living in the truth, Risk, Surprise, Uncertainty

September 11 Anniversary & Challenges Facing the First “Post-9/11” Generation

Artists are known to like blank canvases. They don’t fear a blank sheet of paper. They summon creativity, courage, and insights in ways that they themselves often don’t understand. The best of them tend to be open to new ideas and influences from anywhere. Their most successful outputs tend to be surprising, breaking the mold. In my thoughts about 9/11 this morning, I realized that these challenging times call for the natural strengths, if not the natural predispositions (since many eschew “politics”), of artists. I indulged myself in thinking this through while enjoying my morning coffee today, on the 18th anniversary of 9/ll. I have a niece who turns 18 in a few weeks, and I’m thinking about what her generation faces. In many ways, though, the issues raised here are similar to those we considered in depth in an interdisciplinary seminar I co-taught in recent years on Climate Change and National and Global Security. The similarity is due to the fact that the issues are the same, only getting bigger and more challenging especially in the absence, or near-absence, of suitable public policy (the area of my professional education).

(08:05 am First cup of coffee musings…)  It’s the morning of September 11th, the 18th anniversary of “9/11,” and everything is far from normal in America and our world.  (True enough, it’s never been “normal’ but I refer to a pervasive unease about the dis-ordering of basic assumptions that have informed most of international relations since the end of World War II.) An entire global generation is reaching adulthood this year without ever having lived in a non- “post-9/11” world. Other countries around the world had their own “9-11” tragedies subsequent to ours–Madrid, Bali, Mumbai, etc.–but the point is that the world itself was transfigured by the aftershocks of 9-11. Perhaps 9/11 has become normalized to the point of not needing acknowledgement. But it’s not normal for me, so maybe readers not expecting this fare here will tolerate a diversion today.

Based on a quick review, there is no mention of 9/11 in The Washington Post today, a major national newspaper, only the usual unusual sub-header, to which we’ve become accustomed in these times: “Democracy Dies In Darkness.”  The front page focus is on the firing/resignation of John Bolton, the U.S. National Security Advisor, who is known as a war hawk and who “helped” the US get into war with Iraq–which had nothing to do with 9/11–as America’s military response to the terrorist attack. (Let’s not forget:  He still supports that action, which was based on false premises, also known as lies.)  Bolton is out reportedly due to many “policy” differences with the administration, only a few days–surely not coincidentally–after the President tweeted out that a secret meeting at Camp David between the administration and Taliban leaders from Afghanistan was cancelled.  The policy contradictions of this administration are a towering mountain range by now, with regular avalanches of all kinds of cognitive dissonance-causing boulders. But it’s year three, and the daily contradictions barely deserve a footnote. Indeed, it appears that they are a feature, not a bug, as the saying goes: mind-crushing absurdities can also be spirit-crushing.  An aside, however, is warranted and that is:   absurdities that are simultaneously ridiculous, deadly and deeply disturbing  are part of the genre of this type of rule (which is not really governance, at least not the type called for in the U.S. Constitution).

Today, the paper reports, the President’s focus is on raiding another population of helpless people, a tactic favored by shady landlords.  This time it’s homeless people. This doesn’t mean that the administration is done with terrorizing terminally ill children who are here in the U.S. on special visas so that they can receive the life-saving medical treatment they need.If you haven’t been paying attention to this story, it basically involves sick or dying children from other countries who are receiving critically necessary medical care in the U.S., some of them invited here by medical researchers due to their rare illnesses that need further study. The U.S. administration wants to send them home where they will die.  The latest twist is that the administration backed off when the story became public but is now requiring the children to apply for new visas entering the same prolonged process now well known to readers paying attention to what is happening along the southern U.S. border.

Eighteen years have passed since the horrific attacks of 9-11, the first time America was attacked by foreign adversaries, even if nonstate ones, on the soil of the continental United States.  Americans rallied together against a common if ill-defined and elusive enemy, and NATO invoked Article 5 for the first time ever, which directs NATO member countries to aid an allied NATO member under attack.  The point of the attacks seems to have been to target symbols of American power–Wall Street, the Pentagon and possibly the U.S. Capitol.   Most of us know what happened thereafter:  a massive counter-terrorism movement, and new wars in Iraq and Afghanistan that have changed the geopolitics of the Middle East and South Asia and neighboring regions but not to anything noticeably better.  An entire national security industry was immediately directed to combat terrorism, and ballooned in size as if on steroids, which it was in the form of defense contracts.

