Packing to Paint Out of the Country

I have been fortunate, especially this year, to head again to Europe. I just finished a painting trip to Ireland and now I am going back to Italy. I am taking a new group, so I decided to write this post to inform them on how I pack. So far, I have been lucky enough not to have anything confiscated! You can downsize this if necessary, but this works for me.

I begin with a bag large enough to carry my wet paint carrier. Since I use Judson Art's guerrilla box, 9 x 12, I use a wet paint carrier from them as well and put in my canvas panels. I use 1/8" Lu an wood I prime myself. It holds about 15.
(www.judsonsart.com). I can fit my laptop and a small purse in there as well and this all fits under my seat on the plane.

In my overhead bag, I put my empty guerrilla box except for my 3 canvases and my well for medium, my tripod that I unscrew at the top and a full roll of paper towel that I unroll and lay flat at the bottom. Paper towels are hard to find in Europe! I also put a few brushes. I have a little space for an extra set of clothes for those just in case moments. I also stash a lot of small plastic bags in the sleeve. These bags really come in handy in Europe where they don't like to give them away! This all weighs about 23 pounds. I have about 28 pounds for the limit.

In my checked bag, I put all of my paints, turpenoid natural (get the paperwork for this), masters brush cleaner and palette knives in a puncture proof bag. I then download the paperwork for my Oil Colors* and highlight the flash points and non toxic parts on the sheets which I get at www.dickblick.com. If I order paint from them, next to the quantity box is a paper icon. If you press that, it tells you what is in the paint. I print that and then highlight it. I also put some business cards/brochures in it so if someone sees the paint, they can see how it is used. I will put my brushes in a tube next to this sac.

Oil Paint: Rembrandt paint - Cadmium Red Medium, Cadmium Lemon Yellow, Cadmium Yellow Deep, Yellow Ochre, Viridian Green, Cerulean Blue, Ultramarine Blue and Titanium White, Winsor Newton Artist Series - Alizarin Crimson. If I use all Winsor Newton Artist series, I use Cadmium Red instead of the medium. 
Brushes, canvas, easel, paper towels, odorless turpentine and a mirror and anything else you may need to paint.

For clothes, I try to pack loose, light, color coordinated clothes and plan to layer. Black and white, black and tan... The weather will be cool in the mountains, so bring a sweater. I like to wear my jeans and a fleece on the plane and take a pair of black pants and a nice pair of pants, so only 2 pants in the suitcase. I like to bring lots of comfortable dull colored tee shirts that I can dress up with jewelry and sweaters. Don't wear bright colors when painting! Don't forget an apron, so you can wear descent clothes while you paint. Bring a hat too!  I usually pack too much! You can always wash something to wear twice! Make sure you bring comfortable walking shoes. I have heard not to wear sneakers in Europe, but Nikes were always popular when I have been there. I also like to bring a lightweight umbrella and/or poncho. Keep your luggage under 50 pounds! Plus, there is only so much room in your vans.

I have found a light weight backpack that fits in the palm of your hand at T J Maxx. They also have the special adapters for plugs there. Or you can carry your gear in your overhead bag.

It is always a good idea to photo copy your credit cards (both sides) and passport and keep them separate from the originals. Bring copies of any important prescriptions or medical info too. Don't bring anything that could be remotely considered a weapon.... Cigarette lighters, metal nail files, wine openers, etc... 

I like to bring about a $100 in Euros in small bills. I can get whatever else I need by using my credit card or their ATMs.

Leave your loved ones an itinerary of where you will be, your flight numbers, etc..

I hope I am not forgetting anything! Have a great trip!

* Make sure you say your supplies are OIL COLORS, not oil paint! They do not accept paint!

Artists Paint Big Horn, Wyoming

Last September, I was sitting at my desk fresh from a wonderful trip to Ireland. I said to myself, "What's Next?" At that very moment, Claudia Post calls me with am idea for a trip to Wyoming. She went on and on explaining her idea. I really didn't hear a word she said because my ears were ringing and I was kinda in shock... It was like the universe had heard me! As soon as she stopped talking, I had one thing to say....YES! I didn't know how I was going to do it, but I was not backing down! I would figure it out! I knew if the universe wanted me to do this, that I would have to! So for the last nine months I have tied myself to my easel trying to make the best paintings I have ever done to pay for this trip. I did every thing I could think of to raise money. Even trying to pre-sell the work I will do in Wyoming. I had a solo show at the South Street Gallery and did pretty good. I got some commissions and even painted live at a supermarket! My friends came to the rescue buying some of my work and others simply put money in cards for me! I couldn't get over their generosity! My friend Sandra pointed out how it was a show of support for me. My gratitude is so deep!

