M.E. BAILEY ART

On Becoming "Good" . . .

2016-03-16T13:19:00.000-07:00

"Cadaques Evening"

Watercolor 18 x 24 inches

A question comes frequently from workshop participants that I find difficult to answer in more than a single sentence: "What do I have to do to become really good at painting ?"

In the last few days I have spent a large amount of time reflecting on my own experience as a painter, from beginning to the present. Here are a few thoughts which are a very frank accounting of what it has taken me to come to my current level of skill . . . . .

I noticed when I first began to paint that something happened to me while I painted. . . I completely lost track of time and everything around me for extended periods of time. In fact, I was completely absent to what was going on around me. That certainly isn't a requirement to become better, but it indicates that something was deep within me which pushed all of my 'buttons' at once to force me to go into such a deep state of concentration.

In those states I would experience a wide variety of emotions from sheer joy, to disgust, to anger, to wonder, to disappointment, to love, to hate, to happiness and all manner of stuff boiling up during and after the act of painting. Yes, all of those feelings came up. Never had I experienced such a wide range of emotions in such a short time. It was like being an emotional yo-yo. A friend calls that batch of emotions (he is also a painter) the "Ickies." We both agree that in order to become more skilled at painting, one must first come to grips with managing the "Ickies." In my opinion, there is nothing more debilitating than negative self talk and "buying into" those negative emotions. One must be able to say to one's self, "Get over it! There is learning to do here!"

Our attitudes determine our altitudes in life and in everything we do. In painting, I have noticed that the really successful painters all seem to have the same degree of passion and excitement for the act of painting. That passion, in my opinion, is almost absurd it is so intense. Those people seem to be willing to forsake all sorts of life pleasures in exchange for the chance to pick up a brush and paint.

It seems to me that this passion for it has some sort of physiological effects, too. That there must be something released into our bloodstreams much like an addictive drug while we paint. And it becomes something of an addiction. We seem to derive an unexplainable sense of well being while we paint that is so euphoric that we crave it . . . and sometimes to our detriment. Painting becomes extraordinarily important to us.

Mind you, I don't believe that what was just said is a requirement to become better. But it does provide the needed drive to push through all the obstacles in life that confront us in training ourselves to become painters. I do, however, note that our passion can, at times, prevent us from doing the necessary diligence or discipline of proper planning or preparation. The desire to "just paint" can be overwhelming and compel us to go into a painting fully unprepared, which will in most cases, call up the "ickies." Then the internal battles ensue until we do it all over again. Eventually, we come to some hard won realizations that we had better do the deliberate preparation before we pick up our brushes.

Becoming better does require us to realize that the preparation is far more important than the actual execution. Frankly, there are many, many painters out there who depend on "happy accidents" to show up and make their paintings 'acceptable.' In my opinion, good paintings require much more than sheer happenstance. They require thoughtful preparation and careful analysis and problem solving. It is way more than smearing pigment around and hoping for a good outcome.

That said, to fully answer the question, it is my belief that beyond the act of adding up brush miles and painting frequently, one must study design and composition. Then, in that process of study, one must test their learning in series painting. That is to focus on a single idea or subject for many consecutive months . . . even years.

In there, among all of these aspects, the novice graduates into progressively more challenging painting circumstances until the skills are all second nature.

Getting to "Beyond the Obvious"

2016-01-16T15:11:00.001-08:00

"Spotlight at Dusk"

Watercolor 15 x 22 inches

As painters, most of us are confronted with the "Tyranny of the Subject" . . . . .

That is becoming enslaved to representing the subject, rather than stating one's feelings about the subject. That is being so captive to the visually perceived attributes of a subject that the artist cannot think outside of those limits. We sarcastically poke at artists who are confined by a subject to that extent by openly challenging that person to "use a camera and be done with it!" Sadly, many painters are fully and completely limited by the superficial, visual aspects of any subject and are not free to express themselves about the subject or how they feel about it. I believe that is what separates an illustrator from a true artist.

There is a blurred area between illustration and fine art. That blurred area was inhabited by Norman Rockwell. He was able to represent people in a format of telling an emotional story. He imbued all of his work with something we artists refer to as "Content." That is some form of story or emotion or message or socio-political statement made via visual hints. For Rockwell it was facial expressions and costume and surroundings that told his stories.

In my humble opinion as an artist, content is only part of reaching beyond the obvious. . . . .

Have you ever noticed that when you are about to step up to the easel that there is a race of thoughts going through your mind about whether you can pull off this painting? Have you ever been faced with wondering what you spouse "thinks" about your work . . .I mean really thinks. Or, have you ever, even for a minute, wondered if you were really cut out to be an artist? If you are truly creative? If you have "enough" talent?

And what about the worry of spoiling the carpet under your feet? Or spilling something? Or wondering if you'll ever be able to clean up this mess?

Well, those questions are part of what I mean by "beyond the obvious." Generally, everything that affects a painting, including your mood, is what is meant by that idea. Most lay people see only the subject of a painting. And many a person ambitious to become an artist can only see the subject. There is much, much more to consider than just a pretty picture! There is all of the design elements and the conditions or relationships created by how the artist treats those elements inside of and around the subject. Quite frankly, one's psychological positioning of self is very much a part of the making of a painting. For example, if one is nervous about what others will think or if one is worried about their reputation if the painting is a failure, you would probably see the tightness and brittleness in that person's paintings.

You see, the combination of all that goes into making a painting . . one's feelings about self and artistic skills, one's understanding of design and composition, color strategy, value pattern, unity of shape etc. . . . . are exactly what is beyond the obvious . . . .that is beyond the physical, visible attributes of a subject. What is not obvious is what we can't name in a painting. Like the space between shapes, or the sense of rhythm in a painting, or some odd color that has no name. Then there is the habit of wanting to NAME everything in a painting . . . to treat all parts of the painting as real objects (not healthy for painters!), like the empty space behind something being named "background." (Sorry if I touched a nerve there!). Or naming that dark green shape as a "tree."

The moment we resort to naming, we are immediately corralled into thinking about the physical attributes of "tree" . . . . for examples, the leaves, the branches, the trunk, the bark and so on and on and on . . . . . . . rather than whether or not the shape is of the correct color, value, temperature and intensity to affect a harmony in the entire art piece . . . .all attributes of how the shape fits into the whole painting.

Who was it who said, "A rose is a rose is a rose?" . . . . .some beginning painters think "Green is green." They probably do not consider how toned a green is, or if it should be warmer or cooler (or how to make it so), . . . . .their perception is that grass and trees are green, which is an over simplification, for sure! That sort of thinking is the left overs from grammar school! And, breaking that sort of thinking is a huge part of becoming a 'painter.' One must attune themselves to thinking "Beyond the Obvious." It is a journey, even a struggle at times. But the road must be travelled.

This means confronting and dealing with those inner thoughts about whether or not you are "good enough." This means STUDY of the principles of design and composition. It means practice and challenge in one's studio to the extent that you wear out brushes until they are useless. It means, literally, wasting paint, canvas and paper for years in order to develop one's "style." It can, and often does, mean depression and excitement and frustration and elation and everything else in the emotional spectrum.

And . . . . .it also means that you must get rid of the notion that people are "born with the skills and talent." They aren't. No one is. All of this stuff is learned and developed skills, which take years to accumulate. Is it any wonder that we honor painting masters as we do? They went through the same struggles and challenges. We all have had to look beyond and understand what is the obvious.

Deconstructing the Composition

2016-01-09T12:25:00.001-08:00

After publishing this painting on Facebook last week, an old high school buddy wrote a very funny comment: Some cowboy wrote a song about these guys . . .”Get a Long Little Doggie.”

Of course, I laughed at it the first time I read it . . .then it really got into my head . . . to the extent that I awoke from sleep with it chiming in my noggin!!

The comment spoke to me about how the lay person looks at and sees a painting . . . .all they see is an image of something or some place. In fact, that is the LAST thing with which a good painter is concerned or even thinks about! Believe me, I was NOT concerned with making “cute” little dogs!

Obviously, the idea came from a sight seen in Washington Square in New York City last spring. A gathering of people, all walking their dachshunds, had joined together as the dogs became ensnarled in their leashes. I remember my reaction as I peeked in between the people to see the scene and was struck by all the leashes coming from different directions! It seemed to be organized chaos! So, out came my camera to record what I was witnessing. I was only able to get away with six or seven photos before they disbanded.

Finally, after months of looking at the photos and wondering what I could do with them, I remembered my reaction to the LINES (leashes and sidewalk seams) and DIRECTIONS (two of the elements of design) . . .and thought that I should use that reaction as the basis for the painting. (It really didn’t matter to me what was at the end of the leashes . . . .dog or human.)

The photos had all sorts of superfluous stuff in them that had to be eliminated . . .peoples legs and shoes, baby strollers, purses and . . .well . . . “stuff” that didn’t contribute to saying what I needed to say.

The three dogs, which stand in the center right, were the only dogs in the picture space in the beginning. They are there with the leashes (line) coming in to the picture space and conflicting with the lines (seams) in the sidewalk as my beginning fascination. While the lines and direction conflicts were my fascination source, the three dogs just didn’t provide a sound composition. That is, they were clumped in an off center location in the picture space, which left a big gaping empty space on the left and below. So, I added the dog in the bottom right to link up with the other two black dogs to form a single dark diagonal shape (yes, the “shape” is the three blackish dogs). . . .which left another big space in the upper left. There were a number of different options to put into that space, including the lower carriage of a baby stroller . . . .but that didn’t fit the “dog dominance.” I have learned if something is completely alone in a painting and does not relate with everything else in the picture space, it will call attention to itself and cause the focus of attention to be in the wrong place! Eventually, in some other photos, there were two pups nuzzling each other who were projecting an interesting shadow . . . .bingo! That shadow was imposed into that blank space (upper left edge) to help finish off the dead space and overlapped with the diagonal dark shape (the three black dogs) (You may notice that I refer to them as “shapes” . . .because when it comes to seeing a composition, virtually anything can be a “shape.” It doesn’t really matter WHAT a shape is, as long as it occupies space and is interesting to look at. That shadow also helped tell more of the story about what was going on. At this point, I could see that I had a large “compositional shape” occupying the picture space . . . . that of the three black dogs and the added shadow in the upper left edge . . . .a big oblique “clump” which holds the entire composition together.

