What Every artist needs to know about
color, paint and how to mix it. Samples and instruction on mixing Primary
color, Secondary color and tertiary colors. How to use a color wheel, understand
paint quality, good and bad pigments.
is captivated by Hawaii, it's beauty it's energy and it's people. "Hawaii is
magnificent, every corner is splashed with color and majestic beauty."
Don has been painting professionally since 1982, He has studied with the late
Born in Ottawa Canada Don now resides in
Hawaii and is a U. S. Citizen, His work signed D. Hall is collected
internationally and is very popular among those who like to see beauty directly
without the need for further explanation.
Don is also an accomplished sculptor, jewelry designer, gold and goldsmith and
was owner of Diana Creations Ltd. a chain of jewelry stores featuring his
original designs. The company was named in honor of Don's wife Diane. Arthritis
has taken the ability to sculpt and work with metal away from him but with the
encouragement and inspiration of his wife of over 40 years Don now concentrates
on his painting, Teaching and has just competed his book,
Color Mixing Handbook,
what every artist needs to know about paint and mixing it".
"The rhythm of life has a powerful
beat. In today's fast pace of life its important that we take the extra time to
share the beauty of the world. It's incredibly fulfilling to do what I feel I
came to Earth to do and be one of those to share this beauty with you., Aloha."
“Ultimately, I want individuals to feel what I felt at the time I produce a
Painting. And whatever the scene happens to be in a painting, I want them to
look beyond that and find other things in the painting they can relate to. It’s
my attempt to connect to you on a personal level.”
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Hawaii art Paintings and Hawaii art prints for sale
Hawaiian Art for sale
All information and artwork is
Copyright ? 1997/2013 by Award Winning Hawaii Artist and Photographer
Donald K. Hall Hawaiian Art
Gallery and Hawaii Art
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Donald K Hall talks about his art and ideas:
My approach to art, painting, and
philosophy of life in general is a picture is worth a thousand words.
"My paintings are fueled by a bond to the land, (in Hawaiian the Aina). My art
does not try to be sophisticated, but is innocent, speaking with a quiet voice
to and from the more fundamental depths of one's consciousness."
this period, the "art world" in Hawaii is pre-occupied with "now art"... art
that addresses current times and I was Here! Holiday or post card art. I would
like to think of my work as art of the "eternal now", a state where one becomes
one with the experience of the moment which becomes an all-encompassing
My abstract art Attempts to draw on an
inner spiritual world and produce the most absorbing paintings that bring across
the feeling of a highly beautiful transcendental universe.
Are my works masterpieces? Well, maybe
some of them - indeed a respected artist have told me when visiting my studio -
"This work is a masterpiece - do not sell it, at least not for a low sum." It
is hard to say what is a masterpiece-especially in this day and age when the
focus on the quality of workmanship and craftsmanship in art has changed. Are
there masterpieces being produced today? Have I painted a masterpiece? This is
not for me to say, and only for history to judge, which I hope will be kind to
Trees: Banyan Trees, Palm Trees, Koa
Trees, Mankind has a connection with trees since the earliest time... this is
born out in Bible with the references to the different trees in the Garden of
The tree paintings are an allusion to the human
condition... roots anchored in the ground, head in the heavens... arms
(branches) reaching to the sky. The paintings of trees are an exploration... the
search continues.... painting trees goes on and is not related to the ethnic
group from which the artist comes. Is this "Hawaiian Art?" Definitely, as the
term "Hawaiian Art" and "Hawaiian Painting" defines the geographical location
from where the art comes, and since the work is of the Hawaiian landscape, this
also relates to the content of the paintings.
Plein Air: Working directly from nature, from direct
observation is the essence of plein air painting. Nature is the teacher,
provides the answers, lighting, color, lightness and darkness and values.
No need to invent - rather, in plein air, not to
impose the artist's ego on nature, yet to be receptive, observant. In plein air,
through developing the powers of observation, a greater sensitivity to visual
The human face is possibly of the most fascinating landscape, each line, shape
and angle revealing a lifetime of experience, thought and emotion. It is all
there - we just have to look and put it down on the canvas, Normally, we may not
gaze at a person's face, as it is impolite, disrespectful and elicits difficult
responses. Yet, the portrait painter receives a license to do this, and in
Subject’s portrait during a live sitting,
the portrait sitter reveals his multi faceted soul, as over the time of the
portrait sittings, the fine nuances of the face are displayed.