In January we made a date for all of the artists to get together. I had met David Lussier a couple of times and did a demo with a group Claudia was involved in about 5 years ago. We hit it off on that day, but that is really as well as I know either of them. I didn't know the others. We will be renting a house on an Alpaca Ranch. There will be two groups of five each staying two weeks. I figured it would cost me only a little more to stay for the month, so I decided to do it. Claudia is also staying a month. I am sure we will be best friends by the end of the trip! I am looking forward to getting to know all of them!

I have decided to drive out there. I have so much gear, it seems to be the most cost effective. I have my trip ticks from AAA. I am hoping to do it in 3 days. I am bringing over 100 canvases. I am not sure I will fill them all, but I am hoping to. I have read up on road safety and bear and snake safety. I hope I am prepared. Now I just have to worry about the weather. There is the remnants of a hurricane moving up the Mississippi Valley. Ugh.

Claudia has a lot planned for us while we are there. Painting at a Golf Club, painting at Polo Matches and a few cocktail parties with collectors. I am hoping for the best.

Stay tuned to this sight. I will try to update it as often as I can!

What teaching means to me

I was a bartender for 17 years to support my habit as an artist. I still painted more than most people I knew even though I worked 20 - 40 hours a week. I worked nights so I could paint all day. I had the energy so I persevered.

      During the later era of my bartending years, I was able to convert a two car garage into a studio. When it was done, my dream was to have an artist's night where we would paint and trade ideas to lift each other up and also to network. It was so much fun to schedule and host these evenings. I would hire a model and invite artists to come and paint together for the fun of it. During these nights I became close to a lot of these artists. One of them kept telling me I should become a teacher. I should try and spend some time teaching people. I am not sure now what finally made me stop and give it a try. I didn't have the time and I didn't think I knew enough, but I did finally did give it a try.
     The first few classes were really tough. I drew back on my years as being a student and thought about what really helped me when I needed it as well as what I thought was missing in my years of training. There was, in my mind, a lot of faking it. But I found I loved it. And even though I might have thought I was faking it, I really knew what I was doing and my found my passion. I tried to give my students every thing I ever learned and all the things I wanted to know. If I didn't know it, I read from my favorite books till we all memorized it. "Alla Prima" by Richard Schmid was my all time favorite. But there were many more I loved. Before long I could recite from these books. My time at  an atelier, my experience as a plein air artist and my knowledge of the fundamentals helped my students progress at a great speed.
     I have now been teaching for many years. I am so grateful to where this profession has taken me. I have met some of my best friends through teaching. I have traveled to some of my dream locations in the world on workshops with those wonderful people. I have the best hours too. I teach in the mornings which give me the whole rest of the day to paint. And teaching has taught me more, in all my years as a student, about painting. I learn as much from them as they do from me. And now, I don't need to bar tend any more.

     There is no greater joy than seeing the lights come on in a students face. I always say, you might want to punch me in the face at the beginning of the class, but you will want to kiss me by the end of my class. How they sometimes look frustrated or angry until they finally get it and then I see their lips curl into a smile....
     I teach every morning. When the weather is good, plein air "alla prima" (outdoors in one shot) in our beautiful seaside communities sometimes adding a live model, some days inside with still lifes. I find that still life helps with technique because you can control the set up, you can work on it longer and without the distractions of the outdoor elements, bugs and people. Figure and portraiture helps to improve your drawing abilities because if it is off just a little, you can see it. And painting outdoors helps to make you paint faster, see color and to understand how important temperature in your colors to create depth in your work.
   Next sessions classes start January 19, 2017. Please go to www.diannepmiller.com to see the schedule.

