Sometimes Quickies Are The Best...

Looks like a lot of fun! But do you have issues with hairs falling out with the older brushes?

Nice! also love the brushes!

K.L., that just adds more texture to my paintings. The road, in Misty Road was applied with sand gesso the night before the class. (It takes a little time for that to dry) If you rubbed your hand across the road you could cut your hand because it is so rough. All I had to do in the class was to glaze colors over the sand gesso. That took me around 5 minutes to paint the road.

Thanks Ronald and No! You can't have my brushes. I reincarnate them for every class. I have to clean the floor every night because of the brush falling apart.

I want to take your class!

Abbie, if I could afford it, I would pay for your flight over so you could take the class. Unfortunately I am a poor struggling old phart slinging paint brushes. I have been thinking about getting somebody to film my classes.

Harold you need to tape your classes and put them on youtube. I am sure there is also a password protection for videos for paying customers.

Great stuff!

Remember the Magic White guy that was on TV?

He was sponsored by the manufacture of Magic White.

@ K.L.

heh - Being in my sixth decade I'm more worried about hairs falling out of my head. LOL

------------------------------------
~ Bill
~ US Pictures .com

@Bill Swartwout:

And when you have pets, the fallout is even more interesting! One can have more texture than you bargained for, ha! (Thank heavens for the electric shaver that I periodically use on my paintings, lol!)

Hi Harold, I see we are neighbors! I love your paintings and your brushes!!!

Thanks for sharing your quickies with everyone, Hal!
Love your brushes too.....they look like mine!

There's a very important message here.....expensive, fancy brushes do not a great painting make!

Those are wicked good Hal. We need to exchange brushes fer sure.

Harold, excellent story. I love your old brushes too. Many of mine are the same, really beat up...many of them have done walls. It does give extra texture and I'm glad your under pressure to perform... your work under pressure is fabulous. Those landscapes are beautiful!

@ Iris, I am really thinking about doing just that Iris.

@ Floyd - his name was Ben Alexander and he is the one who started all the TV painting demonstrations.

@Val. Well we live in the same state Val but you live about an hour away from my classes.

@Marlene. you are so right Marlene. I used to buy expensive brushes but now, I just go through my work area where I keep my tools, hammers and saws looking for old brushes. I have found these old brushes have a lot of life left in them.

Hey Kevin old buddy, real happy you signed in here. My eyesight isn't as good as it used to be so painting like this affords me the freedom that I never had years ago. It's not that I like to paint so fast, it's just that I cannot see the small details.

Thank you Lisa. I love your art

Listen to some of these guys Hal...I'm sure since Bob Ross passed...there's a time slot with your name on it somewhere. :))
Just set it up on a tripod...let it roll...and get some decent editing software!
(pieces look great...I like how you handled the mountain!)

Thank you so much Lawrence. I have a good friend of mine who does this for a living and I'm thinking of giving him a call. Most of the mountain was painted with a palette knife. Painting with a palette knife was part of the lesson.

Hal,
Was just thinking about a cool idea for a story....a painting created from the old paintbrushes point of view.
Ah, the stories they could tell!!

Marlene I think that's a great idea. But I think the artist who could pull that off would be Hayao Miyazaki. He's that famous Japanese animator responsible for such great films as : "Spirited Away", "Castle In The Sky", and "Princess Mononoke". He has that knack of combining great stories with great animation. I think that some of his art rivaled Walt Disney's.

You know a little epoxy on that brush and it will hold forever.

Thanks Harold for the "mini" lesson. I don't paint at this present time but I have been wondering the best way to apply paint, since my style is more impressionist so that's cool to know!

Harold, Thank you for posting "Three Best Friends." Although just a practice painting with a giant tear in the canvas, this painting was sold to someone last summer. I can't believe that it actually turned out to be something someone would want. (LOL)

Thanks Kevin, I will give it a try since I love that old brush. I only wish that epoxy glue worked as well on my old joints. :)

Thank you Suzanne. Remember one thing, you have to use gobs of paint on the old brushes to create trees and bushes. Watered down paint and thin paint won't work. It takes thick paints and lots of it to make your brush separate into those beautiful textures.

Lisa, I saw many of your paintings that people "will" buy. Unfortunately, I gave up buying paintings years ago because I ran out of wall space and my flat files are so full I haven't any extra space to put any more paintings.

Yeah Hal, great post. When I have painted grass, bushes and wild flowers I often use a sea sponge or wadded up brown paper. I lay down several colors on the palette, touch the paper into all, then smack the canvas. So easy it seems sinful.

