The Awakening

"The Awakening" - Oil - 20" x 24" - $2400

"Spring has a special brilliance and these yellow wildflowers rose to the occasion. I painted this with extra passion and energy." --- SFG

WORK IN PROGRESS:

Apologies. I forgot to take a shot in the drawing stage. As I drew, I paid attention to the shapes I was creating and to the perspective of the upslope. Here I've laid in some of the dark shapes of the foreground and the cooler, lighter, more distant hills and mountains. The big shrub in the upper left serves to stop the eye and provides value contrast and structure.



In preparation for the blooms to be laid on top, I painted the green leaves in a value close to that of the ground.



It was important to reserve the lightest, coolest yellow for the top surface of the blanket of flowers, so I under-painted the area with a warmer, darker yellow. I even picked up the red-orange areas that I saw in spots.



In the finished work, you can see the loaded strokes and the texture that I reserved for the finale. The pattern of the large and small strokes moves the eye around and creates a lively display. A little calligraphy for the shrubs finished the work.

A Day of Tears and Hugs

I was privileged to join others who so loved and admired Bill Reese (William F. Reese) in celebrating his life today at services in Cashmere, Washington. For all the fine tributes, nothing matched the poem he requested be read at his graveside in portraying his indomitable spirit and love of art...

WHEN EARTH'S LAST PICTURE IS PAINTED

When Earth's last picture is painted
And the tubes are twisted and dried,
When the oldest colors have faded
And the youngest critic has died,
We shall rest, and faith, we shall need it
Lie down for an eon or two
'Til the Master of all good workmen
Shall put us to work anew.
And those that were good shall be happy.
They'll sit in a golden chair.
They'll splash at a ten league canvas
With brushes of comet's hair.
They'll find real saints to draw from,
Magdalene, Peter, and Paul.
They'll work for an age at a sitting
And never be tired at all.
And only the Master shall praise us.
And only the master shall blame.
And no one will work for money.
And no one will work for fame.
But each for the joy of working,
And each, in his separate star,
Will draw the thing as he sees it
For the God of things as they are.

---Rudyard Kipling

The Importance of Photo-Sketching

Sometimes painting en plein air is more than I can handle, as I experienced on a recent trip. In spite of full-spectrum sunshine accompanied by a banquet of cloud shapes - just pick one that builds the composition - , the wind was howling and the temperature plummeted. Though I was completely absorbed in what I was doing, I finally realized that I couldn't feel my hands and my easel was listing. I had wondered why the painting had taken a turn for the worse in the last few minutes. It was time to fold up and run for the car.

I was in one of the most picturesque spots in the country and couldn't bear wasting any of my limited time there, so I made sure I had a fresh battery, a backup, and a large memory card and hit the road with my camera. In this instance, I was with a fellow artist, so sudden stops and back-ups were not objectionable. We chose a little-traveled back road with eye-popping subjects at every turn and frequently abandoned the car to explore a setting on foot. After all, the masters suggest walking entirely around a possible subject before deciding on a viewpoint.

Similar to thumbnail sketches, these photo series are a great tool for trying out compositions before committing a canvas to the effort. "What if I cropped it here?" "Maybe a vertical composition would be better." "Make the sky more important." "What if I did a closeup?" "High horizon?" "Low horizon?" A two-thirds, one-third split?" "What mass should dominate?" "Where are the subordinate masses?"

As we drove, we found several herds of livestock - cattle, goats, and sheep - and spent a portion of our time shooting (not literally) them. With this resource material, I can rearrange the groups for compositional purposes. I can do this as I paint live subjects, but a dozen shots of the critters as they move about gives me more options. I just have to remember that they were in motion, whether slight or swift, and to paint them that way. No frozen statues, please.

Oftentimes, such photo excursions lead to the elimination of subjects that seemed so exciting at the moment I stumbled on them. Time and a more critical evaluation can prove them to be mundane and uninteresting. Just think how much painting time I've saved by the perspective I gained by experimenting with several views.

After all, I found even better gifts further down the road. Better compositions, better shapes, better vantage points.

REPOST: "A Life Well Lived" 20" X 20" Oil on Canvas Panel

"A Life Well Lived" - Oil - 24" x 20" - $1200

"From sadness to celebration. As I read my mother's journal, I was reminded once more of how much she delighted in flowers, gardens, and the passing of seasons. These brilliant tulips, a thoughtful gift of a dear friend, spoke of her enchantment." --- SFG

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WORK IN PROGRESS:

Because of the intensity of the colors in the tulips, I set them against black to take advantage of their vibrancy. They were still tightly closed until I turned on the spotlight. They unfurled as I painted.



