Showing posts with label Plein Air. Show all posts
Showing posts with label Plein Air. Show all posts

Wednesday, April 12, 2017

Artist Outdoor Must-Haves, Part 1

We are getting some much needed rain and everything is quickly getting green.  Time to get out and paint!  I've had some time here and there to get out a little, and plan to get out more in spring and summer.  I'm teaching two plein air workshops in Kansas City and in Evergreen, CO this summer.  I'm also participating in the Telluride Plein Air Event, going up to Jackson, WY to paint, and hopefully squeezing in a paint trip at the end of summer (whewww!!).  To help get plein air ready, I've taken another look at my equipment and am sharing some thoughts on three tools I find very important when painting outdoors.  This may become a series as we artists can be passionate when it comes to our equipment.

Gamblin's Solvent-Free Gel
















If you are on a paint trip and painting for days at a time, your paint can get tacky and hard to work with.  Or perhaps you are painting in cold weather and your paint has turned into putty.  Some medium may be necessary.  I used to have several of those little metal cups that clipped to my plein air palette so I could bring linseed oil, alkyds and other mediums along.  They get messy fast!  They fall off the palette.  I tried to put the medium directly on my palette to keep things simple.  Even bigger mess.  So then I just got mad and gave up using mediums outdoors.  Until I discovered Gamblin's Galkyd Gel.  Squeeze it out like paint right on the palette.  So easy!!  Now Gamblin has a Solvent-Free Gel version that works just as well.  Made from safflower oil and alkyd resin, Gamblin Solvent-Free Gel is non-toxic and contains no Gamsol or petroleum distillates.  What does this mean?  You can use the same medium in your studio without worry and take it outside for easy mixing.  It will thin in hot weather but so will your oils.  Gamblin recommends not using more than 25% by volume.  In other words, don't think of this as a glazing tool.  There are better mediums out there for glazing.  Gamblin's Solvent-Free Gel is the perfect all around medium if you are trying to keep things simple - and simple is always better outside!

PanelPak Panel Carriers


















I'm not always hiking for 2 miles to get to that perfect painting spot, but when I do, this wet panel carrier is a must!  You can get two panels of the same size in each PanelPak.  Each one is only 3/4 inch thick and adds only 3/4 inch to each dimension.  I can take an 8x10 and a 9x12 one in my bag and add very little extra weight or dimension but still have 4 panels to paint in a day's hike!  One note:  you will need to carry two panels in each, even if you don't plan to paint on both.  They sit in the carrier facing each other which will help protect your painting when it's back in your bag.  Even if you're not planning to walk a great distance, these are still great for saving space in your backpack.  They are also great for traveling by air.  Have you ever tried to pack a wooden wet panel carrier in your carry on luggage?  Yikes!!  They come in a variety of sizes which you can find on their website:  http://www.panelpak.com/panelpaks.html.

Wax Paper and Saran Wrap















What? These two things are just laying around in my kitchen!  If you are on an extended trip or long workshop where you're painting several plein airs a day, that pile of panels is going to get big!  Wet panel carriers are still a must have, but you don't need carriers for all of your paintings.  I've come home with 20 plein airs from a trip.  That would be 10 PanelPaks.  With a little planning, you can select 2 or 3 sizes you'll use on the trip.  You'll need at least one carrier for each of those sizes.  Depending on where you travel and how thick you paint, your paintings could be dry to the touch in a few days.  Once they are dry to the touch, place a piece of wax paper that you've cut to size between paintings and stack them.  When you are done with the stack, use saran wrap to "shrink wrap" the stack so they stay in place.  It's important the wrapping is tight so there's no shifting during travel as shifting is what will mess up your paintings.  Once you get home, take it all apart.  Thicker paint that wasn't dry could flatten but you can make touch ups once you're home.  This is another great space saver if you are flying to your destination.

Wednesday, December 28, 2016

New for 2017 - Individual Lesson Plans!

