painting animation, 30,000 frames, 36hrs, 4 days, 3 paintings start to finish
NAEA Conference 2016 Lecture
JAN/FEB 2017 (Mexico) - 5 day workshop at Hacienda Mosaico. Click here for information and sign up. Jan 29th - Feb 4th
APR 2017 (Portland, OR) Art&Soul, 2-day workshop and 1 day workshop. April 3-9
SIGN UP FOR MY WORKSHOP PRE-LIST BELOW
the amount of material we cover during class depends on the amount of days, level of class you take.
The following is an overview of my concepts and techniques on painting...
This entire process is based on working in reverse, and out of time with
our thoughts. This method forces us to learn to see. Meaning we see what
is, rather than the idea of it. It's easy to get caught up with the ideas in
ones head. We aim to learn that a plan is just a starting point at best, and
it's always ok to change our direction. A rigid plan can confuse us with
let downs and expectations. Just because things aren't going as planned
doesn't mean they are going poorly. I've found in my past that sometimes
even when things are working out better, it's easy to still be confused and
frustrated based on the idea that things are not going as planned. Best
to not look at the plan, but rather what's happening so we don't miss
This class is not about painting a specific thing or outcome. It's more
about how we create that is important. the techniques can be applied to any
style of creation as well as living life.. by watching what happens we can
see what is happening above expectations and thus make clearer decisions
about the future.. changing direction rather than following a preconcieved
idea we came up with before any of the steps had taken place..
I like changing my mind. Especially when I don't like my first choice.. if
somethings not working out it can often be far more productive to drop it
and start over then forcing broken pieces together..
Once we realize this, our ability to learn becomes less painful and
limitless. When mistakes are just encounters to be corrected, learned
from, or left as the perfect accident, we learn not to fight or fear our
actions. I like to use approaches that shouldn't work. This takes away our
desire to expect immediate results. We expect less and get more. This
brings us back to learning to see rather than expecting to see. This is
crutial to opening us to new experiences, and in turn rewards us with
unexpected results in the process. This will in time break down our ideas
and fears of the unknown, allowing us to encounter new things with greater
ease and less fear..
The truer we become with our desires the more we attain them.. finding
what you want in yourself can be the hardest part. After this it's
basically not giving up and pushing forward.. if we move in this manner we
eventually get where we want to go. Frustration distracts us and pushes us
back. Fun and excitement move us forward.. this is why I look for
techniques and approaches that are stress free, physically and mentally
fun.. constantly learning to try something new, look, see, wait, and then
decide with a fresh eye what you really see.. it's amazing what a fresh
look can show you.
Within this process it is the questions you ask yourself that are most
meaningful. Let these guide your creativity and help you find what you're
looking for. Learning to know your steps when you see them. Changing your
mind and direction when needed.. make choices patiently, deciding what
exactly is not working and what is, then move forward by eliminating what
doesn't work with a new choice.. continue in the this manner and your work
will inevitably move forward and work itself out organically and
naturally. Overtime you will develope a style and techniques that are
meaningful and very much your own.
By searching out meaningful directions and imagery you will maintain
excitement and reward in your creations. It is meaning that creates the
feeling of accomplishment.. we accomplish things that mean little to us
every day and we don't recognize or care to remember them. It is the
interaction with meaningful outcomes we remember. when we include this
level of meaning and importance in our work, it becomes very powerful. We
gain confidence in our work, as well as ourselves and even learn to see
ourselves more clearly.
Learning by mistake is easier.
Using the wrong brush, hand utensil, etc is always a good idea. It insures
low expectation - the reward of getting more than expected is very
motivating. This will also force us to learn to look clearly and stop us
from expecting to see something else. It's easy to overlook things when we
have expectations. Using akward utensils developes technique by default.
Color inconcistency using small brushes for large areas creates diversity
of color without even trying an organic active field is created
effortlessly while blocking out we create depth and variation. In the
opposite direction using a large brush for a small area forces us to be
very focused. In time it breaks us from thinking everything needs to be so
exact. It forces our details to come out loose no
matter how tight we make them. After reviewing enough work created in
this way it will be easy to see and understand that it's not so important or
productive to be tense and exact when seeking to achieve something that is
loose, fluid. More emotional than precise. Once you get over not doing
what you expect you will see very free renderings of your intentions..
Mixing color. mixing color.. mixing color. You don't end up with variation
of color without mixing. The quickest way to engage in this is on surface
mixing. Dipping between two or three colors, mixing each time you go to get
more paint, is a good idea. the colors will be similar, yet vary, keeping
things from looking flat or drab. It's not neccasarily a lot of extremely
different colors that make things brilliant, it's a few with a lot of
subtlty. To create distinct seperation, use of opposites is always good..
For me it all breaks into hot against cold. red, yellow, orange, pink,
against blue, or green.
"Working with Jesse gets my creative juices flowing. He reminds me to dance with the paint, not to force a solution on the painting, but to respond to a combination of what is within me and what emerges on the canvas. Jesse’s unique approach to life and painting inspire me to be more appreciative and curious about what I will discover next with the brush. He reminds me to be fascinated, patient, strong, gentle, delighted, and bold." - Jacqui Beck
"I have taken 4 workshops with Jesse-each one I gained RENEWED perspective on approaching paintings from an "UNPLANNED" approach. He uses a variety of creative prompts, mark making, and exercise to jump start the creative process. I enjoyed his mix of class techniques-fast paced prompts, live demonstrations, and plenty of time to work independently with his guidance and input. Along with strengthening my painting techniques, I have also applied his techniques to my art journaling and have gained a new found trust in the creative process" - Jo K. Quetsch
"I've taken both a two day and a five day class with Jesse. The two day class gave me all the basics of his process. I credit him with being the person who got me painting. The five day class not only helped me to better understand his process, but it also made me be more aware of the choices - in particular, the choices I make regarding "contrast" in my paintings - in color, intensity, size and texture. The structure of his classes, with both demo time and work time keep things moving and allow plenty of time for questions and practice. His way of talking aloud while he is painting is really a helpful teaching tool. Jesse is funny and supportive. He understands that art is life and life is art. I loved painting with him!" - Samyak Yamauchi