easily.  I repainted the whole thing, taking it as an opportunity to loosen up the handling of the paint and line work.

Here’s how the published piece looks:

“I loathe you more than bellyaches!” | acrylic and charcoal on board 9 x 13.5

This one is from Silly Tilly by Eileen Spinelli (Marshall Cavendish 2009):

Silly Tilly’s Apple Juice Bath | acrylic on linen 11 x 17

The last one is from YOU THINK IT’S EASY BEING THE TOOTH FAIRY? by Sheri Bell-Rehwoldt (Chronicle Books 2007):

“Good think I’m athletic!” | acrylic on linen 13 x 21

I want to thank Jerry and Benjamin for their support and encouragement.

They have created and developed something truly special at the Mazza Museum.  I’m excited to be part of it.

Fall 2012 Workshops

Backyard, Autumn | 16 x 20 AVAILABLE

Fall 2012 |  3 Workshop Opportunities

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Anderson, IN:  6 Sessions meeting every other Wednesday beginning Sept 12 | David Slonim Studio
Zionsville, IN Sept 20-21, 2012 | Sullivan Munce Cultural Center
Lafayette, IN:  Nov 29-Dec 1, 2012 | Art Museum of Greater Lafayette

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1)  Anderson, IN

STUDIO MENTORING:  VISUAL COMMUNICATION

Six sessions:  Sept 12, 26, Oct 10, 24, Nov 7, 21

Meeting in downtown Anderson, First Merchant’s Bank Building Suite 715

Master works decoded
Key principles of visual communication found in great paintings of every time period and style applied to your work
Demos
Power Point presentations
Individualized instruction & feedback

The strength of the design and composition in these classes has not been equaled or even approached in other classes and workshops I’ve taken.”  – G.H.

As always, my goal is not to teach you how to paint like me, but to help you paint like you with more expressive power.

IF YOU ARE NOT SOLVING A PROBLEM, YOU ARE NOT MAKING ART

Throughout history, one of the secret weapons of top artists has always been community.

Here’s a chance to meet with like-minded people who are serious about growing artistically.

This is going to be FUN -  lots of laughter, camaraderie, and encouragement.  I will do all I can to make sure you leave inspired and equipped to take your work to the next level.

YOU CAN PAINT BETTER THAN YOU THINK YOU CAN.

To register, contact me at david@davidslonim.com.  I’ll send payment info. 

Space is limited.  Receipt of full payment secures your spot in the group.

$690 for six sessions.

We get started September 12, 2012.  Six sessions:  Sept 12, 26, Oct 10, 24, Nov 7, 21

Looking forward to painting with you-

“One of the best teachers I’ve had in a long line of teachers.  I wish I’d found you 20 years ago, no kidding.”  – J.W.

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2)  Zionsville, IN

TWO DAY PLEIN AIR INTENSIVE | Sept 20-21

Sullivan Munce Cultural Center, Zionsville, IN

In order paint from life well, you have to edit.

In order to edit, you have to know what to emphasize and what to leave out.

In order to do that, you have to have a visual idea.

CREATIVITY THRIVES WITHIN CONSTRAINTS

Key Principles from master works that will take your work to new levels of excellence
Demos
One-on-one attention – instruction tailored to the individual
a relaxed, fun atmosphere that encourages experimentation and growth.
all levels welcome.   All mediums and styles.

$300 for two full days | to register contact Cynthia Young  317-873-6862

cynthiayoung@sullivanmunce.org

Come prepared to learn, laugh, and leave encouraged and inspired.

“The best workshop I’ve ever taken.”  – J.K.

Space is limited.  To reserve your place call 317-873-6862

Once you are registered for the workshop, a supply list and directions to the location will be sent to you.

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3)  Art Museum of Greater Lafayette Nov 29, 30, Dec 1, 2012

DEMO & POWER POINT TALK | Thursday night Nov 29 | 7-10 pm

PAINTING WORKSHOP |  Friday & Saturday 9 am -4 pm

Friday and Saturday we’ll start with morning power point presentations, review key principles, and then you will paint with individualized coaching at your easel.

$360 for museum members

$400 for non-members

To register contact Glenda McClatchey:  glenda@artlafayette.org

“You are very encouraging.  I appreciate the tone you set and the atmosphere.”  -J.D.

“Strengths as a teacher:  intelligence, hard work, sense of humor, humility.  I told Bonnie on the last day of class that I feel very lucky to study with you.”  – L.W.

