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Saratoga Car Show… The car I had hoped to paint, making the turn.

A vintage car festival at Saratoga State Park- a win-win, or so I thought! It was Saturday morning and I had the whole weekend ahead. After weighing my options for places to paint, I decided the car fest would be an ideal place to plein air paint. Stately brick buildings  provided the ideal backdrop for cars from the early 1900’s through my favorite decades, the 1960’s-1970’s. I was so excited to paint a few of the cars. The park was buzzing with action. Skidmore College was holding its graduation. It was the first seriously nice weekend. Luckily, I found an ideal parking spot and schlepped my gear to the show. Of course, before setting up, I had to walk around and gawk at some of the cars.  They were offering Ford Model-T car rides around the reflecting pool.  the old Model-T chugged along its course with happy passengers being transported back in time. I set up my easel so I could paint the car as it made its way around a turn in the gravel road. There was a big tree on its left as it turned. Perfect, I thought! Confident, I decided to paint a 12″ x 16″, a big change from the 6″x 8″ I had been doing. I got this! So, I thought. First mistake: my umbrella wouldn’t work. The sun was beating down on me and I couldn’t figure out how it attached to the easel. My second mistake was skipping breakfast and only having a granola bar and one warm water bottle with me.  My third mistake was attempting to paint on a panel primed only with Zinsser. I have decided to prime with gesso, but that’s a story for another day. Needless to say, my paint was sliding all over the panel which was extremely frustrating. And lastly, and the biggest irritation: people! Now normally, I don’t mind one or two random people stopping to peek at my painting. It’s actually sort of fun. But there was an onslaught of people. Person after person had to tell me their story about painting, cars, Saratoga. I just wanted to paint. It really got me thinking about plein air painting. I have been juried into a few plein air shows this summer. They will be my first competitive plein air events. The problem is, while I teach and love presenting material I am familiar with, when I am plein air painting, I just want to be left alone. Is this the norm? I couldn’t take it anymore. Tired, hungry and hot, I packed up my gear with a painting half done. I didn’t even include a car in the painting!

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My half done painting…missing the car.

After downing an extra-large ice water when I got home, I decided to venture back out in the afternoon to a more remote area. Ah….time for redemption. I painted a smaller panel, just a 6″ x 8″. Only a handful of people stopped by

with friendly dogs for me to pet! that was a win-win. Dogs, painting in solitude with the sound of the birds chirping. Two hours later, I was pleased with my plein air postcard. Life was good again!

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Plein Air postcard sketch.

Season of change

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Old Ford truck, painted by Lisa David en plein air (outside). Located in Saratoga county, upstate New York.

Finally, it’s spring here in upstate New York. The earth has come alive with chirping and squeaking, bright yellows, chartreuse greens. There is great excitement among my plein air painter friends. Everyone is talking about shows they are in and planning meet-ups. This is all new to me. I discovered plein air last summer. Ask anyone who knows me, and they’ll tell you I’ve been obsessed with it ever since. I have entered a few shows, teaching a workshop, even started a club with 15 high school painters! Needless to say, I’m hooked. This spring season for me is full of change. Personally, I’m about to become a grandmother to my son and his wife’s first baby. My daughter is also getting married this year. Yikes! Now I find myself packing my car almost daily with art supplies venturing out for another adventure.

If you like adrenaline, fast rides, and attention, plein air painting in public might be for you. But if you are like me, and are more solitary, like nature, then painting in quiet locations is for you. This season of change, I plan to “tip toe” into painting more in public places, as opposed to painting in more remote settings.

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Old school truck for the North Colonie School District sitting in a field in Saratoga County.

The wonderful thing about painting outside, plein air, is that there are no rules, except you shouldn’t trespass! In this season of change, I finally got the nerve to ask permission to paint something I’d been eyeing for years. A family farm until about 12 years ago, my suburban development has some rich history. Near the entrance, there is an old truck covered in tall grass. I’ve had my eye on that truck since the day we moved in, about 9 years ago. I finally summoned the courage to ask the owner of the property adjoining the parcel figuring I could at least access the truck. My suburban neighbor was more than gracious about walking through his property. I didn’t get permission of the actual land owner because I never see them around and I figured the old truck has been parked there for at least 20 years. Trust me, this truck hasn’t moved in at least that long. There are lots of pieces of old farm equipment scattered through the field. Within five minutes of setting up my easel, an older gentleman wearing his Saturday plaid flannel and jeans approached me. However, to my surprise, he was thrilled that I was painting in his back yard. In fact, he brought me around and showed me lots of other treasures on the property, including an old pond and a corn crib. I was thrilled! I met an interesting person who was more than willing to share his property. Phew, I wasn’t trespassing and in fact, this one property will yield an abundance of wonderful paintings! I’m glad that in this season of change; I was bold enough and decisive enough to finally paint that old truck!