Then, faced with a left margin being also void, the little red guy was put in to BALANCE the composition . . . .he had to be a tad bit more intense, color wise, in order to offset the weight of the other bunch who were dominating the lower right of the painting. Eventually, I had to face up to hitting another balance issue by having a blank in the upper right corner, thus the added dog and legs & shoes to add a bit of humanness into the mix, without that difference calling too much attention. As it currently stands, the ‘white’ of the shoes IS a small distraction and needs to be calmed down so that the VALUE difference doesn’t attract attention. As the painting progressed, I found the leashes to be off in value, too, and not distracting enough to bring the wanted emphasis to the conflicting directions . . . so they had to be lightened and the colored edges were added to relieve the overall grayness of the rest of the painting and to soften the impact of the one dog’s “dress.” That dress is an attention getter, for sure, which presented enough of a challenge that other intense colors had to be included into the picture space so that the pink would not seem to be so alone.

I will also admit to a heavy dose of procrastination and thinking after completing the drawing on watercolor paper before I ever picked up a paintbrush. I had to carefully consider the ORDER of operations so that it all didn’t appear as a patchwork and would integrate together and appear as a UNIFIED whole. The entire ground had to be washed in first, without intruding into the dog shapes, which were left as raw, untouched paper. Shadows had to wait until last . . . .why? If you look at the piece, the shadow shapes and the lines all seem to act as connectors to all the separate dog shapes. They had to overlap and connect every part of the painting.

As I laid out the paper to begin painting, I could see things I could not see when making the drawing a week previous . . . .I had included a set of carriage wheels in the upper left corner . . .they had to go!

I was ready to begin the painting phase . . . . .how would I paint the dogs? What method? After laying in the ground around the dog shapes, I realized that to give the dogs enough strength, I would work each one wet into wet with plenty of soft shifts in value and tone inside each shape (play of light reflection on their coats.)

Once all these issues were settled, the painting could be declared finished.

I can see now, there are a few edges that need softening and more work is needed to integrate those shoes a bit better. You see? As far as us artists are concerned, our paintings are never “done,” we just abandon them! J

The Excellence Mindset

2016-01-07T17:42:00.003-08:00

"Spring Cotillion"

Watercolor 22 x 30 inches

There are, literally, thousands of painters out there who desire to attain excellence in their painting life. Most all are missing something.

One would think that something is skill. I say it is NOT skill. Skill comes with familiarity, which is born of practice. I dare say there are a lot of painters out there who practice plenty, but excellence has not crept up behind them and took up residence in their output.

I believe there is an aspect of mental attitude (this is that something), which must be ever present in order to invite in excellence and have it stay in residence. That aspect, to which I refer, is something akin to an attitude of carelessness. Eh? Did you say carelessness? Yep! I did.

Let me explain . . . .one needs not care about what others think about their paintings. That care less attitude must also be present about the aspect of failure. Do you know any painters who are nervous about failing? Do you know any who are concerned or even worried about what their peers might think of their paintings? In fact, do you know any painters who are “afraid of breaking the rules ?”

These are mental barriers or obstructions to achieving fine work. One must be willing to fail . . . .and I mean OPENLY willing to go down in flames in front of anyone who might be watching. And rules?? What rules?? That’s right! WHAT rules?? There are no books out there written by painting experts about “RULES!” There aren’t any!! At the very least, the painter must be willing to turn his or her back on anything thought of as “rules.”

And there is another aspect of attitude that all painters must eschew . . . . . . that is steering away from the unfamiliar subject. We must be willing to take on any subject at any time and risk falling into that deep canyon of failure to ‘do it well.’

We are a sensitive bunch, us painters. We fall for those sentimental scenes that evoke loving emotions of comfort. We frequent galleries and museums to look upon the excellence achieved by others and are often swept up in other artists’ techniques or design approaches. We even admire those paintings that appear to be vastly different than anything otherwise seen out there. Yet, when confronted with painting the unfamiliar, we veer away at a speed not often seen. We openly avoid the possibility of failure.

I must confess that I am no different in that respect. I, too, experience the fear . . . those pangs in the gut that warn of abject exposure that I might be a fraud. Yep! I have it, too.

I have learned, however, that we must take on R I S K with a lustful appetite for it. Yes, taking risks is what bridges us across those chasms of skill and familiarity with painting challenges. When we cross into unfamiliar territory and come out of it having won, there is no greater rush of emotion and feeling of accomplishment! In some ways it is outright defeating the devil himself !

To be more brief, let me just say that it is the repeated willingness to take risks that makes the great painters. It is stepping into the unknown with brush in hand and tackling the possibility of outright failure without looking over our shoulder at the possibility of failure. We must take what we know into the challenge and be open to discovery that what we know may not be enough. We must be open to devising new techniques to allow us to swim through the rough current of possible failure. And own the possibility that we can be swallowed up by our venture into the unknown.

In owning that possibility . . . .in being completely aware that we don’t know enough to break into new levels of skill or excellence . . . .it is in there that we learn the next step to attain that place we seek.

There are myths and metaphors out there, such as slaying the dragon, that rightly apply to our struggles to become. And “Becoming” is really what our search is about . . .wouldn’t you agree?

On this day, I achieved a victory. I entered a completely unfamiliar place to paint a menagerie of dogs and people . . . .and to represent it as some sort of social event to which debutants attend in their ‘coming out.’ I wasn’t at all sure I could. I simply didn’t know if I knew enough to make it come to life. With limited resources, could I bring the idea to life and exploit some ersatz design stuff to ensnare the viewer and, perhaps, bring a painting to life that may be worthy of competition? I didn’t know . . . . . . but I was willing to waste the paper and the paint and the time to find out. Was it luck that this outcome materialized? I will let you be the judge. But I feel a sense of victory!!

On Saving Unfinished Paintings

2015-11-29T15:08:00.000-08:00

"After the Rain"

Watercolor, 22 x 30 inches

There are times when a painting just doesn't seem to want to enter the realm of excellence. The stubborn rascals (paintings) can seriously stump us artists about where to take it next. I have had many of those times when a painting just would not allow me to finish it because it would not tell me what it needed.

Does this situation ring a bit of truth for you?

If so, maybe you do the same thing, or something close to it, with those pieces . . .

I found that if I kept a flat file drawer (now two of them) reserved strictly for those paintings who steadfastly and stubbornly held sway with the Art Gods and would not coach me to the finish point.

The file drawer has held paintings awaiting finish for years and years! Every year, some occasion would arise that would cause me to go into that drawer and look through the paintings there. Something like an upcoming show or class might cause me to scour through that drawer just in case I may have accidentally slipped a good one in there. Then one would grab me in a sudden instant! Most often it was a complete and sudden realization of what needed doing to a few of those pieces resting in the drawer. Out they would come, onto my easel, and in a matter of a few moments and some simple changes (or additions) the paintings would find their completeness. Then there are those who stubbornly remain in the drawer for goodness knows how long!

I recently upgraded to a new, bigger flat file as I had outgrown the other . . . .that is to say I could no longer open the drawers without something getting caught or jammed in the works! I had just plain filled it up!

So, in the transfer from the old flat file to the new, I discovered the piece above. I know, for a fact, that painting has been hiding in there for over 15 years !! Yes!! 15 years !!

Before I finish my story, allow me to make a few instructive statements here . . . .

The first is that I have come to realize that while our vision that began the painting in the first place us is often way ahead of our artistic understanding and development when the actual act of painting occurred. That is to say that these "stalls" in the completion of a painting are quite normal! Sometimes we just have to wait while we gather more experience and knowledge before we can see what a painting needs. When we rediscover one of these paintings at rest in its hiding place, the realization of what it needs, in order to be finished, hits us like a bolt of lightening! Am I right? It is a sudden realization and usually a verbal muttering of "Of Course! Why didn't I see that earlier?"

"When the student is ready, the teacher will appear!" In other words, we need to be "ready" . . . .that is we need to have reached the proper point in our development to actually see the needed modification and how to accomplish it! We simply had to put the piece away until we were "ready."

On occasion, we will rush to the finish out of pure excitement . . . .and ruin the piece. My question to you when that happens is "So What?" By the time we got around to 'fixing' the piece, we probably didn't have the emotional attachment that we did when we first painted it. The painting has been silently, microscopically disintegrating while it waited for us to get around to it. Okay, I spoiled another one. Move on! Chalk this one up to more experience! There is no point in shedding tears. We gave it the "old college try."

Back to my story about the above painting. I remember discovering this rascal and pulling it from hiding. As I scanned it, instantly knew what had to be done ( I won't bore you with details ). Better, I remembered all the build up to get to the place where I put it away (a lot of water, paint and paper has passed under the bridge in the last 15 years!!). I was instantly reminded of my old painting buddy, Bill, and how we happened upon this scene . . . .and the ensuing excitement to put the subject to work. And, of course, a lot of "Bill Memories" flushed into existence then, too! I suppose that is one very good reason to put a few of those stubborn ones away . . . just to remind us of some great times.

In summary, be patient. Be patient to allow your artistic growth to catch up to you and your painting attempts. In time you will understand. Gradually, you will gather the needed wisdom about making art. You won't feel it happen, but you may see it in your work. Remember, your development as a painter can only come with experience . . . .lots and lots of brush miles accumulated at the end of your arm and hand. Only then will you be able to "save" those few pieces that you put away for later. Don't throw them away! Just keep moving forward. And you will, at some place in time, be able to bring the full measure of excellence to your work . . .old or new.

An Unusual Workshop Opportunity

2015-11-18T20:33:00.003-08:00

"Fragments of an Idea"

watercolor 22 x 30 inches

There are a few opportunities where a fan of water media painting can combine a workshop with the AWS traveling show . . . .that is 40 stellar paintings right from the walls of the Salmagundi club in New York City . . . .The American Watercolor Society mounts its annual show of water media paintings from the best painters in the world at this prestigious location annually in the early spring. Each year, 40 paintings are selected from that show to travel the USA to various locales. This year that show will appear in Sebastopol, California!! So close to Santa Rosa and Petaluma !!

