My Lighter/Darker/Warmer/Cooler/Brighter/Greyer Mantra.

Okay, that title is quite the mouthful. But it’s what I live by when I paint.

November Dusk on Silver Lake, 18x24, oil
This painting relies heavily on accurate value and temperature.
Notice the similar values of warm and cool, especially in
the foreground "ice."

I’m often asked how I approach color in a painting, and if I subscribe to any particular color theory.  I wish I could give a short and sweet answer to how I use color. And I also wish I found color to be that simple.

There are indeed plenty of books out there on color theory. Whenever I’ve tried to read about the scientific explanations of color, I seem to get so caught up in attempting to understand the science part that I fail to make the connection to how I would apply it to my own paintings. So I’ve developed my own unsophisticated method of understanding how to use color in my painting process...

I talk my way through a painting using the mantra above.

Lighter/Darker (Value)

Since I come from a drawing background, I tend to determine values better than I can color. So for each part of a painting, I first address the correct value. This is the “lighter/darker” part of that mantra that goes through my head.

Lighter and darker values of the same hue.

Warmer/Cooler (Temperature)

Next is the “warmer/cooler” decision. You can’t determine if something is a “warm” or a “cool” out of context…this is what trips up most artists. You have to compare it to what it’s next to…is it warmer than or cooler than what’s beside/above/below it. For example, the lower part of clear sky is normally warmer than the area above it and requires a color that leans toward pink or orange or yellow rather than a lighter blue. If a snow covered area is catching just a touch more light in one area vs. another, it will require a color that’s a touch warmer (again, with more pink, orange or yellow vs. the cooler area that may lean more blue or purple). IMPORTANT: The nuances of the warms and cools within the landscape aren’t always evident in a photo. A little manipulating in Photoshop can sometimes bring them back just enough to paint from, but a steady practice of painting on location helps with this!

Warms on the left, moving to cools on the right.
Notice how the hue in the middle is cooler than what's
on the left but warmer than what's on the right.

Brighter/Greyer (Chroma)

Then lastly I determine the chroma (or saturation) … this is the “brighter/greyer” part. Typically distance will dull down color in a landscape, and foreground areas will have a brighter chroma. For example, if a subject far in the distance is catching direct sunlight, it will need to read as a warm, but a muted/greyed warm.

Brighter and greyer chromas of similar hues.

When I try to rush through these three decisions during the painting process, that’s when I get myself into trouble. It can indeed be a tedious process, but well worth the scrutinizing if you want to push your skill level and have successful results. 

Sunlit Slope, 16x20, pastel
This one relies on greyed warms and cools in the
distance and and more saturated versions of those colors
in the foreground.

Upcoming Workshops:

Lewisburg, West VA - 3-day PASTEL workshop - FULL
April 25, 26 & 27, 2016 (Mon/Tues/Wed)
Carnegie Hall West VirginiaKellar Art Studio105 Church St.Lewisburg, WV, 24901
$295/member; $400/non-member
Contact Jeanne Brenneman, 304-645-3050

Springfield, OR - 3-day PASTEL/OIL workshop
May 3, 4 & 5, 2016 (Tues/Wed/Thurs)
Emerald Art Center500 Main StreetSpringfield, OR 97477
$420/member; $445/non-memberCall 541-736-8595; www.emeraldartcenter.org

Bend, OR - 1-day PASTEL PLEIN AIR workshop
June 4, 2016 (Sat)
Plein Air Painters of Oregon
Location: Shevlin Park. Back-up studio location will be provided in case of inclement weather.
$65/member; $70 non-member
Registration will open up to non-members after March 15.
Contact Nancy Misek, 541-388-1567, nancym2010@bendbroadband.com

Bend, OR - 3-day PASTEL/OIL workshop (studio & plein air)
June 6, 7 & 8, 2016 (Mon/Tues/Wed)
"The Well Edited Landscape, Inside and Out"
Cascade Fine Art Workshops
Exact venue in Bend TBD. Plein air location will be near studio venue.
$410 before May 6 ($460 after May 6)
Contact Susan Manley at info@CascadeFineArtWorkshops.com or 541-408-5524