In 18 years, a little-remarked upon impact has been the privatization of so much that was once considered the realm of government, or public sector, work.  This includes the job of making sense of what has happened, is happening, and may happen in the future. At least the terrorist attack on what were seen as the pillars of American society–the economy, the financial sector, and the defense sector–seemed to have failed, if judged by their size and wealth today.  But what other factors underlie American strength and prosperity?  This is the key unexamined question on this 18th anniversary of 9/11, and it must be asked in the context of a starkly altered environment both on a national level and a planetary level. And yet, these questions are barely asked today. Why aren’t they? Is it because there is no money in it?

In 2019, America is facing unprecedented challenges on all fronts which already are converging into that dreaded “perfect storm.” These are inexorable developments that will happen no matter what, so they can be said to be “beyond politics.” Into this wide category of “beyond politics” happening-no-matter-what are greater migrations of people, harsher climate crisis realities, and accelerating technological advances, to name a few. But, given today’s realities, is this what success looks like after so many people have died in battle in Iraq and Afghanistan? Are we more “secure?”

Almost two decades focused on counter-terrorism have left this country so weakened that most Americans are not even sure that a long-time foreign adversary – Russia (and perhaps others, even) – is not calling the shots in the White House.  Could it be that the singleminded resolve of our nation’s top security institutions to defend this country against a repeat of a 9/11–successful so far–left the United States dangerously exposed to and unprepared for equally deadly challenges?  What are those deadly challenges?  Who is even mapping them? The problems are bigger than anyone’s in-box, bigger than an institution’s capability to handle, even bigger than the United Nations…

In a way, the US Administration’s response this week to desperate Bahamians fleeing their island homes now laid waste by Hurricane Dorian encapsulates in a microcosm the United States’ complete lack of readiness for the world in which we already live.  People are migrating in larger numbers all over the world not because they really want to abandon their homes but because for many of them it’s not optional. It’s life or death.  The perils come in different guises, often overlapping and aggravated by wars and ethnic conflict.  These include ‘unnaturally’ enhanced ‘natural disasters,’ drought, terrorism, government brutality, malnutrition, gang violence, drug cartels, and extortion–but the result is the same:  when people’s lives are in danger, their children cannot be children and their very survival is at stake. Can a nation founded on the principles that “all men are created equal” with “men” now signifying humanity (men, women, and children) remain secure and turn its back on most of humanity? And what is a human without humanity?

A common refrain is that America is not responsible for the world; i.e., we are not the “world’s policeman” and should mind our own business, and thus (it’s implied) be more successful, without draining our resources and putting our soldiers’ lives at risk in others’ wars and calamities.  We are not responsible for failed or failing states, goes the argument. This is a long-standing American debate that needs to go on, with new public policy formulation democratically achieved as the goal.  Every day, and especially in the aftermath of Hurricane Dorian, we see the need for this.

(Second cup of coffee musings…)  With no warning earlier this week, the U.S. turned back a ferry carrying desperate people from the Bahamas, their children in their arms, who were seeking refuge from their destroyed island nation, where there is no shelter, food, water, or medical assistance.  The reason: they lacked a visa–a visa that had not before been required, until this very minute, for Bahamians with a passport and no criminal record.  Suddenly, people with only the shirts on their backs had to go to the Embassy to apply for a visa.  A father is shown on video, with a toddler in his arms, explaining that he must now go back to his devastated land where he cannot, obviously and through no fault of his own, take care of his children. (This current story has some obvious echoes with the more famous and tragic one of a German ship, the St. Louis, filled with German Jewish refugees refused asylum in 1939 at the port of Miami and forced to return to Europe where reportedly a quarter of them died in the Holocaust.)