I will be leading a workshop there in Sebastopol concurrent with the AWS traveling show. If you are driven to really get down to learn how and why paintings do or do not work, How to judge your own work and how to think when it is time to make compelling marks on canvas or paper, then ThIS is the workshop not to be missed . . . .it will shake you to your toes . . . awaken the muse like never before . . . . . and have you thinking about paintings in a dimension never before considered.

Here is a link to find out more. https://form.jotform.com/53077515496968

"Jaded" Art Philosophy

2015-11-09T09:52:00.001-08:00

"Landing Pattern"

Watercolor 15 x 22 inches

I happen to be a fan of “The Palette” Magazine. This magazine is a little known, privately published, bimonthly gathering of articles aimed at watercolor painters. William “Skip” Lawrence and Christopher “Topher” Schink author the content of the magazine and frequently render their strong, well educated opinions about the constructs of “good” art. (I highly recommend that any painter subscribe to and READ the magazine. It makes us THINK!)

Recently, I picked up a copy of “Life” by Chuck Close. Of note, one of the things he said in this book is “Inspiration is for amateurs.” If that isn’t a jaded look at making art, I don’t know what is !!!! But wait! Mr. Close has a long life of art making behind him . . . a ton of experience . . .and extremely good experience I might add.

So, what, exactly did he mean by that statement?

I have been wrestling with his meanings and his motives for saying that for several months. After all, there are many teachers out there who state “paint what you love.” Today, I read parts of the latest issue of “The Palette” and was treated to someone else’s point of view about the very same thing: Pablo Picasso said (lifting this from the text of “The Palette.”) “Inspiration exists, but it has to find you working.”

Also from the text of the article, “Experienced painters don’t wait for inspiration, for divine guidance, or some miraculous revelation before they take up a brush. They dutifully begin working, trying new things, exploring possibilities. And with exploration comes discovery, some of it bearing fruit, some barren. But, as Picasso observes, you can’t find inspiration without working.”

“Effort is important, but it won’t necessarily lead to inspiration if it isn’t applied in the right way.” Here is my own philosophy about the same thing . . . .”The pursuit of perfection is the ruin of what might have been good art.” Translated, that means that most novice painters (including some advanced painters) are so stuck on replicating what they see, or making everything ‘perfect’ that they miss being creative. They become enslaved by the subject . . . .and their paintings appear brittle, edgy, even ‘stamped out.’

In this day and age of popular Plein Air painting, there seems to be encouragement to ‘paint what we see.’ Then, the artists spend hours, even days, searching for the ‘perfect’ scene to paint and often confronting deep frustration in the process . . . because they can’t conjure up the “necessary inspiration” they need to begin work.

I say that the true artist will tackle painting the mundane, the common, the ignored stuff and put his or her efforts to exalting it to the extraordinary on their canvas. It is in that process of digging down into the font of creation and bringing forth something not before seen that wonderful art truly happens.

Jaded you say? I would only say that after making thousands of paintings, every artist forms

inviolate opinions about art making . . . it is from these opinions and hard won experience that mastery emerges.

It's Way More Than What You See !

2015-07-02T18:15:00.001-07:00

"Monday-Monday!"

Watercolor 15 x 22 inches

Most people look at a painting like the one above and what they see is a clothes line with clothes hanging on the line in sort of a poetic rhythm. That is right where most people cease to see what is happening design wise.

This painting came from a group of photos taken in Italy . . . and most of those were taken looking straight at the clothesline in a nearly 90 degree frontal view. Put on the canvas or paper that way, the line would have been parallel to the edges of the paper, which would have been very commonplace and stilted, if not boring. Stretching the line from off the top left edge of the page and sliding it over to the upper right edge made for a degree of tension or movement across the piece. The challenge, though, is that lovely oblique movement could rifle the eye right off the paper into nowhereland. And that little fact was the prompt to put the two very dork shapes there at the edge of the work . . . to stop the eye . . . . and their vertical alignment offers a directional contrast, while the dark-light contrast with the upper right dark shape and white shape holds the eye.

There is another gimmick being used to insure that there is a connection to the left most edge . . . and that is that two pronged shadow on the left edge of the wall that connects to the laundry shadows. That little 'move' provided an edge to edge connection of a pathway of darker colors all the way across the page. Now, all the darks form a pattern that supports the smaller congregation of light shapes (laundry) hovering just above the long passage of darks. And, notice that the aggregate of darks are larger than the aggregate of the "lights" (laundry). (Larger meaning amount of space covered on the painting space). So, not only do we have dark / light contrast between the shadows and the laundry, but also a large-small contrast between the two value extremes.

What the lay person doesn't see is the mental gymnastics that every painter must work through to establish a great design and to make a painting compelling to look at. All the above named contrasts establish that sort of excitement to what could have been a very mundane image. Our job as painters is to (and you can write this down in your journal) "Exalt the mundane to the extraordinary!"

The last consideration was to impart some color excitement in the shadows of the laundry to exaggerate the feeling of reflected light.

There's more to write about, but you get the idea. A great painting isn't really about whether the image is pretty or 'charming' (or if it manages to go with the furniture), but whether the design is strong and compelling to look at. It is the not so obvious stuff that makes a painting exciting and interesting.

The Value of "Wasting Paint and Paper"

2015-06-20T14:25:00.000-07:00

"Diana"

Watercolor, 18x24 inches

I am a risk taker. That is to say at times I commit to risky acts that might make life uncomfortable if I fail to succeed in the risky act.

Several weeks ago, I attended a big watercolor portrait demonstration in which Christopher Schink, Myrna Wacknov and David Lobenberg would each be separately painting a portrait of the same model . . . and all were doing it simultaneously. Schink suggested that Me and Myrna and He do a similar demo in the south Bay Area. Off handedly, I said "Sure, let's do it! That would be fun!"

An hour later I was questioning my sanity !!

You may know most of my work, dear reader, as landscape painting and, occasionally, non objective work in watercolor. Portraits?? Are you kidding? Not me. I mean NOT A CHANCE IN HELL !!

Moreover, compete with (or set myself up to be compared to) those two painters? Was I nuts??

So, I made my bed. I am in trouble. Rather than chicken out, I made a promise to myself that I would start in making portraits and figure paintings ASAP. What I know about myself is that if I am under pressure to perform, I will cram / study to learn what I need to learn and rehearse / practice until I can, at least, hold my own . . . .or, at least, give it the old "college try."

To date, I have painted somewhere near 20 full blown paintings and done a ton of drawings at my local Art League with nude figures. I sure found out in a hurry that I didn't know what I didn't know!! So, now I know what I don't know. And I am scrambling to learn and to practice what I am learning. Yes, practice. I am, what some would say, wasting lots of paint and paper. That is, making paintings, critiquing them for ways to improve (my gawd, you should have seen the first ten!) then throwing them away and beginning anew each time. And I am not messing around with cheap paper or small formats. I am painting on 300lb rough, full sheets . . . ( and hoping for the best!!)

I have learned a few things in my painting career . . . . one is to LET GO! . . . .Forget the details . . . get in there and paint as though this were the most fun thing I have ever done. Have fun and experiment. Act like there is no "show down" and try some different stuff. Every painting is a lesson! So, Mike. Paint like there is no tomorrow and L E A R N !!

The painting above is a portrait of my dear, patient wife, Diana, who has posed for me numerous times . . . and her sister has, too . . .just to throw in variety. I must say, with that open minded attitude about doing, virtually, anything along the way in order to learn is really paying off.

It is June 20 and my 'performance date' is July 18. This painting has given me more confidence that I can do just about anything I want, technique wise, and get away with it, if I have the basis of a good design. So, there is where the work is being put in . . .design and composition.

Incidentally, isn't Diana beautiful? It's tuff work but somebody has to do it!!

Plein Air Watercolor Traps

2015-04-19T15:59:00.000-07:00

"Coastal Litter"

Watercolor 15 x 22 inches

As you know, by now, rocks and cliffs along the ocean front here in Central California is an obsession for me. I can't seem to shake it. And there are a few other habits I can't seem to shake. . . .

One is copying what is right in front of me out there on the painting scene. Not that what is in front is bad. Not at all. Because the beauty of those places is beyond description! Garrapatta State Park is one of those places where a painter could stand in one spot for a very long time . . .maybe a year . . . . turn 360 degrees . . . .a few degrees at a time . . . .and there are literally dozens of paintings looking straight out through every point on the compass!! Weather changes, light changes, view changes, wind changes, temperature changes, surf changes, and more! It is enough to boggle even the most experienced painter's mind.

The Traps, you ask? Those damned views !!! I call them traps because there is little effort needed to reach into one's creativity pouch to pull something especially unique out and put it on paper or canvas. Falling for what is obviously in front of one is a trap where deep thinking is put aside in order to record what is seen. (Yes, there is a school of thought out there that considers "accurate recording" "good art.") I don't happen to feel that way.

More than a record, I have awakened to needing something more emotional . . . .more unique. I don't take the word "Unique" lightly. When a painting is sincerely unique, it is the only image like it in the entire world. It is a one of a kind, never to be repeated spiritual statement of the artist's vision and feelings. And, frankly, that takes careful thought and preparation . . . not just a five minute thumbnail sketch.

Another trap is to make a painting that fits into a 'category' of paintings well . . . . . as in "Landcape Impressionism." To make a painting look like a million other artists could have painted it (and maybe have!!). Obviously, there are better quality or better versions of said same . . . .But!! . . . most of them are not "unique." There was a time when that uniqueness stood out . . . like when Monet was bringing Impressionism to the public. Each of those artists had a personal vision! It was different!

The other trap is to remain comfortable with what we are doing. Yep! Staying in the same mode, painting the same things, never taking a risk is just like signing a contract for one's artistic demise! In fact, I believe that is precisely what happens when a painter settles for what is in front of him (or her). And, I must confess that is exactly where I have been for the last two or three years!

Yep! There it is. I have confessed.

So, let this be an introduction to my next phase of making stale paintings. You may not think they are stale . . .and that is fine. But the time has come for me to get out of my lethargy and do something special . . . to grow . . . .to change my thinking . . . .to reach farther . . .

