Next triads

After studying with John Phillip Osborne at the Ridgewood Institute of Art in NJ for a length of time, I began to understand and see what was passed to John from his teacher Arthur Maynard and to him from Frank Vincent Dumond. 

 One student quotes DuMond as saying, “Silently glowing over this whole landscape is a rainbow. You must learn to see it. It is there always, and if you can get hold of that, you have something worth going after.”    

Once you've seen it cross over the sky, the land and even a face in a north light studio, you can't not look for it forever after. In my Color and Energy workshops we focus on the prismatic palette and how to capture the rainbow. 

First, knowing how to capture the first, second and third triads is invaluable. In my last blog we discussed the first triad - that initial Light, Medium and Dark value easily found when looking through red glass. Next, is the TRIAD IN THE DARKS. On the left of the DARK value on the nine step value scale is the High Dark and on the right is the Low Dark.  Look in the DARK value and see where is it a bit darker and establish those LOW DARKS. Where is it a bit lighter and establish those HIGH DARKS.                                                                  

 1. white  2. High Light  3. Light 4. Low Light 5. Medium 6. High Dark  7. Dark  8.Low Dark.  9 Black

1. white  2. High Light  3. Light 4. Low Light 5. Medium 6. High Dark  7. Dark  8.Low Dark.  9 Black

Look in the Dark shape on my painting below in the full color rendition. See where I made it slightly lighter (HIGH DARK) and slightly darker (LOW DARK) in the dark area? I've also changed the color up a bit too. 

Now look into the LIGHT areas and find where I made them slightly lighter (a HIGH LIGHT) and darker (LOW LIGHT). The medium value has hue changes but not value changes. You can also move the medium value toward the light or the dark to keep the painting more dramatic and reducing the values to 4 or 6 values only instead of 7.  

Illustrators often reduce a painting dramatically to make a story stronger and more easily read by their audience. 

The more you learn to control your values the stronger paintings are received. Then begin to focus on color. As you may have heard before... Value does all the work and color gets all the credit. 
 

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Notice how I also changed the amount of LIGHT in the sky making it the least amount. In the prior rendition, the LIGHT, MEDIUM and DARK shapes were all about the same. I made the Medium value more dominant to make the painting stronger. Something needs to be dominant, another shape a bit less and the last shape more of an accent. We don't want all three areas to fight for attention.  You must have one more dominant and reduce the amount of attention from there. 

In this case, the light gets the attention because it is the lightest, brightest and smallest and then there is Color to add to the mix- Mononchromatic, complementary, analogous, muted, prismatic, etc.

Learning to create fast color studies and working in a prismatic palette is the focus on my Color and Energy workshops in Sarasota, FL (aka paradise). Consider joining me in person and learn. For more information on workshops.

 So much to pass along to you including my new system for capturing the three values in a black and white study and then again quickly in a color study before tackling a larger painting. 

The First Triad

It was when I began studying with John Phillip Osborne that I really began to understand the value of the value scale (gradations from light to dark). When looking at a landscape there are so many objects, forms (like leaves on trees) and how does one begin to capture it all? Reduce everything down into just three values. Use a red glass or red cellophane to see value without color.

You will notice three values dominate... LIGHT (shapes massed together in sunlight). MEDIUM (the areas between the sunlight and shadows) and DARKS (areas in shadow). See below.

 By looking through the red cellophane outside at a landscape, the scene is reduced into three separate values- LIGHT, MEDIUM, & DARK. If you first find the horizon line and divide the scene into two values, the light and then everything else, you can create a notan- simple black and white (two values). The clouds in this case are made into a third value slightly darker than the light value. They are not quite a medium value but are not as light as the light so I've made them separate because through the red tool, they appear darker than the LIGHT.  I have chosen a simple scene to assist you in learning this concept.  I've made the black and white sketch below quickly and as simple and dramatic as possible.

By looking through the red cellophane outside at a landscape, the scene is reduced into three separate values- LIGHT, MEDIUM, & DARK. If you first find the horizon line and divide the scene into two values, the light and then everything else, you can create a notan- simple black and white (two values). The clouds in this case are made into a third value slightly darker than the light value. They are not quite a medium value but are not as light as the light so I've made them separate because through the red tool, they appear darker than the LIGHT.

