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A gorgeous sunny day marked a hike with the art students at the Palmer Arts Council Summer Arts Program for a day of sketching in the field.  An energetic group of budding artists followed me up the steep trail to the top of the Palmer Butte.  Clutching sketch books, back packs, and cameras we hiked, climbed, and scrambled over the steep trail finding the beautiful treasures of nature to sketch.

One adorable little boy commented that he didn’t want to be rude, but he was amazed that I could climb that trail.  He’s got a lot to learn about the senior citizens of today   We couldn’t have asked for a more perfect day, the usually wind blown summit was calm and clear.

We spent about four hours learning about light and shadow, composing a scene, exploring depth, discerning the shapes of leaves and flowers, and I know I enjoyed the class as much as the students!  Happy painting everyone!

Gail Niebrugge, Alaska painter

Here are my wonderful students, art teachers all, from as far away as Homer to Fairbanks, Alaska, showing partially finished work from the Sunday morning class. At the 2008 Alaska Art Education Association Fall Conference in Wasilla, I enjoyed helping my students with composition, color, values, texture, and anything else I could throw at them using reference material from the Alaska Museum of Transportation and Industry. No easy subject matter for this group. And, they stood up to the challenge, boy did they ever! I am so proud of the quality of art teachers in Alaska, and the talent that they have. It was an honor and a pleasure to work together with them. Best wishes for a successful year to all of you!

Gail Niebrugge, a humble art teacher

The above photo is of a student (Alaska art teacher) working on her painting of a historic tractor with a reflection in puddle of water on the seat. Last Saturday I taught two concurrent workshops to a wonderful group of Alaska teachers during the Alaska Art Education Association Fall Conference in Wasilla, Alaska. We began by traveling out to the Alaska Museum of Transportation and Industry where volunteer Faye Palin graciously opened the facility for our group to sketch. After an hour of sketching and a short talk by Faye about the history, current status, and future of the museum, we traveled back to the conference to enlarge our sketches on to canvas panels. The afternoon was spent painting, with several group critique sessions. I am absolutely impressed with the talent and dedication of the teachers in my class. Tomorrow I will teach a shortened version of the same class to three times as many students. What a rewarding experience.

Gail Niebrugge, Alaska Artist

October 11-12 I will be teaching three, three hour workshops at the 2008 Alaska Art Education Association Fall Conference, Wasilla, Alaska.  Please contact Misty Holler at her email: Hollers@gci.net for more information and details.

The first class will be held from 9:30AM-12:30PM Saturday, October 11, 2008.  We will meet and drive to the historic district downtown Wasilla for some plein air thumbnail sketching.  You will need a sketchbook and pencil.  We will study perspective, composition, and the use of positive and negative space.  The second session is from 1:30PM-4:30PM Saturday, October 11, 2008, at Wasilla High School.  Students will utilize the thumbnail sketches and choose one to paint.  Brushes, grounds, and acrylic paint will be provided.  You will need a water jar, palette, paper towels, water spray bottle, and wear clothes that won’t be damaged with paint.  If you want to bring watercolor paint, that is fine with me.  I will give guidance and instruction on paint mixing, achieving distance, complementary colors, and various techniques.

The final session will be a shortened version of Saturday’s two sessions and will meet at Wasilla High School at 9:30AM-12:30PM Sunday, October 12, 2008.  If you have taken the previous sessions and want to work on your painting, that is fine with me.  If you are new, bring some reference material of historic subjects and all the items recommended for the two classes above.  Brushes, grounds, and acrylic paint will be provided.  We will do quick thumbnails and transfer the composition to the grounds to paint.  I will give guidance and instruction on paint mixing, achieving distance, complementary colors, and various techniques.

I look forward to working with Alaska’s Art Teachers.

Gail Niebrugge, Pointillism Artist

Sorry, unfortunately the workshop is canceled for this summer.

Details and information regarding my Summer Workshop July 14-18 are now posted on my website. Click on the above link to find out how to register and what to bring. We are planning to paint a lot, learn much and have a really great time in the height of Alaska’s beautiful summer. Included will be an informal tour, a gourmet dinner and lunch every day, as well as working on location in some very scenic places. I look forward to meeting and working with you!