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Plein Air Painting by Lisa David. 

Wiping down & Scraping off

 

Lisa David artist scraping tools

Tools for wiping down and scraping off paint

If only we could hit “undo” on an oil painting and back up a few steps to restart an area. It happens to every artist. Even Sorolla would scrape down multiple times until he got it right. Scraping down work is frustrating. Aside from the physical disruption of the painting, it can deplete your confidence. It also wastes time and paint. But, it’s inevitable. Sometimes you need to scrape down your work to get it right.

 

Scraping down paint is usually done on an area of a painting which is dry. During en plein air painting or alla prima (wet on wet), it is more likely that you are wiping away a wet area. Often, artists do a combination of both scraping down and then cleaning up with a mixture of odorless mineral spirits and medium to rework the area. I have been pretty far into a painting and realized the need for a scrape down. Perhaps the number one reason I scrape down or restart is inaccurate drawing. I recently was working on a portrait and noticed the left plane of the face was about a third larger than it needed to be. It required reworking the entire left side, hair and all. I debated letting it go and giving it the proverbial “whatever” but decided it would haunt me if I left it. Poor compositional choices are also reasons that I have scraped down. When painting en plein air, for example, I tend to paint what I see rather than rearrange elements to make a more pleasing composition.

 

How do you scrape or wipe? It really depends on how wet or dry the paint is. If the paint is too dry, you can use a flat edge razor blade or a palette knife. Sometimes I will use a small piece of sandpaper to sand into the edges of surrounding paint. If the paint is wet, I use a Q-tip or Viva paper towel dipped in Gamsol. I also have a handy rubber tipped tool I purchased from Hobby Lobby.

 

To avoid the need to wipe down or scrape off, there are a few things you can do. First, do a drawing of your composition. Take a few minutes to get a pleasing design. Stand back often. Set a timer if you are well intentioned but get engrossed in your work. Paint thinly first (lean).  Don’t rush to add in details too soon. Keep squinting to see your values. Use comparable sizing early in the painting to get the drawing correct. Compare everything to that first bit of color or the first line you placed on canvas. If you do need to scrape or wipe down, it’s all good. At least you are out there painting!

Lisa David artist sandpaper

Sanding down an area to fix after paint has dried

 

If you have to paint from a photo…

Landscape painting reference photos

Reference photos I have used for studio paintings.

There’s a lot of debate in the art community about painting from a photo.  I was at a figure drawing class recently and the topic came up. There were several plein air painters in the group. There were also some newbies who didn’t quite understand the stigma related to both techniques. The debate went something like this: If you paint from life, your painting will be more lively, vibrant, have energy. It won’t look like a photo, it will look like a painting. You will get the colors and values accurate. The other side argued working from a photo allows you to paint on your own terms, in a studio. It offers the artist convenience and more freedom of subject matter. You are able to see details. You can take longer on a work.  It may look realistic. The rationale for each goes on and on.

I have my own opinions (as does everyone!). Basically, a painting is a painting. It’s not a photograph. The untrained eye will think the painting from a photo is “so good”. If it is tight and realistic, they may compliment it by saying “I thought that was a photo!” For a long time, I heard these statements. I thought this meant I was a good painter. I may be a good painter, but I want to be a good artist. I have become more aware and appreciative of paintings that show more of the artists brushwork and process. For me, being an artist means I am leaving a bit more of “me” on the canvas; my brushwork, my colors and my composition.