I have chosen a simple scene to assist you in learning this concept.  I've made the black and white sketch below quickly and as simple and dramatic as possible.

Did you see the distinct three values when looking through the red glass? I have drawn them here in this quick 30 second sketch.

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Osborne spoke of triads, three of them to be exact.

He suggested we use a nine step value scale as opposed to the ones that offer more.  His teacher was Arthur Maynard, and his Frank Vincent Dumond. It is my belief that I heard that this concept was handed down to them over the years because it simplified the approach when learning how to capture the myriad of values . The first triad must be mastered before moving to the second and third triad. I have also developed a simple system to create a value study and then a color study. (See this in the article about the next two triads.) Register below to receive the next lesson. 

  Nine step value scale.

Nine step value scale.

 In this black and white version everything below the horizon line moves toward a dark value mass because as the sun sets, everything goes into a silhouette on the land making it simple to see it as a darker value.  The sky in light is painted as a LIGHT value initially. I've massed the cloud patterns as a medium value giving you three distinct shapes in the three different values of the first triad.     Next, I started to play with the size of each mass slightly allowing a dominant shape and value to appear.    By increasing the medium value so that all three values are not of. equal importance as they appear to be in the above scene the composition of my painting is improving a bit. In the finished piece (pictured in the next lesson and also on my home page) you can see how I have furthered this mission by playing with this concept of dominant value and shape even more.    Fill out the form below to learn about the next triads and see how this painting was improved.

In this black and white version everything below the horizon line moves toward a dark value mass because as the sun sets, everything goes into a silhouette on the land making it simple to see it as a darker value.

The sky in light is painted as a LIGHT value initially. I've massed the cloud patterns as a medium value giving you three distinct shapes in the three different values of the first triad.  

Next, I started to play with the size of each mass slightly allowing a dominant shape and value to appear.

By increasing the medium value so that all three values are not of. equal importance as they appear to be in the above scene the composition of my painting is improving a bit. In the finished piece (pictured in the next lesson and also on my home page) you can see how I have furthered this mission by playing with this concept of dominant value and shape even more.

 Fill out the form below to learn about the next triads and see how this painting was improved.

 Here is the first triads painted in color. All colors have value but that is a different lesson. I am not done yet with this painting. Look for the finished painting in the next lesson.  

Here is the first triads painted in color. All colors have value but that is a different lesson. I am not done yet with this painting. Look for the finished painting in the next lesson.  

You will notice that there are a variety of colors and some value changes in the Light, Medium and Dark value shapes. I've moved on to the next triads.  To receive an email explaining the next triads, click here and tell me what stage of painting you are in: Beginner, intermediate or advanced. A Value Finder (red cellophane and with the value scale) is included in the gift bag when you take any of my classes or workshops.   I'd love to share with you what was passed to me from the masters who I studied under by sending you the next lesson.  Learn more about upcoming workshops. Click here.

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 Copyright 2018 Linda Richichi.                             Fill this form out to learn more about triads and receive tips from time to time.                        

Copyright 2018 Linda Richichi.                      

 

  Fill this form out to learn more about triads and receive tips from time to time.                        

Feeling Color

 Birge Harrison had a belief that color can be heard. When I see his paintings, I believe he did.

Color has a vibration, it can be heard. It can be felt. Color can heal. How? Play with color and find out. Not just use color or look at color, but have a relationship with color. A serious one.

When I grab a pastel like the turquise one you can see me using below,  I know that most of the colors we see in nature are more neutral and not so prismatic as what I often use. Yet, if I select a color to paint on the canvas as I see it in nature, much duller, it doesn't come across the same when I look at it inside. It doesn't sing. It doesn't vibrate at the same frequency and I need it to feel the same as when I was outside.

I have heard color. Each color note has resonated in my body so that I recognize the feeling of a color when I am painting. Most often I need to grab a color that is a higher vibration so that when the painting is finished, the feeling is similar to what I saw outside both by my eyes and my inner being. If this doesn't make sense, I understand, as it has taken my years to try and explain it. 