Paintings are the record, the universal spirit
recognized in all beings and creation. From this level of awareness, phenomenal
manifestation of the play of the forces existent in creation. Beyond
Expressionist, one sees these as but mere labels,
tags, attached names, which people fight over and in a more fundamental level of
reality have no real existence, but are mere appended labels. Is there really a
"Hawaiian art" or is their just "art" per se with no labeling? Is
there a "Hawaiian artist" or is there
just an artist? When you contemplate an artist or any human being removed from
contextual mileu, he/she is only a human... there is nothing "racial
Discerned in his/her biology. So one
producing "Hawaiian art" or "Any art" is producing art whose content transcends
the labels of
"Hawaiian art" or "any other art".
Universal art is the basis. Critics and political beings may attach the labels.
Shouldn’t we strive for that which is pure?
Painting is not dead, nor should working with oil
paint on canvas be considered anachronistic. The tradition of painting is a
continuing and developing one. Progress is yet to be made, building on the work
of the great painters of the not-too-distant past.
It would seem that the advent of the "ready-made"
earlier in the last century, has usurped the value of craftsmanship in art. I
believe that this is a detour from the path. It is only a matter of time in
which innovation for the sake of innovation alone will fall by the wayside. The
true values of art will survive, as art strives for eternity.
My landscapes are both painted in the open air and
my studio. The work progresses through the direct process of observing nature.
Scales seem to be removed from the eyes as greater depths of color and spatial
relationship appear. Indeed the act of painting seems to be a form of meditation
causing a heightening of the awareness. While in the field, what takes place on
the canvas seems as a reduced reflection of all that is experienced. Yet when
viewed back in the confines of the studio, it is clear that the canvas has
brought back the vitality of the greater experience.
Sometimes I feel that it is the landscape, which
has painted itself, not the artist. I have been but a medium through which the
landscape has been painted as a record recorded of its presence.
One of the joys of painting is the endless
combination that the paint, color and texture manifest on the canvas. When
successfully juxtaposition, different colors go into vibration or oscillation
with each other. Layers of paint are built up with various degrees of
transparency creating unpredictable new effects.
I like a good, textured, painting which gives you
the sense that there is something more than the image itself.
Monet is said to have put each canvas aside, and
pulled it out when the particular atmospheric/lighting effect appeared. A
particular canvas was earmarked for only a certain atmospheric effect, and thus
he would not work on it under a set of conditions different than those he had
decided to be suitable for that piece.
I have continued with the same canvas under varied
conditions, all of these conditions adding up in terms of layers of paint, one
over the other, contributing to an unforeseen final mood which is born from all
the different painting sessions coming into harmony not without conflict having
taken place between these same layers/sessions, and their traces evident along
with their resolution. I have held back some canvases for over fifteen years
waiting for the right moment to finish it.
Time seems to be an indispensable element of the
work. Time has no meaning. The span of time from the beginning of the canvas
until the realization of its completion has no predetermined time line. Time is
necessary to see all the subtleties in the work and develop the feeling for what
alterations or modifications are to be made for all the parts of the painting to
live together in harmony. This time is also necessary for separating the
painter's labor of the painting from the intensity of feelings that accompanied
the earlier act of bringing the raw unfinished painting to be on the canvas. At
that earlier stage is identified with the stimuli outside of the canvas, and
during that period, when viewing the painting, he would see more the external
stimuli, than the work itself on the canvas. This could be for better or for
worse... The canvas will cause recall private experience at the time,
re-creating sensations. Yet, the same canvas may communicate absolutely nothing
to another viewer. Or the artist would still be so much enamored of that
experience, that he would be blinded to the imperfections or disharmony of the
canvas. Thus, only once he has put the work out of his sight and over the course
of time allowed that memory of the experience to fade, and then he would be able
to once again look at the work and see it on its own merits and make decisions
on how to proceed.
On the other hand, during the time of the initial
painting act, you may have implanted in your mind a very strong idea or feeling
as to what direction you wanted the work to take. The work at that time may not
live up to that ideal, and you may fell the work incomplete, unfinished. Only
once again by distancing yourself again from these feelings by means of the
passage of time, can you view the work in a more objective frame of mind. Then
you may even discover a new painting and see that it is indeed a completed
harmonious work. In both cases the passage of time was necessary to see your
work more objectively.