Hello Artists,
I’m excited to let you know about new classes I’m going to start in 2017. Unlike the Online Mentoring Program where the classes were predesigned, these classes will be designed for you, based on your short term and long term goals. We start each week with a quick Skype chat about your goal for the week. Once your work is complete, you send digital images to me so I can review. Then, at a scheduled time, we’ll have a 20-30 min. discussion while you watch me work directly on your image! This way, you will have a before and after image of your painting. Both programs are $250 per month. The individual lessons can be on a month by month basis for a length of time of your choosing.

You can read about both programs on my website and then decide which would be best for you.
https://kimcasebeer.com/…/2017-online-mentoring-program-and…

Please don’t hesitate to contact me with any questions that you have. I’m excited about the opportunity to being able to work more directly with you!

Sunday, August 28, 2016

Small, Intensive Workshop just added for Oct. 5 and 6, 2016. 5 students maximum.

This workshop is set up as an intensive workshop for only 5 students so that each student can work on their goals for 1 1/2 days.

Skill level:  Intermediate drawing and painting knowledge.
Class size:  5
Medium:  Oil, Pastel, Acrylic
Hours on Wednesday 10/5:  5:30 pm - 8:00 pm
Hours on Thursday 10/6:  7:30 am - 3:30 pm
Tuition: $250 per person

To register, contact: 
Kim Casebeer at kimcasebeer@att.net or call 785-409-8949.  I will send out a Paypal invoice or you can pay by check.  The first 5 students to pay will have a spot in the class.

We meet at my home/studio: 3600 Ian Circle, Manhattan, KS  66503 on Wednesday night, and will decide where to meet Thursday morning.

Wednesday night we meet promptly at 5:30 in my studio to go over design, discover the importance of notans and value studies, and discuss color theory.  We will work on both value studies and color studies so bring a light plein air set up to the studio.

Thursday morning we will meet at 7:30 am, probably in one of the hotel parking lots in Blue Earth Place, 3rd and Colorado.  We will drive south out of town from there to get to our spot and set up by 8:00 am.   I will demo, then work with individuals at their easels until 12:30.  Meet back at my home/studio from 1-3:30 for wrap up and critique.  Pack a lunch to eat at painting location or back in my studio.

Sunday, August 21, 2016

Several Openings for September's Mentoring Class


I have several spots available for September's Online Mentoring Class.
This program will be limited to 12 students at a time.  
Free book, "Ideas for the Landscape Painter" included.
$250 Per Month /  Click to Receive the Course Outline or Sign Up

"I have just completed an online mentoring program with Kim Casebeer and I would highly recommend Kim as an accomplished artist and educator.  Her instruction methods are very easy to grasp and she is very informative in all areas of landscape painting.  After completing this workshop, I feel her direction has been invaluable, and feel this knowledge has greatly enhanced my own painting skills.  I was sorry to see this workshop come to an end!!" 
- Pamela Brickey

"Kim's mentoring program is the best thing I have done to help me grow as an artist. She is thorough with the process and videos, and generous of her time in giving critiques and feedback. I would recommend Kim as a teacher and mentor to anyone who wants to improve as an artist." 
- Beth Cole

Welcome to my mentoring program for landscape painters.  I’ve been teaching workshops for over 10 years.  During that time I have not only helped other artists learn how to improve their art, but I’ve also learned how to become a more effective teacher.  One of my biggest frustrations of teaching workshops is that after the workshop is over there are no guarantees that I will be able to keep in touch with each student to see how their work has improved and if they have been painting since the last workshop.  The only way to truly make a noticeable improvement in ones work is by painting on a regular basis.

That’s why I have decided to focus my teaching energy toward an online mentoring program this year.  These classes are set up as weekly, in-depth lessons that will make you a better painter by breaking down the process into smaller steps.  Instead of throwing everything at you at once because we only have 3 or 5 days, we focus each week on one aspect - line, values, composition, light, color, brush work, etc.  Yes a certain amount of patience is necessary.  But all of these steps are important.  They are what I believe in and they are what works.   Building upon what we’ve learned previously is what routine practice is all about.  Same for musicians, actors, and yes artists!