There are threads running through the vignettes of post-9/11 America today that make a sufficiently awake (caffeinated, if necessary!) person wonder where we went wrong, and whether we can recover lost time, credibility, and foresight rapidly enough to regain our national footing in this radically altered world.  Young people turning 18 in 2019 represent the first fully post-9/11 generation who have known nothing else but a national security ‘industry’ focused on wars in Iraq and Afghanistan somehow tied to the counterterrorism battle.  What do they conclude when they consider their own opportunities in a county that is so divided at home that their compatriots cannot even agree on what is worth fighting for?

What values will America need to embody in a world transformed by tens of millions of people on the move, not out of choice but out of desperation?  How can we think bigger, better, and with more nations’ people–together–to come up with some appropriate policy responses to these new challenges?  If our undeniably bloated defense industries and overly bureaucratized academic systems do not help us to rapidly make these needed changes, what can we, Americans, do about this?  Why are defense industries making $750+ per day, per person held, incarcerating refugees and asylum seekers?  Is this the needed policy response and agreed upon by U.S. taxpayers who are footing the bill? Why are children in these detention centers? Why is the U.S. detaining people coming here for help and, according to numerous credible reports, treating them in a way no one would treat their dogs? Why can we not provide them with even a flu shot, sufficient diapers, or feminine hygiene products at a rate $750/day per detained person? Why are we incarcerating human beings who have asked for asylum?  Who gains and who loses? What is the point? This is what I am asking in the post-9/11 era but I am not an American post-9/11 teenager, and I wonder what they think.

(Sip of now tepidly warm coffee…)  Winston Churchill is thought to have said, “Never let a good crisis go to waste.”  He allegedly was referring to the conditions after World War II that were ripe for the formation of the United Nations.  What type of response(s) are necessary in the world today?  Is the first post 9/11 generation equipped to craft them?  Where is the epicenter of needed new thinking about how to deal with the “perfect storm” already here?  Won’t the future of our youth be affected very consequentially by our choices and even by the things we’re not paying attention to today? After all, the people now trying to flee the Bahamas were not refugees as recently as a week or so ago? Who among us can be sure today that he or she will not be a refugee in the future?

 Is it not actually a form of “security”–even if not debated and vetted by public opinion–to choose and prioritize what matters in these turbulent times? Whose needs would such a prioritization focus upon: the needs of the post-9/11 generation, for instance, or their children not yet born? Should not the public be very much more involved in choosing public policy responses to these issues? Do you as a citizen want to be left out of these consequential policy decisions even if they will put your children on a course that may be soul- and opportunity-shrinking? Who is questioning how our priorities are set, and will we do it in time, time that is so clearly running out?  How will we deal with inter-generational and international inequities that are becoming starker by the day, aggravated by the inevitable weather disasters made more dangerously intense by climate change?  What is “security” in a climate change-disrupted world and who should define it; those who are already incarcerating vulnerable people or people who are questioning that approach and its hidden threats to our nation’s viability and stature in the world?

These are the very questions we considered in an international graduate-level seminar I co-taught from 2014-2018, and all of us in class learned a lot. We were all students because, aside from basic facts such as we gain from science, there are no facts to teach about how we will surmount these challenges. It was an entrepreneurial approach to learning in a world that is no longer familiar. Education itself must change under these circumstances. It’s an exciting time for the intellectually curious and anyone who wants the best for his or her country and future generations including the first post-9/11 generation coming into adulthood this year.

In conclusion, it seems to me that we need to reach out not only for the best ways to ask new questions and think new thoughts, but also identify those who are doing needed work in this area. I’ll mention that yesterday I heard an inspiring talk given by Dr. Michael Crowe, President of Arizona State University, at a thought-provoking conference I attended on 21st century challenges involving “deep space” and “deep fakes.” Crowe’s focus on was rethinking education in our altered world and it was and is very much on point with the types of questions and concerns I am raising in this post. (If he shares his slides, I will attach them through a link to this post.) We need to emphasize what is going right and where this is being done and how, in order to get to new ways of thinking and dealing with the challenges of our world in time. For those who like challenges, and even big blank canvases without so much as an outline as a guide–like most artists around the world!–one message of this long post is the world needs you more than ever. Unfortunately the processes of the artistic mind (literally, beyond analysis) are not well woven into most academic training or, certainly, analytic (or sense-making) processes, so this is yet another frontier to explore in this exciting and consequential new era.

