Painting Everyday Moments

Photoshop - Sauvie Island Clouds I - Part II

2012-01-20T22:34:00.000-08:00

Sauvie Island Clouds 1
by Linda Rothchild Ollis
Sometimes our eyes play tricks on us.
Are you convinced that there is a whole in this wall and
you are looking through it to see the clouds?
Or does it look more like there is a framed painting
hanging on the wall?

(Continued from the last post)
To emphasize the clouds and farmland, I added more
color to what will be the hole in the wall. It might
still look like a frame at this stage.

Following the idea I tried using the Brush Tool

in Photoshop Elements (described in the last post),

I protected the area of the frame and clouds by covering

it.
Next... the fun of spattering!

I deliberately tried to create a variation of warm to cool

as I mixed the paint used to spatter.

Once the spattered area dried, I began painting the

dark area on the lower right side. Saving some of
splattered areas was done by painting around them.

Just as I used the Gradient Tool (in my last post) to

make the corners more convincing, I graded the color
as I painted the corners of the "hole", to create the
perspective we see when there is a window in a wall.
Scroll up to the top of this post to see the difference
in the finished painting and this stage.

Photoshop - Sauvie Island Clouds I - Part I

2012-01-20T22:04:00.000-08:00

Sauvie Island Clouds I

Acrylic on Cradle Board

12" x 12"

Artist: Linda Rothchild Ollis

Using Photoshop Elements to try the following ideas

helped me find my way to the finished painting above.

The early stage of the painting looked like this:

Seeing the image in grayscale at this stage, convinced

me that the clouds and farmland scene needed a frame
or border to give it more emphasis.

Originally I played with the concept of showing part

of the painting in an unfinished stage, which is what the

clouds to the left represent.

I added the frame using by selecting the frame shape

with the Polygonal Lasso Tool and filling it with
a the Gradient Tool.
Next I used the Paint Brush Tool in the Dissolve Mode
to add a spattered look around the frame.

I liked the changes enough to change the direction

of the painting.

In the next post, "Photoshop - Sauvie Island Clouds - Part II,

I will show the final steps of the painting.

Photoshop - Let the Creativity Flow

2011-12-30T15:08:00.000-08:00

Pleasant Surprise 1

by Linda Rothchild Ollis

Digital Image

"Pleasant Surprise" is the title for the above abstract.
It is the result of my intuitive explorations in
Photoshop Elements. I did not have an outcome in
mind when I started playing with

"NW Coast 2011" (the painting from my last post) below:

How did "Pleasant Surprise
come from this?

I started by using Filter > Adjustments > Invert, which changed
the color of "NW Coast 2011" to this:

This filter inverted the cool colors to warm colors, warm
colors to cool colors and the blacks to whites.

I used the Clone Stamp Tool to make the mass of light
colors larger and to cover some of the darkest blacks:

Filter > Distort > Liquify were the steps for this:

Several parts of the above image appealed to me.
I decided to play with the one you see framed by the
black rectangle:

Image > Transform > Distort > Skew led me

to the image below:

Filter > Adjustments > Inverse
gave me the "pleasant surprise":

I like the two final steps and

will consider using them as inspiration for
an abstract painting or as a background
design. Using Photoshop to explore
my creativity is often like working a
good crossword puzzle. Fun and a
workout for my brain!

NW Coast 2011

2011-12-19T20:31:00.000-08:00

Northwest Coast 2011
Artist: Linda Rothchild Ollis
Acrylic on Canvas
20 x 16 inches

After some realistic painting sessions, I enjoyed creating
this abstract image.Lots of surface texture and broad brush
strokes were used to create a feeling of rough rocks or
landforms.

Acrylics for Brilliant Transparent Paintings Class - Class Flyer and Supply List

2011-12-08T18:59:00.000-08:00

I am grateful to all of you who asked when

I would offer my next painting class.

Thank you for your interest and I look

forward to the fun of meeing new art friends
and exploring our creative energies together.

