Here’s a bit of Taro by Janet Church

Do the best you can. That is your only flag. Hold your flag high. That is all you have.

Creation is not making up. Creation is your attempt to get at the essential meaning of existence that YOU can see, the truth that you see. This is why everyone makes a different painting.

Observe more to let new meaning that you never saw before come to you.

Observe how table is dark and warm, but somehow cool too. How dark the table is, how bright the background is….this makes the apple more red.

If the painting doesn’t work, go to drawing again. Drawing does not mean simply lines. Drawing means DEEP observation, Drawing is SEEING relationships, is your whole composition.

Make the beginning beckon. (Enter; receiving, high spot and departure are his words for a composition. All flow, all with meaning). The bright background can lead to the center or high spot.

If you ignore meaning of existence, you can’t make any creation. Cezanne had table “sooo solid”. All meaning should be organized as simple as you can organize it. A composition is like dancing, waltzing. Step, step, step, in order

Go to dancing. Think what is wrong to strengthen composition.

In charcoal drawing you study to find emotional attachment to the subject, not study for the sake of study. Draw in everything you feel. Make your relationships clear, even in charcoal. You have got to know how dark wall is, how light table is etc. Got to know.

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Flexible Art Tools by Janet Church

FLEXIBLE TOOLS: for the growth of your artistic perception.  FLEXIBLE TOOLS: that you can USE to develop your skill in art.

Traditionally, art has been a SEARCH for form, a search for the truth of how the artist felt about form.

To learn to enjoy art from the ARTIST’S point of view, PAINT WHAT SMILES AT YOU! Select the subject that you love, so that you will keep your energy to express how you feel about it through all the parts of art WORKING TOGETHER:

  • COMPOSITION: Beginning, receiving, high spot and ending.
  • PLANES: Planes analyzed into tonal relationships.
  • COLOR: Color relationships analyzed into tonal relationships and warm and cool relationships.
  • DIRECTION OF THE FORMS
  • PROPORTION OF THE FORMS
  • TIMING AND MOVEMENT: Learning to move the eye in the timing of the compositions through planes, tone, color,, texture and line.

Art is the production of the WHOLE man. ART is a matter of feeling and thinking. You analyze your feelings into planes, tone, color, direction, proportion, timing so that you can express them on the paper. The person who looks at your art will feel what you felt. You are the artist, who had to learn the skills so that you learned HOW to express yourself. The observer simply feels what you felt–if your art is art: ‘”How red the apple is!”.

Art is a search for the truth of how you feel about the subject. You feel the subject, you express with the help of your knowledge of the tools, you step back to become the observer of your picture. Then you begin again if you are not satisfied: feeling your subject, analyzing in order to express your subject, stepping back as the observer to see if you came closer to the truth of how you feel about the subject. Then begin again if you are not satisfied. This process happens over and over again until the observer–critic in you–is content with your own expression of the truth…your truth. The subject is the teacher and you alone are the boss to tell you what to do. Your knowledge becomes the tools that you can use skillfully, if you practice by trying to express what smiles at you.

ART IS A SEARCH, A PROCESS OF DISCOVERY BY AN ENTIRELY DIFFERENT INDIVIDUAL: YOU.

TOOLS OF ART

  • DRAWING: Drawing is the search for something you do not already know.
  • DIRECTION: Find it through the CENTER OF THE FORM, the edges of the planes, many different ways.
  • PROPORTION: How many times does the head go into the body, the subject into the table, the width into the length, etc.
  • NEGATIVE SPACE: The shape of the space in-between objects, where nothing is.
  • PLANES AND TONAL RELATIONSHIPS: Each plane has a different tone if it is in a different relationship to the light. Think in at least three tones: light, medium, and dark. Get the tonal relationships of the circumstances first. Is the wall lighter or darker than the floor? Is the table lighter or darker than the wall? Then, tone the subject in relation to the circumstances.
  • COLOR RELATIONSHIPS: There are endless varieties of the three colors: red, yellow and blue. Complementary colors–colors that complete the spectrum, neutralize each other (green made of blue and yellow neutralizes red). There are warm and cool reds, warm and cool yellows, warm and cool blues, depending on where they are in relation to each other. Analyze the color relationships, hook the colors into the tonal relationships and you will make the apple really red–if you want a red apple.
  • COMPOSITION: The basic idea of composition is the journey through the picture.