 

 

 

 

 

Father/Son Painting Trip to Wyoming

painting near Brooks Lake, Wyoming

Before Daniel leaves for college next month, I wanted to take him with me one last time on a painting trip.   So last Sunday, July 15, we flew to Wyoming.   Good friends Greg and Lu Beecham hosted us in their beautiful log home for a few days in Dubois, Wyoming, then we drove through Yellowstone on our way to Cody.

Greg took us to paint at a beautiful pass in the Absoroka Mountains near his home.  At 8,000 feet it was just 46 degrees in the morning.  It warmed up to the low 60′s quickly, but a sudden hail storm dropped temperatures instantly back down to 46, sending us scrambling back to the rented SUV soaking wet and shivering under a barrage of marble-sized pellets.

Greg Beecham painting near Brooks Lake

Daniel pushing paint just before the hail storm

Here’s my plein air piece from Monday morning, July 16th-

Forest Floor Near Brooks Lake | 9 x 12 AVAILABLE Simpson Gallagher Gallery

This is the view from Greg and Lu’s back yard.  Unbelievable.  Every evening brings a lesson on painting as light and color change constantly, dancing across the mountains and badlands.   There’s nothing like relaxing on the deck sipping whiskey, watching nature’s spectacular light show with good friends.

Did I mention the horses?  The Beechams’ back yard is a corral for six horses.

Guns?  Yeah, we got ‘em…

Greg took us hiking in a canyon where grizzlies are common.   We each had a revolver loaded for bear.  On the way into the canyon I was feeling invincible.  Then Greg said, “Bears aren’t the real problem.  You can hear a bear coming.  The real problem up here is mountain lions.”

Good tip.  Thanks, Greg.

Daniel outside Greg’s studio

Julie Tippetts dropped off some custom frames while we were at Greg’s studio.   Julie hand crafts custom frames to order.   She is one of the best in the business. (Located in Fort Shaw, MT.  406-590-2458).

unloading frames from Julie Tippetts

 

Greg Beecham

Greg is one of the finest wildlife painters living today.  He also grills a mean pork barbecue.  Check out his amazing paintings at gbeecham.com.

Grand Teton National Park

Wednesday Daniel and I left Dubois to drive through Grand Teton National Park and then through Yellowstone en route to Cody.  The raw power of geological forces beneath your feet at Yellowstone is awe inspiring.

Dragon’s Mouth Cave, Yellowstone

I’m planning to do a series of semi-abstract paintings from our time at Yellowstone.

Between Yellowstone and Cody we stopped to paint.  It’s a good way to work up an appetite for dinner.  Here’s the plein air piece from Wednesday afternoon:

East of Yellowstone | 9 x 12 AVAILABLE Simpson Gallagher Gallery

Chuck and Daniel preparing to run

The appetite came in handy–in Cody we were warmly welcomed by my friend Chuck Neustifter (director of Simpson Gallagher Gallery) and his fiance, Mindy.  Grilled shish kabobs, corn on the cob, and salad made with ingredients from Chuck’s backyard garden Wednesday night…dinner was FABULOUS!  So was the company.

Chuck invited Daniel to run with him Thursday morning.  While they ran, I painted.  Afterwards Chuck treated us to breakfast at a local greasy spoon.

Here’s the painting from Thursday morning.  Chuck wanted me to leave the bugs in it, so I did–

Pond Near Cody | 9 x 12 AVAILABLE Simpson Gallagher Gallery

Thursday night Daniel and I experienced the one and only Cody Rodeo before flying back to Indiana Friday.

Thanks Greg and Lu, thanks Chuck and Mindy, and especially thank you, Daniel, for a great trip.

We flew over 2,600 miles, drove over 650, experiencing some of the most beautiful places in the country.  Now I can’t wait to get to the easel and start painting…

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Paintings from this trip are available at Simpson Gallagher Gallery, Cody, WY.

307.587.4022

 

 

 

 

 

 

How To Teach a Slug to Read

From Marshall Cavendish | Amazon Publishing 2011

 

Pearson’s text is simple and appealing. Illustrations are cartoonish with plenty of bug appeal, humor, and a scintilla of grossness. The final pages share some of the joys to be found in books in an unpreachy way. And that is no small achievement.– School Library Journal

Reading Teachers will get plenty of mileage from this how-to tale.

-  The Bulletin of the Center for Children’s Books, March 2011

 

Slonim’s upbeat illustrations give readers the sense that they are with the slugs, flipping the pages…

- Kirkus,  January 15, 2011

 

It’s A Dog’s Life

New in 2012 from Roaring Brook Press | MacMillan

I Loathe You

Coming December 18, 2012 from Simon & Schuster

Fort Wayne Workshop June 27-29, 2012

2012 Intensive Painting Workshop with David Slonim

Wednesday evening slide lecture and demo only ($35.00)
Wed lecture & demo plus Thurs and Fri workshop ($255.00)  (* only two spots left for the workshop Thurs and Fri)

Sponsored by the Fort Wayne Artists Guild.