Want to come along? I want to begin a group of artists who will be accountable to each other and to reach beyond the mundane same ole stuff. Come on! Step up. Join me. Drop me a note at mebaileyart@comcast.net if you'd like to be accountable for new growth.

Disney, Henri and 4 other artists

2015-01-14T17:38:00.001-08:00

"The Far Edge of Town"

Watercolor, 15 x 22 inches

Walt Disney in an old documentary about painting makes some very strong comments about "how to paint." He quotes from Robert Henri's book then shows what four other artists do to create a painting.

In the end, someone said, all artists are self taught. That is to say that every artist must spend the time struggling at their own easel, without coaching or teachers, to find the way to paint to suit them. That means that painting is, essentially, a sink or swim school of learning. You cannot be taught what you like . . . .nor can you be taught taste . . . what inspires you has to do with how you have lived, your genetic code, your parents and what ever artistic influences have struck you in your life and many more events and introductions experienced in your life. In short, only you can decide what is right for you! Every great artist makes art that is unique . . . .that is to say no other artist paints like another.

Yes, but how do I get there? Paint! That is an active verb. You can't really get it from workshops, or watching others, or reading or even school. Sure, there are parts that can be learned in any of these venues, but most of that stuff has to do with mediums, brushes, surfaces and different techniques. From there, the student must plow the ground themselves. Certainly, there are hints here and there, but the fact remains that personal easel time is the very best teacher out there.

Some of us call that time spent "Brush Mileage." Or, wasting acres of paper or canvas.

As a general comment, in these times that we live, most of us grew up in schools where we learned to "please the teacher." And to do that, we had to do things a specific way to come out with the 'right answer.' After watching this 16 minute video, you will see that there is NO right answer. That is why I think that beginners should not be asking for critique from anyone other than wise highly qualified painters who could cause the student to learn quickly about personal insight in the painting process.

Enjoy this video: Click here.

Taming The Lion

2014-12-20T14:01:00.000-08:00

"Harbor Impressions"

Watercolor 15 x 22 inches

Occasionally, one stumbles into a mood that prevents anything serious from being played out in the studio . . . . .or anywhere else. I am not sure if this is just a spilling out of happiness . . . or a vacation from being too serious. And I am still not sure of the source . . . .but I know in my soul that it is important to take on that sort of mood while operating a paint brush on occasion.

Eh? What do you mean, Mike? After all, isn’t learning to paint a serious pursuit? Well, yes, it is. In fact, it is one of the most serious forms of study that any sane person can take on. But there must a be a time when us painters must throw much of our inborn caution to the wind, take a big risk and paint something in a manner not done before. Putting paint down on a dry canvas or a dry piece of cotton paper is about as commonplace as it can get. Change that surface so that the paint does different stuff with the paint than we are accustomed to trying to control . . . .that packs all sorts of failure risks!!

Aw! Go ON!! Take a risk!! What have you to lose? If you are a watercolor painter, try this . . . . . . with a big clean, water saturated sponge, wash down both sides of your paper a minimum of three times . . . .wiping with lots of water . . . .until the paper gives up all of its native stiffness. It should have the consistency of a saturated rag. Really!!

Once done, place the paper on your board so that it is perfectly in the place you would want in order to paint on it. (Caution: You may have to staple it down at some point, so be sure your paper is on a board that will accept stationary staples.)

Lay out the saturated paper. Roll up a terry cloth hand towel in a very tight roll. Hint: fold it lengthwise first, then roll from one end of the long dimension. Pressing firmly onto the paper roll the rolled up towel over the paper in order to take up the majority of the water on the surface, in the fiber of the paper and underneath the paper. What will remain is a piece of fairly damp paper with no shiny spots on the surface.

Use a flat, synthetic watercolor brush to apply the paint when the time comes to make marks. Why synthetic? It won’t hold much water in its bristles. You will want to have the paper do most of the adding of water to the paint . . . . DO NOT saturate your brush.

Now, go ahead and paint what ever subject you like. Lots is going to happen that you don’t expect . . . . .beautiful ‘granulation’ . . . . soft, even fuzzy edges . . . . intermingling of colors in places you least want or expect . . . . values will significantly fade . . . .just about everything you would normally fight, in order to hold onto control will happen.

Go ahead . . . . . paint on it . . . take chances . . . what will happen if your brush is too wet? What will happen as the paper begins to dry? Yikes! What if you make a mistake? Can you wipe it up? Can you lift? Can you make a graded wash? Can you give up control? Well . . . . CAN YOU?

Here is the point: The only way you will ever get to know your medium well enough to master it is to challenge it (and yourself) in every way you can!! That’s right! You must test it and test yourself so often that you get to the place where you can anticipate what it is going to do before it happens.

By going on a mental “vacation” and opening yourself up to courting absolute failure and letting happen what will happen, you will find that it is actually fun!! That’s right, it is play!!

There’s more to goof around with than just the paper and how dry it isn’t. How about painting everything in a painting (and I do mean everything) with a three inch flat brush? Or a big hake brush? What if you confined yourself to just three colors? Or, what if you put ox gall in your water? What would happen? Or, horrors!!! Paint with your paper absolutely vertical!! Could you stand it? Or could you put yourself into a frame of mind to give it a go and let it do whatever it is going to do?

At some point in our painting life, we have to face every sort of challenge. The masters never had much trouble with challenges because they actually practiced every possible thing that could happen and practiced how to handle the conditions that arose.

Just because “it’s hard” doesn’t mean you shouldn’t tackle it!!!!! Get into that lion’s cage and tame the lion !!! (You won’t die or even get scratched!)

An Important Message to My Painting Friends . . .

2014-12-08T10:12:00.000-08:00

"Bad Dawg"

Watercolor 22 x 30 inches

Some painters will look at this painting and think to themselves, "I could never do that." Or they might say something to the effect of "Yeah, he was born with that talent. He scares me!" Or, " I could never be that good."

Or, those same people might look at this painting and think to themselves, "Why would I want to paint like thaaaaat? I am a ___________ painter." (Fill in the blank with realist, plein air, floral, animal, blah blah blah blah!)

Here is the message very bluntly: "Comparing yourself (and your painting skills) to others is VERY UNHEALTHY!"

Yep. There it is. Comparing your painting prowess to other painters is a self defeating process that will prevent you from EVER becoming "good." It is a natural inclination to look at masterly works and wish to develop one's skills to that level. It is quite another to be intimidated by a skilled artist because you "don't think you are as good as he/she is." Oh Dear!!! What a perfect way to live in constant disappointment about yourself!! Moreover, what a perfect way to be in constant self defeat! Ever wonder where thoughts like that come from? The "I am not good enough" thoughts?

Let me say this about the artist who is "good" . . . . . .he, or she, most likely put their head down for years and worked his or her butt off trying to become "better" at what they are now "good" at. Yes. Work!! Hard work is the only difference between you and that other artist. And I am not talking about hard work in workshops or school or some ersatz painting convention. I am talking about time at your own easel painting. That is a LOT of painting. Making plenty of mistakes. Ruining acres of canvas or paper. Yep! Making lots of throw away art. So much of it that you might wonder if becoming "good" will ever come. My advice is simple: Paint, paint, paint, paint, paint, Paint, paint, paint, paint, paint, Paint, paint, paint, paint, paint, Paint, paint, paint, paint, paint!

Eventually, a comfort with making errors and mistakes will become part of you. Yes, I said a comfort with making "bad" paintings. It is okay to make those!!

Our teachers in school were cruel overseers who did not understand the human condition . . . . .nor did they really understand how learning happens . . . . . .it happens through failure. Yep, when you think about it, failure is our best teacher. It is through failure that we actually see what not to do and what to improve upon.

I travel the country teaching painters to paint. That is, I teach the processes and means of design and composition. There is an underlying lesson, however, that seeps into the pores of the participants in my classes . . . . .that is to just paint for the sheer fun of making marks, trials, experiments etc and not to worry about what anyone thinks about their work (play). It doesn't matter what anyone thinks about your paintings!!! (Secret: you can never underestimate the taste of the public.)

The only thing you should be working toward in your time at the easel is your own satisfaction . . . . . . . . .no one else's. Reject the opinions of non painters. Shed the advice of your spouse. Be deaf to all criticism from unqualified persons. And, take with a grain of salt, any critique, unless the person offering it gives you a few alternatives for making improvements. Consider those alternatives, then make up your own mind about what you will do (maybe nothing!!).

WHAT MATTERS MOST IS YOUR SATISFACTION WITH WHAT YOU PAINTED. Be prepared to be disappointed. Be prepared to be like that old barber in the barbershop (years ago) . . . . when your painting is complete, merely shout "NEXT!" and go onward. Don't look back. Just focus on the next painting. Not all will turn out well . . . . . but a few will!!! And that few is precisely what you are seeking.

If you are Unsatisfied, paint it again. Maybe even again. And maybe three or four or five times again. (Remember, I said hard work). Be patient and enjoy slobbering the paint around. (it is, actually, fun!) Take chances. Take risks. Take an attitude to do 'the unthinkable' just to see what will happen. Be open to happy accidents. Be open to making a painting that does NOT look like what you are painting. Do it for FUN !!!

You may not see actual improvement in that process from one painting to the next. But I can guarantee you that over time your paintings will improve. Your brush work will naturally evolve. Your drawing skills will naturally develop. You will, as a matter of course, relax with what you are doing. One day you will look at a perfect gradation of color in one of your paintings and wonder how you did such a beautiful wash.

Here is the last piece of advice that I have to offer . . . . . . .if you are looking to paint like someone else, it has already been done. When you get there, all you will have is a painting that looks like that other artist did it. Think about that for a second. Why would you want thaaaaat?

In conclusion, your painting "voice" is unique and special. There are no others like it. Let it shine! Let the world come to hear your voice. Sing your own visual music! And, by all means, don't compare yourself with anyone else!!!

P.S. What is "good?" What is "Better?" Do you know? Really? Consider this . . . . .as you become more experienced, your ideas of what is "good"/"better" will change. It is very much like the proverbial carrot hanging on the string in front of the mule . . . . .chasing but never catching it.