Painting the Sagrada Familia in Barcleona

Each year, I design a trip to Europe with a group of artists to go and paint. This year I chose Barcelona, Spain. We had 5 artists and myself painting together all the amazing and beautiful sights. A collector friend of mine saw that I was going and asked me to paint the Sagrada Familia for an anniversary present for his wife. So the day we visited this architectural wonder by Guadi, we brought along our paints. We walked around the church trying to find the best composition until we found the perfect spot behind a pond that was in front of the church. It was the perfect amount of nature to offset the splendor of the cement. 

We set up our easels jockeying for the best spot with the crowds of tourists trying to use the same place to take their pictures. It was truly the best place to be to see this church. With 6 of us painting, there wasn't a lot of room left. We were bumped and blocked many times, but we persevered! After about 2 hours we gave up and packed up our gear. But I was happy with the sketch I had done and could use as a study for the larger piece I was about to do. We all visited the inside of the church afterwards and was totally inspired. What a masterpiece. You really have to see it to understand it's grandeur.

   When I began the larger piece I used my photos and painting to construct the church on my canvas in the best way to highlight the large steeples from the main part of the church. I worked on it as soon as I got back so I could rely on my memory and inspiration from my visit. I visited my friends home to see the exact size that would fit in the spot he wanted to hang it. 

    This was quite a feat to get it on the canvas accurately. I used my sight to copy it. I didn't trace it. When I was pleased with the arrangement, I began to add color. I blocked the whole thing in before adding any detail getting my values and color correct. When that was done, I began to put in the detail. And what detail that was!!! It took me much longer to finish than I thought it would, but I learned so much in the process. Being able to look at each piece of the many details to add to this painting was awe inspiring. What an incredible genius this Gaudi was. 

   In the end, I believe this is one of my favorite paintings. I was able relive and own the memory of being at the Sagrada Familia and was proud that I was able to do it.

Painting the Figure Outdoors

I just finished this summer's session of painting the figure outdoors with the North River Arts Center in Marshfield, Ma. On this last day, my friend and fantastic artist Nancy Sargent Howell offered her beautiful property to paint on and her beautiful self as our model.
  We all traveled to the Third Cliff in Scituate and unpacked our gear for a lovely day considering it was the end of July. Nancy's house is perched on a hill overlooking the North River in Marshfield. The view is so heavenly, it is a wonder she gets any work done!!! I think it is one of the best views in Massachusetts! She has a majestic tree on the edge of her property, so we placed her comfortably in the shade lounging on a chair with her figure heading into our scenes for a great composition.
   Everyone was in a great mood because of our location and gracious host. I gave a quick demonstration showing how to simplify the scene. My students were all set to go! Because we were in the shade with plenty of room for each student to set up with a great composition, my students were ready to get going!.
   After two + hours, everyone had a wonderful painting to show. I saw smiles on everyones face. They worked hard and learned a lot!

In each class, I try to set up an example to help my students grow. In the first class, we did a simple portrait. This way, when we worked on figures, we would know how to map the face into our figures. We did that for a few classes till everyone understood how to do it. The next session was a little more difficult. I had the model lay on the ground. This helped the student to map in the model using discipline and skill to get the figure accurately on the canvas. They had to really paint what they saw not what they knew to get this down right. It was a fantastic class. I was surprised how well everyone did.

The next few classes were setting up models in ordinary and mundane ways. We always had great scenery around. I always tell my students, "even though you may do a lousy job, you are painting in these very beautiful spots!" You have nothing to lose!"

In my classes, we have beginners to advanced. Everyone always ends up with a smile on their face! So if you are afraid to take a class. This is one you should really try! I will show you how to begin and continue at your speed. I will conquer your fears and help you move in a disciplined way. If nothing else, you will have a lot of fun with some great people!

New classes start in September. There is something for everyone! Still life helps you with technique. Landscape helps you with color and painting quickly and portrait and life drawings are important to learn drawing. Tackle your fears and take a class with me. See my schedule at www.diannepmiller.com

Taking a Class with Dianne

Due to the cancellations from the many snow storms this year, some of my classes are starting a little later than usual. My Duxbury classes are starting this week. Take an evening course or come out with me in beautiful Duxbury to paint the many incredible scenes this historic town has to offer.