(09:30 a.m., Author’s note:  I am working on a book about the above issues but I’ll be back to sketches and watercolors very soon, including of some incredibly beautiful places–(hint: famous ports and beaches)  not covered previously on this blog! )

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Uncategorized

A new blog on climate change as well as a new blog post

Photo of Gray Whale spotted off the coast of Israel on 8 May 2010

Here it is almost mid-May and it’s been a while since I’ve even done any art work at all. Mostly that’s been due to some work that needed doing, including sorting out the art room and emptying out a big storage room in the basement. It’s the sort of thing that many people do in the spring. In fact, my next stop today will be to a donation center.

I’ve been thinking about how to pursue some interests related to climate change in our chaotic world and it’s harder to thread these subjects around my art experiences than I thought originally it would be. I had hoped to fuse art with climate change into a book of some sort, but I find I need more space to collect my thoughts on the latter–for a book proposal I’m working on. Not everyone is as interested in this topic as I am so I won’t keep coming back to it here on this blog, which was–however–created to discuss surprises, anomalies, discontinuities and warning challenges. (The first posts in 2014 and 2015 do just this.) Instead, here’s a link to the brand new WordPress blog with one blog post–“Whale-watching and New Realism in Global Affairs” so far on it: https://wordpress.com/view/caroldumaine.com

If you visit my new blog, you’ll find that the first post is about….gray whales! “What do they have to do with climate change?” you might ask. That is, in fact, the point of this first blog post. We are seeing anomalies in the behavior and migrating patterns of these magnificent creatures and scientists who have studied them for many years don’t understand these anomalies. Imagine, the gray whale is a descendant of a whale that roamed the seas some 30 million years ago! If ever we’re going to see a signal of changes on our planet, it would probably be with a living creature with such an unimaginably long lineage. (There are many connections to art in all this line of thinking, some of which I’ve explored in previous blog posts; the main connection of interest to me is one of re-perceiving the world around us, in a way that overcomes “analytical” thinking that conditions us to see what we are prepared to see, and little else! Learning how to re-perceive our world may be central to the “security” of the human species going forward so, you see, that’s how I connect these disparate subjects.)

My interest in the gray whales was sparked nine years ago this week, when a gray whale was spotted in the Mediterranean Sea. Gray whales had not been spotted in the Atlantic Ocean, let alone the Mediterranean, up to that day in May 2010 for at least the last 300 years. Gray whales went extinct in the Atlantic for reasons still unknown sometime around 1800. No one was prepared to see a gray whale in this location, and it’s clear that they could barely believe their eyes. This was not really possible, said their minds, but their eyes said it was. This gray whale would have been from the North Pacific ocean most likely, so scientists wondered how and why it traveled to the Mediterranean. Scientists thought that perhaps gray whale populations had somehow reconstituted themselves in the Atlantic and no one had noticed it. However, almost a decade has gone by…and we still don’t know.

If this type of question interests you, please follow my new blog, “Rethinking Everything in the Anthropocene” at: https://wordpress.com/view/caroldumaine.com, where I also welcome your comments and suggestions.

Thank you.

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Innovation, Uncategorized, Uncertainty

Goodbye to a Tumultuous Year

boating-and-fishing

Illustration: Watercolor by Black Elephant Blog author (December 2016)

As 2016 winds down, it’s fitting in the quiet week before a New Year to consider the meaning of Black Elephants, Black Swans and the other metaphorical creatures of surprise, such as the boiling frog,  who opened up this blog two years ago this month.  There’s been a lot more attention given to them since then in other venues.  It’s surprising but true.  It’s equally surprising but true that the journey of many artists has, it seems to me, much to offer the rapidly changing world in which we find ourselves today–if we were to want to face up to these creatures of surprise.  This is because artists often try to see beyond the surface impressions to get at the truth of things–that’s what gives art its special meaning to many of us.

