Inside the Process: an Interview with Lyn Asselta

Watercolor under-painting

Last week we discovered the expressive pastel paintings of 
Lyn Asselta.

Lyn is the president and founder of 
First Coast Pastel Society and was the featured artist of A Brush with Nature at the Jacksonville Arboretum.



                  

Arboretum Path, pastel on paper, ©2012 Lynn Asselta

Lyn's pastel painting workshop at the Jacksonville Arboretum was fun for all the participants. Lyn was so busy encouraging her students that her own painting waited to be completed until after the event. 

Today, we'll look at her finished painting and ask Lyn some questions about her motivations, her background, and her process.

Hello Lyn!
Since you are one of my favorite painters and a master of plein air painting in pastel, I'd love to find out more about you and your work. Thanks for answering some
questions for us.

What was the catalyst for becoming an artist and a teacher? 

Lyn: I think I've always wanted to be an artist, but I also wanted to share that with other people. So, I started out as an elementary school art teacher and then gradually transitioned into teaching workshops for adults.  I love being able to watch someone get excited about learning to paint or draw.

Has pastel always been your medium of choice? 

Lyn: I've worked with a lot of different mediums in the past.  I started out as a calligrapher, then did a little residential drafting, I created large, intricately-designed gourd vessels with pine-needle basketry for about 10 years, and then finally pulled my old pastel box out of the studio closet and discovered sanded paper...that was the beginning of it for me!

Why do you work outdoors?  

Lyn: Honestly, I work outdoors because I love it there.  There is nothing quite like standing next to my easel, hearing the birds and the wind in the trees or the water swooshing up against the shore.  It's peaceful, and I feel like I'm where I'm supposed to be when I'm out there.

What location has been your favorite and why? 

Lyn: As for a favorite place, it's hard to say.  I recently took a trip to Zion National Park and fell in love with those enormous mountains, but every time I see a new place I tend to fall in love with it, so maybe the answer is wherever I happen to be!

What do you hope your students learn from you? 

Lyn: I hope my students learn to be excited about pastels and painting.  To me, it's the excitement that is the most important thing.  Whenever I teach, the very best thing for me is the look of excitement on a student's face when they've done something they thought they couldn't do, or when they love what they've painted.

Are you ever fully satisfied with your work? How do you know when you're finished? 

Lyn: Every so often I finish a painting and I'm totally happy with it.  But, more often than not, I continue to wonder if there is anything else I need to do to really make it special.  As a painter, I'm ridiculously critical of my own work. Sometimes I will go back and work on a painting after I think it's "finished". Other times I will stack it against the wall and hope that I feel differently about it a few months later.  I'm pretty particular about what I feel is good enough to go into a frame.

Knowing when to finish a painting is tricky.  With every single painting, there is a time that I realize I've begun to work more slowly and deliberately.  The marks aren't as spontaneous anymore and I realize I'm starting to evaluate every stroke.  I've learned to pay attention at this point.  When I start to slow down, I know that I'm quickly coming to the point where one more mark could disturb the integrity of the whole painting.  So, I try to stop before I make that one final mark.   

Thank you so much for this peek into the mind of an artist.

Note: In comparing the watercolor under-painting (done in complementary colors) with the finished painting, notice that Lyn allows the under-painting to show, not fully covering it. This makes the colors sparkle next to one another.
Using watercolors for the under-painting simplifies the process and dries almost immediately, so the pastel layer can be added.  

A Perfectly Pastel Kind of Day

The luscious colors of the day

I first encountered the sublime pastel paintings  of Lyn Asselta  last October at the Painting the Region paint out. Lyn was one of a handful of artists using the medium of pastel. Her work captured me - the incredible colors  and textures made me want to put down my oils and pick up pastels again.

One of many mediums I've dabbled with, pastel appeals to me because you essentially draw. I draw constantly, so it's a comfortable feeling to draw a painting.

Pastel painting is highly portable, doesn't need to dry and can be framed on the spot, all convenient attributes for plein air work. When I saw a workshop offered by Lyn at the Jacksonville Arboretum and Gardens, I jumped at the chance to participate and learn from one of the best.

Watercolor under-painting

Lyn starts her sketch

                                                                            

We learned so much from Lyn as we watched her demo. One particularly interesting step in her process is the watercolor under-painting in complementary colors - the step that makes the layers on top sparkle and sing.

Just as complementary colors bring out the best in each other, Lyn Asselta brought out the best in her students. If you have an opportunity to paint with Lyn, take it - you'll be painting with one of the best.

I don't have a photo of Lyn's finished painting. She may not have finished it - she was busy helping others. 
But here's my little effort on that lovely day in May.

Sunbathing 5x7 Pastel ©2012 Jaime Howard

What's fun about being an Artist?

 

Plein air painting on the sidewalk!

Happy Spring!

 Jaime Howard

SCAD Sidewalk Arts 2012 

News bulletin: Saturday, April 28, 2012

It's Spring, so it's time for the annual Savannah College of Art and Design Sidewalk Arts Festival, part of Alumni Weekend here in the charming city of Savannah, Georgia.

