Professional Documents
Culture Documents
Oil
Pain(ngs,
Instruc(on, and
Observa(ons
about
Art
and
Living by Stefan
Baumann
Let
me
introduce
myself.
My
name
is
Stefan
Baumann
and
I
am
an
ar7st,
an
art
instructor,
and
the
host
of
a
PBS
television
series
called
"The
Grand
View."
This
eBook
is
an
accumula7on
of
4
years
of
daily
blog
posts
that
share
my
insights
and
observa7ons
about
nature,
art,
and
life.
I
hope
to
touch,
move,
and
inspire
ar7sts
as
well
as
non- ar7sts
with
my
pain7ngs,
and
with
some
ideas
about
how
to
be
more
crea7ve
in
your
own
unique
ways
and
live
a
passionate
life.
I
sincerely
hope
you
enjoy
this
book.
Feel
free
to
pass
it
on
to
friends
and
ar7sts.
If
you
would
like
to
contact
me,
you
can
email
me
at
stefan_baumann@yahoo.com
or
you
can
go
to
my
website
at
thegrandview.org
for
more
informa7on.
Thank
you
My
grateful
apprecia/on
to
Kris
Baxter
for
her
invaluable
contribu/ons
to
the
blog
and
this
revised
eBook,
which
I
could
not
have
wri>en
without
her
crea/ve
edi/ng
and
support.
My
thanks
to
Gita
Hazra/
(gitahazra/@gmail.com)
for
all
her
help
with
my
website
and
uploading
changes
through
the
years,
and
to
Hannah
West
for
beau/fully
nalizing
the
design
and
format
of
this
eBook (webmistress@hannahwestdesign.com) I
also
want
to
thank,
you,
the
readers,
for
all
your
gracious
comments
that
warm
my
heart,
make
me
smile,
and
inspire
me
to
con/nue
oering
my
experiences
and
views
of
the
world
of
art
through
this
blog
and
eBook. Revised
June
2012
TABLE OF CONTENTS
"First
Snow"
-
Introduc7on...........................................................................................1 "Morning
Snow"
-
Enjoy
the
Moment..........................................................................2 "The
Crea7ve
Path"...................................................................................................... 3 "Winter
Orange"
-
Touch,
Move
and
Inspire................................................................ 4 "Mt.
Shasta
Nocturne,
Opus
1"
-
Rules........................................................................ 5 "Winter
Dogwood"
-
Als
Ik
Kan.................................................................................... 6 "The
Grand
View
Ranch"
-
Paint
Every
Day.................................................................. 7 "Principles
of
Design"...................................................................................................8 "Winter
Color"
-
S7ll
Life
Pain7ng................................................................................ 9 "A]er
the
Storm"
-
Sharing
Yourself
through
Art........................................................10 "Shasta
Sunrise"
-
Overcoming
Obstacles...................................................................11 "Lady
Shasta"
-
Just
Leap!...........................................................................................12 "Hammond
Ranch
Oak"
-
Pain7ng
Snow....................................................................13 "Begonias
S7ll
Life"
-
Art
is
Crea7ng,
Not
Perfec7ng..................................................14 "Tulips
S7ll
Life"
-
Pain7ng
Tips.................................................................................. 15 "Brushstrokes"............................................................................................................16 "Shasta
Sunset"
-
Paint
What
You
See........................................................................17 "Old
Stage
Road
Barn"
-
Successful
Pain7ng
on
Loca7on.......................................... 18 "Mt.
Shasta
Barn,
Opus
1"
-
How
Do
I
Paint
That?.....................................................19 "Taking
on
Great
Challenges".....................................................................................21 "Valen7ne's
Flowers"
-
Share
Your
View
of
Life......................................................... 22 "Mt.
Shasta
Barn,
Opus
2"
-
Crea7ng
Your
Own
Magic..............................................23 "Road
to
the
Foothills"
-
Communicate
Your
Message
Clearly...................................24 "A
Single
Rose"
-
Learning
to
See...............................................................................25 "Greatness
in
Art"......................................................................................................26 "Spring
Lit
Meadow"
-
Crea7ng
the
Eect
of
Light.................................................... 27 "Shasta
Valley,
Opus
1"
-
A
Sense
of
Space................................................................28 "The
Old
Bunkhouse"
-
Crea7ng
Mood......................................................................29 "Shasta
Barn,
Opus
3,
Hoy
Barn"
-
Challenges
of
Pain7ng
Outdoors.........................30 "Basalt
Clis
North
of
Mt.
Shasta"
-
Crea7ng
Drama
with
Color................................31 "What
It
Is".............................................................................................................. 32
TABLE OF CONTENTS
"Grand
View
Burn,
Opus
1"
-
Pain7ng
Fire................................................................34 "Spring
Runo"
-
Pain7ng
Trees
with
Personality......................................................35 "Hedge
Creek
Falls,
Opus
1"
-
Tapping
in
to
Our
Inner
Source..................................36 "Mossbrae
Falls,
Opus
1"
-
Pain7ng
with
a
Limited
Palehe.......................................37 "The
View
from
My
Studio"
-
Create
and
Excel.........................................................38 "Ar7st's
Tools"...........................................................................................................39 "McCloud
Middle
Falls,
Opus
1"
-
The
First
Impression
Counts................................ 40 "McCloud
Middle
Falls,
Opus
2"
-
Pain7ng
an
Eect.................................................41 "View
from
the
Grand
View,
Opus
1"
-
Self-Doubt
and
Cri7cism..............................43 "Faery
Falls"
-
Sfumato..............................................................................................44 "Shoshone
Falls"........................................................................................................45 "The
Fine
Art
of
Seeing
Color"
-
Perfec7onism
Leads
to
Paralysis............................46 "Mt.
Shasta's
Smoky
Veil"
-
What
Colors
Do
I
See?...................................................47 "Size
Does
Maher"
-
Canvas
Size...............................................................................48 "Grand
View
Buhery"
-
Rhythm
and
Movement....................................................50 "The
Fallen
Totem"
-
Points
of
Interest.....................................................................51 "A
Smoky
Day
in
Mt.