One could even say that we live in Black Elephant times if, by that, what we mean is what Thomas Friedman referred to in his op-ed of two years ago, called “Stampeding Black Elephants.”  In that article, he defined the metaphor “Black Elephant” as follows:

 “a cross between “a black swan” (an unlikely, unexpected event with enormous ramifications) and the “elephant in the room” (a problem that is visible to everyone, yet no one still wants to address it) even though we know that one day it will have vast, black-swan-like consequences.”

As I understand it, the phrase (which Friedman picked up from an environmentalist he’d recently met) “Black Elephants” refers to the concept of the uncomfortable, unthinkably unpalatable “elephant in the room” that we would rather not discuss or acknowledge, and therefore–too often–fail to address in time.  (This is also known as the “boiling frog syndrome,” or the “ostrich with its head in the sand,” or the “deer in the headlights” syndrome, etc.)

boiling frog image

Image: Watercolor, gouache, and ink by Black Elephant Blog author (2014)

This concept covers the increasingly (but extraordinarily dangerous) popular tendency to avoid what the accumulated history of knowledge and scientific progress tells us to be true. And so, perhaps it is another “Black Elephant” to observe that these “elephants” may be multiplying right now (paradoxically and quite sadly as their real-life versions dwindle in number due to poaching and encroachment on their natural habitat.)  Facing up to these “elephants” is something that calls for well-honed critical and creative thinking skills–whereby people of all backgrounds including, of course, artists–join forces in shedding new light and creating new possibilities for dealing with the challenges of today in a fact-based way.  This is in fact how mankind has conquered so many diseases that previously killed so many in childhood.  Understanding how innovative breakthroughs occur,and accelerating our society’s capacities for innovation in so many sectors, are right now key to survival on a collective level.

Fortunately there is more awareness of these challenges, as well as our own inherently human desire to ignore them–aided by the fact of more frequent “black elephant” and “black swan” events in the last two years alone.  It turns out this awareness extends well into the suites of CEOS around the world.  I refer in particular to a recent paper, Thinking the Unthinkable: A New Imperative for Leadership in a Digital Age, which I’ll turn to soon.  Last month I had an opportunity to hear the authors brief an audience on their research findings, and found their conclusions compelling enough to include in a revised syllabus for the coming semester of classes.  Interestingly, they too distinguish in their report between “Black Swans” and “Black Elephants”; the creatures of surprise are everywhere!

Black Elephants 1

Illustration: Watercolor, gouache, ink, pencil, gesso, and coffee grounds by Black Elephant Blog author (2014)

But for now with another spring-like day of temperatures in the 60s Fahrenheit, it’s time to be out enjoying the warm December weather, and re-charging our own personal energy reserves for what promises to be a challenging 2017!   Best wishes to all for a joyous New Year!

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Innovation, Risk, Surprise, Uncategorized, Uncertainty, urban sketching

Painting Pan & Avoiding Panic

Painting in the outdoors, or “plein air,” is a popular past-time for artists and great practice for everyone who wants to learn to appreciate their surroundings with new eyes. I am most likely to be found doing this on weekends when I have painting pals who want to be outdoors.  But a few (most, actually) of the people with whom I correspond do not have much time to paint whether in or out of doors, so I thought I’d write a post about what art is teaching me about readiness for the unexpected.

The other day, I found myself in a setting devoted to sustainable gardening and wild meadows where my subject turned out to be a small garden statue of the ancient Greek god of the wilds, fields, and flocks, Pan, with his man-like body and a goat’s hind legs.  The word “panic” is derived, I’ve since learned, from Pan’s name.

photo-of-pan-playing-pipes

Illustration:  Photo of garden statue of Pan at the River Farm, Alexandria, Virginia

This subject promised to be challenging, especially given changing circumstances. Sunlight vied with overcast skies, changing the shadows on the figure every few minutes.  In addition, a wedding was scheduled for these very grounds in a short time, so planning ahead was of the essence.  First off was a quick sketch to familiarize myself with this scene, and gain some idea of lights and darks.

sketch-of-pan-playing-pipes

Illustration:  Quick sketch in terracotta watercolor pencil by Black Elephant Blog author

Such a sketch can boost confidence for the next step, though it is true that you never know how a sketch is going to turn out and many sketchbooks, like diaries, are private partly for this reason.  Nor, increasingly, do we know what we will face, so sketching (or  a rehearsal or a “scenario”of any kind) is a way to increase our readiness for the unexpected, a subject that received more attention in the early days of this blog.