P.P.S. You have heard it before, certainly, but the goal is NOT the end result. It is the journey itself. You will soon realize that the learning, the struggle, the disappointments, the frustrations, the elations, the trips, the painting sites, the subjects tried are all a compilation of a wonderful life experience!!

Eat That Which is Served!

2014-12-03T23:55:00.001-08:00

"No Wind Today"

Watercolor 15 x 22 inches

en Plein Aire

A long time ago, my Mom made special awareness to all of us five kids at meal time: You will eat what is served to you!” “I am not cooking different meals for everyone who wants some thing more special than everyone else at the table. Learn to enjoy that which is before you!

And so it is with painting en Plein Aire. In artistic parlance, paint what is in front of us! That does not mean that we cannot or should not add our own “style” or embellishments. In fact, it shouldn’t mean that we don’t convert the image in front of us to our personal tastes . . . .abstract or realistic.

Plein Air painting offers tuff cirumstances in which to paint. Wind. Cold. Heat. Sun. Bugs. Distracting People. Inadequate equipment. Difficult places to sit / stand. Wildlife (skunks!). Angry dogs. Bothersome people. People who have never painted a lick . . . .some who have . . . .and some whose “Aunt is an artist.” You get the grist of it. When Painting outside in the open air, there are lots and lots of conditions that try very hard to break your concentration.

That is, if you let them.

There is another side of the coin: Standing in front of an easel, paints and brushes in hand, not knowing if you can carry it off right downtown Paris, France. Or, standing in front of Yellowstone Falls painting the scene with one of your favorite artists, or Being at a secluded beach on a beautiful day watching every stroke be perfect, Or Standing in the shallow, meandering water of the Merced River looking up at Half Dome in Yosemite park as the dome takes on an Alpine Glow and turns the color of a pumpkin. Or, maybe it is when you are at Point Lobos State Park on the coast of the Monterey Peninsula, with two painting buddies . . . . everyone hyperventilating at the drop dead gorgeous scenery. Or, fogging off to the French Conuntryside in the Lot River Valley trying to make artistic sense of a medieval village or citadel!

Okay, so I have had my easel blown over and paintings spoiled while confronting the elements. I have come home bitten and burned and sick to my stomach from hunger. But, Baby, there is nothing like the places I have been and tried to paint (yes, unsuccessfully) !!! I can still smell the air at Yellowstone Falls in the year 1995 . . . . .twenty years ago!! I still look at the painting made while standing ankle deep in water of the Merced River because that was the best view . . . . .I can feel the trickle over my shoes! And I can recount the crazy conversations and sharing the intense, deep connection with three friends while we painted Point Lobos. (Google some images of that place!)

Yes, there are aggravations, distractions and disappointments. But with them there are pleasures so rich and so unforgettable, that every one of those teensy little bothers are simply the external white noise to which we never pay much attention.

If you haven’t mustered the courage to fight off the elements and distractions, you are missing out on an extraordinary experience. Those pleasures just sit out there waiting for us artists. Yep. They are sitting there right now ready to be eaten up by our excitement and our zeal to capture the beauty.

Thanks, Mom, for training me to eat what I have been served!!

Another Round

2014-11-20T11:40:00.003-08:00

"Attaching a Scarlet Letter"

Watercolor, 22 x 22 inches

Another round!! Another shot at adding another image to a series!

In this case, the series is Men at Work. I have been playing around with this series for 7 or eight years . . . . .and not too many paintings in the series, yet. I say "Yet" because these images don't come to me, nor do I come across suitable images from which to make paintings very often. One has to wait patiently and be diligent about assessing every happenstance of stumbling onto men at work. First, I desire to have interesting images . . . .not just a bunch of guys leaning on their shovels around a big hole in the ground (we see that often, don't we?!!) ;-) What I mean is that I need to see action . . . . . and there needs to be some sort of background story along with the work. And those sort of images don't show up very often. Linemen replacing broken utility poles is one such example. One can only imagine what might have caused the broken pole . . . . not to mention the incredible risk that the linemen encounter every day in their jobs. That is interesting.

Then there are the mundane, or seemingly so, stages on which the workmen act out their form of "theatre." Here, in this image, is one example. People pass by guys like this all day long, glance at them, and move along, not paying heed to much other than 'those guys in that cherry picker up there.'

To me, this little act of the theatre said so much that I found fascinating: the shadow, for one. The contrast of the white uniforms against the red letters . . . . .and the fact that we see such signs so often in our day that we don't even realize that we see them . . . . .they are just part of an every day landscape!! Like, who spends time looking at and observing them? Really!! But put two guys up there fiddling with them? That is a different story!

So this piece goes in with the rest of the "Men At Work" series . . . . some painters, some linemen, some plasterers just about anything one can imagine. And there is much more to come . . . .but what? And when? I just have to remain alert and pay attention.

And, as I look at the image, I am forced to wonder about the strength of the composition. It appears to me that too much attention is given to the letters, while I want the viewer to be mesmerized by the workmen. I will consider cropping a good part of the left portion of the painting to cast more attention to the men in the basket.

Sometimes, us art people find the gold in places we would rather not find it. In my case, I always prefer to do the 'discovering' and subsequent photographing and/or sketching myself. But it doesn't always work out that way. Such is the case with this image and the source of it. This image appeared in our local (Santa Cruz Sentinel) newspaper approximately 7 years ago . . . . at least I think it was that long ago . . . . . .I have held on to the image for that long waiting for public memory to dissipate. Also, two or three computers ago, I wrote to the gentleman who had taken the photo requesting his permission to use the photo in an artwork. He graciously and cheerfully gave his permission with the best of his good wishes and he did so in writing . . . .I fear, however, that the letter rests in the grave with the used up computer someplace.

As a point worth making here, for those painters out there who read this material, I STRONGLY advise getting permission when ever using any publicly displayed photos . . . .or even photos that you did not personally make yourself. I have seen some art careers destroyed by not doing so. Seriously, it could mean being publicly humiliated and perhaps being sued!! Get permission!!

Keep your brushes wet!

Suspense . . . . and Effort

2014-11-08T18:35:00.001-08:00

"The Plaster Master"

Watercolor, 22 x 30 inches

Today, after several weeks of working on two paintings, specifically to raise my bar of quality and to test that bar height against the best of the best watercolor painters in, maybe, the world . . . .but for sure, the USA, . . . .I completed the two paintings.

One has been "finished" for months. But a day or two ago I looked at it again, in one of those deep concentrative states, and saw sooo many things which needed tuning up to high quality. Funny, how one simply doesn't "see" until he is ready to SEE!

There is an old saying: When the student is ready, the teacher will appear. And my teacher really showed up this week! I was led to learn the Law of Attraction . . . an led to learn about the power we each hold to draw in virtually anything that might be in our world of desire . . . . even if it is a minor thing. Being led there was precisely the very thing I needed to come to terms with all the many things which have been flowing in my direction for years. Actually, I have always suspected that we artistic people are more than just creators of pretty paintings. There is something way bigger at work in our creative consciousness!!! The fact is that we create virtually everything that "happens" to us as we go through our lives.

That might be a difficult thing to understand or even believe for many people. But I can say, without reservation, that we DO get what we wish for . . . .even unconsciously wishing.

So much for that for this article. For twenty five years, as you know, Dear Reader, I have been learning to paint . . . .and my teacher lives at the business end of my paint brushes. That's right. It is me. I have studied, and learned. I have painted and learned. I have entered shows, competitions and exhibitions and learned. I have taken and taught workshops and learned. I have observed other painters and learned. The fact is the hunger to understand never, ever quite relaxes. That hunger is my teacher. And projects such as this one are exquisite challenges to rise above mediocrity and to reach for excellence!

Once per year, there is an art organization in New York City that stages a juried exhibition once per year around the first part of the year. This is a water media show and I must say that the best of the best painters apply to show in that prestigious exhibition. This will be the third time I will be accepted, IF the jurors so decide to accept the paintings I have prepared for this purpose. And within that third time there are great honors . . . .recognition by my peers and superiors . . . that the paintings submitted stand up to the few masters who hold similar honors. It is one of those propositions that haunts and haunts one until it is attained. It is one of those things that is constantly nagging at my standards of excellence. And, mind you, there is no easy path to be there. One just needs to be at one with that business end of the paint brush that I spoke of a few paragraphs ago . . . for many, many paintings . . . until enough "brush mileage"has accumulated and mastery begins to appear.

That, my dear friends, is something that simply has called to me for years . . . . to reach the possibility of mastery. In fact, you might understand more if I said that "I AM the Possibility of Mastery." I live in that possibility. I breathe it. I think about it. I even teach it in an indirect way. It is way more than play, or a simple pastime or hobby. It is the possibility of fulfilling a dream!!

So here it is. I have completed the work for this year. Honors might possibly be waiting to find me in January . . . . or they won't . . . . .which means that I am not yet ready . . . that more effort is required. That the universe has given me this task to fully complete . . .no matter what . . . and it has provided something else for me to chew on while I ply away at this endeavor: pure, unadulterated joy and happiness along the way! I must confess that I recognize that I have been bestowed with a few great gifts!! Those gifts were never meant to be squandered or taken for granted. They were given to be developed to the optimum state that they can be! And I am grateful for them . . . .yes, painting . . . . at least the desire to be excellent at it . . . has been one of those gifts. Another is the possibility of loving . . . .yes, LOVING. To bathe in that possibility is a gift from god . . . .as is the gift of creativity.

You may think that these are the ramblings of someone who has gone daft, but I can assure you, daft I am not. I have stepped into all of the challenges for each of the possibilities and done so willingly and with great passion.

And so, Dear Reader, I am quite alive and quite enthused about every moment of being alive . . . .and grateful for my gifts . . . . .even if I might have to wait in suspense for this January's decisions . . .or the next . . .or the next after that. I signed up for this. And I am prepared to accept the challenges and the results . . . . for what else is there other than the joy of the journey??

The Making of a "Good" Painting . . .

2014-09-17T11:21:00.001-07:00

When my wife and I watch a movie, whether or not it is at home, within a few minutes our senses perk up and one of us alerts the other that this movie isn’t going to be very good. Then again, there is absolute silence and rapt attention when the movie appears to have the necessary substance to receive, an above average rating from us.