Lac du Flambeau, WI (northern Wisconsin) - 4-day PASTEL/OIL workshop
(studio/some plein air)
June 27, 28, 29 & 30, 2016 (Mon-Thurs)
Studio & Plein Air
Dillman's Creative Arts Foundation3305 Sand Lake Lodge Lane
Lac du Flambeau, WI 54538
This will mainly be a studio workshop, but will also include some plein air time during one of the four days. Dillman's is a resort facility where you can also enjoy gorgeous scenery, boat rides on the lake and other outdoor recreation right there where the workshop takes place. The studios stay open after workshop hours for artists wanting additional painting time. Workshop fee also includes a welcome dinner the evening of your arrival. Affordable accommodations in the resort are available through Dillman's.
$550
Call 715-588-3143 for more information or register online at www.dillmans.com.

For full workshop schedule, visit www.barbarajaenicke.com.

Critique Services
Would you like me to personally critique your oil or pastel painting? Visit www.ProArtCritique.com and click on my name for quick, affordable feedback on your work.

Location. Location. Location.

15 Street Rise, 8x10, oil

I sort of have a love-hate relationship with my plein air work. A good bit of these studies get wiped down, reworked back in the studio, or just stay in my studio for reference. Occasionally I'll return home with something I feel good about, but typically I don't love what I bring back from the field.

Fleeting Light Along Tumalo Creek, 8x10, oil

As I was looking back through some recent field studies, despite some of the flaws that I know are there, I notice a more genuine sense of light that I'm able to capture in those quick studies than I probably would have if I was working from only a photo of the location. Most artists who paint in the field and from photos are already aware of how photos alter values and temperature. But a genuine capture of light goes beyond that...it captures a certain authenticity of the outdoor location.

View From Locust Street, 8x10, oil

I've been struggling with painting a particular spot near my home. The image that my photo captures gives me such a completely different sense of light than what I see when I'm there in person. I've tried twice to paint it on location. It's a typical high-desert area of central Oregon, with Juniper trees and sagebrush ...very different vegetation than anywhere I've ever lived before we moved here back in May. I've been going back and forth between my plein air attempts and a studio attempt, referencing the photo, but depending more on my memory of the location than the photo. I'll go back and try again. Hopefully as I live with the landscape some more, I'll better understand how to paint it.

For now, a steady practice of plein air painting--whether good or bad--proves invaluable to my studio work. I look back at studio work from just a few years ago and realize now how several more years of field studies since then have helped me better understand the landscape.

The work shown here was all painted on location within the past two months.



Upcoming Workshops:

Mt. Vernon, WA - 3-day PASTEL workshop - FULL

March 10, 11 & 12, 2016 (Fri/Sat/Sun) - these dates have shifted slightly from what was previously promoted!

Dakota Art Center

17873 State Route 536

Mount Vernon, WA 98273

$395

info@dakotaartcenter.com, www.dakotaartcenter.com

888-345-0067 ext. 5

Lewisburg, West VA - 3-day PASTEL workshop - FULL

April 25, 26 & 27, 2016 (Mon/Tues/Wed)

Carnegie Hall West Virginia

Kellar Art Studio

105 Church St.

Lewisburg, WV, 24901

$295/member; $400/non-member

Contact Jeanne Brenneman, 304-645-3050

Springfield, OR - 3-day PASTEL/OIL workshop

May 3, 4 & 5, 2016 (Tues/Wed/Thurs)

Emerald Art Center

500 Main Street

Springfield, OR 97477

$420/member; $445/non-member

Call 541-736-8595; www.emeraldartcenter.org

Bend, OR - 1-day PASTEL PLEIN AIR workshop

June 4, 2016 (Sat)

Plein Air Painters of Oregon

Location: Shevlin Park. Back-up studio location will be provided in case of inclement weather.

$65/member; $70 non-member

Registration will open up to non-members after March 15.

