painting animation, 30,000 frames, 36hrs, 4 days, 3 paintings start to finish


NAEA Conference 2016 Lecture


UPCOMING WORKSHOPS

  • 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

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    CLASS DESCRIPTION
    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 anything..
    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.

    TESTIMONIALS
    "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