Tyler, an East Texas city about 2 hours west of Dallas, is brilliant in spring. It has deep, rich, red sandy soil with grass that’s always green and trees that reach 50 to 70 feet all over the city. Rose Redmond park is it’s central park with paved paths for joggers, bikers, and tons of dog walkers. It’s always in use. The paths cut through a forest with trees so high, the path is almost always in shade. As I was jogging, I’d come to sections where I’m in the shade and a bright sunlit portion would be ahead. I could feel the warmth just from looking at it. At a few points I simply stopped and spent a minute to mentally try and paint the scene in my mind. I constantly say to myself, “If this was created by God, what brush did he have and what kind of strokes did he use?”. I’ve noticed lately from the Nathan Fowkes class in Schoolism, he says “What is the simple statement? What are the main colors and how do they compare: lighter, darker, warmer, cooler?”. When I begin this conversation (not out loud), all the color combinations pop out and a game plan forms as if I was setting up the easel for the hundredth time. The simple statement of this scene was about the bright warm glow of the sunlit tress and it’s connection to the people walking through it. That’s it. It’s not about the individual trees, not the grass or even the path, just the light and the people. As long as the proportions are mostly correct, the abstract patterns make sense. This is definitely the impression (feel) of the memory I had, which is just as real as the scene itself. Fun!
Some days are made for hiking and sketching outdoors and Chalk Ridge Falls in Belton, TX was the perfect place to go. Shallow spring fed creeks, hidden caves and waterfalls and enough places to roam that you can escape any hiking traffic.
I’m doing “abstractions of nature” as a series, which are patterns that you’d know immediately in context of a place, but when taken out of the setting, it’s beauty is set apart. I hope this will help others to take a closer look at nature in parts and as a whole.
In noticing the aquatic plants that have grown in a previously dry area, it was rich with warm and cool tones of every color there is. It has subtle shifts from the deep blues and purples into the greens and yellows and even reds as the plants emerge from the deep. Soothing.
After that almost meditative warm up, I headed up the back alley, where limestone has been warm down by years of spring water eroding it into something resembling a quarter mile bob-sled track. I knew a tucked away place in an off-shoot of the alley where a tributary spring feeds into the main alley. This spot has a hidden rock wall with water always dripping down it and ferns bursting out of it at every crevice. Along one shaded wall, sun lit up one area and with a big branch hanging over the edge it appeared like I was in a cave. So I went after that impression for the second sketch, also somewhat abstract.
On the way back to the main limstone alley, sun had fallen just enough to shade the offshoot part I had gone on, but the main alley was fully sun-lit. The contrast of gray-purples to the bright yellow white was amazing. It even had a small stream of water leading into the scene.
This is a picture of the alley.
It was time to head home to feed the grumbling stomach and I almost made it until I drove over the Stillhouse Lake Dam near the entrance to the park and saw the setting sun over the water. One u-turn later, my painting kit was out again.
Ahh, that hit the spot. What a great way to end a very full day.
It was debateable if driving 40 minutes to join a painting group at sunrise in a fog was worth it. I arrived about an hour late and went to find the others. Nobody showed. Dang! So I set up my easel determined to make something of the day searching for scenes along the river. Around 9am, two painters show up and join in. At 10, another. At 11ish, an artist showed up and said a group of others had set up in the wrong area. This is definitely a group of creatives. A 7am start time means 8am through 10am-ish in the park area-ish. Ha. Although it seemed half-organized, they are dedicated and has been the starting point for several internationally renowned painters that have gone on to their fame and fortune.
Around 8am when setting up my easel, almost as if it was planned, a few geese swam out into the scene I was checking out. I was wondering how to paint a scene with almost no contrast in this fog, and then, BAM, there they were. Out came the camera phone and I had the geese for reference to add to the scene at the very end. Nice when that happens! I set the background dark in value, careful to not let anything bright highlight in the plants shout out too loud. It played out nicely when the pure white laid played in with the geese. Done.
After about hour and a half, normally I’d finish, pack up and scout out another scene, but the other painters were all around. I really enjoyed talking art with them as we painted, so I just turned 180° and painted a small section of a scene that appears almost abstract at first glance until your mind find a way to reason what it is. It’s a fun twist.
This scene turned out to be harder than I expected with all of the shifts in value between the shoreline and the water. In the foreground the bank is lighter than the water; further back, the water is lighter than the bank. Luckily, this is where acrylics excel in allowing layers of paint to go on until it’s right. I really like the flow of the leaves in the reeds bending down to the bank. When I see these patterns, it’s as if I could see music rather than hear it. Every leaf has a small, but important part of some bigger design, and it’s beautiful. Nature is eloquent.
This will be a quick post. It’s an early spring with the rain greening up the grass. I found an old photo I took in Weimar that’s perfect to modify and fit this theme.