Contact Nancy Misek, 541-388-1567, nancym2010@bendbroadband.com

Bend, OR - 3-day PASTEL/OIL workshop (studio & plein air)

June 6, 7 & 8, 2016 (Mon/Tues/Wed)

"The Well Edited Landscape, Inside and Out"

Cascade Fine Art Workshops

Exact venue in Bend TBD. Plein air location will be near studio venue.

$410 before May 6 ($460 after May 6)

Contact Susan Manley at info@CascadeFineArtWorkshops.com or 541-408-5524

Lac du Flambeau, WI (northern Wisconsin) - 4-day PASTEL/OIL workshop (studio/some plein air)

June 27, 28, 29 & 30, 2016 (Mon-Thurs)

Studio & Plein Air

Dillman's Creative Arts Foundation

3305 Sand Lake Lodge Lane

Lac du Flambeau, WI 54538

This will mainly be a studio workshop, but will also include some plein air time during one of the four days. Dillman's is a resort facility where you can also enjoy gorgeous scenery, boat rides on the lake and other outdoor recreation right there where the workshop takes place. The studios stay open after workshop hours for artists wanting additional painting time. Workshop fee also includes a welcome dinner the evening of your arrival. Affordable accommodations in the resort are available through Dillman's. 

$550

Call 715-588-3143 for more information or register online at www.dillmans.com.

For full workshop schedule, visit www.barbarajaenicke.com.

Critique Services

Would you like me to personally critique your oil or pastel painting? Visit www.ProArtCritique.com and click on my name for quick, affordable feedback on your work.

The Ugly Stage

December Glitter, oil, 16x20

You may have heard the comment that paintings sometimes go through an unpleasant but often necessary ugly stage. To be honest, sometimes I get frustrated when I get to this phase of the painting process. I've made the mistake of abandoning paintings at this stage when I should have known better and kept with it. This ugly stage is usually when an area has the large simplified shapes painted in, before smaller or contrasting details can be added. At this point, certain important relationships and contrasts haven't been defined, so much of the landscape doesn't make visual sense yet.

The two progression shots below are from early in the painting process, shortly after the block in (sorry for the glare in the upper left of these shots...it unfortunately adds to the ugly factor). I kept it to just the big shapes here, with just a few indications of where I'll have some finer lines/details.

In the large snow covered ground area, I gradually made small shifts in the value and temperature of the bluish snow, but since I hadn't yet added any warm highlights (which I couldn't wait to add!), the snow covered ground didn't yet have any dimension to it. At this point, I wasn't sure if I liked the painting ... it didn't have any life to it. 

                         

After tweaking the blues of the snow some more to make sure I had the correct value, temperature and chroma (saturation), I began adding the warm highlights ... just a little at a time so I wouldn't overdo it. I knew it would be the sparse, subtle appearance of these highlights within the large area of snow in shadow that would make them more dramatic.

I kept the trees fairly undefined so that I could use the additional details of the snow on the limbs to define the form of the trees, without distracting from the drama of the highlights on the snow.. The snow on the trees also created the warm/cool temperature contrast that finally gave the painting the additional life it needed, while the definition of just a few areas of the finer lines of the foreground grasses gave the painting additional depth from foreground to background.

December Glitter, oil, 16x20

Upcoming Workshops:

Cincinnati, OH - 3-day PASTEL/OIL workshop -- FULL/WAIT LIST

Jan. 22, 23 & 24, 2016 (Fri/Sat/Sun)

Cincinnati Art Club

1021 Parkside Place (beautiful, historic Eden Park area near downtown Cincinnati)

Cincinnati, OH 45202

http://www.cincinnatiartclub.com/workshops.html

workshops@cincinnatiartclub.com

$400/member; $425/nonmember

Bridgewater, NJ - 3-day PASTEL/OIL workshop

Feb. 26, 27 & 28, 2016 (Fri/Sat/Sun)

York Art Studio

350 Grove St. #4, Bridgewater, NJ 08807

http://yorkartstudio.wix.com/yorkfinearts

yorkartstudio@gmail.com

908-392-0998

$400

Payment will be made to Barbara Jaenicke. Contact Barbara directly at barbarajaenicke@msn.com to register.