Here is the Flyer and Supply List for:

Acrylics for Brilliant Transparent Paintings Class

that will start in January 2012

(Just click to enlarge)

Quadra Island

2011-12-02T13:19:00.000-08:00

Quadra Island
Watercolor on watercolor paper
20" x 20"
Artist: Linda Rothchild Ollis

Combining realistic and abstract elements continues to
fascinate me. I focused on the play of light as it bounces
off the water onto a white boat, as well as reflections
in moving water.
I surrounded or framed this with muted or grayed
tones,and attempted a more abstract representation
near the edges.
In "Rainer 99", my last post, I explored rock shapes
in a similar way.
The possibilities seem endless!

Rainier 99

2011-11-13T18:16:00.000-08:00

Rainier 99
20" x 20"
Acrylic on Watercolor Paper
Artist : Linda Rothchild Ollis
Price: Framed $1200

A hike on Mount Rainier, in Washington, provided the
inspiration for this painting. When I saw how the melting
snow and natural minerals from the earth combine...to stain
glacier carved bolders, it stopped me in my tracks.
The patterns, designs and rust colors were
created with many glazes of Golden Fluid Acrylics.
I pushed the colors and design past a realistic rendering
in an attempt to transition to abstract shapes.

Acrylics for Brilliant Transparent Paintings at Dots'N Doodles Art Supply in Astoria, Oregon

2011-10-28T15:16:00.000-07:00

During the past two months it has been a
pleasure to work with the artists you see
in our workshop photo album.
Thank you Kathy, Belin, Mo, Linda,
Judy, Sheila, Elizabeth, Normandie, Ellen,
and Lou for a great workshop!

Elizabeth

The process of applying thin layers
of Golden Fluid Acrylics requires drying
time. Some of the artists completed their
finished painting at home.

Photoshop Elements - Layers Workshop at Sunriver Oregon

2011-10-25T12:29:00.000-07:00

Oregon Coast Sunset
This is the image we created in Photoshop Elements
at the Watercolor Society of Oregon Fall Convention
in Sunriver, Oregon.
Members asked to learn about using layers.
After a brief orientation of the Layers Palette we
combined the two images below using the Layers Palette.

Part of the workshop included how to elimanate the
the dark landscape shape.

Red Rush 1

2011-10-21T12:41:00.000-07:00

Red Rush 1
Acrylic on cradled board
12" x 12"
by Linda Rothchild Ollis
$750

This abstract was also juried into the Rental Sales Gallery.

Magenta Moment 1

2011-10-21T12:28:00.000-07:00

Magenta Moment 1
12" x12"
Acrylic on cradled board
by Linda Rothchild Ollis
$750

During the past year I have invested more time
developing an abstract series, during my studio time.
The above piece is a result of that work and
was just juried into the Portland
Art Museum Rental Sales Gallery.

Robert Genn Workshop -En Plein Aire

2011-09-30T23:59:00.000-07:00

En Plein Aire
12 x12 inches
Acrylic on Canvas

"Humble yourself by trying a new palette or technique",
Robert and Sara Genn said. It was quite humbling indeed,
just to paint outdoors.
It was a way to achieve a personal goal that I set, before
registering for this workshop. The immediate connection
with nature is why I continue to leave the comfort of my
studio and paint outdoors. Do I do this everyday? No.

I was in awe of the other workshop
painters, who painted under the blazing sun, everyday.
Grateful to escape the heat, I holed up in a small structure,
partially constructed of driftwood. It seemed to make the
"en plein aire" experience more enjoyable.

Robert Genn Painting Workshop at Hollyhock, Cortes Island, B.C.

2011-09-27T10:34:00.000-07:00

We were all attracted to the Hollyhock garden. Many
chose to paint there and on the beach, during the workshop.

I can still hear Bob say, "Commit and then correct as you paint",

"Start with a toned ground to remove the white of the canvas"
and "Paint the foreground trees first...establish the horizon line".