For those of you who are interested, tomorrow night I am painting a seascape. I will be posting it here Thursday if all goes right. Along with the painting I will try posting information on how I painted it. I know this seems like a lot of paintings for a class that has only been going on for 5 weeks but since I seem to be getting new students every week, I feel obligated to put on another painting demonstration, and another, and another, and... In my other classes in the past, I limited my painting demonstrations to around 1 a month. The reason was, along with my very heavy easel, it is a hellofa problem setting everything up and then taking it down at the end of the class. The whole process wreaks havoc with my back and my arthritis and it usually takes me all of the next day to recover. But what the hell, I love it.

I would give anything to take your classes Harold! You are Amazing!!

Kevin, I find that sponges and rolled up paper leave patterns that I have to smudge and blend out. All of my students will raise their hands and shout out Bounty paper towels when asked the question, "Besides the old brushes, what's Harold's very favorite tool in his arsenal?" Kevin, I paint all or most of my skies with Bounty paper towels. Also I use them for certain effects like trees in the distance and other textures where nothing else will work. One day when I was invited to give a painting demonstration to the Suburban Artists Guild, I gave the whole demonstration using paper towels.

Another reason I love painting with paper towels is, when its time to clean up just toss them into the old trash container. :)

I know a painter in Israel who used newspapers to blot his oil paintings. He did a series of 40, which he sold ALONG with the newspaper blotters. Go figure.

Also I find a sea sponge does not leave patterns. yes I like paper towels too. That is why you are the experienced one. I think a "Painting with Hal" TV show would be great.

Thanks Kevin. I love your painting of "Cabin in the woods." I would really like to see it in person because then I could see all of the textures.

Years ago I came very close to having my own television show featuring painting demonstrations by me and other acrylics artists. I had been in contact with the marketing director of "Liquitex" paints about it and he was thrilled, to say the least, when I explained to him how I could improve his sales between 10% and 20%.

In my experience of hiring illustrators, I found out that most, if not all of them, never worked in acrylics until they were in their 20s. The reason, I thought, was in the art classes in schools, they only taught the use of charcoals, watercolors, oils and gouache - but never acrylics. For that medium, one had to teach themselves. If there had been a TV series devoted to acrylics on TV in the daytime, young people would have been exposed to them at an earlier age and some of their parents would have purchased sets of acrylics instead of oils. All of that has changed in the past 20 years or so.

Not only did he agree with me back then, he gave me some names of people in his marketing department to call. It was less than a week later when I received a letter from Liquitex that all correspondence and projects were put on hold. Sometime later I found out why, Liquitex was merging with a company in England and moving their company across the pond. When I was in contact with them, they were located practically in my backyard here in good old New Joisy. The division of Liqutex that I was in touch with no longer existed and since then I got side tracked into other projects and work.

Now I would have less of a chance getting my own show because the price of educational TV shows has went up, thanks in part to the successes of shows like The Bob Ross Painting shows. This was explained to me in the last conversation I had with my contact.

This is where the business offices of Liquitex are now located:

United Kingdom, The Studio Building, 21 Evesham Street, London

W11 4AJ
England
Tel: 020 8424 3200
Fax: 020 8424 3328

Great info Hal. Too bad it did not work out. Had a similar experience with advertising for Remington Fire Arms. Got interest and then shelved in the bottom of a drawer. Later they came out with a concept very similar to mine. Ah well, no hard feelings. You have a great thing going here.

Kevin I have always been of the belief that in this life, you win some and you loose some. I always believed that the man upstairs is in charge of my life and if he had wanted that Liquitex deal for me it would have happened... so I have no regrets. Of course, way back then I had many regrets but that's all part of growing up.

Lori, I would be so happy if you could make my class. As I mentioned above, I am going for 25 students and won't stop recruiting until I reach my goal.

Welll, as I promised you, here is yesterday's class demo. As I have mentioned to my class, please don't judge me on the quality of my painting, only watch and learn my techniques and painting procedures.

its gives more freedom when painting quickly...i see the overall balance of your works..im jealous i cant do that..i have to plan carefully and save every pigments i can for its too expensive for me

Thank you Ronald. Many years ago when I was in that same boat Ronald, I painted pictures and then sold them in order to get the money to buy more supplies. You are very talented and shouldn't have too many problems selling your work. If you can't find the buyers for your paintings then draw some sketches in pencil or charcoal, they are less expensive and you should be able to sell them. There is always a way for an artist to make some money if he chooses to do so. Good luck Ronald. You have too much talent to let it go to waste.

Hiya Hal,

Just a quick note to say hello and hope you are well.....

...cowboy.....