There are four elements of composition:

  • ENTERING OR BEGINNING
  • RECEIVING OR CLIMBING TO HIGH SPOT
  • HIGH SPOT (why you wanted to paint the picture in the first place)
  • ENDING (a way to leave so that you can begin the journey again if you want to)

BASIC CONCEPTS TO REALIZE

1. CIRCUMSTANCES ARE PART OF HIGH SPOT. EVERYTHING in a picture is connected to each other.

Place an ellipse on each table top:

Modern artists took the traditional artists’ search for form and broke the form into the component parts and experimented with them. They played with color for color’s sake, planes to move around into new relationships (cubism), texture for the sake of texture, line for the sake of line, and tone for the sake of tone. Modern art flattened form into shape and experimented with shape.

Thinking and feelings were separated. Some art became very much thinking: Mondrian. Some art became very much feeling: Kandinsky.

New truths were sought for. Some sought to express inside feelings. Some sought to express outside subjects. So, learn to use your tools, practice with them, and you can have fun with art all your life. You can paint whatever you want to, using shapes or form, using your inside feelings or outside subject.

If you love art, you will enjoy expressing how you feel through analysis and you will add your art to history.

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Enhance Your Creative Process

If you are anything like me you just love creating beautiful imagery and nothing distracts
from the joy of this creation process like working for hours using a software just to find
out that it won’t do what you intended. My intention with this blog site is to share things
that have enhanced my creative process and eliminated some of the trial by fire failures.

Being from a computer background as well as an artist, I know that to get passed certain
learning curves, you just need to roll up your sleeves and get started, but thanks to the
internet age we can all share.

Please join me in this journey. We can all benefit from the experiences of others.

Please Share, I’d love to hear from you

Join my Newletter

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A Blast from the Past

I’ve got to tell you when Anja’s daughter Lynne called me I was a bit surprised. I haven’t
seen Anja Maki for years. I missed seeing her at Janet’s memorial art show, and I haven’t
seen her for maybe 30 years when we used to go painting together with Janet. Anja also
studied with Taro.

Well, we have a three day painting excursion planned in Palm Desert at a place called
smoky trees. Dust off the old painting gear. It’s been a long time since I’ve painted on
location and it’s quite a feat. You’ve got to be prepared. What Does a 3 Day Painting
Trip Require?

A little side trip to Milford Zornes 100th Birthday Party at the Pasadena Museum of
California Art. Both Anja & Janet studied with Milford, way before my time. I was
maybe 1 or so.

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What Does a Three Day Painting Trip Require?

Whew – I’m not sure if you’re anything like me but going anywhere for several days is a
monumental effort on both ends, getting ready and returning home.

Painting Gear
• Clean it up
• Make sure you have everything
• Clothing for Hot & Cold, good shoes
• Sun block, sunglasses, lg. hat, gloves
Overnight stuff
• Clothing
• Bedding
Car Maintenance & cleaning
• Change oil / check tires / wash car
• Track costs – Small notebook or travel expense journal
• Journal mileage/fuel costs/purchases along way
• Leave with a full tank / Write down mileage before you leave!!!
Camera gear
• Charge batteries
• Format flash cards
• Clean camera sensor & lenses
Ice chest & easy food
• Few knives, forks, spoons, sm paper plates, plastic trash bag
• Apples / Cheese / Buttermilk / yogurt
• Thermos coffee
• Bottled water LOTS
• Nut mix/ raisins/sunflower seeds / cookies?
• Tuna pouches / small mayo / whole grain crackers
• Paper towels / Toilet paper
• Moist wipes or small damp towel in plastic bag
Cash
Medications /test kit

Pre-pare stuff at home
• Make sure hubby has food, clothes, pill schedule for dog
• Bring gifts – oranges, lemons, pomegranate plant & naked lady bulbs
• Plant bulbs before I leave for my spring flower garden

Getting Ready
If you’ve got your list in place and it’s something that you do all the time it’s not quite
so bad, your painting gear may be in order. Mine wasn’t this time, the last time I painted
was during the summer in my carport where I was working on several “Paintings for
Large Spaces” and things were spread out all over the place.

Not only do you have to be prepared for all types of weather and remote location gear

like food… & clothing etc… but you have to make sure that you have everything you
need including some back-ups. There is nothing like driving 300 miles to paint and arrive
with a broken easel or no white paint like I did. Luckily, I went with 2 great painting
buddies this time and we were able to cover each other.