It would seem that this passage of time
is in effect another layer of paint - in this case invisible, but not entirely
intangible - which goes on to the canvas and becomes part of the totality of
It may seem from the above statements
that I choose to ignore the surrounding social realities, and like an ostrich,
bury my head in the sand. Of course, it is hard to evade the aberrations of this
present age. There are those that in the name of the Creator and/or his
messengers are willing to destroy His creatures or deny them their human
YET - if we all co-operate, we shall turn this
world into Heaven on Earth.
To come back to the issue of art... no, I cannot
bury my head in the sand! But, alas, let there be POSITIVE VIBRATIONS!!! We
shall not let those of destructive tendencies drag us down. With eyes open, we
shall rejoice in the beauty of the Creation. We shall know our potential; we
shall strive for the Ultimate. Let the art offerings serve as witness of the
Goodness that exists around us. See the positive, strengthen it, and in the
effort of making a better world, we shall strive for beauty!
Most of the paintings are for sale. An artist
must survive, and as such he must sell works to buy time to create new
paintings. So, please be encouraged to buy my works and become a part of this
Paintings that are no longer available are
indicated in the caption below the image as being sold, however, if prints are
available it will be indicated.
About lighting: Light is the key - lighting varies
with time of day and accents different shapes and features. Light through clouds
like a spot light on one area of the landscape highlighting it in contrast to
the surroundings. Lighting of the paintings is of utmost importance - good
lighting will make the painting work, poor lighting will hide what is there.
Atmospheric factors change the light and the softness or hardness of view.
How to paint a landscape, how to paint a sky, how
to paint anything for that matter? The key is using our eyes, "listen" to your
eyes, and let your eyes make the decisions as to shape, color, etc.
Monet and the Impressionists including
greats like Pissaro, Sisley, Morrisot showed us to connect with nature in a
fresh way. Kandinsky showed us the Spiritual in Art to be true to our inner
World, to manifest our spirituality in
our work, every brush stroke's direction has spiritual importance. Art of the
spirit to enhance our consciousness and awareness to expand to awareness of the
universe in a grain of sand... allowing vibration of color influencing the
psyche with a positive vibration to uplift the spirit to new heights.
Modern Impressionist painting and
impressionism in landscape painting and landscape paintings also has elements of
expressionism and/or expressionist tendencies contemporary art. Figurative art
and figurative painting is a non-abstract where the paintings are a window to
the world. Representational art and representational paintings more
Mystical Art and mystical painting shows greater
truth, the aim of mysticism and mystical art being pointing to a greater
reality. While painting art works of landscape, landscape paintings provide an
art world of plein air (plein aire) vision. Indeed landscape painting in oil on
canvas in the plein air is an impressionist art. We must carry artistic
tradition forward using together the lessons of Cezanne to create a new
perspective of volume and color on the painting surface. Time for reflection,
contemplation and observation of nature, form and space creates heightened
awareness of reality.
Spiritual Art is painting which conjures up the
spiritual feelings from deep within, to identify the spiritual manifested in all
creation... allowing vibration of color influencing the psyche with a positive
vibration to uplift the spirit to new heights. The psychological affect of
color is used to exalt the spirit.
The sky in paintings of sky and clouds: the clouds are
painted from living moving clouds whose life leaves traces with the oil paint on
Abstract and Figurative Art On one level all art is
abstract, for a painting to work, it must have certain compositional qualities
of color, form, texture, light and shade (chiaoscuro), flow, etc. which are
essentially abstract. Yet, we often in our imagination see figures in abstract
art. The figurative has great hold on the mind, and I admit to my personal
near-enslavement to the form and figurative of the tangible. Having said that, I
have a great love and respect for good abstract art, and indeed envy those
artists who can produce from within themselves, work which is freed from the
form and figure, yet whose harmonies trigger off such a wonderful reaction in
Has this "political art' captured the art establishment and installed its own
proponents as the curators, critics and other art-world power possessing
Will the power – holding - individuals in the art
world recognize a painting, which is art for art's sake? If there is no
social-political connotation. Is art for art's sake doomed? You can make the