Hiya Enver,
Long time no hear from you. Good to see you're still kicking old buddy. Where are you and where have you been traveling recently? As for me I'm no longer kicking, let's just say I'm sliding along very well. :) I started this class recently and wished a lot of my old friends like you could be there...maybe not for learning but some moral support. Next week I will be painting an impressionistic painting for my class demo. Should be you, not me, giving that class.

Hal,

I will certainly connect with you when I am back in NY. Recently...the northern arctic, Russian federal states, Latvia, Berlin and Morocco....

We should arrange an FAA show in New York....just for old times sake....as for anonymity - I don't put my name on my canvases ...like Paul Cezanne....regarding the surface of a canvas as sacred.....and matter of opinion...painting fast avoids all cranial debris.....allowing for pure interpretation of the subject, clear of intellectual radiation. Slide on big guy.....



Templehof Berlin Germany 2014

Enver, you did it again. Using all those big words confuses me. :) I know that you and Charles Peck get a kick out of that. Thank God that your paintings don't confuse me. I think I would be able to spot an original Enver Larney even without the signature at the bottom.

That sounds like a great idea, having an art exhibition in NYC. Maybe Sean could get in on that and make it happen. I will suggest it to the higher ups here at FAA for a show next year. God but you travel the world. In your life the world is like a book and you are enjoying it from cover to cover...I forget who said that but I probably got it wrong anyway. That's a very good idea Enver, the next time you get to NYC, give me a call and we'll get together.

Enver always good to see you check in, but as to calling that Eastern dude Hal a "cowboy" well, we need to talk.

Hi Kevin....

look, my grandmother was born Irish so we have more than much in common.....I love your new wealth oozing avatar.. seems like you've sold some work recently...that shirt must have cost quite a packet....(or is it the million dollar sunnies) I always envisage Hal on a horse, the sound of a whip and glorious sunsets....

Right Hal....Peck and I loved skating on very thin ice here.....but the words have me confused as well....If Sean sets up all the works and PR, I'll certainly cross the bog for that. Hope you are both well.....miss all the blood and guts in the school quadrangle....

:)

Hey Kevin, I when I was in my 20s and early 30s I'll have you know that I was a cowboy. I used to go horseback riding every two weeks. I never fell off or got thrown either, that is not until I started working in advertising. Then I took a lot of falls, too many to mention here. :)

...I can sense these things....once a cowboy... always a cowboy.....

NYC art show killed right off the bat.....that's about how things go when the ferry gets too full of bodies.....A show like this will have to be amongst a very few (say five - seven) artists, each presenting five top quality works.....a collaborative effort....I know of many top rated artists here at FAA whose works demand collectibility....all behind the scenes work done in private and artists fly over there bringing there own stuff and taking care of framing themselves. Curatorial to a top notch NY afficionado and a gallery of the highest order. When things are done independent of the masses, it generally works. I'm in despite over 60 one man shows around the world and almost nauseous of the gallery scene....but people have to see art in the flesh....it is the only hope that the world has got left going for it....photographers can do their own thing, it's a free world. Sorry HAL, a bit off subject.....quickies rule....of course, even if it takes months.....:)

Hiya guys,

Here's a shot of last night's art class. A few couldn't make it but I still had 16 people show up. I will post the painting that was done later.

Hal,
Can I ask how you put together a course? I've always shied away from teaching as I learned so early that what I know is more instinctual than academic organized. But I get a lot of requests. So guess it's time for me to start seeing how you do this. Do you have a lesson plan and things like that? Do people actually paint or just listen? And of course is this profitable?


Your work (even off the cuff) is superb. Your class is very lucky.
-- mary ellen anderson

Hiya Mary Ellen,

I put my classes together - not a course - with a planned image to be painted. All of my discussions are improvised based on my years of experience and stories that I lived as a professional artist. I believe that if you rehearse and plan on what you are going to say, the session will become stilted and boring. Plus, the class is asking me questions all evening and that can't be rehearsed or planned.

My classes are all about painting, not drawing. I have told them over and over that learning how to draw takes a lifetime of practice and work. I have been involved in art for over 60 years and I'm still learning how to draw. But, I can teach painting techniques, tips, methods and all about the tools and brushes needed. That is the crux of my "painting" classes. People listen and watch me while I demonstrate the uses of brushes, palette knives and paper towels, Yes, you heard me right, I use paper towels in my paintings. After I finish my demonstration, then the class paints the same picture using my techniques and methods. Some like to paint while I am painting but find it difficult to keep up with me. I won't slow down so that they may pace themselves with me because my classes aren't about speed, they are about painting. Usually I will bring in one or two paintings that I painted to display the techniques that I am teaching on that particular night.