As I drew with thinned cadmium red - it doesn't contaminate later colors and leaves a sparkle if I miss a spot when painting over it - I considered the directions of the leaf lines as well as the overall placement on the canvas. The vase and flowers were so dominant, I decided that they should be closest to the viewer. Normally, I have still life objects in front of the vase in a floral that serve to lead the eye into the arrangement. There was no question of where to go with these!



Because I knew that the flowers would change quickly, I established their colors immediately, comparing yellow to yellow, red to red, and white to white. This was a break from my regular method and I knew that I would make considerable adjustments after the surrounding colors were in. Placing a new color next to an existing one ALWAYS changes the existing one.



Here, I've added that dark background. It really intensified the tulip colors, didn't it? I made careful note of the color differences as the light traveled across the tablecloth and passed through the water-filled vase.



I toned down the yellow pot that was behind everything and changed it to look like more of a tray standing against the background drape. I used its curve to repeat those of the leaves. As a pot, not enough of it showed to explain what it was, but I needed something to bring some action to the lower part of the painting. I couldn't eliminate it entirely.

I compared the color on the lighted side of the pink vase to the pinks in the flowers and hit a warmer, somewhat grayed pink. Putting a cool, grayed pink on the shadow side made the lighted side look warmer, too. Notice the warm versus cool on the teapot, as well.

At the end of this session, I turned off the lights and heat in the studio, so the flowers would not open too much to work the next day.



Best laid plans didn't work, though. The blooms were tightly closed again when I opened the studio the next afternoon and turned on the spotlight, but the hour I let the studio warm up was a bit too much. When I returned, the tulips were much more opened and had moved a lot as they chased the light.

Instead of redrawing all, I simply added some of flowers in their new location and state. This filled out the bouquet and added more interesting shapes. The white bloom with red stripes inside is actually the one on its left as it opened and moved. It became the point with the greatest value change and hardest edge.

Note also, how I softened the edges of all but a few of the tulips.




Because of the action in the bouquet, I included all the variations in color and value present in the vase, table drape and other objects. Both light highlights and dark accents contributed.

In Memoriam: Ivie Upshaw Ferguson

"I feel I should mark the passing of my mother, Ivie Upshaw Ferguson, who taught me to love beautiful things. Her essential character, her genteel sweetness, blessed this world for 97 years and now she rests in God's arms. I love you, Mother." -- SFG

"Aaron"

"Aaron" - Oil - 11" x 14"

"Both intriguing and forceful, this model was fascinating to paint." --- SFG

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NOTE TO ARTISTS:

I haven't put up a portrait in a while. This piece is several years old and is different in style from some of my current work. However, it serves as a lesson for me. Losing the edges of the hair and face gave more dimension to the head and in doing so, the background works itself out.

"Our Trees, Autumn"

"Our Trees, Autumn" -- 20" x 16" -- Oil

"Color, composition, and lush paint were my focus as I painted." --- SFG

WORK IN PROGRESS:



I based the painting on this photo taken in New Hampshire several years ago and Sergei Bongart's painting titled "Fall in Idaho, Kievtshina". Those of you who have his book may recognize it.




As I drew on the canvas with thinned paint, I was careful with the placement of the large tree since it dominates the painting. It would have been easy, but a big mistake, to place it in the middle. I needed something to come forward so I used the fence shadows, the curve of the driveway, and the mass at the lower right.

I shaped the dark masses, joining those I could and varying the greens from near-blues to reddish. I usually try to keep the color on the warm side in foliage since light filtering through a forest has many warm tones.

Here, I've added the hill in the background. Notice how important the abstract shapes are. They balance the painting and move the viewer's eye around. I did this very assertively. PAINT FEARLESSLY!

Always go for the big shapes. That large tree is not just a bunch of leaves that add up to a tree.

Now the canvas is covered with big shapes and clear value changes. From here to completion, I won't be painting a place. I'll be making a painting.

My palette at this point shows how I compare my colors as I mix them, keeping the lights together and the darks together, the warms together and the cools together. I didn't even think about it as I was mixing. It has become habit after all these years.

As I start to add details and accents, I decided that the repetitious fence shadows trapped the eye too much.

