Showing posts with label JP. Show all posts
Showing posts with label JP. Show all posts

Saturday, June 10, 2017

Mentors & Muses


-By John Jude Palencar






My High School Art Teacher - Mr. Graff



Tomorrow I leave for the most recent rendition of the Illustration Master Class ( IMC )

This workshop has evolved into more than just a week long illustration class but goes on to feature artists, gallery owners and other creatives from a variety of fields. From what I hear, it�s immersive, intensive and inspirational to all that attend. I�m honored to be included in this fine group of artists. Hopefully, I will be able to inspire and further the development of other established artists and students�. and make them believe in themselves and their abilities.



This teaching opportunity has prompted me to reflect on my past experiences with workshops and former teachers. There is one teacher in my life that really rescued me from becoming a juvenille deliquent. He gave me hope and instilled a belief in myself� that, yes, I could be an artist� My high school art teacher Frederick C. Graff.( http://www.fredgraff.com ). Recently he sent an email stating that he and his wife were selling their large victorian home, studio & gallery. They were moving to South Carolina were he and his wife own a 2nd home & studio. Mr. Graff ( he will alwys be �Mr. Graff� to me) was having a �Burn All Bridges� sale of his art. More than one hundred of his loyal Ohio collectors showed up! He almost had a complete sell-out of his available work! Every collector was walking away with one or two of their favorite watercolors. There were numerous stacks of �sold� paintings leaning against several walls in the large victorian rooms.



I popped in unannounced. Always garcious, my mentor and friend greeted me with open arms.






In progress Old Maine Demo 1984

A little back story: Mr. Graff and I have been friends for more than forty years. We have painted on location many times when I was in high school. A number of students would go out with him on weekends and recieve instruction at no charge. He was running a number of workshops that people paid for � but we were his students, so it was free. Years later I would accompany him to his workshops in Maine. In fact the last demo I ever did was at his Maine workshop when I was around 27 years old. You know� not much has changed. We can not see each other for years� and yet, pick up were we left off years before. He was, and still is a well of knowledge regarding watercolor techniques and materials. Because of his extraordinary teaching ability I was able to believe I could become a practicing artist. Growing up in a middleclass bluecollar neighborhood � believing that was nearly impossible! Art in my neighborhood was like voodoo - strange, magical and dangerous.






Final Maine Demo , 1984-85 ? Stonington, Maine Town Hall, Watercolor, Size:?



Under his instruction my work improved at a very rapid pace. Within two months of his instruction I won the grand prize in the Cleveland Press Art Competition ( A now defunct Cleveland newspaper). In fact I won the same award two years in a row. Mysteriously the third year I didn�t win any award for the Cleveland Press competition but won the Hallmark Honor Prize instead. During my three high school years I was able to win over fifty awards ( many with cash awards), a number of scholarships and sold many paintings� all because of this man. He started me on my way. With his encouragement and my family�s support I was able to believe.



Now, more than forty years later, I would just like to publically say - �Thank you Mr. Graff�!

My Mentor, my friend�. Good luck on your new adventure.

Until we meet again��











Remember to always thank your mentors, teachers, parents and all the people that have helped you develop and encouraged your artistic pursuits. Give credit where credit is due�

They deserve your praise.









Saturday, March 18, 2017

Revisiting Forgotten Knowledge


-By John Jude Palencar







"Tree Goblin, John Jude Palencar, Watercolor and gesso, 8.22"W x 8.32"H





When I first began to seriously develop my art I was in high school. Transparent watercolor was the chosen medium of my art teacher Frederick C. Graff. Over the years I have moved away watercolor and used pastel, egg tempera, oil�finally settling on acrylic. Occasionally I will paint an oil or egg tempera� mostly, I�ve worked in acrylic. It suits the illustration field and my artistic temperament.



Recently I decide to visit the past through watercolor. Realizing that I have been away from the watercolor medium for so long and that it would take a bit of time to acclimate my watercolor senses to their former sharpend perception. I was shocked to find out that it would not be as easy as I had thought it would.



Since my absense the world of watercolor paper has changed in some cases, drastically. It seems that certain manufacturers have cut corners and now produce inferior papers. Others have changed recipes for economic reasons (?). Since I am at the beginning of a new search for a selection of papers. I will have to find my old favories to see if they have undegone any alterations to their cellulose personalities.



Following, are my first attempts. Even though these are watercolors they are not of a pure nature� meaning, I have introduced an opaque medium such as gesso or gouache and even a touch of acrylic or ink. However they are about fifty to seventy percent watercolor. Depending upon the area of the painting you�re looking at! While they were intinally approached with true watercolor methods in mind, I had to change my approach due to the aggravating attributes of the watercolor paper & probably my long forgotten knowledge.








"Centurion", John Jude Palencar, Watercolor, Gesso & ink, 19.75"W x 15.25"H, Hotpress WC paper.





I had purchased a 300lb hot & coldpress paper. You would think for the cost and weight of this unnamed paper that it would have insured an admirable result. A decent paper should be able to take a beating from a number of common watercolor techniques. But it failed miserably. I was able to rescue each attempt by introducing and opaque medium. If I hadn�t these attempts would have been completely lost in a sea of mud and chewed up surfaces. I guess it's an opaque rescue.



To render something with pure transparent colors yields wonderful effects and beautiful results - That is my goal.. Therefore these attempts are only the beginning (again).



Part of my reason for using opaque mediums in these work was due to the failure of the paper. I will not mention the manufacturer. But it simplying did not have enough sizing in it. The paper acted like blotter paper. A good watercolor paper should not behave in this manner. I�ve spoken to other illustrators and painters about this�. They all confirm that some papermakers are cutting corners in their manufacturing process. I don�t know if this is because of enviormental regulations or simple cost saving shortcuts.



I do know there are good papers still out there�.. please help me find them�..



Hey - if anybody knows of a decent watercolor paper. (or watercolor board)� Please comment and list what you like about the paper and what you don�t like. Please list the sheet sizes too.



Thank you -



JJP






"Pripyat", John Jude Palencar, Watercolor & white gouache, 10.25"W x 13.00"H, Coldpress WC paper.