Shasta"
-
Crea7ng
Atmosphere...............................................52 "Another
Smoky
Day
at
the
Ranch"
-
Keying
the
Values...........................................54 "A
Barn
in
Gazelle"
-
Sky
and
Harmony.....................................................................57 "Farmhouse
in
Mt.
Shasta"
-
Ar7st
Block..................................................................58 "Sunday
Morning
on
the
Clis"
-
Drawing
from
Life.................................................60 "Moose,
Opus
1"
-
Finding
your
Ar7s7c
Muse......................................................... 61 "Summering
Buck"
-
Ar7s7c
Frustra7on...................................................................63 "Grand
Buck
of
the
Siskiyou"
-
Art
Marke7ng,
Part
1............................................... 64 "Trees
of
Castle
Crag
Lake"
-
Ahributes
of
a
Tree..................................................... 66 "Seven
Steps
for
a
Great
Pain7ng"............................................................................68 "Last
of
the
Herd"
-
Inspira7on.................................................................................70 "Times
Gone
By"
-
Adding
Details.............................................................................72 "Crossroads
in
Weed"
-
Finding
Your
Voice.............................................................. 73 "Winter
Dogwood"
-
Memory
Exercise....................................................................74 "Birthday
Orchid"
-
Pain7ng
in
the
Moment............................................................76
TABLE OF CONTENTS
"Last
of
the
Spring
Blooms"
-
Lighten
or
Darken
a
Color?.........................................78 "View
from
Louie
Road
Bridge"
-
Just
as
I
See
It........................................................79 "Last
of
the
Rhododendron
Bloom"
-
Taking
Art
to
Next
Level..................................80 "Mt.
Shasta
A]ernoon"
-
Atmospheric
Perspec7ve.................................................. 81 "Shasta
Sweet
Peas"
-
Crea7ng
Great
Art..................................................................83 "Silence
at
Siskiyou
Lake"
-
Persevering.....................................................................85 "View
of
Inspira7on
Point"
-
Imagina7on
and
Originality..........................................87 "Hall
of
the
Mountain
King".......................................................................................88 "Teton
Splendor"
-
Plein
Air
When
Traveling.............................................................90 "Capturing
Animals
on
Loca7on"
-
Trials
and
Frustra7ons........................................91 "Placing
Animals
in
Pain7ngs"
-
Animals
on
Loca7on................................................92 "Curious
Bear"
-
Sketchbooks
are
Essen7al...............................................................94 "Shasta
Winter
Splendor"
-
Mood.............................................................................96 "Winter
Wonderland"
-
Pain7ng
Trees
&
Snow.........................................................97 "Hornbrook
Barn,
Opus
1"
-
Pain7ng
with
Inten7on.................................................98 "Pansies"
-
Taking
Time
to
Paint................................................................................99 "Ashland
Barn"
-
Be
Prepared.................................................................................100 "Grand
Old
Lady"
-
Pleasing
Composi7on...............................................................101 "Hornbrook
Barn,
Opus
2"
-
Best
Prac7ces
for
Ar7sts............................................ 103 "Hanley
Farm
House"
-
5
Key
Ques7ons.................................................................104 "Winters
Cuto"
-
Expressing
Feelings....................................................................106 "Old
Pump
House"
-
Signicance
of
the
Moment...................................................108 "Lilies
and
Pansies"
-
Skep7cism............................................................................. 109 "Mt.
Shasta
and
Roman7c
Luminism"
-
American
Art
Style................................... 110 "Strawberry
Valley
Inn"
-
Pain7ng
from
Life............................................................111 "Old
Stage
Cabin"
-
Pain7ng
from
Inside
Out......................................................... 112 "Tulip
Tree
Branch"
-
Connec7ng
with
your
Art......................................................113 "Mt.
Shasta
In
Moonlight"
-
Pain7ng
at
Night........................................................ 114 "Slushy
Streets"
-
Paint
What
You
Love...................................................................115 "Ashland
Orchard"
-
Technique,
Style,
and
Vision..................................................116 "The
Sullaway
House"
-
Pathway
to
Excellence......................................................117
Principles
of
Design
The
goal
of
an
ar7st
is
to
create
a
powerful
composi7on
that
ahracts
the
viewers
ahen7on.
The
use
of
ar7s7c
elements
of
design
helps
the
ar7st
to
communicate
his
message
and
to
create
a
dynamic
pain7ng.
I
used
many
of
the
following
principles
of
design
to
create
my
vision
and
aect
the
viewer
in
Sunday
Morning
on
the
Clis.
1. Harmony:
Harmony
results
when
all
elements
come
together
in
a
unied
whole,
and
each
part
of
the
composi7on
works
to
express
the
idea
behind
the
overall
composi7on.
2. Balance:
Balance
has
two
forms,
Sta7c
and
Dynamic.
Sta7c
balance
occurs
when
similar
elements
are
placed
on
either
side
of
a
pain7ng,
and
Dynamic
balance
may
be
achieved
by
contras7ng
a
large
dark
area
on
one
side
of
a
canvas
with
several
brightly
colored
objects
on
the
other
side. harmony
in
a
pain7ng.
An
example
of
this
would
be
repea7ng
cloud
forma7ons
over
a
horizon
line
of
trees.
3. Repe77on: Repea7ng elements of lines and forms in a composi7on can create the feeling of peace and
4. Contrast: A few examples of contrasts which ar7sts have in their arsenal when crea7ng a pain7ng are
Light and Dark, Bright and Dull, and Smooth and Rough. Too lihle contrast in a pain7ng can be boring, and too much can appear contrived and can overwhelm the message. viewers ahen7on. Selec7ng one central idea that clearly communicates your objec7ve will create a powerful composi7on. prevails. A pain7ng which hangs together will stand out from other pain7ngs which have freeform ideas that are composed haphazardly.