That's better in the foreground. I also decided to break the roofline of the shed by placing a tree in front of it. In the final version, shown at the top of this post, you'll see a few changes I made after I had signed it. I reshaped the top of the largest tree and broke the small but strong horizontal of the weeds in front of the shed. It attracted too much attention.

"Cold Day on the Deschutes"

"Cold Day on the Deschutes" - Oil - 12" x 16"

"Last New Year's weekend, we were invited to Sun River,
Oregon. Though it was cold and overcast, the previous week's
snow was beautiful and the winter colors of the brush and
willows along the Deschutes river was lively. Have you ever
noticed how colors of flowers and foliage are frequently more
intense when the sky is overcast? Sometimes sunshine washes
color out. Just another reason to value each day!" --- SFG

The finished painting can be viewed at Art and Soul Gallery,
247 East Main Street, Ashland, Oregon, through May 3, 2010.

WORK IN PROGRESS:

I forgot to take a picture after the drawing
stage of this demonstration, but I think you can see here
that I've laid in large shapes. I started with the dark trees
making sure that each tree was shaped differently from the
others. Thinking of gesture (what the tree is "doing") rather
than specific branches helps identifiy the species. I also sought variations of color, ranging from dark blue-green to dark
reddish-green to deep yellow-green. The foreground water is
indicated by the large dark and two lighter areas that are
reflections. I was careful to draw the top of the hillside as an
interesting line that intersected the tallest trees at different
points. Notice, too, how those are spaced differently, as well.
Composition at this stage is a primary concern.

Again, I was so deeply involved in the painting that I failed
to take photos of intermediate stages. So sorry. If you look
carefully, I've continued to design each shrub so that it
differs from any similar ones. For example, the red-orange
shrubs are masses that follow the rule of "dominant,
sub-dominant, and subordinate" or three different sizes. I used
the nearly horizontal bank of the river to counter so many
verticals in trees and the fallen log keeps that line from
carrying the viewer's eye out of the picture. Reflections add
some verticals to the water. I deliberately kept the value of
the sky dark enough that the snow would be the lightest area, as
it was in reality. The faint verticals of the dead or leafless
trees keep the eye moving through the work and their irregular
spacing adds rhythm.

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"Lilacs and Twilight"

"Lilacs and Twilight" - Oil - 11" x 14" - $400

"I'm always attracted to a tranquil scene and this fit the bill perfectly. All was in cool shadow and backlit by the evening sky. The rough condition of the barn synced with the profusion of lilac shrubs left untended. Their chaotic condition added just enough action and texture to draw the eye." --- SFG

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WORK IN PROGRESS:

My usual line drawing in cadmium red went over a white-washed painting that was unsuccessful. I'm careful to remove any raised paint on the surface of the old painting with a palette knife or sandpaper.



I became so engrossed in painting this one that I forgot to take as many shots as I usually do, but even at this point, you can tell that I've kept mostly simple, flat shapes of color. You can see in the finished painting, how "details" were placed over the early shapes and did not disturb their structure.

"San Luis Obispo Plein Air Festival"

"San Luis Obispo Plein Air Festival" - Oil - 18" x 24" - $1100

"A couple of years ago, I participated in this fast-growing event. The last morning, artists painted in the mission square near the art center. White tree trunks led the eye to a single artist's white umbrella and a vendor's booth which added interest to the festive scene. This is a larger, studio version of the piece painted on site and auctioned later that day." --- SFG

Step by step:

After toning the canvas with my usual cadmium red because I like the way it vibrates with the overlaying colors, I sketched in the scene, paying attention to the division of space and placement. For instance, the shadow area in the foreground takes less than half of the vertical distance creating a pleasing proportion. The larger white trees are just off center since they are the focal point.


Starting with the darkest areas, I designed the shapes of the tree foliage, making sure they are varied and interesting. Always consider both the shape itself and the negative shape it creates, like the sky openings.


I've continued to cover the shadowed area, saving the light shapes to lead the eye around the canvas and create the focal area. Everything in the light will be lighter than any of these values in shadow.


Finally, I'm developing the smaller details and sunlit shapes. Just a little more to go....


I will go back and refine a few areas after letting the painting sit in the studio within sight for a while, but the main work is done. By glancing at it often, I identify the problems and decide how to correct them. It's almost a subconscious process.

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Your palette is a keyboard.

What would it be like if a musician were playing an instrument and had to ask, "Where's middle C? Where's middle C?" The music would be almost unrecognizable and definitely off beat.