When you look at color attempt to feel it in your body. Rather than experience it with your eyes, experience the sensations the color gives you within, deep within. Where in your body does it connect with you?  Look at the color red for example and figure out how that particular shade of red makes you feel. This understanding takes time and most people just won't commit to this experience so they will not comprehend fully what I believe Birge Harrison knew and used in his paintings. Each day I work to portray in my work a feeling more than a vision.

If you really love color, play with it, get to know it, see how it plays with other colors. Consider coming to one of my workshops and join me in my commitment to learning all I can about it. I am happy to share all I know with you. That also takes time.

Click here for more info.

 

 

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 Birge Harrison 

Birge Harrison 

 Linda Richichi  Coming Storm Study  5" x 7" Pastel   

Linda Richichi  Coming Storm Study  5" x 7" Pastel

 

See & Mix Color More Effectively

When I teach a color workshop the participants are asked to paint a color strip of the colors they see of something in nature that they plan to paint.

This exercise gives them an opportunity to learn to mix their colors more effectively (without muddying them up). They also learn how to make beautiful neutrals as well as seeing how the sky reflects on the surfaces in the light and dark areas. In the image below you can see we use a double primary palette.  When painting the landscape, there are so many different greens and yet... no green on the palette. What do you do? Green and Blue make blue-green. However, which yellow, which blue, do you add any red? I hear these questions at each workshop and students play with the different warm and cool yellows, blues and even learn how to add some red to make a variety of greens. 

 Isolate what you are looking out with a viewfinder or like me, the hole in your palette. I've put a Titanium White, Hansa Yellow Light, Cadmium Yellow Medium, Napthol Red, Quinadrone Red, Pthalo Blue and Ultramarine Blue on the palette.

Isolate what you are looking out with a viewfinder or like me, the hole in your palette. I've put a Titanium White, Hansa Yellow Light, Cadmium Yellow Medium, Napthol Red, Quinadrone Red, Pthalo Blue and Ultramarine Blue on the palette.

A prismatic palette was taught to me by John Phillip Osborne at the Ridgewood Art Institute in the early 2000's which I am happy to pass on. Osborne was taught by his teacher Arthur Maynard and his teacher was Frank Vincent DuMond

According to Wikipedia, DuMond… "From 1884 to 1888, he attended the Art Students League of New York, studying under Carroll Beckwith and William Sartain.[5] DuMond financed his art education by taking a job creating illustrations for New York's Daily Graphicnewspaper. As a result of his fine work there, he was offered a job at Harper's Weekly. He also later did work for such magazines as CenturyMcClure's,[4] and Scribner's.[1]

 By Frank Vincent Dumond

By Frank Vincent Dumond

He moved to Paris to continue his studies. From 1888 or 1889 to 1891 he attended Académie Julian,[6] where his instructors included Benjamin ConstantJules Joseph Lefebvre, and Gustav Boulanger.[1][5] He attained recognition in 1890 when a painting of his, Holy Family, exhibited at the Salon, was awarded a prestigious medal.[4]"

 

 By Frank Vincent Dumond

By Frank Vincent Dumond

My weekly trips to study with John Osborne assisted me in learning first to improve my portraits skills, working exclusively from life, seeing the different light and the entire rainbow fall across the face. This rainbow also falls across everything we see. I love sharing how to see this with students in the workshops and classes.  For more info join my newsletter list. 

Click here for more information about workshops. 

 

 As we progress in the exercise, participants mix up the colors they see using both the warm and cool primary colors to mix secondary variations. We look for the reflections of the sky, how it affects the colors and add the complimentary colors to create beautiful neutrals.    

As we progress in the exercise, participants mix up the colors they see using both the warm and cool primary colors to mix secondary variations. We look for the reflections of the sky, how it affects the colors and add the complimentary colors to create beautiful neutrals. 

 

 A pastel from the early 2000's still in my collection is a sample of what I was learning when working with a nine step value scale, prismatic color and capturing the greens in nature.