5. Dominance: Choosing one dominant element to emphasize your message in a pain7ng focuses the
6. Unity: When every part of a pain7ng relates to all the elements in the composi7on, a sense of unity
10
11
12
14
15
Brushstrokes
The
rst
step
in
learning
how
to
paint
begins
with
understanding
how
to
use
a
brush
and
how
to
apply
brushstrokes
eec7vely.
Holding
the
brush
and
moving
it
correctly
is
very
important
to
pain7ng
successfully.
It
is
not
something
that
ar7sts
can
do
willy-nilly
and
think
that
they
are
crea7ng
great
artwork.
Although
recrea7ng
a
subject
is
the
inten7on
of
every
ar7st,
rendering
or
drawing
with
the
brush
is
physically
dierent
from
pain7ng
with
a
brush.
Rendering
is
done
with
the
ngers
and
wrist;
pain7ng
is
done
from
the
shoulder
with
the
whole
arm
moving
as
one
unit.
The
ngers
and
wrist
do
not
move
when
pain7ng.
When
pain7ng,
hold
the
brush
at
the
back
of
the
brush,
away
from
the
hair.
The
brush
rests
on
the
side
of
the
middle
nger,
held
in
place
by
the
pressure
of
the
thumb. Each
brushstroke
has
a
beginning
and
an
ending.
Once
the
brush
is
applied
to
the
canvas,
the
brush
is
not
li]ed
un7l
the
stroke
is
completed.
Every
swipe
of
the
brush
has
meaning,
purpose,
and
direc7on.
Each
stroke
must
have
within
it
the
correct
value
and
color
and
be
applied
with
a
hard
or
so]
edge.
The
pressure
should
be
consistent
throughout
the
pain7ng
and
every
stroke
sensi7vely
caresses
the
paint
to
stay
on
top
of
the
surface.
In
addi7on,
the
overall
consistency
of
paint
should
be
apparent
from
one
edge
of
the
canvas
to
the
other.
In
pain7ng,
the
focus
of
the
ar7st
is
to
join
with
the
brush
and
paint,
placing
each
brushstroke
one
a]er
the
other
on
the
canvas,
crea7ng
the
ar7sts
interpreta7on
of
the
subject
with
his
personal
signature
within
each
brushstroke
on
the
pain7ng. The
next
7me
you
want
to
paint,
do
more
than
render
the
subject
with
the
brush.
Paint
it!
Fall
in
love
with
the
act
of
placing
paint
on
your
canvas,
feeling
the
buhery
consistency
of
the
paint
as
it
moves
with
your
brush,
and
become
aware
of
every
brushstroke
as
you
paint.
16
17
18
using a big brush. At this moment, I try to visualize the nished pain7ng. Many great pain7ngs are lost because the ar7st has no vision before he starts.
19
2. Then I sketch the easy shapes and try to make every stroke correct. I make correc7ons as I go instead of wai7ng un7l the end to get it accurate. I start with the chosen center of interest and work out from there.
3. Next, I lay in the sky and I do not make it complicated. I use plenty of paint and apply the strokes in dierent paherns. Then I chunk in the values with no more than 4 to 5 value panes.
4. The completed pain7ng should have so] and hard edges, good values, and a strong focal point. I use the knife to scratch in many of the s7cks and branches. Many ar7sts also scratch in their name when they nish so that they can indicate to other ar7sts that they completed the pain7ng on loca7on.
Even though we are interested in learning from other ar7sts, it is interes7ng that crea7ng art is such a solitary process. Most ar7sts throughout the world spend endless hours in their studios crea7ng art by themselves. It is only in the moments when we are working on our own art that we experience the universal crea7ve inspira7on we share with all makers of art, and it helps to remember that there are other ar7sts connected by inspired hearts doing the same thing that we are doing.
20
21
22
23
24
Greatness
in
Art
Learning
how
to
paint
is
invaluable
but,
by
itself,
knowing
how
to
paint
is
nothing.
An
ar7st
who
has
learned
how
to
represent
an
object
faithfully
has
only
learned
the
language
by
which
percep7ons
are
rendered. An
ar7st
creates
great
art
when
he
is
able
to
infuse
what
he
feels
about
what
he
sees
into
his
work.
Then
the
pain7ng
becomes
more
than
a
detailed
re-crea7on
of
a
subject.
To
achieve
this,
an
ar7st
must
explore
the
depths
of
emo7ons
and
experiences
within
himself
to
know
what
he
feels.
Great
art
reects
the
ar7sts
inner
portrait
and
view
of
the
world;
it
is
a
manifesta7on
of
his
understanding
of
the
cra]
combined
with
his
sensibility
about
being
human.
Every
factor,
even
the
choice
of
a
frame,
is
important
to
the
successful
communica7on
between
the
ar7st,
the
canvas,
and
the
viewer.
An
ar7sts
ability
to
express
his
feelings,
coupled
with
a
skilled
interpreta7on
of
the
subject
maher,
elicits
responses
in
the
viewer
and
eec7vely
deepens
their
conversa7on. Like
a
great
piece
of
literature,
great
art
is
created
with
discipline
and
designed
to
have
an
impact
on
the
viewer,
oering
an
invita7on
to
see
the
very
soul
of
the
ar7st
revealed
in
the
pain7ng.
26
27
28
29
31
What
It
Is
All
people
have
the
talent
and
ability
to
create.
We
are
born
with
it.
You
need
only
to
look
at
a
young
child
siyng
on
the
oor
with
a
box
of
crayons
busily
drawing
on
sheets
of
white
paper.
Humans
come
into
the
world
with
an
amazing
desire
to
create.
We
o]en
spend
our
life7me
trying
to
reclaim
the
passion
and
freedom
that
we
experienced
as
a
child.
Throughout
my
career
as
an
ar7st
and
art
instructor,
I
have
searched
for
the
answers
to
the
ques7on,
Why
do
we
lose
the
ability
to
express
our
inner
selves,
and
how
do
we
turn
it
on
again? I
have
been
teaching
people
the
art
of
pain7ng
for
over
35
years
and
oer
workshops
that
help
ar7sts
learn
how
to
paint
and
overcome
barriers
that
stop
them
from
crea7ng.