Later today I’ll be competing against hundreds of sidewalk chalk artists. Forsyth Park will be jammed with thousands of onlookers young and old, kids and dogs, watching as SCAD students and alumni squat on the cement and attempt to create something memorable with the most fragile and temporary of mediums – chalk.

SCAD Sidewalk Arts Festival 2011

My piece of the sidewalk

The first year I entered the contest it rained. Guess what happens to chalk when it gets rained on? You guessed it – about 75% of the drawings were washed into the storm drains, mine included.

Last year rain wasn’t predicted. The weather was perfect and we picked a spot in the shade. After 3 hours of squatting on the sidewalk in a rainbow of chalk dust, fish were swimming on the sidewalk, my clothes were as colorful as my drawing and my hands were sore from blending colors into the rough cement. 

It was a day pretty close to perfection. As an added bonus, my drawing took 2nd place in the Alumni division complete with a generous cash prize.

News update: Sunday April 29, 2012: 

Today was another perfect day in the park with fellow artists and hordes of art lovers as well. My image was strategically selected to portray a happy day in Spring and my helper, Bonnie and I had a ball trying to perfect it.

Grating the chalk to make paint

Painting is so much easier

Remembering the experience of rubbing the skin off my palms last year, I decided to make paint. A kitchen grater, a stick of chalk and some water are all it takes to make chalk paint. With a house painting brush as the applicator, my palms were saved. 

We had a blast - there's something about the combination of being outside, working as fast as I can with a group of friendly and like-minded people that makes me happy. Now that I think about it, these are the same reasons, I'm a plein air painter. 

Let's just let loose and have some fun with art. This is what I hope I'm teaching my students along with techniques of painting and drawing.


I'd like to hear your story of the most fun you ever had in the process of making art. When was it? Where were you? Were you alone or with someone else? What did you create? 

                           Go on, get out there and have some fun!

Early Morning Skies

 Greetings fellow art lovers who live under the sky.

Of all the habits that I nurture - the good ones and the not-so-good, 

Getting Up at 6 am to Paint the Sky 
is my current favorite.

I admit that each morning when my phone alarm starts its insistent chirping in the dark, I reconsider my decision, but I get up anyway because a week of painting just 30 minutes each morning has taught me so much.


I've learned that creativity doesn't require gobs of time! Painting the sky as it brightens up to create the day is a self-limiting endeavor.

At 6 am it's still dark. By 7 am the show is over and I'm done!


I learned that painting is what I'm here to do. Every cell in my body does a happy dance while the sky puts on a show, taunting me to paint faster - that cloud won't be there in a few seconds and that rosy orange will turn to aquamarine.

 I've learned to paint fast and in the dark. 


I've learned an easy way to practice what I preach - that to nurture your creativity, you must create something every day.


They say a habit, good or bad, takes about 21 days to form. I'm looking forward to the next 14 days, and I don't want to miss the show.

Morning Adventures

 6:15 to 6:30 am

6:30 to 6:45 am

Did you ever have a big adventure from 6:15 to 6:45 am?

Ever the early riser, I’m often at my desk checking email before dawn. I sip coffee and watch the day begin outside the picture window. I can see a swatch of sky over the house across the street and most mornings I gaze at it sleepily and say to myself, “that’s so pretty – look how fast the sky changes – I should paint that…”

During the Painting the Region: Color the Coast Paintout last fall, my artist pals, Kelly Medford, Elizabeth Ferber and I had the best of the painter’s world – a house on the beach. Each morning for a week, we woke before dawn, scrambled to set up our easels in the dark, and painted from the porch as the sun came up over the Atlantic Ocean. The wind whipped our nightgowns and hair around and at times blew the canvas right off the easels! We painted furiously as the sky changed colors right before our eyes. No fancy mixing of just the right hues – no plotting and planning the composition – just reacting with our paint and brushes to the scene before us, laughing and painting in the darkness. It was a great adventure.

The paintout ended, the artists went home and I went back to work. Each morning I remember how much fun we had that week. I gaze at the sky over the house across the street and bemoan the fact that since I have a job teaching others to paint and draw (poor me!) I don’t have time to paint.

This morning, instead of sleepily watching that patch of sky, sighing and wishing that my life were that exciting more often, I did something about it. I painted that sky – twice. Two paintings in the space of thirty minutes!

The sky outside my window changes colors as I paint – a beautiful and inspiring challenge. Hold on – that pink wasn’t there a second ago!

No more excuses – I am a painter and I shall paint. I’ll keep the adventure alive in my heart. Stay tuned for the results - a peek at the skies over Jacksonville while the sun is rising.

SKIES OVER JACKSONVILLE

Determined to keep up the momentum from the Painting the Region plein air 
event, I've been out painting several times in the last few weeks.

