Aaron Holland Fine Art

I will be offering a one-day workshop:

"Winter Painting" at The Clearing of Door County
January 29, 2009 1-4pm

The cost is $20. All proceeds will be going to support The Clearing.
Follow the link above to see more info. or to register.

This class is made available for anyone who would like to try "Plein Air" oil painting in winter, but need some encouragement. We will be painting the Landscape in Winter (yes, outside) on the campus grounds. It will be fun, and hot chocolate and coffee will be provided in the warming hut.

The Bougie Studio was founded by Mr. Peter Bougie to teach interested students how to draw and paint.

The system he modeled in setting up his studio was based on a method of teaching called the Atelier (pronounced ah-tell-yeah' ) which means 'workshop/studio'. He and Brian Lewis taught at a ratio of 2:12, or, two teachers to twelve students. Naturally this has been proven to be a very effective form of teaching...

However, the environment can also be like a 'pressure-cooker' for both the students and teachers, one that requires close working quarters and sustained concentration. Needless to say, I felt (and continue to feel) enormous gratitude that they took a chance on me, by allowing me to study with them.

An interesting part of the Atelier system is that the student is able to learn directly from a professional, and that he is further able to learn by seeing the teacher work on his own paintings. It may look like a source of pride to some, but just as I was grateful to study with Pete and Brian, so did they reflect similar feelings of being able to study with Richard Lack, and in turn Lack was a grateful student of R.H. Ives Gammel, and so on and so on... all the way back to somewhere in France about the late 1600's. It is fun to think about carrying-on a tradition like that, and also about being a part of something bigger than oneself.

I learned during my studies at the Bougie Studio that in a contemporary world, Fine Art is still relevant. I also learned that it is more important to be successful as an artist and as a person, than to be successful in the worlds' eyes; and to be successful in anything takes hard work and dedication. I learned that quality takes time, and that there are no shortcuts in life.

These are some of the traits I learned to appreciate, from a man whose work and life were set as examples before me at the Bougie Studio:

Peter Bougie.

*paintings copyright Peter Bougie

In this article we will focus on brushes for the painter. Most people know that long handled brushes are for the oil and acrylic painter, and short handled brushes are for the water-colorist. But do you know why?

Most water-colorists work at a table and so the brush acts like a pencil, whereas most oil and acrylic brushes are designed for work at an easel where the painting is upright. the long handle allows for balance while paintings, and also allows the artist to stand back and paint and hold further back on the brush. hmmm…interesting, no? When you are choosing a water-color brush there are a few things to consider: Both natural bristles as well as synthetic brushes will work; it is a matter of preference and sometimes cost. Synthetics will be less expensive, but hold considerably less water. A good water-color brush should “belly out” in the middle and taper to a long sharp point (somewhat like a tear-drop).

• hint: remember to avoid touching your water-color brush with your fingers, as this will transfer oils to your brush and eventually throw it out of shape. And you should always avoid using a water-color brush for anything except water-color! Most acrylic painters prefer a synthetic bristle (like nylon) or synthetic “blend” (part nylon part natural hair) as it is suitable for the water-based acrylic pigment. There are three main shapes for the brush: the Round, the Filbert, and The Flat. Traditionally, the round was used in portraiture, while the Flat was used for Landscapes (a Bright is a short haired version of a Flat that can either “scoop” paint, or be used with very “slow” or “short” paint, etc…). The Filbert is a relatively new shape to the brush market, and is a nice design that can act like a Flat or a Round depending on which way you hold the bristles.Most quality art dealers will let you use a cup of water and paper to test out a brush before you buy!

*Oil painters on the other hand will use natural bristles for the most part, as the oil mediums will condition the hairs, and the hairs are not so affected by solvents (like mineral spirits) as a Nylon brush would be. The “work horse” brush for the oil painter is the “China” bristle. When you are buying a china bristle brush look for these key words: Chunking Interlocking China Bristle. This refers to a superior quality of bristle construction, specifically using the natural curve of the bristles to ensure that they keep their shape. Some artists prefer a “detail” brush for more fine work. A “kolinsky sable” is the brush of choice for many discriminating painters. This is a specific type of natural hair that is rare and known especially for is spring and responsiveness. It is also expensive. if the cost of a Kolinsky Sable is prohibitive, consider a red sable.

• hint: some artists will buy a brush or two anytime they buy any other art supplies. This will keep your brush supply fresh…and the more brushes you have, the longer they will last!

This bustling little harbor in northerly Ephraim was resplendant with wind-surfers, beach-goers, and vacationers. My wife Deb dropped me off near the beach so that she and Emma (our 19 mo. old) could go have an ice cream at Wilson's while I sketched.

I was fortunate to be able to find a small place to set up that was "relatively quiet". Although there was still the small boy who found it enjoyable to run all around me and jump from rock to rock, and visitors standing behind me that seemed to come out of nowhere, and about fifty people lounging on the beach just next to me, I acted all the while as if it was the most natural thing in the world to be seated amongst all the chaos!

I have noticed that the artist who sets up out-of-doors has become 'public domain', and would do well to resign themselves to this idea. People do not seem to feel it is necessary to introduce themselves, or even say hello, but start midstream into their thoughts about the world. It is also interesting because many of the people I meet talk as if we have known each other for years. It is an interesting phenomena, and mostly enjoyable... but I come home a little more exhausted than usual!

"Evening Waters"

oil on linen, 8x10" HOLLAND

I make an effort to go Plein Air painting at least once a week (often several times) in order to keep in practice.

The benefits of regular practice outdoors is rewarded in the studio with the ability to make "fresh", accurate color notes, as well as developing a sense of depth and atmosphere.

"Canal Station"

HOLLAND, 8x10 oil on linen

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