Alaska Artist, Gail Niebrugge

A few days ago I listed my basic palette and mentioned that I could not find my favorite color Acra Violet by Liquitex listed anywhere on the Liquitex website, so I submitted my question. Amazingly I received a very complete answer from the product manager, Alexis Dykstra. Here is the scoop taken directly from her email;

“Thank you for your email. Lots of changes have happened with Liquitex over the last couple of years. I would like to share a few of them as I hope this will help answer your question.

For a long time, we named all of our colors that contained Quinacridone pigments by the short version “acra”. In 2005, we updated our product names. All “acra colors” are now referred to by their proper pigment names “Quinacridone.” Thus, Acra Violet would turn into Quinacridone Violet, HOWEVER, at that same time we simplified some of the names of our colors. Prior to 2005, Acra Violet was actually known as Acra Magenta/Acra Violet. NOW you can find this color by simply looking for Quinacridone Magenta.

In case you are not aware as well, in 2005 we also changed the names of our products from Viscosity to Body. Now Medium Viscosity colors are Soft Body Colors. High Viscosity Colors are Heavy Body Colors…..”

Unfortunately I doesn’t seem to come in 8 or 16 oz. jars, only in tubes. I need big jars. So, I guess I’ll have to start a new search for a replacement. I hate it when I have to do this, I do so love my favorite colors and find it very annoying to have to make new purchases to test colors that I will probably not use.

More tomorrow,

Gail Niebrugge, Alaska pointillism artist

I have mentioned several times in my blog posts that I use Sintra as a surface for major public commissions, or large original paintings. It is a PVC plastic material, very light weight and strong. I like it for public art because it is durable.

Here are a few tips for preparing the surface of Sintra so that the acrylic paint will bond. If you want to paint on this surface in my July 14-18 workshop, bring some along and I’ll help you. You will also need to bring some GAC 200, a liquid acrylic polymer emulsion made by Golden, to mix with your first layer of acrylic paint to increase adhesion to this non-porous surface. Before you apply paint the surface must be sanded with 000 steel wool and thoroughly cleaned using cotton balls and rubbing alcohol. For best adhesion no trace of oil from your hands or anything else should remain on the surface.

More tomorrow,

Gail Niebrugge, original acrylic paintings

Sorry, this workshop is canceled.

To pack for my summer art workshop in Alaska keep several things in mind; our weather changes by the minute so layer your clothes. Since we will be sketching out-of-doors, bring comfortable shoes for uneven terrain, a windbreaker or light weight jacket, a hat or visor for the sun or rain, sunglasses, bug spray, water bottle to drink, sketch book, pencils, digital camera (optional), your favorite brushes, watercolor palette (optional). You will need a container for water to paint, paper towels or rags, and don’t forget to bring a paint shirt that you don’t care if it gets ruined.

Acrylic paint and rag paper will be available to purchase. If you wish to bring your own acrylic paint here is the suggested palette; Titanium white, Cadmium yellow light, Cadmium yellow medium, Cadmium red light, Acra violet, Naphthol crimson, Burnt sienna, Burnt umber, Ultramarine blue, and Phthalo blue. Disposable palettes are best.
We will have full details and a suggested supplies list available soon. This is just a teaser to get you to plan ahead.

More tomorrow,

Gail Niebrugge, Alaska pointillism art

Sorry, this workshop is canceled.

Mountain Springs B&B located on the Edgerton-Parks Road in Palmer is the location for my one week workshop July 14-18, 2008. This beautiful facility has overnight accommodations as well as a large room for classes, and is located at the foothills of the Talkeetna Mountains near Hatcher Pass. We will focus on acrylic and/or watercolor paint with some outdoor plein air field research, and studio time indoors to complete our paintings. July is a gorgeous time in Alaska, don’t miss out on the fun.

More tomorrow,

Gail Niebrugge, Alaskan Artist

Sorry, this workshop has been canceled.