We employ a scoring system of rating the movies on a scale of 1 to 5, 5 being the absolute best. Of hundreds of watched movies, it seems we have only awarded two movies with the 5 rating. Nearly all others, save for around 30 that have received 4’s, the rest fall right in the middle with ratings of 3 or lower.

How is it that we can sniff out those that come off early as unworthy of our time or attention? Have you noticed similar reactions to seeing paintings? What is it, in our senses, that tells us to not bother spending any time looking deeply at certain paintings?

For most of us there is a feeling just behind our navel that sets us off. We can’t define the feeling, nor the cause of the feeling. We just “know” that it is there. And the same goes for many painters in the throes of making a painting. “Something isn’t right . . . I can feel it . . . .darned if I know what it is!”

For most beginning and many intermediate painters, they focus on the aspects of the subject matter of the painting. “The perspective on the box seems a little off.” “Or those birds should have 26 feathers in each wing.” “The joints in the fingers aren’t quite right.” These comments are made comparing absolute “reality” with the painting . . . . . . .in other words, the person making the critique is seeking a photo reproduction of what is ‘real.’ In my mind, this sort of criticism is useless to a painter.

Perhaps you might have seen the play “The Lion King.” If you did, you probably remember the representations of the various animals using poles and stilts and all sorts of never before seen means of suggesting the gait and confirmation of the animals. In my case, those illusions were so effective that they were shocking and fascinating! I couldn’t take my eyes off them. Of course, the musical background added to the mesmerizing effects of the illusions of the animals. I can recall some of the moments in that theater production as if they were mere moments ago!

For a painting to win an award from an astutely qualified judge, many of the same things must occur in a painting . . . . .

Nothing should ever stick out and seem as though it doesn’t belong. In other words, there must be some sort of relationship between all the parts . . . . .and I am NOT speaking of the things or objects in the subject matter. The “parts” are the value shapes, the color shapes, the textures, the brushwork, the sizes and placement of the parts the painter wishes the viewer to focus on. There must be a sense of a unified whole about the painting where the parts harmonize in a way to suggest a quiet relatedness with the rest of the painting. Yet, while harmony must exist in the painting, there should be areas where there is indeed a contrast or a significant shift away from that relatedness to call attention and, yet, not appear wrong. (That is a mouthful, I know.) A good painting must at once hold excitement, mystery and belonging. In other words, a bit ambiguous. For example, in painting a group of people, a few must stand out, so they can be clearly understood as to ‘what’ they are, while many others must be a singular big shape where there is little individual identity at work. Within that shape should come variations of color and value so that the viewer gains some feeling of internal difference and is entertained, but whose attention isn’t averted from the whole. The whole must move in a way to support that one big shape.

Omigosh!! The words are confusing! Consider the following words as the true parts of a painting, whether or not it is realistic or non objective: Line (edges), Size (scale, proportion, measure, perspective), Shape, Direction (Horizontal, oblique or vertical), Color (intensity, temperature, value and Hue), Texture and Value.

How the artist controls color and its four aspects is a good look at the artist’s creative talents and how he or she uses that creativity. It is way more than copying what he or she thinks he or she sees. For example, the turn of a surface toward a shadowed side can be shown with a mere value change and the color grayed into that shadow. Or, the artist can use a big shift in hue and temperature to show the same affect. Which do you think would be more entertaining to the viewer?

If the artist was to use that latter method, it cannot be alone in the painting. The rest of the painting must use a similar method to express transition from light into shadow. In that way, the rest of the painting is in support of that piece of creative license.

Take the seven words above, and tie them to the eight “Conditions” of design. Some experts call them “principles” of design. I speak of these words as the conditions that are the resulting conditions or states that are created by the seven elements noted above. The eight conditions are: Unity, Harmony, Dominance, Contrast (Conflict), Repetition, Variation, Gradation (transition) and Balance.

Each of the elements, such as Line, can be assessed by all of the conditions within a painting. For example, there is a simple line and there are all the edges (which are indeed lines) . . . . . .one can assess just the aspects of Line in a painting by considering the Unity of Line throughout the painting, the Harmony of Line, the Dominance of Line, the Contrast of Line, Repetition of Line, The variation of Line, the Gradation (change) of Line, and the Balance of Line. (Consider substituting the word “Edges” for ‘Line’ in the last few sentences.) Yes, each of the elements will have some of these conditions existing in them in a painting. It is up to the artist to determine the degree, or the amount or quality of the conditions. For example, how much contrast is called for? Is it a quiet contrast or is it strident? Does the contrast chosen find harmony in the painting ? Or, does it stand separate and away from the other aspects?

This is much to digest, I agree. It is also the reason there are so few masterworks in this world.

There is another aspect in judging a painting . . . . .that is the choice of what the artist chose to paint. The “WHAT” combined with the “HOW” is the quality that stops the viewer (the judge) in his tracks to take a much closer look at the depth of the artist’s work. That aspect of “What” . . . .or subject matter . . . . .can be, for the artist, a trap. I agree that a fine painting must have some form of emotional content or message . . . . . . . a pictorial story, if you will. There comes a challenge, however, when the emotional content is sappy or saccharine or overly sentimental. ( Remember the comment about the movies at the first part of this article? Does the word ‘corny’ come to mind?”) What has been seen before, thousands of times, is no longer interesting. For example, simple reproductions of flower blossoms is a trite subject . . . . . ( I used to paint them myself!!) . . . . . .UNLESS it is done in a highly designed way so as to cast the sense that that image has never been seen before. It isn’t in the “how well” the artist reproduced the image, but in HOW the artist was able to create an interesting illusion.

Obviously, there are infinite ways of painting the same idea or thing. What sort of emotional aspect, which is included into the painting, is completely determined by the artist. How the artist imbues those feelings is really a manipulation of Line, Shape, Sizes, Directions, Color, Values and Texture. A good judge will turn his or her back on corny, over done subject matter (as seen on greeting cards) because it has been seen so many, many times before.

Creativity is word used often without fully understanding the idea of bringing forth something completely new . . . . .something nobody has done before. Of course, as millennia elapse, more and more paintings of “new” work closes out the range of our possible choices, it seems. Yet, artists everywhere are coming up with new ways of saying something visually every day.

I am reminded of a specific artist who was creating incredibly beautiful non- objective paintings. She submitted her painting into ‘that big show in New York’ only to be refused entry into their annual show. Not put off, she submitted the very same painting the next year. Refused! And the next. Refused. And the next and next and next for 13 straight years ! The same painting!! Finally, on the 13^th year her painting was accepted. Then for the next two years, submitted similar, highly creative work and was accepted and awarded her signature status. Was it her paintings that were the problem, or was it the jurors who misunderstood her work?

Remember!! It takes that sort of courage to stand for your work!!

Thinking About It.

2014-09-03T10:51:00.002-07:00

"Coastal Fog"

watercolor 22 x 30 inches

Recently, I read some thoughts by Chuck Close. If you don’t know who he is, I would suggest you look him up and learn something from him. His work is in every museum in every major city in the world. So, I think he is worth paying attention to.

He said: “Inspiration is for amateurs.”

What, do you suppose, he means by that? There has to be some wisdom attached to that idea. Let’s let it settle a bit while I move on to something else which is extraordinarily important.

Painting is one of the few activities in our lives where we must be, (and usually are) completely, totally in the present moment. (Being in the moment is a gift. That’s why they call it “the present.”)

In my experience of teaching other painters and guiding them in their quests to better their skills, I have found that many (most) of them are deeply concerned about many different things relating to their painting; What other people think, the outcome (good or bad), their spouse’s likes or dislikes, their art education, whether or not they are ‘good enough’ and on and on and on.

Frankly, every one of these thoughts removes the person from being in the moment . . . .from being fully present with what is happening on the paper or canvas at THIS moment NOW. More bluntly, every one of these thoughts sabotages the artist’s work.

These are not my original thoughts or ideas, but the wisdom of different eastern religions. There is a sense of spirituality about this pattern of thought . . . . .and it all has to do with happiness and satisfaction in living. For example, if one is concerned about how they were treated or abused as children and projecting their anger or disappointment with that treatment, they are clearly not living in the present. They are creating every step of their life by focusing on the past. The painter who worries about what ‘others’ will think about their painting . . . .or is upset because ‘it isn’t coming out the way I want it to . . . . is not being present in the here and now of making the painting. Their thoughts are quite distant from being fully present in the process.

Some years ago, I read a book entitled “The Way of the Peaceful Warrior” by Dan Millman. . . . .It has been a long time since reading it . . . so, I think that was the title. There followed a movie by the same name. The story is about the gradual enlightenment of a young man about living in the here and now. The story culminates with his performance on the horizontal bar in a gymnastics competition in which his team score is behind the leader. Of course, he makes the performance of his life and his team wins the gold medal.

He was asked what is was that inspired him, or how he focused so well to pull out the winning of the gold medal.

He replied, “Make every move about the move, not about the gold!” Fearing or focusing on the outcome removes you from what is happening right now . . . . it takes away from the present.

Watching him speak in the movie, I sat bolt upright in my seat at the moment he explained that to his teammates! My Gosh!! This applies completely to painting !!!! “To make every stroke about the stroke, not about the outcome!”

That realization has helped me so much in making solid, fresh, spontaneous watercolor paintings. You have heard it before: Put the paint down and leave it alone!!!! “Make every stroke about the stroke . . . . .not about the outcome!”

The realization grew more as I came to know that there are no ordinary moments. Every one matters. If our complete attention is to what is happening in each moment, then our perceptions multiply as our enjoyment of life also grows.

If our attentions are put onto whether or not this “picture is going to come out right,” then we are missing the necessary focus to have that actually happen . . . . . .to focus on what is happening on the paper or canvas right NOW and being in complete presence with it.

My philosophy about painting is centered not on WHAT we paint, but HOW it is painted. Making a painting is not about WHAT! It is not about anything but that one moment in time when the brush hits the canvas or paper! It has to be with focused attention.

Mumbo Jumbo you say? Well . . . . .maybe one day the dawn will come.