When
I
designed
my
workshop,
I
knew
I
did
not
want
to
present
the
standard
weekend
workshop
where
the
instructor
dazzles
the
par7cipants
with
a
few
fancy
recipes.
I
wanted
to
oer
some
experiences
that
can
help
ar7sts
paint
freely,
powerfully,
and
passionately.
I
hoped
to
explore
the
answers
to
ques7ons
such
as
why
do
people
stop
crea7ng
art?
Why
do
some
people
dare
to
create
and
others
do
not?
What
is
art
and
why
is
it
important
to
human
beings?
How
can
ar7sts
unleash
their
passion
to
create
and
enjoy
making
art
again? In
my
weekend
workshop,
we
talk
about
these
ques7ons
and
explore
many
of
the
secrets
of
pain7ng
outdoors.
During
the
three
days,
we
take
one
evening
to
discuss
what
It
is,
and
how
to
get
It.
This
new
approach
is
instrumental
in
taking
each
par7cipants
art
to
the
next
level.
These
ques7ons
and
ideas
may
help
you
break
through
the
barriers
that
stop
your
crea7vity
and
help
you
to
begin
crea7ng
art
in
exci7ng
new
ways.
1. What
if
you
could
paint
fearlessly?
Fear
is
a
real
emo7on,
and
many
ar7sts
paint
what
they
think
is
acceptable.
To
break
through
this
limi7ng
belief,
you
must
paint
as
if
you
have
no
fear.
2. What
alternate
medium
would
you
create
with
if
you
used
one
dierent
from
your
favorite
medium?
Many
ar7sts
stay
with
what
they
know.
If
you
usually
paint
with
oils,
try
pain7ng
with
watercolors
or
pastel.
The
world
oers
a
grand
buet
of
possibili7es,
so
try
something
new. my
crea7vity.
What
classes
would
I
take?
Where
would
I
go?
What
would
I
want
to
learn?
3. Make
a
list
and
ask
yourself
What
would
I
do
if
I
had
unlimited
amounts
of
7me
and
money
to
devote
to
4. Make
a
list
of
5
crea7ve
ac7vi7es
that
you
can
begin
this
week:
sign
up
for
a
class
or
workshop,
or
teach
a
class,
or
take
a
trip
to
a
museum,
call
your
local
art
group
to
volunteer,
paint
a
pain7ng,
or
oer
to
donate
your
art
to
a
cause
or
charity.
5. What kind of art do you desire? If money were no object, which ar7sts work would you collect and
hang in your studio to see every day? Ask yourself, How did this ar7st see the world, and try to imagine seeing it as they did. or work too hard to get it right. Pain7ng whatever you see can result in a great work of art if the viewer is able to see it through your eyes. Ask yourself, What if art is easier to do than I think it is? in front of you.
6. Paint the rst thing that you see right now: an egg, a lamp, a cup of coee, a ower. Try not to analyze it
7. Keep
a
journal.
Draw
every
day.
Dont
look
for
the
perfect
thing
to
draw.
Just
sit
and
draw
what
is
right
8. Keep
your
camera
at
home.
Too
many
ar7sts
travel
and
rely
more
on
photos,
and
less
and
less
on
memory.
Memory
is
a
skill
that
you
can
develop
through
prac7ce.
32
9. Paint
something
from
your
past.
Imagine
a
7me
when
you
felt
inspired
seeing
a
beau7ful
sunset
or
a
beam
of
light
coming
through
a
cloud.
Get
in
touch
with
your
emo7ons,
and
don't
just
look
at
the
subject.
See
if
you
are
able
to
remember
the
feelings
that
inspired
you
when
you
paint.
10. Paint bold and thick, and paint as if your supplies were free and endless. Try pain7ng with a knife or use
your ngers. Give yourself permission to be free with your paint. Paint as though you were a child again and express yourself.
33
34
36
37
38
Ar(sts
Tools
While
shopping
in
a
local
art
supply
store,
I
became
aware
of
the
many
dierent
types
of
new
products
available
to
the
ar7st.
With
all
the
new
technology
and
convenience
of
paint
and
mediums,
it
would
seem
possible
that
ar7sts
would
have
had
more
breakthroughs
in
the
ar7s7c
world.
For
example,
there
are
new
products
that
mix
with
water
instead
of
turpen7ne
that
allow
ar7sts
to
paint
in
a
closed
environment.
Have
these
new
products
really
changed
the
ways
ar7sts
create
their
artwork? In
the
1870s
when
manufacturers
began
sealing
oil
colors
in
collapsible
metal-foil
tubes,
ar7sts
who
painted
with
oils
were
able
to
travel
away
from
the
studio
and
paint
au
plein
air
for
the
rst
7me.
Ar7sts
like
Corot,
Monet,
and
Renoir
were
some
of
the
pioneers
who
rst
used
this
new
technology
by
bringing
their
paint
in
sealed
tubes
to
the
countryside
to
paint
on
loca7on.
They
began
to
capture
their
impressions
of
light
and
nature
outdoors.
This
change
in
technology
resulted
in
the
ar7s7c
movement
referred
to
as
Impressionism. Every
ar7st
must
repeatedly
decide
when
to
s7ck
with
familiar
tools
and
materials
and
when
to
reach
out
and
embrace
those
that
oer
new
possibili7es.
Some
ar7sts
experiment
with
new
paints
and
mediums
with
the
idea
that
they
can
enhance
their
style
by
using
a
product
that
will
dis7nguish
them
from
their
contemporaries.
Others
are
content
to
create
art
in
familiar
ways.
The
tools
ar7sts
use
have
lihle
to
do
with
the
greatness
of
the
art
created
with
them.
It
is
the
7me
an
ar7st
spends
in
explora7on
and
prac7ce
that
develops
his
personal
signature.
When
ar7sts
convey
their
thoughts
without
words
to
the
viewer
by
crea7ng
ar7s7c
works,
they
share
their
insights
and
inspira7on;
how
ar7sts
accomplish
this
has
lihle
to
do
with
trickery
or
products
and
everything
to
do
with
skill
and
dedica7on. So,
how
do
you
create
inspiring
art?