I studied photography in school. I have taken tens of thousands of photos. In fact, I have over 25,000 on my phone from the last year. Yikes, that’s a lot of photos! Anyway, I feel confident in my skills of composition and design. I learned to paint by copying my photos. But is the art in the photograph or in the painting? Recently have I discovered painting from life. I’m still copying what I see, but for some reason, I feel more like an artist! I get a rush from painting from life. I can interpret the colors and make bolder brush strokes.  Consider this: If I took a photo of the exact place I plein air paint, it would show a moment in time. A quick snap – a freeze frame. As a photo, it might be wonderful. Ideally, it would trigger an emotional response.  Now, if I stay in the same spot, becoming immersed while painting for a few hours, the experience would transfer onto the canvas.  And for many artists, they will use the plein air painting and a photo reference together for a studio painting.

It’s all just preference. Some artists have the propensity for details and getting every detail in their painting. There are collectors and art buyers who love to show off such works. Others prefer a more painterly approach, seeing the brushstrokes and the mark of the artist. While both techniques have their merits, here are a few tips to consider if painting from a photograph:

  1. Whenever possible, create a small painted study to accompany your photo. Not possible? Then draw a sketch. Not possible? Take some color notes. What colors would you mix? Jot down what the weather was like, or some words for your mood.
  2. If you must work from a photo, at least work from your own. Don’t use other’s photography. All you will be doing is showing your skills at copying. No fun.
  3. If you use a smart phone, keep it in portrait mode when possible. Also, make sure to keep the phone at same level and perpendicular to your vision. Distortion and wide lens are giveaways that you painted from a photo.
  4. Beware of shadows and highlights.  Your photo will obliterate the highlights. It will make all your shadows black.
  5. Make corrections immediately after taking the photo, while you are still in front of your subject.
  6. Take several photos in the same area, all around, all views.
  7. Compose ON THE SPOT if possible. It saves time and sharpens your vision as an artist.
  8. Find your focal point and soften the rest. Our eyes see differently than a camera. We cannot focus from one thing to the next. Try it! Look at something, anything in front of you. Now notice the extraneous objects surrounding the item you have focused on. You cannot make out their details. The camera flattens everything and shows you everything in clear focus but, we do not see that way.
  9. If you do paint from a photo, edit elements that won’t help your composition. Don’t put in every last item or detail. It can really weaken your painting
  10. Convert your photo to black and white to help see the values. This can be helpful if you are new to painting or just are having difficulty making them out.

Above all, remember that the camera is a tool. YOU are the artist, the one mixing the paints. YOU are the one reading the information and interpreting what you see. And only you can prevent forest fires. (Just seeing if you’re still with me!) All that really matters is that you are fortune enough to paint!

 

 

 

When life gives you lemons, paint them.

lisa david artist blog painting lemon brushtrokes

L’il Lemon, 6″ x 6″ Oil on panel. A very special, but not-so-good painting.

We all have them. Bad days, bad weekends. Lemons. This past weekend was definitely subpar, a lemon. There was no one thing that happened; nothing disastrous. Just a typical weekend, some cleaning and bill paying Saturday morning that took too long.  My whole house seemed to need spring cleaning. Before I knew it, I was putting away the winter coats, arranging lemons and rummaging around for a spring candle. Next, the bills needed to be paid.  That’s enough to put anyone in a down mood. Then, time for errands. I stopped by my Dad’s to pick up a new plein air system he custom designed for me. Quite deluxe (will post pics soon!). Of course, I wanted to test it out, but I wasted 2 hours aimlessly driving looking for just the right spot. Snow banks and trespassing laws prohibited me from most of the places I would have painted. I finally got set up, ready to paint a nice barn and thought: boring- it’s just a nice barn. Nothing interesting, old or vintage about it.  I went back to a place I had painted before but within 5 minutes, my hands start to go numb. What now? It was already 4:00 and the day felt like a waste. I was furious at myself for sleeping late, taking too long to clean, paying bills on a Saturday and wasting precious weekend time driving. I needed to do something to snap me out of my self-imposed “Looserville” syndrome.

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46 brush strokes (plus or minus one!)