Other advantages of this online mentoring program is that you can work in your own studio and at your own pace.  There are also no travel expenses.  If you have taken a few workshops, you’ve probably already figured out that the travel expenses are often greater than the workshop itself.

So what can you expect each week?
•    A video demonstration for each lesson that will range from 1 hour up to 2.25 hours depending on topic.  These videos will be sent to you  
by email each Tuesday by 6pm CST, and can be downloaded to your computer so that you can refer to them when you’re ready.
•    A written explanation of the lesson plan that you can quickly refer to while practicing.
•    A personal critique of your artwork and weekly lesson with suggestions for improvement. Submit each completed lesson on the following
Tuesday by email.  The critique will be returned by email by Thursday at 9pm CST.
•    A full outline of the course’s lesson plans will be provided at the beginning of the program.  It will include lessons on line, composition,
value, temperature of color, intensity of color, brushwork and edges, creating atmosphere, types of light, and more.

Who can participate in the class?
You can participate in the class if you:
•    Have basic drawing and painting knowledge.  Even beginners can participate in this class as we will go through ideas step-by-step and   
it’s on an individual basis.
•    Work in oil, pastel, or acrylic media.
•    Can carve out a consistent amount of time during the week for painting.
•    Have an internet connection and computer capable of opening and playing lengthy videos.
•    Have an email program and address to send and receive images for critiquing.
•    Have a digital camera or smart phone capable of taking a photo at least 1200 pixels on the longest side (4 inches wide at 300 dpi).

How do you sign up?
The online mentoring program is paid for on a month to month basis.  The fee is $250.00 per month and includes weekly lessons and critiques.  You may start at the beginning of any month as long as there is room in the program.  All you need to do is send me an email or call indicating you would like to start and I will send you an invoice.  A Paypal invoice will be sent out by the 20th of the month and is due on the 1st of the following month.  You can pay through Paypal or by check.  You can end your mentoring program at any time.

Once you have paid for a month, the videos and lessons can be downloaded to your computer so they will always be available to you.  Each lesson is emailed to you by Tues. 6pm CST each week.  If you are out of town or can’t get to a computer for a few days, you will still have the lesson and can start it once you are ready.  Don’t worry, I will work with you to make sure you can stay on track!

“Kim provides a lot of information in her 18 week mentorship program.  Even though I have been painting for years, much of the information was new, or presented in such a cogent manner that it finally ‘clicked’ for me.  There are a lot of practices I can do over and over to continue to help me improve my skills.  The information and videos provide great insight into what it takes to become a better artist.  I highly recommend doing the mentorship with Kim!” – Bonnie Bowne

This program will be limited to 12 students at a time.
Free book, "Ideas for the Landscape Painter" included.

Monday, March 28, 2016

Pond Swell Available on DailyPaintWorks.com

The bidding on this little plein air ends in less than 24 hours! It was painted near my home studio, and depicts a swollen pond during the rainy season. "Pond Swell"
5.5x9 in

http://www.dailypaintworks.com/fineart/kim-casebeer/pond-swell/462502

Pond Swell, oil, 5.5x9

Sunday, March 20, 2016

California and Colorado Pieces Available through DailyPaintWorks.com

This piece was painted in Point Lobos State Park in Central California. When the sun started to go down, the rocks just glowed! Such a beautiful place!  I love to stop here to paint when in the Monterey or Carmel, California area.  "Sundown at Point Lobos"

http://www.dailypaintworks.com/buy/auction/523381

Sundown at Point Lobos, oil, 6x8

This piece was painted near Steamboat Springs, Colorado in Yampa Valley during a wet spring.  Yampa Valley is such a beautiful valley, full of ranches, rolling hills and mountains.

http://www.dailypaintworks.com/buy/auction/530986

Spring in Colorado, oil, 10x8

Sunday, March 13, 2016

New Mexico Landscape up for auction on DailyPaintWorks.com

The big open spaces of New Mexico are great for viewing beautiful sunsets! "New Mexico Landscape" 6x8

http://www.dailypaintworks.com/fineart/kim-casebeer/new-mexico-landscape/450742


New Mexico Landscape, oil, 6x8

Rain Cloud up for auction on DailyPaintWorks.com

Rain Cloud, oil, 6x8

The air started to get cooler as I stood outside, capturing these quick changing thunderheads.