The
most
essen7al
part
of
being
a
produc7ve
ar7st
is
to
live
in
such
a
way
that
your
ar7s7c
work
has
priority
and
importance
in
your
daily
life.
By
having
regular
and
eec7ve
work
habits,
and
insuring
that
there
is
ample
7me
to
work
on
your
projects,
you
increase
the
possibility
that
an
assortment
of
nished
pieces
will
con7nue
to
materialize.
It
is
helpful
to
have
a
dedicated
7me
of
day
to
work
on
your
art
just
like
going
to
a
job.
Ahending
weekly
art
classes
insures
that
both
the
instructor
and
other
students
will
s7mulate
your
ar7s7c
focus.
Classes
are
a
great
way
to
have
a
consistent
block
of
7me
to
create
art
as
well
as
enjoying
a
suppor7ve
network
of
like-minded
friends
who
love
art.
If
classes
are
not
possible,
working
with
an
art
coach
who
can
review
your
goals
and
your
work
regularly
is
very
important
for
mo7va7on,
accountability,
and
ar7s7c
improvement.
Over
7me,
your
life
as
a
produc7ve
ar7st
becomes
powerful
as
you
apply
yourself
to
crea7ng,
and
you
discover
that
the
par7culars
of
any
new
products
or
tools
that
you
use
do
not
really
maher
very
much
at
all.
39
40
decision that a person can make. If you choose to be an ar7st, you must have faith: faith in yourself, in your ideas, and in your abili7es. You must take leaps of faith; some as simple as choosing a medium, and some that require you to move to other communi7es so you can pursue your art. You must follow your own dreams, and conquer the fears that try to stop you. As each nega7ve thought says, You cant, you must for7fy yourself by asser7ng the truths of I can and I will, and set a course for a crea7ve journey that results in the extraordinary experience of being an ar7st.
42
43
45
46
47
The next 7me you start a pain7ng, I invite you to ask yourself, Should I paint on a standard size canvas, or could my experience be more accurately recreated by pain7ng on an 8x12 or 9x13.5 canvas? You may be surprised how your composi7ons will thrive if you are open to using canvases that t your ar7s7c expression instead of having your artwork t the canvas.
49
50
51
In this example, Smoky Day in Mt. Shasta, I chose to paint with a middle range of value or a middle color key that gives the pain7ng a tranquil eect. The smoke in the atmosphere aects all the colors and objects so the light is consistent throughout the pain7ng. The sun has the highest value and is the lightest color key in the pain7ng. If the overall tonality or key in this pain7ng were too light or too dark, the message of tranquility would be lost. If you would like to experiment with these tools, begin by pain7ng using a few colors to create an atmospheric hue (cool blue-grey or warm orange-yellow) and paint the en7re pain7ng in that color. Then, use a varia7on of dark values and highlights in the same color key to form objects such as trees, rocks, and mountains, and see what develops.
53
54
I painted this pain7ng on loca7on using a 12x8-canvas board that was primed with gesso. I quickly composed and sketched-in the view that I found cap7va7ng with Asphaltum and turpen7ne. I used a # 8 Flat bristle brush so that I could sketch my ideas quickly.
Next , I placed the darkest and lightest values on the canvas early on so that I could judge all my values against these original values.
Then, I painted the value and colors of the smoky sky, and covered my original sketch of the trees as I painted in the ground values of the forest. I worked with contrasts, and gauged every color and value against the light and dark values that I originally established in the pain7ng.
55
I so]ened all the edges and blurred the values into the sky. I wanted to create a very mysterious seyng by using values to establish the shapes.
I painted the sun using very thick paint. Remember, the thicker you paint, the brighter it will appear on the canvas. This has to do with how the light reects on the surface. I began pain7ng in the trees using dark brown and a lot of turpen7ne. If you want to paint wet into wet, it is necessary to mix more turpen7ne into the top layer so that it does not pull the paint away from the layer underneath. Finally, I painted the rocks and details in the foreground using pure, saturated colors to enhance the High Key eect of the pain7ng. I painted this vista in about 2 hours.
56
57
58
Take a trip somewhere that you have never considered going before, even if it is only to another town you have never explored. Always take a sketchbook, a notebook, a journal, or a thumb box everywhere you go. Commit to write, draw, or paint your observa7ons every day, as grand or silly as they might be. If this does not work, look for a coach or a class, or someone you can talk to because you might just need a mentor to give you a new perspec7ve or to change your view of something that you may take for granted. Remember, you are unique and signicant in the world, and few people possess the talent that you have right now.
59
60
61
#2: Take a long and relaxing walk. Do something that is physically ac7ve to clear your mind. It will calm any frustra7ons, and give you 7me to have fresh ideas or new approaches that may come to mind when you are away from your studio. #3: Do not do anything at all! Do not even look or think about your pain7ng, inspira7on will come to you when the 7me is right. Instead watch TV, go out with friends, or go to bed. Just do something to separate yourself from your art. Enjoy being crea7ve in other ways. #4: Think of a book or movie that moves you to feel your emo7ons and paint a picture about something in the story that touches you. Every great work of art is inspired by connec7ng to life in some way. #5: Listen to some inspira7onal or unusual music. I prefer tribal music, Classical music or movie soundtracks. Few things are as ar7s7cally s7mula7ng as a great symphony by Beethoven. Let the music guide your art. Allow yourself to let loose and go with the sounds. Leonardo da Vinci felt that he painted beher when he listened to music. #6: And go outside of yourself for ideas and inspira7on. Browse through books to see and experience other ar7sts work. Some7mes we are so concerned that all of our work has to be original, and we forget that other ar7sts have had huge breakthroughs a]er losing their muses, too. Visit a museum or surf the internet to see what other ar7sts are crea7ng because it can be insighxul, inspiring, and can connect us with the dicul7es experienced by others in our special group called ar(sts.