Art instructors are asked, "What colors are on your palette?" or "How do you arrange your colors on your palette?" It is more important that the artist be able to find a color quickly without interrupting his thought process while painting. To do this, he must be consistent when he arranges his palette.

Some painters put all the cool colors on one side and the warm colors on the other side. Some put white, black, and the earth colors in a separate location from the others, across the top or bottom. Any of these arrangements is fine, but you will find that your painting process is smoother if a given color is always placed in the same location on the palette.

During the painting process, especially the mixing process, you are making many decisions in nanoseconds. As quickly as you can flick the brush, you decide which out-of-the-tube color you need and whether to pick up a large or small dab. Then, you move on to compare the mix with the color area on the subject. When this process hits a speed bump in the form of a search for the right color, you are likely to be stalled and think, "Now what was I mixing?" Such interruptions break the concentration artist and the tempo of paint mixing and application. Both are necessary for unity within the finished work.

Here is my preferred arrangement, which I place on the left side of the palette. (I am right-handed.) With white closest to me and black at the far end, I place the colors in the order of the color wheel including the earth colors where they fit. I vary the colors chosen by the subject matter, the number of tubes I want to carry on location, or by mere whim.



In order, left to right: Daniel Smith Mixed White, lemon yellow, cadmium yellow light, yellow ochre, cadmium orange, burnt sienna, cadmium red, thalo red rose (Grumbacher), alizarin crimson, magenta (Winsor-Newton), ultramarine blue, cerulean blue, thalo turquoise, thalo green, black. (I place a strip of saran under the colors for easier clean up.)

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Making Your Art Collection Your Own

I hope all of you have the opportunity to visit the Prix de West Show at the National Cowboy and Western Heritage Museum in Oklahoma City. If not, go to http://www.nationalcowboymuseum.org/events/pdw/2009catalog/available.aspx The stop was part of my multi-city trip and was well worth it.

An added bonus was the McCloy Collection. (Go to http://www.nationalcowboymuseum.org/events/event.aspx?ID=189) This is a private art collection of Bob and Curtice McCloy of Oklahoma. It features the works of such notable artists as Bob Kuhn, Ken Carlson, Tucker Smith, William Acheff and more. The show, “Patrons Without Peer”, coincides with the release of a book by the same title in which Tom Davis documents the substantial collection.

What struck me while enjoying the virtuosity of these masters, was that the work shown told me as much about the collectors as the artists, perhaps more. Their vision and ability to foresee the artistic value of these works was surely based on their own preferences, but excellence was the underlying determinant. To have linked top-ranking painters into one group ties them together as long as the collection is united. What a boon for artist and collector alike. The whole becomes greater than the sum of the parts and is the creation of the collector.

Anyone who collects art has the opportunity to create a strong collection. The McCloys bought, traded, and sold works over the years, refining their stable of artists and pieces and, ultimately, produced a very noteworthy representation of themselves and of art itself.

Now, seize the day! Work on your collection with all the joy and promise that an artist feels as he steps before the easel.

More New Work in September!

I hope you have been enjoying the summer and have been traveling and painting as much as I have. I've taken a breather (I've been eBaying and, later, blogging for 10 years now) and will have more new work and fresh ideas and comments for you.

Meanwhile, enjoy reading through the postings here. Comments are always welcome. Also, what would you like to see or have me discuss?

---SFG

"Capistrano Arches"

"Capistrano Arches" - Oil - 11" x 14" - $195

"The mission at San Juan Capistrano has always attracted artists and I'm no exception. The light glows under its arches and the brick exposed by breaks in the plaster adds texture and color. When the bougainvillea is blooming, all is set right." --- SFG

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"Sierra October"

"Sierra October" - Oil - 16" x 20" - $350

"This beautiful mountain scene is on the east side of the Sierras near Bishop,
California. Skiers may pass it as they travel to Mammoth, California. It was a
little early for skiing, but breathtaking, nonetheless." --- SFG

NOTE TO ARTISTS: I often use cloud shadows to create a workable composition and
lead the eye to the focal point. The S-curve is another common device that
works, but shouldn't be too obvious.

"Mendocino Morning Glow"

"Mendocino Morning Glow" - Oil - 9" x 12" - $300

"Mendocino, that pocket of East Coast architecture and culture transplanted a continent away, enjoys misty mornings and soft light that enhance its romantic mystique. Only the unique water towers and trees shaped by the Pacific wind belie the location."