If you are interested in attending my July 14-18 workshop here are some things that you can do to prepare in advance. The emphasis will be on finding subject matter out-of-doors. So start now by looking at the landscape three ways; distance, mid ground, and close-up. Learn to do quick thumbnail sketches with pencil in a small sketchbook. Keep notes about the colors, important details, and anything else you will need to translate the quick sketches into larger compositions. We will evaluate these sketches together and find ways to improve by changing the focus or altering the composition. If you use a camera it will be helpful to take photos of details that you can refer to when we are back at the lodge ready to paint.

Practice quick sketches, fill sketchbooks with ideas and bring these to the workshop for personal discussion and evaluation. Practice translating sketches to a larger format to paint. Sketches should done with a very light touch in pencil, nothing heavy, no erasing! Just quick, light impressions. I cannot emphasize this enough. This is the hardest part of the workshop for most students. This is not the time to make a masterpiece drawing, save that for a drawing class. Instead, these are rough reference sketches. Learn the difference. It will make you a better artist and help you learn to see. The detail work will be done later, with paint. And, most of all, enjoy yourself! If you are having fun it will show in your work.

More tomorrow,

Gail Niebrugge, Alaska’s Artist

I’ve been thinking about teaching a one week workshop this summer, mainly because a dear old friend has resurfaced in my life with plans to start a series of summer art workshops in Palmer, Alaska. This event caused me to reminisce about the importance of good classes and teachers in my own career.

Teaching is not new to me, I was a member of the adjunct faculty for Prince William Sound Community College, and the University of Alaska for many years. But it has been a long, long time since I’ve stood at the front of a classroom of eager students. I enjoyed teaching, but found that it was almost impossible for me to make a living from my art and find the time to teach.

Here is a list of the courses I’ve taught; Art 161 Design, Art 105 Beginning Drawing, Art 160 Appreciation, Art 212 Beginning Watercolor Painting, Art 213 Beginning Painting, Art 231 Watercolor, Art 205 Intermediate Drawing, Art 313 Intermediate Painting, Art 305 Advanced Drawing, Art 392 Business of Art, and Art 418 Education.

My workshop will meet all day July 14-18, lunch included. It will be held at a beautiful lodge in the foothills of Hatcher Pass, with overnight accommodations available for out of town students. The class will spend several mornings out-of-doors with sketchbooks and cameras to gather research in some of Palmer’s most beautiful gardens, then paint indoors during the afternoon. Acrylic paint and/or watercolor are both acceptable. More information will be posted on my website as soon as it is available.

For questions please contact Mollie Flack at mollieflack@hotmail.com, or leave your name, phone number, and email address in the comments section below this blog post.

More tomorrow,

Gail Niebrugge, Original acrylic paintings

One of fourteen living legends in American Watercolor, as dubbed by the American Artist Magazine in 1983, Edward H. Betts, N.A., A.W.S. is a man that I was fortunate to be able to study under. My first opportunity was a workshop sponsored by the Anchorage Community College in 1980. Subsequently I traveled to two more workshops held at the Mendocino Art Center, Mendocino, California. He became my mentor and advised me by mail for several years. His only rule for mentoring was that I not submit slides of paintings for critique until I had completed at least 50 new works. His advice was always the same; paint, paint, paint. You learn by doing. We corresponded for over 20 years, and his letters are an important source of inspiration to me, even today. His text book; “Master Class in Watercolor” published by Watson Guptill in 1975, battered and dog eared, still occupies my reference book shelf. The second and third editions of the book are titled “Master Class in Watermedia”.

I took many workshops and classes in the 1980’s, but few stand out like the one that artist Barbara Nechis taught for the Alaska Watercolor Society. Although our work is at the opposite ends of the earth in similarity, she inspired me to reach new levels. My Masters Degree Thesis advisor, instructor, and director of the Independent Study School of Illustration at Syracuse University, Murray Tinkelman, had the greatest impact on my life and my ability to make a career from my art. His undying support, enthusiasm, and ability to attract the top notch instructors made my late-life attempt to gain a degree successful. I am forever grateful to Murray and his staff for waiving the required Bachelors Degree and accepting me into the Masters Degree program where I graduated with honors in 1995.

I cannot emphasize enough the importance of studying and learning from gifted professional artists and teachers. God Bless our teachers!