Seeing Things Differently and Avoiding Panic  Learning how to see in different ways, sometimes very quickly–including connecting with others who see things differently–is fundamental to survival, not only for the artist.  It has been called various things including cognitive agility, mindfulness, and “rapid reflection.” But I’ve observed that it often doesn’t get the attention you’d expect for something so critical.  In fact, in too many places, people are incentivized to ignore the unfamiliar and to treat it as irrelevant until an altogether too-obvious change in the status quo forces (some of) them to reconsider…and sometimes that is too late.   (Even in the absence of crisis, such a disinterest in the world can harden into a lack of curiosity which calcifies one’s situational awareness at a dangerously low level.  This has proven in the past to be particularly bad for living species of all kinds–not to mention modern-age businesses–and is especially risky in today’s world where we–and all our things, such as watches, cars, and phones–are more interconnected than ever before.)

pan-playing-pipes

Illustration:  Watercolor on Arches Hot Press by Black Elephant Blog author

Topping off this day  of plein air painting was the opportunity to see the movie, “Sully,” on the inspirational pilot and the first responders on that incredible day when a fully-loaded passenger plan had to land on the Hudson River.  From painting Pan in the wilds, I was confronted with wild scenes that would leave most of us panic-stricken if we were in the midst of them.

sully-photo

Illustration: Photo from indiewire: http://www.indiewire.com/

But this is a film of human strength and prowess, strong team work, and genuine leadership.  From the pilot and his co-pilot, to the crew, the ferryboat operators, air traffic control, and many other responders, the rapid response to this unprecedented event demonstrated the value of consciously preparing (across disciplines, stovepipes, and other boundaries) for the unexpected.    In this case, one imagines that such pre-crisis teamwork contributed to enhancing preparedness for an unprecedented situation.  Remembering the importance of the  “human factor”, as per Sully when he explains himself to the NTSB (National Transportation Safety Board), is the critical difference.  His performance seems to be an example of “rapid reflection” crisis management in action; this film carefully adheres to the facts of the crisis as it actually unfolded and, therefore, truly is a “must-see” for all those in top management, whatever the field.

I’ve been reminded regularly that true artists respect unintended consequences  whereas experts of other stripes too often don’t.  Artists regularly experiment with techniques and materials, and absorb others’ approaches like sponges; many experts of other stripes too often don’t. There is seemingly an important paradox in this.

In an age when many clearly believe it is more acceptable to bash experts than to emulate them, the aspiring artist knows that study of others’ solidly perfected techniques–and, beyond this, historical appreciation as to what has been humanly possible and achieved over time–leads to greater consciousness of our individual shortcomings and more rapid recognition of the truly exceptional (as the film, Sully, also reminds us).  Recognizing these gaps can inspire us to be more curious and to learn more.  At the same time, experts themselves must prepare for circumstances never before seen (and, thus, for which there is no sketch, textbook or field of expertise). Indeed, a certain cognitive and doctrinal flexibility seems necessary, at a minimum, lest very deep expertise lead us to think that everything can be scripted, measured, and predicted ahead of time–as the differences between the NTSB and Sully demonstrated in the film.

The artist with skill in applying paint (or ink or any other medium) to paper or canvas–and expertise such as pilot Sully’s extraordinary tacit knowledge of the limits of his airplane, his ability to derive quickly from different inputs the most sensible course of action, as well as his abiding awareness of the value of human life–demonstrate human capacities  that total reliance on computers, for instance, or checklists can never achieve.

So, while it is true that you generally don’t want the pilot of your commercial jet to be creative in getting you from point A to B, the movie, Sully, does show us that adaptation in the face of the unexpected requires a degree of mindfulness  (and openness to ongoing learning) that cannot be assumed.  At their best, therefore, artists and experts of all types, whether commercially successful or not, seem to combine deep knowledge with a degree of cognitive flexibility that is hard to sustain from deep within “stovepipes” of all types, from academia to industry.  Dealing effectively with this conundrum seems to me to one of the most important things we could do these days.