Now, to Mr. Close’s comment . . . . .it’s simple! It is sort of like “tomorrow never comes.” . . . . .that is waiting for the “right inspiration” or the right moment to paint . . . . . .or the right mood, etc. might not actually ever come. What he means is to just show up!! Go to the easel and go to work, regardless of how you feel. PAINT!!! Be in the moment with what the paint is doing on the canvas. Make every stroke about the stroke! Raise your consciousness to its ultimate awareness!

That is far from being amateur!

Think about it.

Color Harmony . . .

2014-08-25T08:54:00.001-07:00

"Walk to the Lighthouse"

Watercolor 15 x 22 inches

"On Chimney Rock"

Watercolor 15 x 22 inches

The words "Color Harmony" are frequently spoken, but it is my concerted opinion that many painters simply miss the meaning of the words and, moreover, how to apply them to their paintings.

On a recent trip to teach a short Plein Air painting workshop at Point Reyes National Seashore, every day was overcast and foggy . . . . .and some of the painters were disappointed in the fact that there 'was no sun or shadow.' I understand their disappointment. When the sun is out, there are shadows and lots of predictable color. But there is predictable and even beautiful color when us painters are faced with overcast or foggy days. In fact, we can achieve wonderful color harmony in painting foggy or overcast conditions.

Eh? Whaddya mean, Mike? Simply this: Gray is present in EVERY color. Rich, saturated color simply is not present, for the most part, in overcast settings. Granted, flowers seem to be of neon in those conditions, but the overall general dominant color is of the gray family.

Harmonies have to do with relatedness. We can really affect harmony by selecting one characteristic of color and insuring that that one characteristic is present in every color in the painting. For example, we can establish a temperature harmony where there is a cool or warm dominance through the painting. Or, we can set a harmony by assuring that the dominant condition of all the colors in a painting are fully saturated, high chroma colors. Indeed, when painting in overcast conditions, the gray sky color dominates the landscape. There is a noticeable lack of shadow, so 'things' must be connected through their relatedness of color . . . . in this case, the presence of gray in every brush load of pigment.

Gray is a relative term, actually. Think of "gray" as toning down a color . . . . .add its compliment . . . . . . it isn't necessary to take the mix all the way to near black or neutral . . . . . . . . .just reduce the chroma of the color so that it is noticeably neutralized. If every color has that characteristic, there is a distinct relatedness to all the colors in the painting . . . .a harmony.

A gentleman by the name of Faber Birren made his career in color harmony. Google him and read up about how he set different painting harmonies (I call them painting strategies!). You will see that there is something very worth your time (if you are a serious painter) by studying his work.

And if you ever get the chance, Point Reyes, in northern California, is a must visit sort of place. It is a desolate, wind swept and exposed section of the coast that holds an enormous wildlife population and scenery worthy of your time. Sir Francis Drake discovered the wonderful bay there and kept his ships from the ravages of weather on that coast by hiding in that bay.

Staying In The Fight

2014-06-25T05:41:00.001-07:00

"Pidgeoniere"

watercolor 18 x 22 inches

There is an underlying, ever present, persistent obstacle that clobbers plein air watercolor and acrylic painters. It is the one thing that forces the watercolor painter to be on top of his or her game at all times during the painting process. In fact it is so persistent and so unobtrusive that it will clobber the efforts of even the most experienced and advanced studio painter.

This obstacle . . .or this challenge (you might call it that) . . . is so in the face of the painter and so omnipresent that most painters are not even conscious of it.

Eh? What??

When there is such a challenge as this, it calls into action the least fun of the painting skill set so that the urgency of the fight becomes the center of the painting process. In other words, if the painter is not prepared to deal with this challenge, the painting will most often fail. Well, if not fail, then it will not blossom into that glorious state of miraculous, wonderful outcome that makes us painters leap with excitement and thrills for having accomplished such a piece of work.

This challenge calls into the painting process A PLAN OF ACTION. That plan must be present in the painter's mind so that there is no . . . repeat: NONE. . . . hesitancy in the act of painting. The painter must know how, exactly he or she is going to paint each part of the painting . . . .from color choices, to value assignments, to the order of what gets painted first, to management of edges and that plan must be executed with speed . . . .or shall I say with urgency.

Yikes! What do you mean, Mike? What is this ornery challenge that takes the joy away from a lingering form of meditative bliss that we studio painters enjoy so much?

In the outdoors, there are a few things that can wallop a painter before he begins . . . sunlight being one of those. While we painters all LOVE the sun and what it does with light and shadow, being in the direct sun will spoil a painting very quickly. It bakes the paint. AND . . . . .it really changes how we perceive color and value . . . . especially when that paper is pure white and the light from the sun is reflecting back into our eyes and causing our vision to actually diminish from the glare.

But that isn't it. It certainly deserves attention . . . like getting the painting into the shade . . .under a tree or umbrella or just out of the direct sun.

What I am speaking of here is the rapid, almost imperceptible speed of evaporation that exists when painting outdoors. Yep. That's what I am talking about: Drying time.

A great wash requires that the wash remain wet for a period of time so that the fluid can slide down the face of the paper and remain wet so that it dries uniformly. If the paint dries so fast that the brush cannot complete laying down the wash before the beginning of the wash dries, then the painter is in a fight to insure that his painting isn't baked before he completes it.

When we are confronted with fast drying time there is no time to step back and make those long considered decisions that form the core of that meditative state we painters all love so much. The painter must act so that his work is staying ahead of the paint drying too rapidly. Otherwise, there will be hard nasty edges all over the work . . .in places that they aren't wanted.

The solution is to spend some of that meditative bliss in the preparation to paint. Do a few good value sketches. Become familiar with the subject. Plan where edges need to be soft or where transitions need to occur by having the colors mingle and blur. Know ahead of time the order in which the big shapes will be painted and when you intend to charge in another color before a wash dries. Have the composition drawn out so that there is no room or time for retreats. Hot dry days do not allow for these decisions to be made on the fly. They have to be planned so that the painter is always ahead of the paint drying and is in a position to manipulate the paint while it is wet.

Mixing colors and mindlessly stirring them around in the palette is a waste of valuable time. one must be decisive and must be willing to stand by those decisions without consideration and mental debate. In short, the painter must act with deliberate certainty. Serve up the color, put down the stroke and live with the result. The only way that can happen is to have a very solid plan ahead of time. It is sort of like knowing when to swing the bat when the pitch is delivered . . . there is no time to think . . .just react.

The painting above was done en plein air in France on a very hot day. The only available shady place actually dictated what subjects there were to choose from. Once in the shady place, I fiddled with different compositional alternatives in a sketch book. Then I nailed down a few solid value studies so that I knew exactly where my lights, mediums and darks would be and when they would be painted. It was so hot that afternoon that my plan to charge in cerulean blue into a sky wash of yellow ochre was immediately thwarted because the ochre dried before I finished laying it in. I couldn't get cerulean blue on the brush fast enough to catch the ochre before it was dry. Then and there, I realized that I had to act fast and execute my plan with dispatch! I had to speed up. The entire painting was finished in around 45 minutes (including planning time!). And during that time I was conscious of nothing else but what was happening on the surface of the paper. I had to stay in the fight against drying time for the duration!

Part of the charm of a great watercolor painting is that it appears to have been painted with startling urgency . . . and that it remains "fresh." That is that the paint doesn't appear to have been fussed over and there was a clarity of purpose by the artist. The only way to get that is to P L A N.

I stress this too in studio painting instruction. Planning is the center piece of excellence in watercolor painting and, in particular, in painting outside.

A Never Ending Subject

2014-05-29T13:56:00.000-07:00

Recently, I was invited to participate in a show with 75 other artists . . . .all who must provide a self portrait for the show. The organizer kept giggling at "what fun" that show will be. In fact, she said something to the effect of not knowing what to expect and was quite excited at that aspect.

So, off I went, knowing that my portrait wasn't due until January of 2015. Then, while sorting through a large pile of drawing paper in my studio, I decided I would "give it a go" to see what I could do. After all, I haven't studied the figure much, or portrait drawing or painting. I have done a few, mind you, over the years, but never in a studied way . . . . .just one of those challenges just to see "if I could do it."

Since that day of sorting through paper, I have done nearly ten self portraits . . . . . and the fascination with the design in a portrait has stung me!! . . . . .

Should I push the image into a caricature? Should I exaggerate the nose? The glasses? And what to do with the mouth that my loving wife points to at every turn? And what of the color? How many different harmonies could I play with in order to build a serious mood? And what about the shapes of the light and shadow on the face? My goodness! The possibilities are endless!!!

I have even taken a chance with watercolor crayons only then washing over the drawing with clear water . . . . . the crayon marks smear and merge in a delightful way, incidentally.

I am NOT an artist who has an attitude or is full of himself (at least I try to make a point of NOT being that way) . . . . .so, self portraits have always seemed rather self absorbed . . . .which I am not. HOWEVER! Or should I say BUT ? The cool thing about doing a self portrait is that one never ever runs out of subject matter . . . .Ever!!!

Imagine the possibilities that one could devise . . . . . consider just color. . . . . Skin tones have to be the hardest and the most demanding in terms of understanding the paint pigments we use, transparency and opacity suddenly mattering a lot. And which Yellow to use as an underpainting? What if I did a green underpainting?? Or suppose I tackled an all violet portrait? Or better, what if I took on the challenge of painting all in tones, then using pure tints in the center of interest? Perhaps a few heavy shades thrown in to lift the tones to appear more colorful?

As you can see, dear reader, the possibilities for just color would be enough to entertain and frustrate any artist for YEARS ! Now that I think of it, I happen to enjoy interesting use of LINE in a good painting . . . . yes, edges, too . . . . . .and . . . .Oh, Yes! Different value schemes, too, not to mention odd poses or perspective.

As you can see, a project like this would be one of those challenges that could lock myself away in my studio for months, maybe even years, to come.

You get the idea. It isn't about making the mouth just right. Nor is it really about whether or not the image resembles someone. It is really about finding out what I can do with all those variables to make an interesting outcome.