62
Grand
Buck
of
the
Siskiyou
-
Breaking
into
the
Art
Market:
Part
One
Earlier
this
week
I
met
an
old
7mer
who
used
to
track
wild
life
in
the
Mt.
Shasta
area
who
lives
near
The
Grand
View
Ranch.
He
told
me
about
a
small
herd
of
elk
who
live
on
the
East
side
of
the
mountain
in
the
summer,
and
that
if
I
hurried,
I
might
be
able
to
nd
them
and
to
sketch
them.
I
hiked
deep
into
the
woods
with
my
thumb
box
in
my
backpack
and
my
camera
ready
to
capture
anything
that
moved
in
the
bushes.
A]er
hours
of
wandering
through
the
hillsides
and
rivers
in
this
desolate
area,
I
found
them.
It
was
a
small
herd
with
six
cows
and
one
buck.
They
were
unaware
of
my
presence
and
I
quickly
made
some
sketches.
This
sketch
called
Grand
Buck
of
the
Siskiyou
is
one
of
many
sketches
that
I
began
on
this
hun7ng
trip. Every
year
10,000
ar7sts
graduate
from
art
schools
across
the
country.
Most
of
these
ar7sts
will
go
into
other
occupa7ons
within
a
few
years.
A
lot
of
hard
work
and
a
lihle
luck
are
important
to
becoming
a
successful
professional
ar7st.
Some
7ps
to
accomplish
this
are: Take
ini7a7ve
and
network!
Ar7sts
must
believe
in
their
work
and
imagine
that
it
has
a
place
in
the
art
world.
It
takes
7me
to
develop
a
recognizable
name,
and
to
do
this,
you
must
create
a
loyal
customer
base
at
a
local
level.
Be
willing
to
show
your
art
in
many
dierent
venues.
Begin
by
placing
your
art
in
cafs
and
local
restaurants.
Contact
your
local
art
group
to
nd
out
about
opportuni7es
for
showing
your
art
in
their
art
shows.
Have
an
open
studio
and
paint
while
poten7al
customers
enjoy
your
nished,
framed
pieces.
Start
now
to
develop
a
name
for
yourself.
Networking
to
promote
your
art
is
not
a
one
or
two
year
plan.
It
may
take
5
to
10
years
to
become
well
known.
We
o]en
look
for
the
one
piece
of
the
puzzle
that
will
open
the
doors
to
success,
but
this
is
not
a
realis7c
approach
to
becoming
successful
in
the
art
world.
It
takes
many
pieces
and
many
ahempts
to
put
the
whole
puzzle
together
and
have
your
art
in
public
view.
64
Represent yourself! The only person that really cares about your art and your success is you. Few new ar7sts understand this when they are beginning to show their work. Galleries are most interested in keeping their doors open and will seldom spend any of their commissions to adver7se your work or sponsor a show. Few galleries have the integrity to share with you the names of clients who collect your work. However, they are the rst to ask for your client list. Galleries and charity events are good exposure opportuni7es and should be part of your marke7ng plan; however, they are not the only ways to have your art be seen by the public. Keep Crea7ng! It takes a life7me to be an overnight success as an ar7st. Keep pain7ng and perfec7ng your cra] and your message. Ar7sts have to be prolic and proac7ve in producing and promo7ng their work. Once a door opens to show your work, you must have some pain7ngs available for sale. Success may be a long 7me in coming, so keep in mind that pain7ng is a cra], and every pain7ng is a learning opportunity for the next pain7ng to be a masterpiece. Always be inten7onal about yourself as an ar7st and create your own success by pain7ng those moments in life that you want others to experience through your art.
65
may be painted to look prehy, but the result may not be interes7ng or revealing. It is the lines and wrinkles in her face that tells the story of how she lived, laughed, and loved. I believe that these details are missing in many plein air pain7ngs today. In the background of my pain7ng, I have included subtle details embedded in the sheer clis, and you can see lines in the crags that mark its stra7ca7on. You can also see how it has been washed and rounded by glaciers and weather, and that it is not just a wall of rock. The main reason that ar7sts rst moved from the studio into the wilderness was to be able to carefully observe and record nature with their own eyes, because without close observa7on and the use of details, pain7ng can become mechanical and oversimplied.
67
Step 1. The rst 10 minutes is the most important part of any pain7ng. You must have a completed concept in your head before star7ng. Start with a neutral color and lay in your sketch.
Step 2. Establish your light source and lay in your value chunks (no more than 4 to 5 values). A large value area should have many grada7ons.
68
Step 3. So]en your edges as you go. It is important that you keep your work loose and owing.
Step 4. Begin pain7ng in the central focal point. In this pain7ng, it is the house. Keep it simple and avoid detail at this point.
Step 5. Start your light story. Remember, pain7ng the eect of light on the object that is more important than the thing itself.
Step 6. Bring in more light and complete more of the detail all over the picture, and not in just one place.
Step 7. Complete the pain7ng, making sure that it has a central focal point that is the lightest with sharp edges, and so]en other edges in the pain7ng. Then sign the pain7ng.
69
This cycle is similar to those found in nature; winters season rests the earth, so in spring the warming earth can bring forth new inspira7on and new life, allowing passion to create plen7ful summer fruits that are harvested in the fall as the earth prepares to share its bounty with thanksgiving. Humans share similar paherns of life: paherns of s7llness, inspira7on, rebirth, and crea7on which are vital in renewing and reinven7ng ourselves as ar7sts. Whether you are feeling s7ll and subdued, or you feel excited and love what you are pain7ng, the canvas reects your emo7ons. Start pain7ng and keep pain7ng, and once you put your brush to canvas, your inspira7on just may follow.
71
73
catching the edges of the freshly fallen snow. Most of the branches were hidden from view by the snow itself and the background trees were black against the white snow. This pain7ng took about two hours to paint and during that 7me, the snow melted o the branches and the dogwood trunks bounced back to their ver7cal posi7on. I wanted to capture the moment when winter had just blanketed the forest, and I had to rely on my memory to recall what it looked like at that moment when I started pain7ng. I painted the layout of the landscape during the original moments of inspira7on, as well as the color references that I noted and commihed to memory. As I went along crea7ng this work of art, the overall impression came from the memory of what it rst looked and felt like to me.
