Inspiration

There is a universe of great artists out there and if you snoop around enough in galleries, art museums, coffee houses, bookstores, online, etc., you are going to find some that really touch and inspire you. I found Stephen Doherty in the 2007 issue of American Artist's "Oil Paintings Highlights". This was AFTER I had done three acrylics that I call my "Working Man series". " U.S. Mail Truck Driver on Morning Break" is in an earlier post. The two in this post are titled "Car Wash Steam Wand Operator" and "Window Fitter" The only comparison here is the subject matter. In reference to Mr. Doherty's oils, what inspires me is his sensuous brush work and dramatic values. I have no desire to copy his painting style, but it is always wonderful to have someone at a higher level, if you will, that pushes you to push yourself (as soon as I can find a better way to phrase this idea, I'll edit my post!). I am very excited to continue my Working Man series with renewed vigor thanks to Stephen!

En Plein Air Painting@Hunting

This Monday, I was out on the American River Parkway. What a beautiful Fall morning it was! About an hour later, fellow plein air artist Marti Walker showed up to pastel this idyllic scene. Then a gaggle of geese swooped down and landed in the water right in front of us! They then waddled up onto our beach. My car was parked only about 20 yards away, so I hot footed to it and pulled out my firearm kept locked up in the glove compartment (don't think I have ever put gloves in my glove compartment). I casually came back to my easel so as not to frighten our goosey friends. Taking careful aim, I shot the fat goose you see in the foreground of my canvas. Marti let out a scream not to be believed! I told her to chill out a bit. I explained that I was merely going to take the dead duck, uh, I mean goose, home to pluck it, gut it, freeze it, and on Christmas eve, cook it. Marti felt a lot better and proceeded to complete her pastel.

Blog Title Change

Over the course of several recent postings, some comments from Mike Bailey, Silvina Day, and Terry Miura have got me to thinking about my blog title "Plein Air Wannabe". Added to this, I've had a good sales month in the two galleries I'm in. I've sold six paintings, four of which have been en plein air. So I have been convinced to change my blog title to simply my name... NOT that I'm satisfied yet with my plein air endeavors (do we ever get to that point?), but I guess it's a matter of degrees. I've got a lot more degrees up the plein air ladder that I want to go! Changing the subject now, I've just gotten back from a little mini Thanksgiving vacation where I took about an hour out to do two ink/wash sketches. One is from our motel window (second floor) and the other is looking back towards the unit our second floor room was in. These were done on a cheapo water color sketch pad. I first started out by drawing with a non-water soluble ink fine point Sharpie pen (no pencil drawing. Ink focuses the mind and eye better!). Then I added dabs of water soluble ink from a Tombow pen and made them into value washes with an all- plastic Waterbrush. I wrote a short article on this sketching technique in the January, 2006 issue of American Artist Magazine. It's great for travel and for painting composition/value studies.

More or Less?

I'm still finding my way with plein air painting. These are two I did late spring of this year when I started outdoor painting seriously and on a regular basis. For a long time, I've considered them as somewhat unsucessful. The only problem with this assesment is that my wife, Cheryl, likes the bridge, and the owner of the latest gallery I'm now showing in accepted the field/ clouds/ skyline painting. What is common in both pieces is the direct simplicity in painting style as opposed to others that I've noodled more on (including studio time!) Come to think of it, these two were 90% completed on site! A rare occurance for this plein air wannabe. So where does this leave me? Maybe do some more! By the way, they are both 11"x17" on gessoed medium density board.

Steamboat Slough

This acrylic is about 36"x48" and painted on canvas ducktaped to my studio wall. It was done over a 3 day period about a year ago and before I started my acrylic journey en plein air. It now hangs in the Elliott Fouts Gallery here in Sacramento along with seven small plein air paintings that I did over the course of this summer 2007. I worked from a photo I took of this wonderful, old articulated bridge on the California delta. The bridge was designed by the same man who designed the Golden Gate bridge! Anyway, the point I'd like to make with this piece is that one should never do a literal translation of a photograph. What's the point of that? Do something with it. In this case, I painted in a warm yellow glow coming in from the right side and down river. People who have seen this painting always mention its appeal. Now that its in the Fouts Gallery, maybe that appeal will turn into a buy. I have attached a link to the Elliott Fouts Gallery where you can see samples of some of the other artists showing there.

You pissed me off Terry Miura!

A few months ago, Terry Miura, an artist that I really respect ( you can link to his site from this blog), wrote on his web site that it's challenging for him to frame his art for galleries and sales. He must pick the appropriate frame and at a price point that won't break his pocket book. If any of his pieces don't sell immediately, hopefully they will in the near future and defray the framing cost. He's a fantastic studio and plein air oil painter and believes (no ifs, ands, or buts) that he MUST frame his work. Well... I commented back that if an artist is as good as he is, he doesn't need to do this! His work speaks for itself, and the buyers have the option to choose frames of their liking. "No, no!", Mr. Miura shot back. He was taught, and he believes that one must put one's best foot forward. Well, a few weeks ago, a very good gallery in town accepted some of my acrylic plein air paintings to display and sell (hopefully and keep my fingers crossed!). The owner insisted that I frame them! Miura's words came back to haunt me! But first, let me say this: I have had numerous medium to large paintings on stetched canvas sell at another gallery with ZIPPO framing! I asked this latest gallery owner, "Do I have to frame them?". Not one iota of hesitation... "Sure, it's the cost of doing business". Now what was I to say?.. "NO!" Of course not. I want to be in his damn gallery! He has a reputation for selling art. This afternoon, I picked up my framed pieces. Most all of them are 8"x16" on stretched canvas. They are all floated in a simple gallery-style frame. Hot damn, they look good! It has now dawned on me that if you do not let the framing cost get out of hand, the enhanced presentation increases your odds of selling (even if the buyer plans to later reframe). And, that extra mile you go, ultimately enhances both your sales and your reputation as an artist. As far as very large canvases are concerned, many buyers hang them on their walls as is, and indeed, if the sides are finished off nicely, there is nothing wrong with that (especially with more modern style paintings such as I paint). Come to think of it, one does not always have to frame small pieces either! But... I think most of the time, it's awfully hard to beat that framed look. You can't go cheap, but neither do you have to break the bank. And, you need to get just the right type of frame. OK, OK, Miura!.. ya dun got a point!..it can be a pain to frame but the frame can add to your fame. Now that's poetry to any artist...even a plein air wannabe.

Block This!

Whether outdoors or in, starting a painting begins with the "blocking in" process. Simply outline the shapes to get your composition (usually a drawing process with a small round brush). Then you can paint in large areas of tone (value) and simple color to finish this initial blocking in stage. From this foundation, you can start to detail or polish your painting to a point where you say, "Looks good! I'm done." Never do you want to start with a lot of fine detail with all the time committed to it. You most likely will end up with a poor composition and a reluctance to "erase" what you have done, considering all the time and effort put into it! Blocking in is relatively fast, and if your composition heads south, it's no biggie to start over. Never settle for less when you can get more by blocking! Here is an easel shot of my blocking in stage. Yes, I worked from a photo I took early in the morning of a U.S. Postal worker taking five and reading the sports page. Loved his left leg on the dash board the the sun piercing through the paper. The second photo is the completed polished painting. Sometimes I take a break from plein air, especially when it's raining...nowhatta I mean?!