A pastel from the early 2000's still in my collection is a sample of what I was learning when working with a nine step value scale, prismatic color and capturing the greens in nature.

Art can be mind expansive

It is not our physical state that limit us, it our mindset about our own limits, our perceptions, that draws the lines in the sand. “ Harvard psychologist Ellen Langer

The logical mind often keeps us in a box, a known safe place. 

The creative imaginative mind can take us where we want to go, even if just in our own head. 

After working over a decade and a half now with the way that art can lead us on a path toward living the dream, I am more determined to assist others in this discovery. The more you focus on your potential, on your heart's desires rather than fear, the more miracles seem to show up for you. One simple method to see this in action is by using a vision board. 

Morphic resonance refers to an increased likelihood for something to exist if it has already existed, even if only in the mind’s eye. -Rupert Sheldrake

Creating a vision board assists you in seeing it to believe it. What is it you want? Think of ONE THING and let's focus on this. 

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You have to see it to believe it? That is what most people think.

Learn to manifest what you want to believe.

Manifestation 101

Create a vision board today. Here is a very basic Vision Board lesson.

The foundations of manifesting are simple….

  1. What do you want to achieve, do, have, be? 
  2. Visualize this. Better yet, find a photo of this idea in a magazine and paste it to a poster board so you don’t have to force yourself to picture it, you just see it each time you pass it by.
  3. What benefits will come from this accomplishment? Add those images to the picture.
  4. What does it feel like to now be this person who does, is, achieves, etc. based on the accomplishment of this desire? Feeling the accomplishment helps the body, the brain to move toward the accomplishment rather than focusing on the fears that it has thought of in the past or that replay in your mind.
  5. Focus on what you want, not on what you are afraid of. The vision board is an excellent way to do this. 

I'll give you and example of one of my desires... France. I wanted to spend time in France.  One day it was cold outside so I put on my beret, a shawl and scarf and looked like I would if in France.  Later I used this image to put on my vision board.

You can cut out any image from a magazine to represent you. I found pictures of Paris and places in France that I wanted to visit. They were placed on my board next to the photo of me living my dream. Out of the blue, a person called me and asked me to bring my workshops to France. I said yes and this past September, went to France.  The above list is a great starting point! Try it out and let me know who you do.  Will this automatically work?

There are other factors to help this work (or not). The main one being...

 DO YOU NEGATE YOUR DESIRES?    If you believe it is not possible, you may unconsciously place obstacles in the way. What if I said.. "I can't afford the time off or to spend the money?" I would have possibly shut down the process of like attracting like. The invisible vibration we put forth would have been, I cannot go to France. Instead, I was open. How about you? What are you open or closed to? When you say you want something and then say I can't, you probably are right. Yet, if you say, I can somehow.. again, you are probably right. 

In the Energy Workshops headquartered in the gorgeous, sunny Sarasota, FL, we gather to experience a shift in our mindset. You learn how you can find out where you are standing in your own way concerning your desires.  Let's say, you want to attract wealth, yet you have a belief that rich people are greedy, you may be sabotaging your progress in acquiring abundance. Once you see beliefs come forth that you don't know you hold and then make them fit your new mindset, you allow abundance (or your desire) to manifest more easily. I remember discovering a crazy belief I had about money using a process I teach in the workshops. It set me free once I saw this insane unconscious belief. 

There are one day workshops (click here) and 3 day workshops are in planning stages. The more days we have together, the more I can assist you in expanding your creative mind and you can see where you fall into old patterns and practice new ones that are more conducive to your desired outcomes.  In the 3- 5 day Energy workshops we practice living as if it is accomplished and you are able to feel what shifts happen as a result. We all have blindspots and we often need others to show us where we are holding ourselves back. Then you begin to let go of the habit of listening to the fears inside of your mind. Instead focus on the new possibilities and see for yourself all the benefits that happen as a result. Live the dream. It is possible. The shamans say we dream the world into being. Let's make the collective dream a better one! 