Mt. Vernon, WA - 3-day PASTEL workshop

March 10, 11 & 12, 2016 (Fri/Sat/Sun) - these dates have shifted slightly from what was previously promoted!

Dakota Art Center

17873 State Route 536

Mount Vernon, WA 98273

$395

info@dakotaartcenter.com, www.dakotaartcenter.com

888-345-0067 ext. 5

Lewisburg, West VA - 3-day PASTEL workshop

April 25, 26 & 27, 2016 (Mon/Tues/Wed)

Carnegie Hall West Virginia

Kellar Art Studio

105 Church St.

Lewisburg, WV, 24901

$295/member; $400/non-member

Contact Jeanne Brenneman, 304-645-3050

For full workshop schedule, visit www.barbarajaenicke.com.

Critique Services

Would you like me to personally critique your oil or pastel painting? Visit www.ProArtCritique.com and click on my name for quick, affordable feedback on your work.

Merry and Bright Wishes to You!

Just a quickie post to wish all of my blog readers a very Merry Christmas and Happy Holiday Season! Thank you for reading my posts this past year. I hope you've enjoyed reading them as much as I've enjoyed writing them. I especially appreciate those of you who've left such thoughtful comments. I try to respond to each of them...my apologies if I've missed any.

I hope your New Year is filled with happiness and many successes at the easel!

Many thanks,
Barbara

Compliments of John Pototschnik

I had the honor of being featured in an interview by the wonderful John Pototschnik on his blog. John has an amazing blog that contains interviews with a variety of wonderful artists, as well as interesting observations he's written about historical artists, plus his own incredible paintings. If you're not familiar with his blog, it's a good one to keep up with! (http://www.pototschnik.com/blog/)

In this article, he had me answer some pretty thorough questions. He warned me that he doesn't ask the typical interview questions, and he was right! If you have a moment, I hope you'll enjoy reading it!...

http://www.pototschnik.com/barbara-courtney-jaenicke-interview/

Making Your Mark

Detail from Chattahoochee Snow, oil

Those reading this who have taken a workshop from me know that I make a big deal about each and every mark you make on your painting. Even though I've been teaching this for awhile, I've come to realize even more so that the individual characteristics of your mark making are what eventually elevate you to a higher skill level.

Detail of a limited stroke pastel demo.

Truthfully, until fairly recently, I was never all that impressed when artists (often even my favorites) posted zoomed in detail images of their work...typically oil painting brushwork, but also pastel work.

As I've continued to teach mark-making exercises to students, I find that I realize even more so the importance of allowing our medium of choice to do what it does, and to not always try to overly render it to replicate the subject matter. I find myself telling students, "let paint do what paint DOES."

For example, when you see images used to advertise pastels, you usually see a fresh, clean, "unfussed with" swipe of a pastel that clearly shows the characteristically soft, buttery stroke that a soft pastel makes. It doesn't try to completely cover up the underlying surface, but allows the surface to show through, with the mark and substrate working together as a little piece of artwork. Or you'll see a brushstroke of paint coming from a loaded brush that allows the paint to be thin in some places and thick in others...all in that one stroke that was cleanly applied and left alone. With either medium, it's the imperfections of the paint/pastel application that often enhance the artwork. This is of course more so in impressionist work.

But while we work hard to control our medium of choice, the really hard part is learning what NOT to control so that our medium can be free to show off its unique characteristics to which we as artists are attracted in the first place. Areas of a painting that I first thought I goofed when applying a wayward stroke, if left alone, have often become my favorite part of the painting.

Sometimes purposefully applied marks on a painting are referred to as calligraphy when they have a clean, poetic quality to them. And just like learning good penmanship as a child, it takes years of practice to learn the nuances of applying your own characteristic marks to your work....