"Rain Cloud" 6x8

http://www.dailypaintworks.com/fineart/kim-casebeer/rain-cloud/450745

Thursday, March 10, 2016

Hedge Apples up for auction on DailyPaintWorks.com

When does a landscape become a still life?  While on a walk, I found an interesting design in this mix of hedge apples, leaves and branches on the ground last fall and had to paint them. "Hedge Apples" oil, 6x8 inches.

http://www.dailypaintworks.com/fineart/kim-casebeer/hedge-apples/450738

Hedge Apples, oil, 6x8

Monday, March 7, 2016

Snow Scene Up For Auction on DailyPaintWorks.com

Today's painting is "Crisp Morning" 6x8, oil.

http://www.dailypaintworks.com/fineart/kim-casebeer/crisp-morning/450736

This was painted from my car on a cold, winter morning after a snowfall.

Crisp Morning, oil, 6x8

Sunday, March 6, 2016

Two New Paintings on DailyPaintWorks.com

I have two new paintings up for auction on DailyPaintWorks.com.

Barn on Deep Creek Road, oil, 6x8
"Barn on Deep Creek Road", is a plein air painting of a quaint, red barn that has been preserved and is along Deep Creek Road, near where I live.

http://www.dailypaintworks.com/fineart/kim-casebeer/barn-on-deep-creek-road/450734

Crevice, oil, 6x8
"Crevice", is a plein air painting I completed while on a driving trip through New Mexico.  To me, this is what I think of when I think of New Mexico - rugged landscape and an interesting mix of neutrals.

http://www.dailypaintworks.com/fineart/kim-casebeer/crevice/450735

Thursday, March 3, 2016

Today's daily painting - "Bradley Lake"

Today's daily painting is an intimate scene of rocks, grasses and fallen timber along the shoreline of Bradley Lake in Grand Teton National Park. "Bradley Lake" 6x8 in. Enjoy!

http://www.dailypaintworks.com/fineart/kim-casebeer/bradley-lake/450730

You can check out my gallery page to see what's available in the future, or if you see something you really want send me an email at kimcasebeer@att.net to buy it before it goes to auction.  This is a great opportunity for collectors to either add to their collection, or perhaps get started collecting with these little gems.
 
Bradley Lake, oil, 6x8


Tuesday, March 1, 2016

Garrapata Mood Auction on DailyPaintWorks.com

Here's a new painting up for auction on, DailyPaintWorks.com. Garrapata Mood is an 8x6 oil. I painted this piece in Garrapata State Park, along the central coast of California. It is such a beautiful and inspiring place to paint! 


You can check out my gallery page to see what's available in the future, or if you see something you really want send me an email at kimcasebeer@att.net to buy it before it goes to auction.  This is a great opportunity for collectors to either add to their collection, or perhaps get started collecting with these little gems.  Enjoy!

Garrapata Mood, oil, 8x6
 

Sunday, February 28, 2016

Two New Paintings Up for Auction

G Road, oil, 6x8

I have two new little paintings up for auction on, DailyPaintWorks.com.  G Road a 6x8 oil has almost 5 days left, and Patio Flowers is a 5.5x9 inch oil with almost 7 days left.

G Road is a plein air painted as a demo during one of my workshops at the Flying W Ranch in the flint hills of Kansas.  I've taken many painting groups there.  I painted Patio Flowers from my back patio during a daily plein air challenge.  It was fun to capture the colorful flowers with loose brush strokes.   
 