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Uncategorized, Uncertainty

Studying Transparency (in Watercolor)

Passing through New Orleans International Airport this weekend, I spent some time at the departure gate sketching fellow passengers. It’s surprisingly hard to do, but they say practice makes perfect.

New Orleans sketch

Illustration: Watercolor and pen-and-ink by Black Elephant Blog author

A useful book has meanwhile fallen into my hands called Transparent Watercolor Wheel:  A Logical and Easy-to-Use System for Taking the Guesswork Out of Mixing Colors.  This unfortunately out-of-print (and therefore often expensive) book is by Jim Kosvanec, whose many watercolor paintings he includes in the book are of native peoples in the region of San Miguel de Allende, Mexico (discussed elsewhere here on this blog), where he lived and worked at the time of this book’s publication in 1994 and apparently where he still lives and works.

Transparent Watercolor Wheel Book cover

Illustration: Photo by Black Elephant Blog author of cover of book, Transparent Watercolor Wheel by Jim Kosvanec

The book is perfect for those who are curious about the differences between transparent, semi-transparent, semi-opaque, and opaque watercolors, and also gives one an excellent sense of which watercolors to use (based on top brands prevailing in 1994 at least) and how to mix them.   There are instructions, for instance, on how to produce light, medium, and dark-value grays, as below.

As in anything else one undertakes, the further you get into this subject the more you realize there is to learn…which makes it all the more challenging and fun.

Grays

Illustration: Swatches of gray mixtures by Black Elephant Blog author

There are no hard and fast rules, of course; we are talk about art after all, not science, but the book’s a great opportunity to get up-to-speed on some of the different effects people seek to achieve with watercolor.  To achieve transparency in watercolor (and perhaps in anything) requires experience, expertise, and experimentation…and practice!  I’ve got a way to go on this.

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Uncategorized

A Bee-Pleasing Watercolor Sketch

Not yet into painting flowers, though aspiring one day to do so, I was experimenting the other day with a canvas covered with watercolor ground dried for about 48 hours when I tried to paint a pot of flowers nearby.  Distracted by something else for a moment, when I looked up at the canvas drying nearby, I saw this bee light onto one of the flowers I’d painted! Hence, this photo of a watercolor sketch with live nature right on top of it.  Who am I to question a bee’s taste in art? He or she flew off, apparently satisfied with the visit to this impressionistic floral scene.  Bees’ eyes see things differently, I know, but possibly something about the wet smell of the paint was more interesting than this sketch! Have to admit it.

Bee Painting

Illustration: Watercolor on watercolor ground over canvas with live bee by Black Elephant Blog author

 

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Adios Mexico Sketches

San Miguel 2

Illustration: Watercolor and pen-and-ink by Black Elephant Blog author

Today the remaining sketches done before leaving Mexico are now ready to post.  Each was done in pencil at the site, and filled in later with watercolor and some ink.

Returning to San Miguel de Allende from Guanajuato,  it was possible to observe the different feeling of  each city–with the former seemingly slower-moving relative to Guanajuato, which buzzed with the energy of the college town it is.

The tranquility of the beautiful courtyard of the Belles Artes cultural center in San Miguel de Allende was a must for a last-look.  Tree branches extending over the fountain drooped with ripe oranges, while a security guard waited for his shift to end. This seems to be the quietest spot in town.

 

Belles Artes 3

Illustration: Watercolor, gouache, and pen-and-ink by Black Elephant Blog author

Finally, it was off to Mexico City where a visit to the high Castle of Chapultepec provided an unforgettably well-done overview of Mexico’s history and an equally spectacular overview of the modern capital city.

Chapultepec 1

Illustration: Watercolor and pen-and-ink by Black Elephant Blog author

Chapultepec means “at the grasshopper’s hill” in the native Nahuatl Aztec language and so it shouldn’t have been surprising that there was a big statue of a grasshopper in the center of the fountain adjoining the enormous castle built on this hill (at 7,624 feet above sea level) beginning in the late 18th century and surrounded by the largest city park in the Western Hemisphere. (But it was!)

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