June 27-29, 2012

Heartland Church, 1025 Vance Ave. Ft. Wayne, Indiana

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My goal is to help you create the best work you’ve ever painted.

We’ll focus on the core principles of visual communication to maximize your creative expression.

Discover secret keys from master works from many periods and styles, which will unlock your own potential.

You can paint abstract, impressionistic, or realist.  The principles apply to every style.  You can work in oil, pastel, acrylic, or watercolor.

Ready to take your work to the next level?

Come prepared to work hard in a fun, relaxed environment where risk- taking is encouraged.

You can paint better than you think you can.  I promise to work hard to prove it to you.

-          David

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Wednesday June 27    Lecture Only (35.00)

6:30-9:30 pm    Slide presentation and demo “Studio Secrets: Principals of Visual Communication”

Open to the public.  Space still available.   I gave a similar talk in Lafayette and had quilters, web designers, potters, art collectors, and other creative people tell me it was very informative and inspiring.

Thursday June 28    Total Two-Day Workshop and Lecture on Wed. (255.00)

Maximum number of students for workshop – 16.   TWO spaces left as of 6/6/12.

Signup for LECTURE or  LECTURE and FULL WORKSHOP

email:  dsmiller7123@hotmail.com

phone:  260-615-1759

You will receive a supply list after we have received application and payment.

A Birthday Tribute to Mary Cassatt

In honor of Mary Cassatt’s birthday today (May 22, 1844 – June 14, 1926), here are several of her paintings with a few observations:

This is a masterful exploration of form vs. flatness.  The heads are depicted in three dimensional form.  The dress on the bottom left and the shape behind are completely flat- just paint marks on a surface.  We accept them as dress and cabinet because of the context.  How did she bring form and flatness into harmony?

The hands begin to simplify and flatten, then she directs the eye downward.  Notice the detail and contast in the child’s left hand compared to the hands of the mother.  By the time we reach the feet, form and detail fall away even more until the second foot is just a smudge of color.

Did Cassatt’s skill fail her?  Just the opposite- she created these transitional areas because she was more interested in creating a beautiful arrangement than in showing off her ability to render hands and feet.   It’s not hard to learn to render objects.  What’s hard is learning to paint with a visual concept– in this case the opposing motifs of form played against flatness – and then finding a way to harmonize them.

Mary Cassatt was a great painter because she did that consistently.

I love the interplay in this piece also between form and flatness, line and mass.  This one plays up the contrasting motifs of straights and curves.  The window edge is the clear statement of straightness, the head and chair back answer with bold curves.  The dresser contains both in the thin horizontals, while the lower area of the painting is full of harmonizing transitional forms built from both straight and curved lines.   Again, there is a compositional reason why the hand is a flattened shape rather than a described form.   It allows the head to be the star of the show.

Mary Cassatt was a brilliant composer, but she did more than make arresting arrangements, and she painted more than accurately rendered faces.  She captured the living soul.   It comes through in the gestures and especially in the eyes.

This totally relaxed portrayal of a child confidently resting on her mother’s lap is a great artistic achievement.  Arresting color, impeccable drawing, yes, but WOW– what an expression on the girl’s face.   It’s genuine.   As my mentor used to say, “Somebody’s home behind those eyes.”

Mary Cassatt had a gift for capturing universal human experience — with great skill, sensitivity, and soul.   She was a composer of visual music, which enabled her to paint motherhood without veering into the ditch of sentimentalism.

I’m grateful for her example.    Every time I look at it, her work challenges and inspires me.

Another Wobbly Start

I’ve seen newborn calves find their feet faster than I do at the beginning of a project.  It’s time to paint final artwork for a children’s book and once again I’m in that early stage where the paint is not yet obeying.  The brush feels alien in my hand, the colors mock me, the linen, I swear is laughing its thin, thready laugh.

Ugggh…. So the twins Awkwardness and Anxiety have lumbered into the studio once again to keep me company.    One stumbles around spilling stuff on my ego.  The other is obsessively looking at the clock and calendar, certain of imminent failure.

But there is another presence here, too.    Another voice, saying things like, “Keep going.  This is normal.  By now you should simply expect a period of warm up before we get to the good stuff.”

I’m offering awkwardness time and space to bumble around.  Anxiety needs a piece of dark chocolate and some good music.  And I need to keep going.  Because this is normal.

Another day at the studio, another wobbly start.

I can’t wait to get to the good stuff.