Lemons. I had just read about an artist who challenged her students to complete a painting in a limited number of brushstrokes, like 40. The object of the exercise is to be aware of color mixing, brush strokes and brush selection, not to mention accurately reading color and value. Lemons! I had all those lemons in my clean kitchen!  Within minutes, my bitter mood turned sweet. I used a limited palette: White, Cad Yellow Pale, Cad Yellow Deep, Alizarin Crimson, Cad Red, Ultramarine Blue. I had a piece of canvas taped under the painting. Each time I made a brush stroke, I made a tally mark. I used a size 8 Rosemary Ivory flat brush. I started with the darkest value, then mid tones, and then highlights. I added the background last. The little lemon taught me a few things: One, that I need to slow down (in life and in painting) and have more gratitude.  I need to isolate shapes to really see accurate colors. I used my view catcher for this. Big brushes are awesome. Powerful, bold and confident. I typically would have used a small brush fussing with all the details. Brush strokes matter. I learned to not squander them, rather consider each stroke, it’s direction and length. I reached my 40 stokes and ended up using about 6 more to complete the background. Is it a great painting? No, but it’s an important painting; a reminder that when life gives you lemons, instead of making lemonade, paint them instead!

Signing Artwork

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Stack of unsigned paintings.

“Put your name on your paper”. It’s literally the first thing you are taught. Even as a high school teacher, I repeatedly say “no name, no fame”. But I’m the kid that totally ignores the teacher. I procrastinate signing my art. Guilty as charged. Why do I put it off? What’s all the fuss with signatures? What’s in a name, anyway? Apparently, a lot.

It was a big deal during the Renaissance for individual artists to sign their art.  Before that, artists often worked in collective guilds. Historically, signatures can provide authenticity to an artwork. I recently watched the show Fake or Fortune (highly recommended). In Season 4, episode 2, there is dispute over the legitimacy of a Renoir because he never signed it! The provenance (the lineage) is easier to maintain with a legitimate signature.

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Inscribing signature into wet paint, alla prima.

Typically, the last time an artist puts brush to painting is to sign it. The act of signing may be the culmination of hours, days or months’ worth of work. When I sign, it’s like the entire process flashes before my eyes. So many thoughts and decisions go into a work. Often, as an artist, it’s sometimes hard to know when the work is finished. Inevitably, though, every painting says, “I’m done, please, no more!” An artist friend looked at my signature once and thought I was signing it to mimic that of a Grandma Moses because it is so primitive, lacking any artistic flair! I laughed, “No,” I said. “It’s just my name”. But then I got to thinking. I sign my work L. David. I often wonder if I should just sign David, and if changing the style is acceptable so I did some research. Yes! Turns out, artists signatures evolve over time. And it’s about time my signature changes. Maybe on the next painting.

So, you are done with your painting and ready to sign. How? Where? Are there rules? Standards? Yes, and no. Typically, a work is signed in the lower right or left corner in the same media the work was created in. The size is similar to the signature on a check. Some artists only sign their last name. Others sign the first letter of their first name, and their last name. Some sign meticulously. Their signatures are works of art. Others use an illegible scribble. It is preferred by the art establishment that the signature be legible.  Art collectors and patrons want art that is signed and legible. If they are spending big bucks on a work, they want bragging rights and a legible signature helps.  The signature should not dominate or take attention away from the art.

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Artist signatures

Studio painters may wait until the painting is dry before signing. This allows more control with the brush. Plein air painters don’t have that luxury. They typically will sign on location by inscribing the work or simply signing wet on wet (alla prima). Collectors are thrilled when the artist indicates (on the back) where the piece was painted and perhaps a bit of information to go along with it. For example, I painted this today and inscribed it with a rubber tipped tool. It was painted partially from my car and partially from just outside my car. It wasn’t cold, a balmy 34 degrees. It was at Gurney Park, in Glens Falls, NY, just inside the Adirondack Park. Lucky for me, there was a sledding birthday party. I didn’t bring any cadmium yellow and had to make the best with the colors I had. The kids were screaming and laughing as they sped down the hill. While I painted, my husband rode his mountain bike on nearby trails. t took about an hour and fifteen minutes to complete. So, now you know the story.

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Sledding Party, 6″x 8″ Oil on panel, plein air painting. Gurney Lane Park, Glens Falls, NY

Eighteenth century landscape artist Jean Baptiste Camille Corot has the distinction of being the most forged artist of all time. Art news reports  “Corot (1796–1875) was extremely prolific: he produced some 3,000 paintings and roughly the same number of drawings”, Dieterle says. Even today, real Corots still come to light “in someone’s attic or basement, at a flea market or estate sale.”

I find art forgery fascinating! Christies auction house has a great article about signing art. 