Patio Flowers, oil, 5.5x9


You can check out my gallery page to see what's available in the future, or if you see something you really want send me an email at kimcasebeer@att.net to buy it before it goes to auction.

This is a great opportunity for collectors to either add to their collection, or perhaps get started collecting with these little gems.  Enjoy!

Wednesday, February 24, 2016

Small Painting Auction Through DailyPaintWorks.com


Clear Evening Sunset, oil, 6x8

One common conversation I have with other painters who work outside a lot is that, "wow we have a lot of little paintings in our studio!"  Sure, some of the gems get framed and sent off to my galleries.  I take stacks of these with me when I teach workshops or otherwise travel and they are available for sale.  Still, I have a lot of great little paintings sitting around my studio that need good homes!  I'm getting ready to do another personal challenge of painting outside every day for at least a month this spring, so I need to make some room.  Which means there's a great opportunity for collectors to either add to their collection, or perhaps get started collecting.  I'm offering these little gems on an art auction website, DailyPaintWorks.com.  Clear Evening Sunset is up for auction right now, and 3 times a week I'll have more go up for auction.  I'll post each auction to my blog.  You can check out my gallery page to see what's available in the future, or if you see something you really want send me an email at kimcasebeer@att.net to buy it before it goes to auction.

Thursday, April 9, 2015

New Book Just Published

Hello painters and collectors!  I have just self-published a little book full of information.  "Ideas for the Landscape Painter:  Taking Your Work from Concept to Completion and Beyond," is a 9" x 7" softcover book in full color with 80 pages.  It is a compilation of information I have gathered through experience, teaching, networking with other artists, and with those in the art business. It is packed with what I hope will be valuable tools, such as:

Information about the tools and materials I use to paint with both oil and soft pastel, and why using quality materials is important.


Why spending time planning your design in the beginning can save you time through the process. Plus samples and explanations on the difference between notan and value study, and how to effectively use each of these tools.


A discussion on color theory, and why questioning the intensity of a color is more important than whether that color is warm or cool.  Color didn’t fully make sense until I understood this!


Where to set up and what to take when painting outdoors.


Idea starters for getting the creative process going!


Plus more information about evaluating your work, varnishing, preparing to ship work, and creating a stand out portfolio.


This book will sell for $19.95.  You can mail a check, but I will have Paypal set up on my website soon to make the ordering process easier.  I'm getting ready to leave for the Plein Air Convention and will set it up after I return.




Thursday, February 26, 2015

The Value of Value Studies

Taking time on the front end to make several, quick value studies is an important part of the painting process.  Unlike a notan which simplifies and flattens everything in the image to either dark or light, a value study lets you develop halftones.  The most effective value studies have 3-5 values.  More than 5 will needlessly complicate your design, and therefore weaken the design.  For these small thumbnails, I use 3 values – white, black and one halftone.  Strong paintings have simple shape and value patterns.

During my time teaching, I have noticed a common mistake students make with their sketches.  They work up their study with pencil or a fine pen and end up with a sketch that has a lot of broken line such as the example below.


The problem with a pencil sketch is that the natural, broken line of a pencil doesn’t show true value.  A more solid value study can be accomplished with design markers in various percentages of cool grays.  For a 3 value study, I use black plus either 70% or 30% cool gray.  Your choice can depend on the contrast you feel you will need in the painting and if the halftone will lean toward the light or the dark.  Why lean one way or the other?  In my previous post, I talked about using notans.  When creating a notan, you must decide if your halftones lean toward light or dark because you are only using 2 values.  The most effective halftone will carry out this idea.  The 30% gray leans toward light.  The 70% gray leans toward dark.  For a 5 value study, use black plus 70%, 50%, and 30% cool gray.

I use Utrecht’s design markers.  They have a fine tip on one end and a wide tip on the other.  There are a variety of markers available, but be sure to get COOL GRAYS not warm grays.