75
Third: Add more details, more highlights, and dark shadows to the owers, orchid plant, and in the areas surrounding the plant. Fourth: Paint the leaves, and complete the background. When pain7ng alla prima, 7me is of the essence. Complete the main focal point rst, and then work on the background with the remainder of the 7me allowed for the piece. Remember, you do not have to paint every square inch, just the main subject.
77
78
79
Last
of
the
Rhododendron
Bloom
-
Taking
Your
Art
to
the
Next
Level
Working
and
maintaining
a
ranch
is
7me
consuming
and
hard
work.
As
I
am
doing
my
daily
chores,
I
see
hundreds
of
ideas
for
pain7ngs,
like
the
wildowers
that
call
to
me
wan7ng
to
be
painted,
along
with
those
commissions
that
are
due
to
collectors.
I
o]en
have
to
just
stop
and
take
note
of
the
fantas7c
abundance
that
I
have
at
The
Grand
View
Ranch.
Today
was
the
last
of
the
Rhododendron
bloom,
and
with
this
in
mind,
I
put
aside
the
tasks
at
the
ranch
to
paint
these
magnicent
blossoms. For
some
people,
art
has
been
a
part
of
their
life
since
an
early
age
and
these
ar7sts
are
lucky,
because
for
them,
art
is
a
way
of
life.
Many
people
gravitate
toward
becoming
an
ar7st
later
in
their
lives
because
they
are
looking
for
an
ac7vity
to
bring
relaxa7on
and
meaning
into
their
hec7c
lives.
Others
are
looking
for
something
to
do
during
re7rement.
Most
people
become
ar7sts
because
they
enjoy
the
crea7ve
freedom
to
paint
what
inspires
them,
and
nd
that
they
are
encouraged
to
express
their
deepest
ideas,
visions,
and
desires
as
well.
Some
ar7sts
want
to
create
something
from
their
own
experience
to
share
with
others,
with
their
family,
and
with
the
world.
They
may
have
a
moment
when
they
see
an
amazing,
morning
sunrise
and
say,
Look
at
that!
Its
beau7ful.
I
wish
someone
could
see
how
breathtaking
it
is.
If
they
take
their
7me
to
paint
what
they
see
and
feel,
and
share
it
with
others,
they
discover
the
magical
ingredient
that
compels
ar7sts
to
create
art
-
the
connec7on
of
sharing
ones
self
with
others
-
which
becomes
the
power
that
can
take
your
art
to
the
next
level. I
painted
this
pain7ng
of
the
Rhododendrons
for
you
because
I
wanted
to
share
the
moment
when
I
discovered
these
beau7ful
and
delicately
colored
owers
as
they
gave
their
best
in
the
last
days
of
their
blooming
season. If
you
wish
to
accomplish
anything
extraordinary
in
art,
you
must
do
everything
necessary
to
paint
eec7vely
by
including
some
simple
elements
such
as
a
central
focal
point,
subtle
values,
and
accurate
drawing
in
the
pain7ng.
To
be
successful,
you
must
grab
the
viewers
ahen7on
and
be
able
to
hold
it.
An
ar7st
is
like
a
great
conductor
or
director
who
knows
how
to
focus
the
ahen7on
of
his
or
her
audience
on
the
art
at
hand.
By
contras7ng
light
and
dark
colors,
the
ar7st
captures
the
viewers
eyes
and
leads
them
around
the
canvas
from
hard
to
so]
edges,
from
detailed
to
loose
brushstrokes,
and
with
the
addi7on
of
counterbalanced
values,
gives
the
nale
that
wows
them
with
a
crescendo
of
light.
Crea7ng
great
art
is
no
accident;
it
is
as
deliberate
as
an
Agatha
Chris7e
mystery
novel.
It
takes
knowledge,
hard
work,
concentra7on,
and
dedica7on
to
create
a
masterpiece
that
looks
free
and
feels
expressive.
When
choosing
your
subject,
let
the
subject
come
from
within
you
and
let
your
pain7ng
be
a
simple
act
of
sharing.
It
does
not
have
to
be
complicated
or
heroic,
or
have
some
great
meaning
or
message.
Great
art
touches
us
deeply
in
a
way
we
cannot
forget.
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Next, I wanted to add even more contrast in the foreground by using darkened values of brown, green, and cooler colors for a more drama7c statement against the lighted areas. No7ce how the warm light comes from the upper le] and is consistent on the background hillsides and the mid-ground trees. The areas that are not in light are cooler, darker, and less intense. If you want to create a strong sense of the 7me of day in your pain7ng, be consistent with your treatment of the contrast between the light and shadow areas throughout your pain7ng. In addi7on, by contras7ng the foreground areas (with their sharp detail, strong value, and temperature dierences) with the distant objects (which have less detail, cooler colors, and so]er contrast) you can successfully intensify the sense of depth and realism in your landscape pain7ngs.
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or their own) to appear competent and have their art look masterful, perfect, or beau7ful from the beginning. The ego is the part of our selves that censors our ac7ons and limits our impulses so that we t into society and behave in acceptable ways. However, the ego can limit our crea7vity by demanding that we do things that are ordinary so we will blend in, instead of being unique and extraordinary when expressing ourselves. The fear of not being good enough can discourage ar7sts so profoundly that they put down their brushes and never paint again. Just think of the beauty that would be lost if the owering sweet peas that I painted worried if they were good enough to be in the meadows, or prehy enough to be painted by ar7sts, and hid from view so that no one ever saw them at all. At our workshops, we explore and disarm many of the limi7ng and judgmental ideas that people have believed to be true since childhood and introduce new possibili7es for crea7vity and ar7s7c expression through the excitement of outdoor pain7ng.