True Story: I recently delivered some work to a gallery. Lucky for me, a customer wanted to purchase one just a day later! I received a call asking me to come in; apparently, I forgot to sign the painting. I apologized profusely and the gallery said not to worry, it happens often.  Looks like we need to add one more thing to the artist’s checklist! And remember, no name, no fame!

 

 

 

 

Two kinds of people.

Richard Schmid Color Chart

Arrangement of color charts with template peeled off.

There are two kinds of people in the world: Those who believe in color charts, and those who roll their eyes like it’s a colossal waste of time and paint. I was in the first camp. I am also an admirer of artist Richard Schmid. Aside from being a master painter of landscapes, still life and the figure, Richard finds time to author some of the best art books I’ve ever read. I imagine Donald Sutherland’s voice reading his book. I haven’t yet had the pleasure of meeting Richard. In his book Alla Prima II, Schmid details how to make color charts using “his” palette of 12 colors. While there are websites that explain his technique and reasoning, I highly recommend purchasing the book. It is packed with relevant content relating to all aspects of painting. So, with a week off in the dead of winter, the time had come. Time to make the color charts.

RIchard Schmid color charts

My color charts DONE!

Prior to making color charts, I was a consummate brush dipper. I dipped my brush into colors; dab, dab, dab – two or three colors at a time. I cleaned my brush and did it again for the next color. I instinctively mixed colors. Mixing colors is a bit like cooking. Unfortunately, my Irish genes kick in when I cook. I don’t use recipes. Rarely.  So, when it came time to make the color charts, I was doubtful I would be successful.  I envisioned wasting paint and making a hot, albeit colorful, mess. But I discovered something about myself I never thought possible:  I can be methodical. I can be organized. I can slow down. I can see. I can improve. I can follow directions and I can be successful. I made colors I had never seen before! If oil paint was edible, I’d have gained five pounds. I was a paint-mixing mad ninja scientist!  It was tedious, crazy-making work. Here’s some practical advice for your chart making adventure:

  1. Save time and order pre-made color panels from Color Frontier. They arrived two days after I ordered them! They come with a palette knife and have an adhesive window template. When removed, it will reveal all your wonderful colors.
  2. It took me 3-4 days, not two weeks as others suggest. The first chart took the longest, each chart thereafter was easier because I learned the unique properties of each color. The colors reminded me of my students or pets. Some were pokey, like yellow ochre. I had to use a lot of that color to get colors to “move”; then Alizarin permanent was the sassy color, only needing a tiny bit. She is strong! You see, you will get punchy making the charts. I worked 6-8 hours a day for 3 days and an hour or so on the 4th day.
  3. Use baby wipes and towels to clean your palette knife each time you touch a color. I even found myself folding the paper towel methodically after each wipe. Place your garbage can nearby.
  4. Use a palette knife to apply the paint to the chart. It is easier to clean than a brush and teaches you about knife work. I used a small Italian palette knife that was the perfect size to apply the paint.
  5. Make all your variations of each color on your palette before putting it on panel. You will see the variations in front of you. It was easier to lighten or adjust the color mixes.
  6. Start with darkest. Next, mix the middle value, then the lightest. Lastly, make the in between values. Keep the 5 values in order on your palette – it is easier to see the subtle differences.
  7. Make enough of your base mixture for each of the subsequent 4 lighter values.
  8. Don’t contaminate tube colors you have laid out.
  9. I had a push pin, binder clip and wall space ready to hang each panel.
  10. Be “present” and take note of the colors as you go.

I’m so glad I took the time to make the charts. I am patiently waiting for them to dry so I can really study them. I think I will waste less paint, especially white. Knowing the tinting strength of colors is going to help tremendously.  And I can now say, I made the charts!

Do you pick favorites?

Remember having a favorite everything as a kid? Favorite TV show, favorite cereal, favorite game, and the quintessential favorite color. As an adult, it may seem silly to have a favorite color. But as an artist, I must admit, I have a favorite color. I know, I am breaking all the rules. But there is one color I sneak into practically every painting. I don’t even do it to create color harmony.  I just use it because I have a great association with it, and it makes me happy.  My secret color? Winsor Newton’s Cobalt Turquoise Light. I even like the word turquoise.  To me, the color dances! It’s light, peppy, optimistic, cheerful yet doesn’t demand too much attention when used sparingly.