French Painters Easel
Just a side note: Holly was using a French easel with the painting box attached. I was
always looking for less weight in my gear so I had never even considered one but I
noticed how stable her getup was during the huge wind bursts in Palm Desert. While I
was hanging on to both my easel and pallet for dear life she was happily painting along.

Prepare & modify your list every time you go. It will save you many a missed painting
day.

Returning Home
Never even thought about the returning home part as a drain on my time and focus, I
always see myself just jumping out of the car, TA DAH!!!… READY to Get On With
My Life. Yeah right. The car needs to be unloaded, my painting gear needs cleaning up,
my paintings need to be stored for drying, my clothing needs to be washed, my computer
gear needs to be setup, my camera gear needs tidying & the cards reformatted, my
photo’s need organizing, am I ready for a nap yet?

So as you can clearly see, a nice little 3-Day Trip is at the very minimum 5 Days Long.

Happy Plein Aire Painting!

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Tools for Drawing

1- Direction. Hold your arm straight out. Keep the stick flat against your thumb and forefinger. In other words, don’t poke or point with the stick. Pretend you are a clock. When you find the direction, swing the arm back to your paper. When checking your direction, start with the line on your paper and see if is the same as the side of your table You can do perspective with this tool. There are 360 different directions at least when you are being a clock.

2- Proportion. Hold your arm straight out. Measure from the top of your object with the tip of the stick and bite in with your thumb at the bottom of the object. Then see how many times the object goes into the closest side of the table. Never bring the size of your object direct to the paper. The only thing you can bring to your paper is the number of times the object goes into the table. Then divide your table into the same number, and that will be the size of the object. This means that Circumstances are part of your object, or connected to the object.

3- Negative space. The shape of nothing. The shape inside your bowl where the apples are not.

4- Parallel lines. Lines that never, never touch. There are no parallel lines on the card table. There are parallel line on the vase and the jewel box because they are small and turned toward you at an angle.

5- Ellipse concept. Draw a hole in the tale to find the bottom ellipse. Narrow table, narrow ellipse. Open table, open ellipse. copy bottom ellipse for top ellipse. Narrow ellipse has lots of side showing. Open ellipse has hardly any side showing. Never bring the side connecting the top ellipse to the bottom ellipse past the diameter of the bottom ellipse. You can make any shape of bowl or vase with this concept. Get the proportion of the diameters into the length of the vase.

6- Cube concept. The legs of a table or chair end parallel to the top of the chair or table. You have to figure this out. You can never copy what you see, because the paper is flat and the subject is three dimensional. You can be tricked by the eye.

7- Tonal Relations. The only way to get thickness feeling on a flat piece of paper is with tonal relations, light, medium and dark. If you get the tonal relations, you can stick your hand into the vase and the jewel box will pop up from the table.

8- Composition. You have to really like what you want to draw or paint. Then organize it so that you have an entering in, a climb to high Spot (what you really liked) or you can go down to high spot, enjoy high spot and ending. (leaving the paper). It is a journey on the paper. It has four parts: Entering, receiving or climb (up of down), enjoy high spot and ending.

Things to remember:

Art is Thinking AND Feeling.

Circumstances are part of High Spot.

Don’t be tricked by the eye.

Paint what Smiles at You.

We don’t copy, we create.

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Taro’s Speech on Art Today

I want to explain what I believe and what I do. I am not here to argue. You can
talk about art in a simple way and you can talk about art in a complicated way.
Why do we paint? Food makes us live in a physical way. But food is not enough.
Why don’t we want to die? Something makes us want to live. We love something so much
that we don’t want to be disconnected with the meaning and excitement of it. We want to
share it. It inspires us. It is a very deeply serious matter, yet it is very simple. Something
outside of makes us so. Some meaning makes us so. This meaning we want to tell in the
drawing and painting. The reality outside of us could be one apple, could be the whole
world. We don’t know how much we can discover the meaning to tell others. We have to
look for the truth in the truth which makes us love. We have to search with others for our
own growth.

Art seems very complicated in our time. Some think it understandable. Some think
it not understandable. Even the understandable art is not always inspiring.
We now live in a confused world. Up until the post-impressionists (World War I)
we did not have this confusion. Some people don’t know what is art, but can’t resist
painting because of human nature. The meaning of art is chopped into so many ways. The
realistic art seems stuck in surface copying. The unrealistic or abstract art is not
meaningful yet. It is very difficult to understand. It is very difficult to get the universal
meaning altogether. It is like a son talking to his father, “I want to be free of you. I want
to go my own way. Don’t try to tell me anything.”