Below Bob demonstrates how to pour a diluted mix
of Phthalo blue paint, medium and water over the entire or
part of the painted surface.
A rag is used to spread this thin mixture. This technique
unifies the painting. The pale glow of the blue glaze enhanced
the orange that was added later.

This workshop on the beach, at Hollyhock, was fabulous.
If you are interested in a more adventurous format, Bob
takes painters by helicopter to the mountain tops.
Here is the information:

Workshop on Sep 4th to Sep 7th is in the
Bugaboos, BC, Canada - Robert Genn and Liz Wiltzen -
Ultimate Helipainting workshop in spectacular mountains,
plein air delights and brilliant reference. Luxury lodge,
the whole nine yards. Brochure not yet available.
Robert (604 538 9197) or Liz (cel 403 762 9339,
studio 403 763 9035) to discuss.

To see more of Robert Genn's work and to sign up
for his informative and entertaining newsletter, click
the link below or enter it in your URL space:
http://www.robertgenn.com/

Robert Genn Workshop at Hollyhock - Excellent, Insightful Instructor

2011-09-26T18:14:00.000-07:00

Yes, the fresh-from-the-garden, organic food is prepared
by chefs who please the palate.
Yes, the morning yoga, stunning sunrises, sunsets
and attentive staff affirm that you are taking this time
for renewal.
Yes, our vistas (like the one above) inspired us
to paint each day.
With all of this, Robert Genn's ability to
demonstrate, motivate, teach, write and share wisdom
is foremost in my memory.
Genn and his daughter Sara are a great team,
as they relive their painting-travel adventures and offer
each other support. "Bob" Genn (pronounced "G" as in go)
as he refers to himself, throws in humor and light anecdotes
with ease, charm and intelligence.

Here we are reviewing our work for the day.

Tomorrow, I will share more photos from this
painting workshop at Hollyhock, on Cortes Island, B.C.

Acrylics for Brilliant Transparent Paintings Class at Dots' N Doodles Art Supplies in Astoria

2011-09-05T20:59:00.000-07:00

After an amazing August of travel and painting workshops,
I am looking forward to being in Astoria at Dots' N Doodles
Art Supplies, to teach "Brilliant Transparent Paintings"
Saturday, Sept. 10th and 17th.

Call Scott or Tim at 503.325.5081 to register,
if you would like to join us for this class.
We will start with the basics of applying paint,
brush and paint control, color mixing and design.
More information about the class in the link on the
right side of this page under "2011 Workshop and Events".

More about my August art adventures in my next post!

Photoshop for Artists Workshop in Portland

2011-07-25T11:49:00.000-07:00

Just finished this flyer (click on it for larger version)
for the Photoshop for Artists Workshop I will teach
at the Village Gallery of Arts, in Portland. Mark
your calendar for September 16,13,20 - 2011!
Join the fun of using Photoshop Elements to add
creativity to your art.
Thanks to those of you that requested this workshop in the
Portland area. Looking forward to working with you.
To register by mail or phone, click on this link:
http://www.villagegalleryarts.org/

Kim E. Smith - Painting

2011-07-23T12:18:00.000-07:00

Fanasy for the High Desert
by Kim E. Smith
Watercolor
In the last post I shared Kim Smith's
straw bale cabin and "painting rock".
This painting highlights one of Kim's
painting skills I enjoy most...
her brilliant skies and clouds.

Straw Bale Cabin DIY by Kim Smith

2011-07-19T23:09:00.000-07:00

Artist Kim Smith (with Bill sitting on her shoulder) in front

of the straw bale cabin she built.

I enjoyed visiting Kim, one of my artist friends, in Prineville

recently. In addition to painting and working, she built
this straw bale cabin and three other buildings on her property.
All of the rock that you see on the cabin is from her property.
This cabin and the other buildings are off the grid. All electricity
is solar powered.
A short walk from Kim's cabin is her "Painting Rock".
Take a look at this view! She is a plein air painter and
often paints the view from this rock.