This past week, Bruce Ann Ferguson and I met at Mayport Little Jetties. When I arrived, she was well into a large sky painting and since the sky was truly lovely that morning, I jumped into one as well.

Here's a reference photo I took to show the drama of the values.

Morning at Mayport, oil on panel, 8x10"©2011 Jaime Howard

Here's the painting done on sight that
day (not from the photo). 
Now that they're side by side, I can see that though the values may be similar, which after all is what makes the image so dramatic, I could use some "sky time" in the practice of painting those subtle variations in the sky that seem to turn into
not-so-subtle color changes in my
interpretation.

Sky Study, Jax Beach, oil on panel, 6x8" ©2011 Jaime Howard

  This morning, in search of subtleties,
I parked at the beach and painted the sky over Jacksonville Beach. I hoped to convey the feeling of distance.

The blue of the sky itself becomes more intense as it gets farther "up" or 
farther away from the horizon.  The clouds that are farthest away are those nearest to the horizon. They are smaller and closer together than the ones painted higher up, which are closer to the viewer and are painted larger and with more intense values. This is what gives the impression of distance in the painting.

The feeling that a two-dimensional surface (the painting) is three-dimensional
(the sky!) is just a trick of the artist. Sleight of hand, I tell my drawing students.
Learn a few of these kinds of tricks and you are a magician! 

I'll let you be the judge good a magician I am. Can you see into the distance?

Painting at Little Jetties

First Coast Plein Air Painters (FCPAP)

met to paint today at Little Jetties in Mayport, Florida. I've been to Mayport many times, to eat at Singleton's, to board the ferry, and last week, to paint during the Painting the Region event. 

I had never been out to the end of the jetty until this morning and I didn't know what I was missing!

I dragged my rolling bag past a dozen or so FCPAP members, all in enviable  locations with views of the Intracoastal Waterway, the purple flowering grasses, the fishermen and the aquatic birds. When I got to the end, I found a shady bush and plopped down into the sand. As the dolphins frolicked just offshore, I painted.

 I almost don't care if I like it or not - I just enjoyed sitting on the beach,

watching the fishermen,women and boys, and the swimming dog. 

Driving back to the road, I stopped to watch a little church hold a baptism in the ICW. This was the best part of the afternoon - singing Shall We Gather at the River on a beautiful Sunday afternoon.

The girl in the bikini didn't even bother to move.

Painting the Region - Coloring the Coast

This past week has been one of the most fun of my life! Participating in Painting the Region, a plein air painting event was so great. Over 40 artists painted all week from Mayport to Vilano Beach.
My two most favorite artists stayed with me - Kelly Medford and Elisabeth Ferber. We started the week by getting up at 6 am and driving out to the beach to paint from the Hionides front porch on Atlantic Beach. After a couple of days of this, I asked if we could just stay there each night and we were welcomed to the house. From then on, I painted in my nightgown - ready on the porch before the sun came up - brush at the ready for the first light. It was great.

ARTSY-FARTSY WEEKEND

Janna in the portable painting studio

This weekend found my daughter, Janna and me in Savannah, Georgia for a long weekend together! We packed the portable painting studio, AKA my Nissan Pathfinder, with painting supplies and headed to one of many peaceful southern vistas, Bonaventure Cemetery.
The second day, we were joined by our talented friend, Becky deMarco.

Like daughter, Like Mother

Guerilla Painter Setup - This pochade box and easel combo makes it simple to take the essentials outdoors.
Many thanks to Guerrilla painter, Carl Judson, for helping with my plein air setup and teaching me how to use it effectively.
Check out his supplies at judsonsart.com

My almost finished painting
This is the 5th in a series of cemetery paintings. As locations for painting, cemeteries are peaceful, mostly quiet spots with opportunities to paint a great variety of subjects. I tend to gravitate toward the headstones, grave markers and the statuary. Janna had her eyes on a huge oak tree covered with vines, while Becky was attracted by the open vistas and trees.

FINISHING AN UNFINISHED PAINTING

I have in my studio a box labeled "Unfinished Paintings." Since I work mainly outdoors or en plein air, sometimes the weather or the time of day or a prior commitment means that I must leave the scene without completing a painting.

Today, I opened that box and took out a memory of a sunny day and a Savannah landmark, Polk's Market. Becky, Elaine and I stood in the median of Liberty Street across from the market and painted, attracting onlookers, pedestrians and Mr. Polk himself, curious to see our paintings. I must say that Becky's painting took the prize that day, and mine went home not quite done.

Here is a look at the painting in its unfinished state and a look at its current "finished" state. As finished as it's going to get, anyway!

Finished: Polk's Market, 9X12", Oil on panel

I warmed it up and gave an indication of dappled sunlight on the walls, added some details and finished the lettering on the signs. I think the finishing touches gave it a feeling of summer, with the addition of leaves on the trees, rather than the wintry feel it had before. The leaves seem to form a natural frame for the painting.
What do you think? Should I have left well enough alone? Would you have finished it differently? Is it truly finished?