Come to think of it, this same process is precisely the sort of process I have subjected myself to over the years . . . . . it is called painting in series. You might know, too, that this very idea of fooling around with different ways to exploit the elements of design is an incredible way to learn to paint . . . . . .in fact, it is THE WAY most great artists perfect their work and their craft. It is to fully understand the nuances of every aspect of making marks on a canvas or paper. And it can be done with any single subject. Many of the best painters in the world have turned to series work with simple objects, such as still life or portraits, or even a pond in New Mexico . . . . . .the same point of view . . . . and not worrying about if the nostrils (details) are exactly right, but focusing on making something extraordinary and unique. Something that will halt a viewer in his or her tracks in order to truly LOOK at your painting . . . . and look carefully.

I have done this with a still life . . . .over 120 versions . . . .and counting . . . .and I find that is isn't boring at all. In fact, it is as challenging as anything I have ever painted . . . . . . .and more . . . .it has given the gift of significant breakthroughs in thinking and in painting skills.

It isn't the subject that matters. It is what you DO with it.

PAINT-PAINT-PAINT-PAINT AND PAINT SOME MORE!!!

The Hunt

2014-05-12T09:19:00.001-07:00

"Porch Perch"

Watercolor 22 x 30 inches

The hunt for ‘the next painting subject’ seems like an endless, frustrating task at times.

The art world is filled to overflowing with “pretty pictures” of subjects that seem to repeat themselves over and over ad nauseum. For example, still life paintings of flowers, or Koi fish, or baskets and bunnies . . . . . . .You know what I am talking about: The greeting card look.

I can remember that not so long ago, when I began painting, the frustrations for finding “good watercolor subjects” clung to me like an ill fitting suit. The fact is that there is no such thing as a subject suited to a specific medium. Most artist learn over time that it isn’t “What” you paint, but “How” you paint it that matters. It’s true! It seems perfectly ridiculous that people choose the same subjects over and over because they are “pretty.” Excellent art is well designed, obviously, but it also carries an emotional mood. It makes the viewer feel something. “Pretty” is but one possible feeling that a painting can hold.

So, I ask . . . . . .what’s pretty got to do with it? Just because something is pretty doesn’t mean that it is good art. As a professional artist, I have found that it is NOT the subject that magnetically attracts the viewer / buyer. In short, it is the pattern of light and dark (light and shadow) that arouses that odd feeling in our gut that draws us in (sorry for the pun!) to look closer . . . .and, perhaps, be so moved so as to purchase the piece.

Painting subjects are everywhere! They are hiding in plain sight. If you are a neophyte to the painting world, all you need do is open your mind (and your eyes) to interesting patterns of light and shadow. It is a developed awareness. My friend, Mark Mehaffey, is an expert at this. His international reputation isn’t built on painting “cute” pieces of art. His paintings reflect his skill at spotting (and designing) very strong value abstract patterns in realistic subjects. An example would be how the light bounces around in an old alley in Shanghai, China or Reno, Nevada. One wouldn’t know it was China or Reno. What is attractive about such paintings is how the darks and lights sit inside the rectangle of the painting’s picture space.

Like gold, painting subjects are where you find them. They pop up when you least expect it. All that needs happen to find them is to pay attention to your surroundings as you move through your world. Light coming through a window and reflecting off a dining room table top made for a prize winning painting at NWS a few years ago. There were no flowers, no knick knacks, no table settings . . . . .just light and shadow created by some chairs around the table!

Another prize winner was an open refrigerator and the light streaming out of it dodging around the contents. All one could make out was some silhouettes of various containers. It was the light and the shadow that won the day in that painting. The list of examples could fill a book!! The best paintings often lie among the most mundane settings or things. It is the artist who elevates the mundane to something extraordinary that gets the recognition.

In other words, pay attention!! Yep! Awaken yourself to patterns of light and shadow around you. Set yourself up to NOTICE . . . . .and, therefore, see the potential offered by shadow patterns. And, be aware that “pretty” isn’t always the best art subject. Consider the unordinary or the worn out, over used buildings or objects and how they fit in their surroundings.

I recently gave a workshop in Oklahoma. The first morning I stepped out of the side door of the church in which we were gathered and was immediately struck by the cast shadows on the old house across the street . . . .and how the old easy chair on the porch was illuminated in that shadow pattern. Maybe is isn’t something you would put above your couch in the living room, but the patterns sure do capture the eye. There are hundreds of painting subjects literally sitting and looking back at you. You merely have to notice them.

The Workshop Experience

2014-05-11T10:25:00.001-07:00

Having just completed giving a very satisfying workshop in the middle of our vast country, some flashes of inspiration came to mind. . . . .How does one choose the workshop they should attend? What will the instructor teach me? Am I in it to come home with a painting just like the instructor, or am I there to learn and grow artistically?

I believe that every instructor is there to help anyone advance in their skills, but many have difficulty articulating the essentials to making good art.

Of course, we cannot always determine what the instructor intends to teach . . . . .and THAT is precisely what my inspiration is about. To communicate to you, the reader, what is taught in my workshops. Naturally, as a painter, you are looking for the best possible experience for your money and your time. So, it is essential that this information is available to you.

What happens in my workshops? First off, I don’t demonstrate until the last few hours of the last day. Oh! You are surprised? What I do NOT teach, is how to paint like me. Nor do I teach technique.

Here is what happens . . . . . . .and I will tell you straight: It isn’t boring in the least. Moreover, you will find this the most challenging, the most interesting, the most informative workshop you have ever attended. Here’s why:

Good art is not necessarily about how well you render a subject. What’s more, good art isn’t always about what subject you paint . . . or what the instructor paints. Truly GOOD ART comes from within you . . . . . from you intelligently assessing all of the aspects that go into making a piece of art . . . . and making the art from your heart .. . . . not from photographs . . . .at least, not very often.

That said, here is what you will learn in my “Painting Beyond the Obvious” workshop: How to design a good painting of ANY SUBJECT. Also, within that design, you will learn exactly how to put mood or emotion into your paintings. We do that by doing a lot of learning about Line and Edges, Sizes, Proportion, Scale, Directions, Shape and Form, Value, Texture and Color strategies. That is all in one week!

To sum it up, its all about making a stunning Composition of any subject . . . .portraits, landscapes, figures, still life and, yes, even abstracts.

It is the very thing you have been searching for and have not known what questions to ask or how to put your finger on what you need to know to make extraordinary, good art.

And there is a very personal side that is also addressed. You will be fed with lots of information, yes. You will also receive the sort of personal guidance and suggestions that you would in a close mentor relationship with the instructor . . . . no matter what your level of skill is.

In the ending hours of the workshop, the class selects an emotional mood they want to see the instructor paint. Then, as a group, we carefully discuss and choose the aspects of the design and specifically how it should be painted. The instructor then uses a still life subject and executes the painting. That preparation for the demo took all week to educate everyone about the aspects and conditions of a sound composition and design and how to set an emotional mood.

When you are trying to determine if a workshop is good for you, don’t you think you should ask about WHAT is being taught rather than what kind of pictures the instructor makes?

Resetting Perspective

2014-03-29T15:43:00.000-07:00

"People Perspective"
Watercolor 15 x 22 inches

Funny how some paintings / challenges / problems seem to stick in one's craw. After painting the painting in the last post and discussing my difficulties with it, I could not wait to get to the easel . . . . . . . . . . .but even with that enthusiastic nagging in my head, my wife and I had to take a long road trip to the Northwest for a family affair. Gone for a week, yet the nagging continued.

Mind you, this painting isn't much better than the last except I did resolve the people perspecive difficulties I had with the last version. Notice that as the figures recede into the background, their values become less dark and there is much less contrast. The figures also become grayer and less colorful as they go back into the distance.

My sole purpose in making this painting was to resolve that difficulty. I am afraid that I was so focused on that aspect of this painting, I neglected so much else.

I have found as I have grown more into being a consistent painter, I am much less concerned with the end result of most painting and have reached a place where I have acquired a very cavalier attitude about whether or not any painting is a success. So, I slobber on the paint rather carelessly and even draw in a haphazard manner. I could even say that I am careless to a degree. I am not sure if this is healthy, of if it is, in fact, a natural progression of being sooo familiar with what the paint will do that I can paint without concern. This is a biiiig change from when I first began to paint . . . . .my knuckles were white with fear of ruining a nice, expensive piece of paper . . . . I was mostly distraught during the painting process for fear of ruining a good effort . . . . . and I was in continuous doubt about my ability or my skill. Where is that angst when I need it? What has become of that drive to be the master over a painting's outcome?

Is this a sign of being too familiar? Whatever the cause, this I know: Painting has become pure fun! Spending a full day in the studio putzing about, slinging paint and singing to myself is common fare these days. What could be better??

How did I get here? Miles of brush strokes and acres of paper!!

Figure Perspective

2014-03-07T09:03:00.001-08:00

"Parisian Promenade"

watercolor 15 x 22 inches

I have found there is much to learn about putting figures into a painting . . . . .

Figures can and do put a substantial amount of perspective and depth into a painting if they are done right. What may seem as necessary, such as various body parts and details, simply does not apply. That's right, details and anatomical correctness doesn't matter. The human mind does that for us. Ratio of head size and height seems to make a bit of difference.

There is two things I have noticed about this painting that makes me think twice (or three times) about doing the painting over again: One is values. Notice how the values of the scene itself diminish toward middle tones. Yet, the figures have very stark, almost strident, value contrast with the surroundings. I think the figures need to blend in more. That is to say that the figures need to feel as though they belong to the value range in which part of the painting that they sit.

Color, also, plays a part. Color saturation of the figures needs to settle in with the rest of the surroundings, too. In this painting, the colors certainly call attention to the figures, but that isn't the purpose of putting the figures in this painting . . . . .it should feel like a complete scene . . . not a stage on which there are action packed players.

The last thing that makes a big difference is the heads all need to be at the same level, relatively. Notice the figures in the foreground; they all stand on the same level ground. It is as if the viewer is at the same eye level as those players. Those that stand on the white surface have their heads slightly above the eye level of those figures in the foreground. As those figures (on the upper deck) recede into space, their bodies become shorter, but the heads remain at the same level. . . . .which gives the impression of distance.

I am off to the studio to try a remake of this painting to see if I can make the necessary adjustments.