The artist’s way of seeing the truth, the beauty which should mean something to
the people is like the elephant story. One felt the tail and thought the elephant was like a
rope. One felt the skin and thought the elephant was rough cloth, etc. These are all parts
of the truth, but not a complete truth yet. In our seeking, in our independence, each school
has some truth, but we don’t get universal excitement altogether, which great art had in
past history.

After the First World War, many ways of thinking developed in small way in each
country. We have to act in more genuine way to satisfy ourselves and each other.
In every life there is some meaningful thing. This is the purest motive. This is
what we have to search into and develop. Reality has more meaning than copy. We feel
more than copy. This is why we try to abstract, to get to the essence. Yet today’s art does
not give us this yet.

When you are away from your mother, you think of her in a certain way. This is
the essence of mother. This is what you miss so much. But in reality, when you are close
to her, mother looks sad, or tired, or angry. This essence is what we want to reach. This is
what we don’t see in art so much. It is difficult to reach there. This meaning, this value
takes a long time to reach. In what way is she the most beautiful? In what pose? With
what gesture? This essence which the genuine artist can reach can be shown to other
people. Is your mother there? No, but her smile is.

Hokusai made 100 series of Fuji. He caught Fuji in different ways, in different seasons,
skipping different things to get how he felt about Fuji. This was a tremendous effort for
the abstract. Abstract means to draw from, to pull out from something.
He made 1000 drawings just to catch one gesture of Fuji. He was never contented.
In the red Fuji, which is died in pink color early in the morning, his passion became very
strong. Fuji is so steep, so exaggerated. This feeling, which everyone has, inspired others,
developed their understanding. This picture became the most universal.

This is not easy. Truth crystallized in art is truer than truth in the reality. It is very
expressive, very exaggerated. It is the artistic truth of reality. Modern people know this,
but they are in such a great rush. Hokusai spent so much time seeking. “No, I feel much
more than this.” He was so honest, he was seeking in an ordinary human way, which
everyone can do.

The thing that gives us meaning could be simple. It could be big. So you start
from a simple thing which we have in front of us. This we share with everyone. It is a
bottomless deep thing. We have to be honest yet passionate. This is how we can live long.
You carry your own flag, so carry your own flag way high. Don’t drag it in the
street.

There was the old realism which was not true. Real realism is much deeper than
that. All the elements of old realism have been chopped off into separate ways. People
think they can get to the truth in separate ways. Some people think you can tell the truth,
reach the truth through color arrangement alone. Color arrangement is the most important
thing. But life has more meaning than wife arranged in the flat colors.

Some schools think the texture and pigment is the way to tell the truth. Texture is
important to life, no doubt about that. But there is something else to life.
Some think that movement is the life. They tried to express everything in
movement. A cat crosses the street. They see the movement of the cat’s legs. That is all.

But movement is not such a dizzy thing. This present is going somewhere. Legs moving
is not the movement of life. You have to analyze to catch a better future. This is the real
movement of life.

Some think they can reach the truth through composition alone. It is true that
everything is constructed. Each one’s body is a building. But there is more to a body than
construction.

So taking up each element from the reality, they are in much much rush to
compete with each other. All these things should be organized into new realist way. If we
take this way, art will be much more appreciated by others. It will be crystallized into
more meaningful way. This is a little example of what I feel that I can tell you in a given
time.

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Taro’s Mural

Takikawa Museum of Art and Natural History
Takikawa, Hokkaido JAPAN
Highlights: Tyrannosaurus and Protoceratops skeletons are included
in the prehistoric exhibit.

Taro Yashima MuralTaro Yashima in front of Kagoshima
Science Museum mural at Natural
History Museum of Los Angeles, Los
Angeles, California, February 25,
1969]

Photograph by Toyo Miyatake Studio, Gift of the Alan Miyatake Family

Artist Taro Yashima stands in front of his mural of the ancient dinosaur world for the Kagoshima Science Museum prior to sending it to Japan at the Natural History Museum of Los Angeles in California, February 25, 1969.