More tomorrow,

Gail Niebrugge, Original acrylic and watercolor paintings

I have tried nearly every color of acrylic paint manufactured, and my basic palette still boils down to simple primary colors with a few browns thrown in for good measure. Years ago I learned that you must always mix your own green, never use pre-mixed greens. I believe that learning to mix all values of green will make you a superior painter. It is easy to spot a novice painter because of the use of ghastly pre-mixed green. For years I included black on my palette, that is another color to avoid. I know, I know, black is not a color! Make your own blacks by mixing anything and everything. These blacks will be richer and better. Using black is a slam dunk mistake in amateur art, and very easy to spot. It creates a “dead” color, areas of paint without life.

One color that I do buy pre-mixed is violet. A truly gorgeous red doesn’t exist in acrylic. It takes a great red to make a fabulous violet, and I’ve yet to find a great red in acrylic. So, my one exception to the rule of not using pre-mixed colors is Liquitex Acra Violet which unfortunately is not made anymore and hard to find. Here is a list of my basic acrylic palette; Titanium White, Cadmium Yellow Light, Cadmium Yellow Medium, Cadmium Red Light, Naphthol Crimson, Acra Violet, Burnt Sienna, Burnt Umber, Ultramarine Blue, Phthalo Blue.

More tomorrow,

Gail Niebrugge, Original paintings of Alaska

During my 35+ years of working with acrylic paint I have tried almost every kind of paint brush recommended, literally hundreds and hundreds of different brushes. Acrylic paint destroys brushes, so the first thing I learned is not to spend a lot of money on one. This is diametrically opposed to watercolor brushes, where the more expensive, the better. I own some fabulous watercolor brushes that cost hundreds of dollars each. Not so with acrylic. What I want is a brush that will stay pliable as long as possible, hold a point if needed and spread paint in nice even strokes.

The problem with most cheap brushes is that the brush hairs, no matter what kind, begin to fall out after use. I hate it when I’m working carefully on a difficult passage of paint only to find a brush hair stuck somewhere on the surface. Removing it will usually cause a mess. My next pet peeve is a brush that won’t hold a point, even after just a little bit of use. I call these my fake fan brushes. If I wanted a fan brush I’d buy a fan brush. When I need a point, I want a point, not something that will make a mark as big as a pencil eraser, or look like it was applied with a cue tip. For the last few years I’ve been using an assortment of styles and sizes of white nylon by Winsor & Newton University Series #233, and white sable Robert Simmons . If any of you have a favorite acrylic brush to share just leave the information in the comment section of this blog post.

More tomorrow,

Gail Niebrugge, original pointillism paintings

If you are scratching your head about what to give the budding young artist this Christmas, or for that matter, the person who has expressed an interest in learning about art but is reluctant to try, give art supplies. They will always be appreciated. A great way to introduce someone to the skills needed to handle a brush and paint is to have them try a paint-by-number painting. Many nice sets are available for all ages and skill levels, and some come with brushes, paint, instructions, as well as the numbered picture and a photo of how the finished piece should look. It might seem amateurish or simple, but believe me if someone is really interested in learning to paint they will enjoy one or more of these kits. For last minute shoppers I have found some very nice kits on the shelves at WalMart.
More tomorrow,

Gail Niebrugge, Pointillism Artist

I believe in studying art, taking classes, and learning all that you can about this wonderful profession.  It has been a few years since I’ve taken any workshops or taught, but my shelves are full of art books from classes I’ve taken and courses I’ve instructed.  No matter what your talent, classes can help you grow and improve.  I think of it this way; it is same as the athlete with natural skills, those that just rely on their talent and don’t study and practice can be out performed by those without a lot of talent, but who work hard, practice and study.

People ask me where I learned to paint, and the answer is; it is the accumulation of knowledge from years, and years of study.  No one person can give you all the answers, but with input from many different people suddenly someday something will click in your head and you will gain some understanding.  I remember studying under a lady who had much less talent and skill that I had, and wondered if she could teach me anything.  It was amazing, but with an open mind I learned a lot from this incredible woman.  Some people are gifted teachers, and are better at teaching than they are at practicing what they teach.  So, study at every opportunity and keep your mind open to new ideas and techniques and soak up information like a sponge.

More tomorrow,

Gail Niebrugge, Artist of Alaska