Each of the 7 value studies shown here have the same composition, but with the values placed differently.  In this example, I can quickly work through various ideas and decide which value study is the strongest.  The strongest one will become the design in which to base the painting. 


In these first 3 studies, the foreground is in shadow.   The difference between these is the light pattern in the middle ground and background.  Squint to look at these thumbnails and read the light patterns from top to bottom.  Is the spacing pleasing or too symmetrical?  Is it balanced?  Which dominates - the light shapes or the dark shapes?


In this thumbnail, the background is entirely in shadow.  Notice the pattern from top to bottom reads light, dark, light, dark.  It is too evenly spaced.


This thumbnail has a light, dark, light, dark, light, dark pattern.  Although the shapes aren’t equal, which makes it more pleasing, it’s too complicated.


This one has a light, dark, light, dark pattern but isn’t as even as the first so it works better.


Both of these thumbnails show the foreground in light.  They both have a light, dark, light pattern.  The one at the top is very evenly spaced and not as interesting as the one at the bottom in which the dark shape dominates.

In this final thumbnail (below), the foreground and middle ground are in shadow, with the background in light.  This creates a very simple light, dark pattern.  The dark shape dominates.  Once transferred to a large canvas, it will be necessary to pull a few darks into the light area, as well as include a highlight or two in the dark area.  These are details that can be worked out in larger scale.  What’s important to remember is the large, simple shapes will make a strong design and that one value should dominate the others.


I've discussed using notans which flatten the design to only dark and light, and now value studies that include the halftones.  Next week I'll talk about effective uses for the color study.  Stay tuned!

Thursday, February 12, 2015

Working Out Concepts

Lately I've been working out concepts instead of limiting myself to working from plein air paintings or photos. So what does that mean exactly?  First, let's define concept.  The Merriam-Webster dictionary defines concept as:  

1:  something conceived in the mind :  thought, notion

2:  an abstract or generic idea generalized from particular instances


Conceptual artwork has become to be known as work where the thought that went into it is of primary importance, and the creating of the work is not as important or even unimportant.  Whether this is an accurate definition of conceptual art is a discussion for another time.  The discussion I would like to have today is, how do you work through your creative concepts?  Do you stay true to the field study or the photograph because that is what you saw, do you adjust it to create a better composition, or do you go even further and play with ideas that are sparked from a field study or sketch?  I consider working conceptually as pulling ideas from multiple sources in order to create something new.


Here's an example that started with a cloud thumbnail out of my head.  My main objective was to create a cloud shape with movement.  There were 5 or 6 other thumbnail attempts that didn’t work as well.  This one had the right upward movement and side to side movement that filled the page nicely.

Left to right:  field study used for correct color, Cloud Dance Study 12x12, cloud thumbnail in sketchbook
So I had a thumbnail of a cloud that I really liked.  But it didn't come from a field study or a photograph, therefore I need some additional references to inform time of day, color, etc.  I also clearly need an adequate foreground.  After some searching, I found a plein air of a southwestern landscape and sky (shown on the left in the photo above) that I liked as a color example.  I believe the best reference to use for color is your field studies, especially if you are working conceptually.   I found a photo of a pond at sunset (not shown).  The pond photo wasn’t exactly like the pond in the study, but it was from the correct time of day.  In the middle of the easel you see the study I created from these three pieces.   


Cloud Dance Study, oil, 12x12

Here is the study simply titled, Cloud Dance Study, 12x12.  In order to decide what would be best in the foreground, I started with simple perspective lines that worked with the cloud design.  After that, I decided it would be a pond so I found a pond reference.  The perspective lines could have become several things, but in the end I decided that showing the reflection of the clouds at sunset would be the most dramatic and help continue the upward movement.  I decided on a square format because it accentuates the height, allowing vertical movement.