Yashima in suit and eyeglasses stands with arms crossed in
front of a mural depicting an open landscape with a dirt path at left and a
bird flying near two palm trees at right. Yashima stands beside Yukichi Ogawa, an elderly man in suit and eyeglasses holding a cane, who donated dinosaur fossils to the
Kagoshima Science Museum.

Published in Rafu Shimpo, February 26, 1969, Japanese section.

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Jan. 26th, 1969 Taro Class

Jan. 26th, 1969

Taro Class

When you start a painting, you don’t know what is beginning, receiving, high spot and ending. You don’t know how much goes to what, how to make the delicate connections between them, how much to give each one, how fast to go on the journey from beginning to ending. You can’t go on the journey without feeling the floor. You can’t go without feeling the wall. If you can’t feel the wall you can’t feel the floor; if you can’t feel the floor, you can’t feel the wall. When you are feeling the high spot, you have felt the squareness of the chair. If you haven’t presented the squareness of the chair, you feel funny and have to go back. If you have not properly presented the subject in its circumstances, people don’t feel right when they look at your painting. The suspicion comes in that it is not a good painting.

I have analyzed how the meaning of what you felt should be given with the circumstances. Without thinking the wall, we can’t feel the chair squareness. The meaning of the wall which is the ending is to take the attention further more. Without ending you can’t get to high spot, or feel the floor etc. At this stage of your picture you should have more developed ending. (He made my wall warmer) You can’t leave the wall alone like you have been doing. This shows you how much the wall is connected with the subject. Now you can feel the whole thing. Now

WE CAN FEEL WHERE WHAT IS HAPPENING. If you don’t think ending, you can’t think the squareness of the chair. Developing the ending, helps show you where to paint. It helps to give you the percentage of importance of the specific value of beginning, receiving, high spot and ending. The ending is different in each picture. You have to try to find out the specific value for each picture of each element of the journey. This is very difficult to think from the beginning, but you have to figure out the value of each. How much do we need floor? How much do we need the chair?

If we get too much interested in the caning of a chair, we can ruin our whole composition. We could make our ending so long we would not enjoy the picture. I am trying to teach you the meaning and the value of things connected to the subject. It is all there in what you feel. Expressed meaning is important to people and how to do it is important to us.

The redness of the beginning is different from the redness of the high spot. That is the way the composition moves. That is the way we can feel the main subject (with this difference). That is why we feel “MMMM……” That is a trick. That is the truth caught in art, the truth that is stronger than truth that is caught in reality. Other people don’t feel it, but we feel it. We feel the artistic truth that exists in the reality that we feel. That is the truth caught in the circumstances. That is the WHERE. WHERE should be organized into beginning, receiving, and ending. Very unconsciously your feeling gets organized into beginning, receiving, high spot and ending when you really care. When you try to present the WHOLE THING when you are talking, you can think ahead and present better than usual.

Your picture is basically growing when you think how ending is connected to beginning, how ending is connected to receiving, how ending is connected to high spot, how ending is connected to making the chair square, how ending is holding the subject, how ending is backing up the subject.

TEA TIME

When you express yourself, you are the prettiest. When you learn as much as you can and express it, you are the prettiest and no one can beat the beauty of that moment. If you know that this is beauty, you can carry on that beauty. There is life in the life at that moment.

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HDR – High Dynamic Range Photography

Don’t invest in a fancier camera; buy better software. As megapixels reach their practical
maximum, software is improving to heighten image quality.
HDR, or High Dynamic Range photography, is quickly becoming one of the biggest
phenomenon’s among professional and amateur photographers alike. The real beauty in
these highly-detailed, extremely vivid images is that anyone can do them.

An ordinary photo gets most of its detail in the mid-tones, and under-exposed photo’s
from the highlights, overexposed from the shadows. By taking photos at different ISO
levels (light sensitivity), then layering them in Photoshop or another photo editing
program, high intensity detail can be seen throughout the entire image.

Dark Mission, currently a New York Times bestseller, is an example of how modern
technology could go back into history and redefine what we can learn about the moon
without physically having to go back. Richard C. Hoagland, the author and founder of
the Enterprise Mission, wants to take the old black and white photos from the moon and
apply HDR techniques.

Some of the photos were over-exposed, some were under-exposed, so he thinks if they
layer them, scientists could gain tremendous insight.

If it’s that easy, why haven’t they done it? Apparently the US government “lost the
photos.” Make whatever you will of that.

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