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NOTE TO ARTISTS:
For the last year or more, I've concentrated on more dramatic atmospheric effects. Since I'm mostly a fair weather plein air painter now, I've had to draw on those years of experience and knowledge of what light and color do. I've found that I pay more attention to composition when I'm 'painting out of my head'. Such an approach was advocated by my best teachers, as long as it was only one of the methods used and direct observation was practiced most often. --- SFG

"Clear Day"

"Clear Day" - Oil - 16" x 20" - $350

"A little artist's license... rearrangement of buildings and trees... made this scene sparkle. I used the reflections in the water to direct me and the pristine day added its flair." --- SFG

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NOTE TO ARTISTS:
As they say, it's more about what you leave out of a painting than what you put in. It's also about where you put it. Rarely is a subject perfectly composed and the artist who is sensitive enough will either eliminate an element that is not working or move it. I used the direction of light on the fronts of these two buildings - one outside the picture plane - to create a reason for the reflections in the water.

"Half Dome, Yosemite"

"Half Dome, Yosemite" - Oil - 24" x 20" - $395

"This famous landmark in Yosemite National Park is familiar to legions who love the out-of-doors. No, I did not stand with my feet freezing in the snow this time, but I've turned a photo record into a credible artwork. Photos are not truthful - colors are inaccurate and shapes are distorted by the camera lens - , so I had to incorporate the storehouse of knowledge I've accumulated in my 35 years of painting." --- SFG

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NOTE TO ARTISTS:
Nothing can replace painting on location to hone one's skills and provide all of the information needed to produce a skillful work. However, almost all fine artists will add refinements to small works or use the plein air sketch to produce larger works in the studio. Surprisingly, for a large work, you need more detail...meaning information..., not less.

"Cool Day at Clear Creek"

"Cool Day at Clear Creek" - Oil - 11" x 14" - $195

"The Redding, California, area is becoming home to many delightful trails for walking, mountain biking, etc. A new one follows Clear Creek through areas that previously were not easily accessable. This rugged canyon is cut sharply through granite and roars in the springtime. In autumn, when this painting was done, it is still very dramatic and offers gravel beds for spawning salmon." --- SFG

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NOTE TO ARTISTS:
This complicated rock formation had to be broken down into two basic values of light and shadow. Since the sun was so strong coming from the left and the far bank was in deep shadow, it was easy to do so. I had to be careful from then on to keep everything in shadow simplified and within a very close value range. I constructed the painting so that the diagonals countered one another and led the eye to the sunlit boulders and the soft needles of the two small trees. The bright coloration of the foliage at the point of the sunlit bank was the strongest contrast in color and value.

"Laundry Day"

"Laundry Day" - Oil - 14" x 18" - $700

"I shared models with other artists on a trip to Ruidoso, New Mexico. This coy model kept a lively expression and was a delight to paint as she and her compatriot pretended to sort and hang laundry. It made for a colorful subject and pleasant work for all of us." --- SFG

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NOTE FOR ARTISTS: To compose this work, I used the natural bands of light, dark, and light again. The shadow of the trees, formed the natural dark which set off the sunlit hat and apron of the main figure. Note the location of that figure. She is off center, a bit to the right. The chair on the right helps anchor that edge and balances the larger light and smaller figure on the left. Sunlight is represented by the value contrast and reinforced by warm and cool colors.

"McCloud, First Snow on Shasta"

"McCloud, First Snow on Shasta" - Oil - 8" x 10" - $300

"An unexpected snow storm covered Mt. Shasta in early November and gave a preview of the upcoming glory that visits its slopes yearly. The view is especially breathtaking from the charming town of McCloud. Its just a few minutes off Interstate 5 and well worth a detour." --- SFG

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"November in McCloud"

"November in McCloud" - Oil - 11" x 14" - $400

"A cool autumn day rendered this view of an alley in the charming town of McCloud, California. The glowing light set off this delicate color harmony that enhanced the fall colors. There are countless subjects for painters along the alley way such as old garages, tool sheds, wood sheds or wood piles, varied fencing, trash cans, and a delightful jumble of varied shapes and objects." --- SFG

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"Mill and Mountain"

"Mill and Mountain" - Oil - 11" x 14" - $400

"The early 20th century lumber town of McCloud in northern California sits below Mt. Shasta. The picturesque scene here is of the old mill on the east side of town and was bathed in early autumn light. This is another of a series of paintings done in the area in November 2008." --- SFG

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