I have not seen this color on any recommended color palette by any artist. It is a color you can mix using variations of cerulean, but there is something about seeing the tube and the tiny squirt on my palette that makes me happy! It’s ready to get mixed, ready to do its job. My palette feels naked without it!

I remember as a kid, going to Lake George Village in the Adirondacks in New York State.  My sister and I would go into souvenir shops and handle all the merchandise. We would smell the insides of the cedar boxes. We would pick out patches for our jeans and would buy a piece of turquoise jewelry. I never knew where it came from or how the gems were made, I just loved the color and besides, cool people had turquoise. Stevie Nicks wore turquoise.  I have seen turquoise waters off the island of Puerto Rico, Culebra. I have swum in the turquoise waters off Key West & Miami. They are as pleasing to be in as a preheated bed.

Flaminco Beach, Puerto Rico

While Cobalt Turquoise Light takes the spotlight, the real star is light!  Our colors get all the fame and attention “oh, the colors!”, but the reason we love color is because of light.  Light shines on color. Light gives us memories. Light gives us feelings, emotions. It gives us life and miraculous possibilities. Light gives us rich reds and bright blues. It reveals the crimson of a rich ripe strawberry or the cerulean blue of the sky on a dry summer’s day. Light is what makes the waters blue. Without light, colors would just be bumping into each other fumbling in the dark. Thank you, light, for giving me my favorite color. Okay, I must ask, what’s your favorite color?

Are you getting better?

Lisa David oil painting blog plein air photos

Looking through my work, deciding what is working, and what is not!

I played the viola in the 5th grade. I probably ended up with the viola because I returned the permission slip late. I remember the screeching as the bow scraped across the strings. I could play Hot Cross Buns. The red velvet case, with the block of rosin, was all mine. I loved the smell of rosin. I was so cool. I was not so good. But I remember my Mom saying “Lee, you’re getting better!” As a high school drawing and painting teacher, I rarely say “you’re so good” because what is “good” anyway? I want my students to improve, to get better. As hard as we try to “get good” at something, the bar keeps moving and who determines what good is, anyway? Good is an arbitrary, subjective term. It’s a preference. My dog George is good. Pizza is good. Why not try to get better? Be better?
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Piles of “Never minds” painting.

I lined up my art in chronological order. After getting past my giant pile of “neverminds,” it was time to get serious. There are countless areas of improvements I could tackle. Composition, value structure, brushwork, color, edges, to name a few. I realized I am making the same error over and over. I decided deliberate brushwork is something I want to be better at. I tend to over-work and over-paint. I lay in too many colors (that sounds weird, but you know what I mean!) In order to improve, I need knowledge. We artists are nuts for information, googling everything until we are experts. So, I have started to read selected books, blog posts, articles about brushwork and actual paint application. I am watching videos, looking at details of master’s art on Google Art Project. With each painting, I am attempting to be more deliberate and focus on this one area of improvement. Why does it matter? Couldn’t I just keep on painting, throwing caution to the wind, content in the pieces I paint? Sure, I guess. It’s not like the painting police will take away my brushes. But I want to get better. And if you’re reading this, you want to get better, too. True story: Today, after two weeks of intense figure drawing lessons, I overheard my students say they finally “get it”. They said how after a few years of drawing people, they finally understand the steps. As they were filing out of my classroom, one student left her drawing face up on the pile. For a second, she just looked at it, pausing. In that moment, she was on top of the world. It’s a tiny gesture, but as a teacher, it meant the world to me. She was proud; confident. A minute later, another student asked for charcoal for more practice. Is she “good” at drawing? It doesn’t matter. She is better. She is on the path to improvement, where proud moments happen along the way.

Tub O’ Soda

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Tub O’ Soda, 10″ x 10″ Oil on gessobord

dadlog

lisaraft

Original page from Michne Camping Log, 1971

My father kept our camping log all the years we camped. This page has the story of the day I won the “floating mattress!”

It was July 16, 1971. The perfect summer day as I recall. My father was hosting the annual work picnic. I won a green raft that day for my athletic ability in the egg race! It was my biggest claim to fame as a 9 year old. I remember reaching into a tub of iced cold soda with what seemed like every variety ever invented. It was sheer heaven- all the FREE SODA I could drink! Pull the ring tab- wear it on your finger for a bit before carelessly dropping it somewhere in the grass. Take that long first sip…..ahhhhhhhhhh. Life was good.