- How to hold your brush, pastel, pen, pencil, palette knife etc.
- How much pressure to apply
- How long or short of a mark to make
- Which direction to apply it
- How fast or slow to apply it
- How thinly or thickly to apply the pigment
- Connect the marks or make them individually?

I could go on, but you get the idea.

As I've learned to become more thoughtful to the marks I make on my own work, I've discovered that I can better appreciate seeing those zoomed in detail portions from the work of my favorite artists, and observe how the sensitive application and behavior of the pigment is as much a part of the artwork as is the subject mater and other important artistic elements (value, temperature, chroma, composition, edges). Lately I've been scrutinizing my own mark making even more. And when I look at the work of my favorite artists, I find that, in addition to observing the other artistic elements, I'm especially noticing the mark making.

Shown in this post are detail images from a few of my pastel and oil paintings completed in the past couple of years. These are pieces in which I was satisfied with the variety of marks and handling of the medium. In each of them, I think I was more thoughtful to each mark I placed in the painting, and therefore didn't go back over strokes to "fix" them.

Detail from Winter's Grace, oil

Detail from Daybreak Shadows, pastel

In this continuous quest to push my own painting skills, I'm discovering that perhaps skillful mark making is indeed the most difficult (and often last) skill that an artist can begin to master. And one that usually places one artist a notch above another.



Upcoming Workshops:

Cincinnati, OH - 3-day PASTEL/OIL workshop

Jan. 22, 23 & 24, 2016 (Fri/Sat/Sun)

Cincinnati Art Club

1021 Parkside Place (beautiful, historic Eden Park area near downtown Cincinnati)

Cincinnati, OH 45202

http://www.cincinnatiartclub.com/workshops.html

workshops@cincinnatiartclub.com

$400/member; $425/nonmember

Bridgewater, NJ - 3-day PASTEL/OIL workshop

Feb. 26, 27 & 28, 2016 (Fri/Sat/Sun)

York Art Studio

350 Grove St. #4, Bridgewater, NJ 08807

http://yorkartstudio.wix.com/yorkfinearts

yorkartstudio@gmail.com

908-392-0998

$400

Payment will be made to Barbara Jaenicke. Contact Barbara directly at barbarajaenicke@msn.com to register.

Mt. Vernon, WA - 3-day PASTEL workshop

March 10, 11 & 12, 2016 (Fri/Sat/Sun) - these dates have shifted slightly from what was previously promoted!

Dakota Art Center

17873 State Route 536

Mount Vernon, WA 98273

$395

info@dakotaartcenter.com, www.dakotaartcenter.com

888-345-0067 ext. 5

Critique Services

Would you like me to personally critique your oil or pastel painting? Visit www.ProArtCritique.com and click on my name for quick, affordable feedback on your work!

Getting Comfortable with Temperature

Threesome, pastel, 11x14 

I find that many students I teach struggle with color temperature in their paintings. Not surprising to me, since it's something that took me a long time to wrap my head around in my own work. In a recent pastel workshop I taught in Texas, the topic was new information to several fairly new pastel artists, and so we discussed it quite a bit.

One reason for the difficulty in grasping color temperature is due to working from photos. More often than not, photos of the landscape tend to cool down colors and eliminate the warmth of the light. So when we try to replicate the local color too literally from a photo, we end up shifting a sunlit area to a lighter value of the local color rather than a warmer, "light-filled" hue. 

Roadway Shadows, pastel, 14x11

For example, when green foliage is catching direct sunlight, shifting that sunlit area to a lighter green won't capture a sunlit feel. To do this, even though we may (or may not) need to shift the value lighter, we need to shift the temperature to a warmer hue, possibly toward an orange or yellow, or really anything in that direction away from green on the color wheel. And for a more subdued sunlit area, we may need to only shift the temperature but not the value. The local color as well as the intensity of the light will influence the exact color choice of that warmer hue.