Cloud Dance, oil on linen, 30x30

After letting it sit for a few days, I determined it would indeed make a good larger piece and started a 30x30.  Working from a successful study gives an artist a certain amount of courage.  What has worked in this format should work again.  I have found that this confidence allows more freedom to play with the paint in a large piece.  Still, there will always be some unknowns when going larger.  In the case of Cloud Dance, the distance in the ground plane wasn't as developed in the study simply because there wasn't space to do so.  But in the 30x30 there was space, and it became necessary to develop and show depth in the ground plane from foreground to background.  I also felt like the larger, single tree in the study was at risk of taking over the focal point which is where the cloud touches the horizon.  In the 30x30, I put in another tree and made them smaller, thereby not allowing one to stand out.


The process of beginning with a thumbnail sketch, going to a small color study, and ending with a larger studio piece, has worked well for me.  It's a process I enjoy.  It may seem as though it takes more time on the front end, but the end result goes so much more smoothly than staring at a blank canvas and hoping for the best.  


There are many ways to work out creative concepts.  What are some ways you work out concepts?

Monday, September 29, 2014

"Fall Unfolding Study" Little Gem Auction for Crop Hunger Walk - Final Auction

"Fall Unfolding Study"  oil  12z10

"Fall Unfolding Study" is the third and final (yes final!) piece up for auction, with 100% of the winning bid going toward the Crop Hunger Walk.  This is the study for a recently completed 50x40 studio piece.  I spent the weekend giving a workshop in the flint hills.  The grasses are beautiful and the trees are starting to turn shades of gold.  In a few weeks we will see it unfold!

All proceeds will go toward the Crop Hunger Walk in Manhattan, KS, which I am walking October 5th.   The Crop Hunger Walk's goal is to end hunger, and has raised more than $294 million in the last 20 years.  I have fond memories of participating in this walk when I was in high school and am excited about doing it again.

It's easy to add this little gem to your collection while donating to the Crop Hunger Walk.

How to Bid:
- Minimum bid begins at $75- yep, that's it!
- Bidding increments of $25.
- No reserve price. Winning bid gets the painting, which is unframed.
- Just bid in the comment section below.
- The auction ends on Tuesday, Sept. 30 at 11pm - Central Standard Time.
- I will contact the winning bidder who can pay by check or Paypal with 100% of proceeds going to the Crop Hunger Walk.  I can post the donation to my Crop Hunger Walk page or it can remain anonymous.

This is your chance to support a great cause and get a little gem of a painting so bid high and bid often!  Good luck!  I hope you get the painting.

Tuesday, September 16, 2014

"Autumn Begins" Little Gem Auction for Crop Hunger Walk


"Autumn Begins", oil on canvas, 8x10, unframed
In a few weeks I am walking (or maybe running) the Crop Hunger Walk in Manhattan, KS.   The Crop Hunger Walk's goal is to end hunger, and has raised more than $294 million in the last 20 years.  I have fond memories of participating in this walk when I was in high school and am excited about doing it again.

So what does this have to do with the painting above?  I have decided to hold an auction in order to raise money and "Autumn Begins" will be the first piece, with 100% of the winning bid going toward the Crop Hunger Walk.  This oil painting was painted on location one morning in Marlatt Park just a few minutes north of where I live in Manhattan, KS.  It shows the grasses changing colors and the sun was starting to peek through the clouds.

It's easy to add this little gem to your collection while donating to the Crop Hunger Walk.

How to Bid:
- Minimum bid begins at $75- yep, that's it!
- Bidding increments of $25.
- No reserve price. Winning bid gets the painting, which is unframed.
- Just bid in the comment section below.
- The auction ends on Sunday, September 21 at 8 pm - Central Standard Time.
- I will contact the winning bidder who can pay by check or Paypal with 100% of proceeds going to the Crop Hunger Walk.  I can post the donation to my Crop Hunger Walk page or it can remain anonymous.

This is your chance to support a great cause and get a little gem of a painting so bid high and bid often!  Good luck!  I hope you get the painting.