The creative mind will take you where the logical mind often will not go. - Linda Richichi

Click here to see all the Color & Energy Workshops

 

 On a recent cruise with Shaman Eileen O'Hare she expresses the feelings of empowerment by the visions on her vision board. 

On a recent cruise with Shaman Eileen O'Hare she expresses the feelings of empowerment by the visions on her vision board. 

Why Make an Art Journal?

If you hear a voice say that you cannot paint then by all means paint and that voice will be silenced. - Vincent Van Gogh

 

Writing in journal can be therapeutic.  Adding art to a journal builds on your creativity.

When you express your thoughts, memories, feelings and emotions in a journal, you touch a deeper part of yourself.  By adding art (shapes, lines, doodles, colors, photos, collage, sketches or full out paintings) you discover new insights about yourself that may otherwise stayed hidden and you discover how to tap into your creativity.

 

When you understand the language of art, how lines and shapes speak, you communicate with a more conscious part of yourself to gain wisdom.  You already speak with the language of art each time you doodle.  When was the last time you were on the phone and picked up a pen and without thinking, you start scribbling on a piece of scrap paper (or something you later regretted doodling on, like I have a hundred times.)  Your creative side is expressing something to you in that moment while you are not thinking.  Yes, not thinking. While the logical side of the brain is engaged in conversation, the right, creative, feminine side of the brain is busy talking to you in doodles. They may appear as boxes, circles, arrows, faces, and tons of other shapes. What do you doodle over and over? Why do you do that, any idea?  What I discovered after a decade of researching and working with thousands of students is that the boxes you draw have structure. They show a desire for organization or even safety. If you prefer more circular shapes, say a flower, this represents most likely love toward family, a group or community.  It makes sense, a circle is more loving, no hard edges, soft lines and when surrounded by other circles it is most likely a loving group of people all united in some way.

 You can use collage (cutting and pasting images from magazines) to express your thoughts as seen in this journal by C.M..  Collage is perfect for beginners.

You can use collage (cutting and pasting images from magazines) to express your thoughts as seen in this journal by C.M..  Collage is perfect for beginners.

There is so much information in those lines. When you take a class with me on journaling, I help you to discover what the subconscious is attempting to teach you.  One tip right now you can use is to see what kind of lines come forth when you are angry. Real easy to do... grab a pencil, paper and think of something that makes you angry. Let the pen or pencil draw. See the lines? Feel how good it feels to let this anger go? Now, shift to a happier thought about some good news you would like to receive. Draw this desire. Get the picture?

 

You can grow into a new person who is less fearful by playing with your doodles.

 

 If you are already an artist, imagine where you can go when you learn what your paintings are trying to tell you.  What are you communicating to others by the choices of colors? What galleries would you be in if you weren’t afraid to approach them or get rejection?

When you decide to start adding art to your journaling experience, you allow your inner child to come out to play. When you were young you picked up a crayon and you did art without thinking. Thinking, that is the culprit that gets all of us in trouble. Just play more, start small to grow big which is why I like the journal. There is always time to do a few sketches anywhere.  We waste time sitting in traffic, waiting on line, waiting to meet a friend. Use this time to journal.

 Journaling helps both your personal life and if  an artist, that too. Before I start my paintings, I work out all the issues small. Then once happy, I can take the piece as large as I want to. The sky is the limit. Fear can hold you back in life. Fear can keep you from living your dreams. Fear keeps you from knowing yourself, your true self.  

 

Fear is false evidence appearing real.

 

Art is a tool to overcome fear.  In my workshops through a series of exercises, we give fear a face and reveal the false friend it is.  

 

Play with paint,

Play with a pen,

Play with a pencil.

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Record happiness, let go of anger, figure out options, record memories when traveling, you name it, journal it.  In my Color & Energy workshops you learn to doodle, collage and play with art. Anyone can do this. 

Experiment, enjoy, have fun, be okay with making a mess and then finding a way to clean it up by pasting a beautiful image over it or painting over it. Transforming one image into another is part of the creative process. It is a process. Our sacred circles are safe places to play, to go within, to discover the awesomeness hidden beneath the thoughts that the left logical side of the brain would have you believe about yourself.  