Roadway Shadows, detail of trees

Another example is the sky. Often photos will only appear to have a blue sky fade to a lighter blue in the lower portion of the sky. If the artist copies this just as the photo appears, the sky in their painting will appear stark, cold and flat. Adding some same-value warms in that lower portion of the sky, such as pink, peach or ochre, will convey the feel of a light-filled sky. 

Quiet Moment on the Deschutes, pastel, 11x14

 

Other common stumbling blocks on this subject are snow and highlights on trees. On either, if those areas are catching direct sunlight, they must shift to a warm hue (something in the yellow, orange or pink family). 

Evening Shadows Out Back, pastel, 11x14

A regular practice of plein air painting will train the artist's eye to see color temperature accurately in the landscape, and the adjustments to be made when working from photos in the studio.

All of the work shown on this post are a few selected demos from recent workshops from the past three months. Listed below are my upcoming workshops, and another announcement I'm excited to share!...

Afternoon Thaw, pastel, 11x14

Online Critiques! - I'm excited to announce that I'm now part of ProArtCritique, a website through which you can have your artwork critiqued by professional instructors for a nominal fee. Visit www.ProArtCritique.com for details.    

Upcoming Workshops:

San Antonio, TX - 3-day PASTEL/OIL workshop

Oct. 17, 18 & 19, 2015 (Sat/Sun/Mon)

The Coppini Academy of Fine Arts

115 Melrose Place

San Antonio, TX 78212

$400/member; $450/nonmember

www.thecoppini.org

210-824-8502

Wethersfield, CT (Hartford area) - 3-day PASTEL/OIL workshop

Nov. 12, 13 & 14, 2015 (Thurs/Fri/Sat)

Wethersfield Academy for the Arts

431 Hartford Ave.

Wethersfield, CT 06109

$390/member; $420/non-member 

www.wethersfieldarts.org

860-436-9857

info@wethersfieldarts.org

Goshen, NJ (Cape May area) - 3-day PASTEL workshop -FULL WITH WAIT LIST

Nov. 20, 21 & 22 (Fri/Sat/Sun) & evening demo on Thurs., Nov. 19, 2015

Guest instructor at Stan Sperlak's Goshen School of Art

Crow Creek Farm, Goshen, NJ

www.crowcreekstudio.com

609-465-5161

Cincinnati, OH - 3-day PASTEL/OIL workshop

Jan. 22, 23 & 24, 2016 (Fri/Sat/Sun)

Cincinnati Art Club

1021 Parkside Place (beautiful, historic Eden Park area near downtown Cincinnati)

Cincinnati, OH 45202

http://www.cincinnatiartclub.com/workshops.html

workshops@cincinnatiartclub.com

$400/member; $425/nonmember

Bridgewater, NJ - 3-day PASTEL/OIL workshop

Feb. 26, 27 & 28, 2016 (Fri/Sat/Sun)

York Art Studio

350 Grove St. #4, Bridgewater, NJ 08807

http://yorkartstudio.wix.com/yorkfinearts

yorkartstudio@gmail.com

908-392-0998

$400

Students can register starting Fall 2015. Payments will be made directly to Barbara Jaenicke via PayPal. More info to come.

Breaking in the new studio.

I’ve been pretty busy this past month getting settled into my new home with my family and getting my new studio set up. My studio is now in a bonus room in our home just off the upstairs landing at the top of the stairs. We’ve downsized, so my studio is now much smaller than my old one, but it’s still a great space that inspires me, so I thought I’d tell you a bit about it.

Just before move-in day.

The walls. I wanted a neutral gray for a wall color so that any light reflection off the walls wouldn’t affect how I see my paintings. It took two tries--my first choice appeared too blue once I saw it up on the walls--but I ended up with Sherwin Williams 7016 “Mindful Gray,” and I’m real happy with it. It’s not too cool; not too warm.

Blinds are now on all the windows since this photo was taken.