Kim, Patty and Dan on Kim's Painting Rock

Kim with the Crooked River below.

The Sitka Center for Art and Ecology

2011-06-25T16:29:00.000-07:00

Hand carved post by Jay Haavik and students.

McKee House window seat.

Drawings for one of the hand carved posts by Jay Haavik.
Below, my friend Jodie at the front door of the McKee House.

Sitka office and view from the patio looking toward the ocean.

As an instructor, I had the pleasure of staying in the
McKee House residence,
at The Sitka Center for Art and Ecology, last week.
Hand carved posts, amazing architectural design
and lovely interior design make this new
residence a memorable place to stay.
The hand carved posts were designed by woodcarver Jay Haavik.
They were carved by Jay and many Sitka students.
The architect is Jay Raskin of Ecola Architects, and
the interior designer is Carrena Lukas.
Quoting from the Sitka website:
"Both residences are built with the environment and
the future in mind. Their foundations use an innovative
helical anchor system that allowed for shallow foundation
walls and minimal disruption to the existing trees. The walls
are double insulated and use high efficiency windows and
doors to retain heat. The wood was locally sourced. The
floor tiles were made with recycled materials and heated
with efficient radiant heat. The counters and cupboards
were also made with recycled materials. The refrigerator is
highly efficient. An automatic fire suppression system stands
ready to protect the structure in case of fire."

Photoshop Elements for Artists

2011-06-15T23:16:00.000-07:00

Sitka Center for Art and Ecology, on the Oregon coast,
north of Lincoln City, has been a favorite destination for
over 20 years. I have enjoyed classes at this unique,
beautiful location and always look forward to returning.
On June 13 and 14th, I taught "Photoshop Elements for
Artists" at Sitka. The workshop focused on how to
combine fine art and technology. We used Photoshop Elements
to improve our use of values, contrast and composition.
We studied how to see the changes we want to make
before applying paint to canvas or paper.
Thank you, Jean, Pam, Kregg, Jodie, Claudia, Pam,
Nikki, Mary, Ron, Paula and Jerrie. I enjoyed meeting
you and exploring photo editing with you!

Thanks Claudia for your help and computer knowledge.
You can see how participants were able to follow the
photo editing lessons on the screen.

Kregg, Mary and Nikki

Nikki, Pam, Pam and Ron

Paula and Jerrie

Jean, Nikki and Mary

Clockwise from the top: Pam, Kregg, Jodie, Mary
Pam and Claudia

Photoshop Elements - Threshold Filter

2011-05-31T23:48:00.000-07:00

Abstract (In Progress)

Here is an abstract that I started while attending the

Northwest Watercolor Society Paintout on Samish
Island, WA two weeks ago.

Before I added the three brown circles and line, in the top
half of the painting, it looked like this:

I used Photoshop Elements to help me decide how to
move forward. This digital image looks like the
image below when it is reduced to simple black
and white shapes. I was able to do this using the
Filter called Threshold in Photoshop Elements.

This Photoshop Elements Filter helped me to see that
the design has a strong diagonal shape. I wanted
to see if I could add a shape that would take some of
the emphasis away from the diagonal and anchor
the design to another edge of the painting.

This is what I tried first, then I added the line you see
in the top image in this post.

When I took a digital image of the top painting in this
post it looked like this with the Threshold Filter applied:

Using the Threshold Filter helps me to see that the

diagonal design now has less emphasis.

Capturing That Moment

2011-05-13T12:20:00.000-07:00

Bound to Red, White and Blue
20" x 28"
Watercolor on Arches Paper
Linda Rothchild Ollis

That Port Angeles boat yard, fresh paint smell, high
pitched sound of men sanding their boats, and the cool,
fresh ocean breeze fill my memory.
The first gut level reaction to that moment was
appreciation for these boats that weathered storms
and respect for the fishermen, who live this life.
I painted this painting several years ago and the
moment that triggered my response to capture
that moment is fresh in my mind. After I completed this
painting, our country was attacked on 9/11. The strength
of the rope and the fishermen brought to mind our
strength as a country. I named it "Bound to Red,
White and Blue" as a tribute.
When observers ask me, "Where do you get your ideas?",
many can relate to a moment like the one I just described.
Something stops you in your tracks and you disconnect
from your surroundings to observe it.
We all have an artist inside that selects the unique
moment, color or subject matter that appeals to us. When
we share it and others relate to that moment, synergy occurs.
The photo below is my original resource photo for the
painting above.