As far as my classes being profitable or not, I don't collect any money from my classes, instead every penny goes to the church. It's my way of giving back what I have been blessed with. Each class costs $15.00 per student. Multiply that by the number of students and you will get the amount made for each class. I will let you do the math. I have a goal of 25 students, so I am still recruiting for more people. Each week I have been getting 1 or 2 new faces in the class. Also I try to make my classes a lot of fun. My students will tell you that I have a motormouth and a ton of funny stories and jokes while I paint. I believe that if people sit for 2+ hours and aren't having a good time, they will stop coming. So I try to balance my teaching with an even balance of fun.

Hi Hal,
I'm liking the sound of this more and more - lol. If it's all for charity than maybe expectations aren't too bad.

I have enjoyed your paper towels stories... and since I do it too, realizing it's a technique - lol. The amount of things I've use to paint with is extensive. In fact I have a bit of a reputation as a toothpick painter. When young (under 15) than I'd wear the bristles off my expensive sable brushes and couldn't afford new so I'd use the brush stem and keep going. Eventually it occurred to me I could just start with the stem (which were pretty much toothpick size) and be done. Hence I now am a expert on how to paint with toothpicks as a palette knife technique - lol. Think anyone else would want to learn this?

So will this be a perpetual class or a period of time? I like giving back like this.

P.S Do you provide materials or do your students bring their own supplies?
-- mary ellen anderson

Hal. I know at least one reason why you've made your classes all about painting, rather than drawing: Like me, you talk to your students while you're showing them how to paint (and Bob Ross was exceptionally good at this!).

To begin with, I've found that it's easy to listen to books on audio CD as I paint, and I'm able to comprehend and retain most of what I hear while staying 'shiny' enough to be able to do my best work; likewise when speaking to an audience during a painting demo, or explaining while showing specific techniques to a student - painting and talking/listening go hand-in-hand.

But talking while trying to draw yanks me right out of my 'groove.' For some screwy reason, it sets up a conflict between the left and right sides of me brain, resulting in a kind of 'brainfreeze,' and I'll just stop in mid-sentence, or worse...forget what the heck I was talking about.

On the other hand, (she had a wart!) I always tell my students that if they have a strong desire to become proficient painters, they should acquire good drawing skills, because drawing teaches an artist first, how to see the world, and second, how to interpret it and then third, how to transcribe it using simple, two-dimensional lines.

Oye...such a conundrum!

@Mary Ellen, Toothpicks??? I will have to try that. A couple of years ago at one class I was teaching at the Senior Citizens Center, I asked the class to bring in sticks, twigs and small branches they found on their lawns or sidewalks and I would show them how these wooden throwaways were good for creating textures and grooves in their paintings. When I'm home I just turn my brushes around and then paint with the handles for certain effects. I usually don't provide my students with supplies but I'm always an easy touch for a color or brush that they need. They always return the brushes though. I also supply table easels for some who don't have one yet.

Hiya Patrick, I wouldn't be able to handle that either. When I'm drawing, it's a lot easier for me when I'm by myself and in a quiet room with some music in the background. I also believe it's all about concentration and lately that's getting tough for me. One thing that's a little different about my students from yours Patrick is the age difference. The average age in my class is around 55 years old. Although I do have one student who just turned 99 years old. You can see her in the photograph. She is the 6th from the left in white. She tells me that she looks forward to my classes because it's her night out. That makes it all worth while.

Hi Harold
Thank you for your compliment but actually I'm not on FAA to sell paintings. That is FAA's job. I'm here getting advice on how to paint better from the professionals like yourself and many others. I read most of the posts in the forums. I rarely respond unless something really matters to me. I do pay attention to what you do because you are a very successful artist... and your concept of "quickies are the best" is a very interesting thread for me. Most of my paintings take no more than 20 minutes and they are very large usually larger than six feet in width and length. Thank you again for posting a thread for many interesting professionals to respond to.

Last night I was asked, "why do we mostly paint landscapes?" I explained that it's easier to paint landscapes because one doesn't have to concentrate on details that much. If you're painting a portrait, for example, and you have the left or right eye off by an eighth of an inch it would jump right out the viewer that the artist made a big mistake. But, if you're painting a tree overlooking a beautiful valley and the tree is 15 feet too much down the hill, who cares. Nobody will notice. Also when painting a landscape you get to use every color of the rainbow and then some. Plus when I started painting every one of my landscapes it wasn't necessary to draw anything before I started painting. The only thing I would indicate with a pencil was the horizon.

Thank you Lisa. As I mentioned above, I love your art. But speed, to me, has nothing whatsoever to do with painting well. It just helps the artist to stay awake when he/she is painting and to paint during the commercials. :).

Hiya guys,

Here's the painting I did for my class demonstration. I call it the "Tuscany Yellows". This one took me into a second class before I finished it.