The lighting. My two windows in the main part of the studio are south facing…not the ideal north facing direction. But I have blinds on the windows which seem to diffuse the light nicely, and a large fluorescent overhead light along with two standing lamps with warmer GE Reveal bulbs.(You can see the overhead light in the "empty" studio photo above.) I’m no expert at lighting, so I won’t even attempt to get technical and try to sound like I know what I’m talking about. But after reading up on the techy info I could understand, I chose Phillips T8 Daylight fluorescent bulbs from Home Depot for my overhead light, which are a cool light similar to north light. I have four of them in the fixture. So far, I’m real pleased with the lighting in my studio, and it even seems to cooperate well to photograph my work right from my easel. Plus, in the past, I’ve always used a small overhead lamp above my easel, but I’ve found that I don’t need to use them in this studio. 

Pastel on the left. Oil on the right. Cushy mats in front of each!

At my easels. I decided to place cushy mats in front of each of my easels. Haven't used these before...not sure why. These are actually just kitchen mats I bought at Target, not the more expensive “anti-fatigue” mats, but they feel great to stand on all day. I have an additional mat under my pastel easel to help cushion wayward pastels that get away from me and to protect the flooring from too much dust collecting on it. My laptop (for my photo reference) gets placed on the cabinet (actually an old microwave stand) to the left of my oil easel or on top of the small white storage containers next to my pastel easel...both surfaces are roughly eye level for me.. although I do need to find something to raise it another inch or two on the pastel side.

Storage. Although my main studio area is small, I have another tiny separate room that extends off of the studio. The builders of this house actually meant for it to be a walk-in storage room. It has a low ceiling and a smaller than normal doorway. But at just barely 5’2,” I can fit inside just fine. In this room I have a framing table with storage beneath, a drawing table for sketching thumbnails, and another long table for trimming boards, preparing panels, varnishing paintings, packaging work to ship, etc.

Framing, sketching, and other odds and ends.

The all important sink. The one item that our new house did not have, that I do need to have at least near my studio, is a utility sink to wash brushes. We were fortunately able to have a small one installed in our laundry room, which is also upstairs just down the hall from my studio. Convenient enough.

Shelves. Still missing from my studio is shelf space to prop up paintings in progress … these are on the to-do list! I do, however, have some shelves in the hallway outside my studio where I can place completed paintings waiting to head out the door to shows or galleries. (And they dress up that wall!)

My "overflow" space outside my studio.

Much of the extra space in my old studio was used for teaching my local classes. I’m taking a break from teaching ongoing local classes and currently focusing on teaching workshops and producing more gallery work. My blog previously focused on topics I taught in those classes at my studio, so I guess the focus of my blog may need to evolve a bit. I hope to still post regularly and continue to discuss painting topics that I hope will be of interest to all of my blog readers.

Blog Radio Interview

I was honored to be featured live on Artists Helping Artists Blog Radio on August 13. You can listen to the archived version here: http://www.blogtalkradio.com/artistshelpingartists/2015/08/13/a-conversation-with-artist-barbara-jaenicke

Upcoming Workshops:

Oregon City, OR - 3-day PASTEL/OIL workshop

Aug. 28, 29 & 30, 2015 (Fri/Sat/Sun); Meet & Greet on the evening of Thurs., Aug. 27

Carrie Moore Studios

21036 S. Leland Rd.

Oregon, City, OR 97045

$400.

Contact Carrie Moore, 503-866-5507, carriemoorestudios5@gmail.com 

San Antonio, TX - 3-day PASTEL workshop

Oct. 17, 18 & 19, 2015 (Sat/Sun/Mon)

The Coppini Academy of Fine Arts

115 Melrose Place

San Antonio, TX 78212

$400/member; $450/nonmember

www.thecoppini.org

210-824-8502

Wethersfield, CT (Hartford area) - 3-day PASTEL/OIL workshop

Nov. 12, 13 & 14, 2015 (Thurs/Fri/Sat)

Wethersfield Academy for the Arts

431 Hartford Avenue

Wethersfield, CT 06109

$390/member; $420 nonmember

www.wethersfieldarts.org

860-436-9857

info@wethersfieldarts.org

See my website at www.barbarajaenicke.com for full 2015 & 2016 schedule.