 

Your journal becomes a trusted friend.

 

 No two journals look alike just like fingerprints.

No two journals look alike just like fingerprints.

Join me in Sarasota (look under Workshops) and come paint with us.  Whether you are a novice at making art, a beginner, intermediate or even advanced, in the 3 or 5 day workshops in Sarasota, FL or overseas you will really understand the value of keeping a journal. Getting away for a day or better yet, several days is a wonderful way to see from a new perspective.

 

An art journal is like a personal diary yet it is so much more.

 

I would love to see your journals! Friend me on Facebook .. Linda Richichi .. and show me! Follow me on Instagram to learn more. #lindarichichi

 As an artist, finding a theme is sometimes a challenge. I love helping you discover what turns you on and is worth developing.

As an artist, finding a theme is sometimes a challenge. I love helping you discover what turns you on and is worth developing.

 Artists...In the Color & Energy series of workshops, you will learn  how to do small sketches first (& how to do them quicker), 6 Steps before you SSStart. Perfect for beginner to intermediate painters yet advanced painters will benefit as well.

Artists...In the Color & Energy series of workshops, you will learn  how to do small sketches first (& how to do them quicker), 6 Steps before you SSStart. Perfect for beginner to intermediate painters yet advanced painters will benefit as well.

Painting in France

The first few days in Paris were stressful knowing a hurricane was heading to Florida.  We then went to Dole in Burgandy to a beautiful chateau.  We were not sure if we have a home when we returned. I let go mentally of all of my physical possessions and paintings but was very worried about all the people still in Sarasota and nearby places. Now that Irma has come and gone and our family and friends are ok (last we heard all was well) I am again excited to paint.

  In the nearby city of Dole one could stay for a month or more and paint at this one location where the canal is.  I started with a small study. The paper color served to represent the color of the buildings. I painted in the sky, water and foliage quickly. I always do a smaller version first. It speeds up the process of working on the larger piece. I then captured it on an 10" x 8" panel before it rained. Then we had a bite to eat. When in France, be sure to have the cheeses with your meal- wow! There was still time before it rained to start a second 10" x 8" piece which is pictured below.  These plein air pieces will serve as studies for larger works of art too. 

On this trip, I started two travel journals. In one, I paint classical small studies in. What a great way to keep those smaller version handy at all times and organized.  In the other journal, I drew and wrote about my experiences and insights from the trip.  Next June we will be again traveling to southwest France with a group to Sacred Places. Again I'll take the two journals. I'll teach both artists and non-artists how to use their travel journal to enhance their experience. Click here for more info. 

For artists, the small studies are vital when capturing the essence of a place quickly. Too many artists jump right in without first making an analysis of the place, the colors and the values (lightness or darkness).  Doesn't it make sense to figure out all of the potential issues in a small study before you go larger?  Less struggle, better results!  And...working small will allow you to capture more places quickly. At home turn the best studies into fine works of art. There is a sample of both of my new journals below. To learn about quick studies - click here.

For those who are not artists, the travel journal is a perfect place to record your experiences and insights along with the use imagery. Use either someone else's pictures cut out of magazines or postcards or your own sketches even if they are elementary. It doesn't matter. No one is judging this. You will learn how to use abstract doodle like shapes to express stories, to unearth hidden treasures from within and more. Look for my next blog where I'll talk more about journaling. I am sure you have at one point written in a a diary. This is similar only it has a focus and includes images and EVERYONE can participate.  It is addicting. 

 

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New website, new work and new me.

    The other night I woke up at 3 am. I had to paint. Imagine that. After a full day of painting, I needed more. It was because I was ready to grow again. To raise my self-confidence I play with color. It works! The next day, I was a new person. 

    Our life is our greatest work of art and if we want to enjoy a good life, if we want to live it to the fullest, we must expand our energy to get over the blocks, the fear, or whatever we perceive to be in the way.  Art, color and even doodling helps us to grow. It is not difficult to learn or do. If you join me for a workshop sometime, I am happy to show you. This is a 6" x 6" oil, private collection. Reservations for commissions available.  Contact me and I'll be happy to help.