Blue Skies in Portland Oregon

2011-04-27T22:02:00.000-07:00

Here it is! Proof that there have been blue skies in
Portland, Oregon, in April.
Thought you might enjoy the reflection of the clouds
or if you let your imagination go...
the clouds passing through the building.
When I take photos of moments like this, it is to
reaffirm the beauty that surrounds us everyday.

Geometry II - CAP Art Auction April 30

2011-04-16T11:16:00.000-07:00

Geometry II
Mixed Media on Watercolor Paper
Framed: 20" x 16" - Image: 7" x 9"

The above painting was juried into this year's
Cascade AIDS Project's Annual Art Auction at the
Memorial Coliseum in Portland - August 30th
Please come and enjoy the fun of this event! Here
is the reservation and ticket information:

http://capartauction.org/gallery.html

Basic Photoshop Elements For Artists - Glass On Table Series

2011-04-11T12:19:00.000-07:00

Moment To Remember 13
Acrylic on paper
by Linda Rothchild Ollis

The above photo is one of a series of glass paintings,
that was developed the same way I developed the lesson below.
The original photo, was just as gray as the photos below.
I added the warm colors when I painted it.
At the Watercolor Society of Oregon Spring Convention, I had
the pleasure of teaching my fellow WSO members
"Basic Photoshop Elements for Artists".
As I promised, here is a review of the lesson.

The laptop participants at the workshop received my “Commands for Glass on Table.pdf” file
with the step-by-step instruction and the original photo.
If you would like this .pdf file and the photo, so you can follow the
lesson on your computer, contact me at lindasteve(at)centurytel.net.

Step 1 - The Original Photo
This photo was taken on
a sunny day. The subject
matter did not provide very
much color, but I was
immediately drawn to the
lights and darks in the reflected
light rings.

Step 2 - Zoom Tool
After evaluating parts of
the photo with the Zoom
Tool I decided this selection
had potential for an
interesting composition.
Step 3 - Crop Tool
I cropped and saved this as "Crop 1".

Step 4 - Adjust Color and Add Warmth
It was early Spring when I took these photos.
Feeling the warmth of the sun, after a cold,
Northwest winter, I knew this painting would
have a warm color palette. I added
warm colors to the grays that were in the
original photo by adjusting
the hue saturation and color curves.

Step 5 - Threshold and Values
Using the "Threshold" feature, I could see
a potentially interesting composition by eliminating
the dark shadow and white plate in the upper
right hand corner.

Step 6 - Clone Tool and Smudge Tool
The dark color on the upper left corner of the photo was
cloned and painted on the upper right corner of the photo.
The Smudge Tool blended the dark cloned area of the table
with the light area of the table.

Step 7 - Elliptical Marquee Tool

The area around the base of the glass was selected with the
Elliptical Marquee Tool and darks were added to the midtones
in just that selection.
This helps to bring the viewers eye to this area which now has
the darkest darks next to the lightest lights.
This is the area of refected lights from the glass that first inspired me.
So, I am moving in the right direction!

Step 8 - Moving the Center of Interest
This step was added after the workshop (and is not included
in the step by step instructions), because I liked
this composition better.
The darkest dark next to the lightest light is the center of
interest that I want the viewer to look at first.
Since it was very close to the middle of the image, I knew
it would need to be moved to the right, left, up or down. Placing the
center of interest in one of the four quadrants of the painting
usually creates a more interesting composition. So, I cloned
more of the existing photo to the top and the left sides of the photo
to adjust the placement of the center of interest.