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Those who con7nue to create art have learned how to persevere. What would you do if I could guarantee that you would not fail, and that the next piece of art that you create will be the masterpiece the world is wai7ng for? What if you already have all that you need to complete an extraordinary pain7ng, and that all you need to do is to pick up a brush and paint it? Unfortunately, I can only guarantee that if you do not create art, your dream of pain7ng a masterpiece will never happen. If you wish to become an ar7st, step up, nd a subject that you feel excited about sharing, and paint it. The world is wai7ng to see what you have to oer.
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I remember that this par7cular goat seemed to challenge me to go higher up the clis with the churning waterfalls below. I con7nued to walk for what seemed like a mile, making my way over boulders and along paths made by goats traveling these walls over the years. The very spirit of this place was magic. He followed the creek up into the mountains. Suddenly, he stopped and bobbed his head up and down a few 7mes as if to tell me to con7nue following him. As I came nearer, he leaped over to another rock. I hiked around the boulders and soon the sloped banks became steep rocky walls. The goat kept going ahead, some7mes taking long breaths and blowing them out of his nose, seemingly frustrated at my slow pace. The current of the river below was swi]er now. We came to a turn in the canyon where we saw a waterfall spilling from the rock walls. The sound of water crashing against the rocks echoed in the canyon. It was unforgehable to come so close to the falls, to feel the spray on my face and the cool dra] of the wind, and to press my hand against so] cushions of green moss that grow because of the misty waterfalls. This was the secret of the canyon. Finally, I could go no further. I stopped, and the goat turned as if to show his dominance over the terrain. He seemed to gloat that he was the victor of this game of cat and mouse, that I was turning around and returning to the place this lihle game began. Before I le] him, I sat quietly and sketched him as he watched me un7l, with a burst of energy, he leaped to another rock and disappeared around the ledge.
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Na7onal Park in Wyoming. The original message was etched on a gravestone in Cumberland, England. This humble and unselsh message describes my dreams and eorts at The Grand View, in my art classes and workshops, along with the na7onal PBS television show over the past 25 years. I have devoted my life to touch, move, and inspire others to see and appreciate the beauty of art and its rela7onship to nature. As we travel through this great land with our 1970 Silver Streak trailer following behind our truck, I passionately desire to share the power and beauty of nature and art with others.
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sketchbook and notes the following day a]er I learned that this bear had been shot and killed. This is an example of why it is essen7al that an ar7st always have a sketchbook and a pencil or pen ready to sketch and write notes and observa7ons. I recommend using a book that has about 50 sheets of plain paper with a spiral spine, and urge ar7sts to carry it with them everywhere. Make a point to draw at least three drawings a day in it. It is not necessary to invest in expensive journals with upgraded paper and leather binding displaying the ar7sts name in gold leaf. Although these can be impressive, the fancy journals are in7mida7ng and rarely, if ever, used. Dont think of your sketchbook as a holy relic. It is just a book with pieces of paper. The real value is not the book itself; it is using its pages to prac7ce your sketching and to journal what you are thinking and feeling daily about the world around you, with the possibility of capturing a precious moment that later can become your next great pain7ng.
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unifying eects. When using color, look for color-related areas such as trees, grass, water and sky and no7ce how they all work together to create a sense of harmony. Nature is always harmonious if you learn to paint what you see. Pain7ng the way we think things are frequently leads to complica7ons. Remember, a good composi7on is one where the viewer is unaware the ar7st has purposely composed the pain7ng. There is no limit to the possible arrangements of composi7onal objects within a pain7ng. I highly recommend that you take risks. Always look for a dierent way of seeing a subject. Try something new. A]er all, no one ever got a gold medal for a perfect swan dive o a low diving board. It is exci7ng to paint from your own sense of what is desirable and appealing. I have to say that my most successful composi7ons were ones that I painted intui7vely from my gut and had the most fun pain7ng.
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2. Composi7on: I look to see if the composi7on in the pain7ng ahracts the viewer's ahen7on, directs the viewer's eye to the important areas of the pain7ng, and keeps the viewer's interest involved in the pain7ng. The composi7on must be simple regardless of the size of pain7ng. Composi7on is merely an element of the total eort, and must remain subordinate to the representa7on of the subject and message. 3. Value: I determine whether there is an adequate variety of value intensi7es. The value is the degree of the darkness in contrast to the lightness of a color on a scale from white to black. By squin7ng, I make sure that the pain7ng has clear and iden7able value changes. 4. Edges: Are there a variety of brush strokes and edges dening the distance of objects and content in the pain7ng? So] edges are found on the sides and in the background of the pain7ng, while crisp and sharp edges are seen near the focal point and on objects as they get closer to the foreground of a pain7ng. 5. Light Source: I am surprised that many pain7ngs are missing a dened light source that indicates the direc7on the light is coming from. When pain7ng outdoors, an ar7st must choose a source of light and keep it in place, to prevent the mistake of "chasing the light" as it changes with 7me, causing the pain7ng to become at. Of course, there are many more key elements, but these will help you to look more objec7vely at your pain7ngs. We will discuss these topics and many more during our Fall Workshops. I invite you to ahend a weekend in Mt. Shasta that will inspire you and change the way you paint forever.
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Imagine if this were the last 7me you ever would be able to see a subject again - an apple, a sunset, your mothers eyes. Choose a subject, and a]er studying it, close your eyes for a long while and see it in your mind. Now, without looking at the subject again, paint it. Express! Do not copy it. You will be surprised what you did not see. The mind is a muscle just like your abs. If you do not use it, you will lose it. One has to work out a long 7me to get stronger. If you do this memory exercise at least once a week, you will see that your ability to paint what you remember seeing and feeling will improve. Now, imagine seeing a subject, person, place or thing you remember from your past, like your rst house, pet, or owers in a garden. In your mind, change the light eects, your perspec7ve, your mood, and you will nd that there are endless possibili7es. Look at the vision in your mind with awe and wonder, and see it as if you are seeing it for the rst 7me. Call a friend, a rela7ve, or a neighbor, and describe it to them. Write it down on a piece of paper, or draw it. Be inspired by new sensa7ons, new possibili7es, and always look for new ways of expressing yourself.
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