 In the morning class, I come early to the town to scout out where we will paint. Depending on the weather and the tide, I see where we could learn something new and a place where the students won't be too intimidated by all that nature has to offer. Once I have decided on the location, I meet my students in the parking lot and direct them to our beautiful spot. Once situated, I begin talk about what is in front of us, contemplating what would be the best thing to paint and why. Where is the sun, how will it change things, what would be our center of attraction and so forth... I then begin with a short demo explaining color harmony, composition and technique. The students now have a good idea of how to begin and work on their own pieces. I then go around to each student to help them move forward in a disciplined way. I point out what they are doing well, and help them with what they need to work on. When they are at a stand still, I show them how to move forward by working on their piece until they are ready to move on. We are usually very happy with our outcomes!

In the evening class, I set up enough still lifes so there won't be any crowding. I try to set up scenes that are interesting to paint and possibly sell. I use different color harmonies in each set up. I try to add items that will challenge the student. Different shapes, sizes and textures help the student to improve with each painting. 

My classes are great for people who have never painted before to the most advanced student. Once we all get started on our own pieces, I help each person at what ever level they are at. The classes are a lot of work but are so much fun as we all are there to help each other improve and inspire.

Please go to http://diannepmiller.com/other1 or www.duxburyart.org for more info.

Painting LIVE at Weddings and Events

I have heard that it was Eva Longoria who came up the the concept of having an artist paint live at her wedding. Since then, I have seen more and more painters showing off their work from weddings. I have since started the trend over five years ago.

This is not for the faint-hearted artist. It is a long, hard day of very stressful painting. But it is not without it's rewards. You have to be able to stand for long hours and be able to talk while you are painting. The lighting may not be good, the weather conditions can be challenging. You have to be ready for everything. In the painting above, it had rained for a couple days and the sun was just beginning to come out. I was standing in an inch of water! I have painted in a tent and froze. Unlike the guests, I am standing still while they are dancing and enjoying themselves. But when it goes well, I am like a family member for this wonderful event. I get to meet everyone that comes to the wedding. I let the guests paint on my painting and educate them about the life of an artist and what it feels like to put paint down. I am working in some of the most beautiful settings. I really enjoy it.

My process is to go to the event early and paint in the scene that was previously designated by the bride or party that hired me. When the bride and groom arrive, I paint them in. I finish the painting in front of all the guests. I am usually met with stunned looks and begin to get to know everyone when the come by and see the finished painting. The first painting is usually 11 x 14. I have to work small to get in all the details quickly. If it were larger, it may take too much time.

Once the ceremony is over I run over to to the reception and set up my gear to paint the first dance. You must be very organized to get this done quickly. I don't need a lot of space so I fit in quite nicely. Since I use odorless turpentine, there is no odor to get in the way of the delicious food. I just need a place to plug in my lamp so I can see. When the guests arrive, they are able to see me work from a white canvas and see the finish painting appear in front of their eyes! This time I am working on a 

16 x 20 canvas.

Again, I am quickly adding in the room's details waiting for the moment when the bride and groom arrive and dance their first dance. It is a very tense time for me. By this time, I am already standing for three or four hours. I want this painting to be brilliant!

When the couple arrive and begin dancing, I quickly sketch them in and then take as many photos as I am able, to capture details I may use later when I am back in the studio. Since I like the energy and looseness in these quick sketches, I rarely touch up my paintings when I get home. 

Once the dance is over, I begin to relax knowing I have plenty of time to finish while the guests are eating and dancing. Once my painting is in the finish stages, it's my turn to enjoy myself. I love interacting with the guests and have them add a stroke or two to the painting to make the painting more intimate and personal. This is usually a big hit. Since this is fairly a new trend, most of the guests have never heard of this. They love to feel the brush in their hands and get into the idea that this painting will be on the newly wedded couple's wall with a few of their own stokes.

What the bride and groom get is their very first heirloom. A timeless work of art showing their most special day. Sometimes they keep both paintings, other times they gift one painting to their parents and keep the other. It is fun to see them arguing about who gets what!

I also paint at LIVE events and fundraisers. It is a wonderful way to educate people who would not ordinarily see artists at work. I make myself accessible to answer any questions they may have. It is a great community awareness from the companies that hire me. People may be inspired to donate more at fundraisers knowing they will bring a beautiful piece of artwork home with them.

If this sounds like it is for you, you have to be confident and fearless. You must be able to mingle with the guests while you are working. You have to be able to stand for long hours. And you have to do a good job.