I believe this is ready to scale up! I’m thinking it might be a good one for oils, but now that I’ve found glazing medium for acrylics, I’m leaning towards that. It’s blends perfectly. I’ll post up the big one soon.
I finished a commission from photos of a wedding venue in Colorado, adding the final touch-ups and varnish yesterday. This scene had a lot of aspects going for it, a strong focal point with the lodge, the walkway to the left along the lake directing the viewer to the lodge and the distance with the background mountains. However, this painting was a tougher challenge than first expected because of something I overlooked in the photo; no shadows. The photo was taken with the sun directly behind the photographer. It’s was a great shot, but shadows give the illusion of an object being 3-dimensional for the painter to use. Everything looked flat, so it was an excellent way to learn alternative ways to show depth and form. Adding warmth to the foreground and cooling off the color with blues to the background gave a good sense of atmosphere. Overlapping the trees in front and behind others was a huge tool for front to back depth. To show roundness in the foreground trees, very subtle color shift were used to add the greatest warmth to the center and cool off the sides where the sky reflects more . Other tricks were to use the rocky places in the background mountain to form broken lines to indicate loosely an illusion of roundness. Similar to looking at a striped towel with folds, the stripes form curved lines leading the eye around the shapes. Fortunately, the client and her husband loved it. Now it’s being packed and it’ll be sent off to begin it purpose. I love it when the scene automatically connect the viewer to a great memory.
I risked the overcast skies and high chance of rain to get in a few sketches at Dana Peak Park today. It’s always a question mark in my head,”Do you really want to do this?” as I drive there, but as soon as I start down the entrance trail, I know it was right. Every time. The thick atmosphere really set the hills in the distance back with deep blues, contrasting to the warm greens of the cedars around me. In five minutes, I was roughing in the most simple statement of the scene, as I’m learning in class in Nathan Fowkes Schoolism class. Fourty minutes later, I put in the last touches and was off to explore more. It was fun seeing people pose at the far end of the trail, hoping to be immortalized in the sketch.
I’ve started a series on an Instagram account (@sw_abstractions) that will explore slowly pushing myself into the abstract expression I see in nature, more directed by what I feel than the literal scene. In fact, I name the sketch for the emotion it portrays before I start, stopping myself frequently as I paint to ask, “Am I painting this emotion?”. Often, I’ve gone too far trying to copy the scene and half of my time is spent painting over my careful rendering, back into abstraction. Today I found a deer trail leading off of the main path and almost stepped on a prickly pear cactus almost tucked away in the grass. I saw the big thorns and noted how I focused so closely on those, that the rest of the surrounding grasses faded away. “Clarity” was the feeling I was greatful for, those times in life when everything else in the mind clears and you are in the moment. I think I painted the grass about five times, getting it just right, then seeing I’ve lost the softness and scribbling over it. Good lesson.
After “Clarity”, I walked about four miles over the hills, dodging the Sunday mountain bikers, and found myself just enjoying the exercise. Sensing I was done for the day, I walked toward the entrance when a brief glimpse of sunlight hit some big oak skeletons, weathered and clear of their bark, showing the smooth silver layer underneath. The background hills were still in shadow, so the warm sunlight lit up those oaks brilliantly as if they glowed. I gave myself 45min for uber-fast sketching and really paid attention to catching the boldness of the trees in relation to the softness of the brush around it. A lady stopped by, liking my easel set-up and I had a chance to explain how it’s just a Walmart easel, modified to be much more useful along with my other cheap, rigged gear. It was so fun to see her realizing with a big, excited smile that with about $40, she can do this, easel, brushes, paints paper… everything. I live for those moments to witness a spark of inspiration. So satisfying, and a perfect end to the day.
I just finished varnishing a commission painting and will post that up tomorrow.
There is a whole line of storms for the next few days, so I’m settling in and making a daily schedule for studio studies. I have time in the studio with consistent light to explore a subject, unlike plein air where the light changes giving about a two hour window. After repeating the same technique for months in my painting process, it’s time for a something new. Something like using my left hand to brush my teeth, sort of “new”. Awkward. Usually, acrylic paint goes on thin and even using thick paint, it shrinks, so today I decided to layer thick paint. Rick Delaney mentioned he uses this technique to get the impasto look of oils in his acrylic paintings, and he’s the one to ask about this. His work is filled with color and expressive brushwork where you can see in the finished work exactly where his brush began pasting on the color and where it ended. It’s a new dimension to the “near music”, as Barry Raybold (Virtual Art Academy) calls it. That’s what you see when a painting pulls you in so close, all you see is individual, abstract brushwork that doesn’t make sense until you step back and the eye sees the whole scene again.
The mood to this scene is cloudy, windy and expressive. It’s hard to say “cold” in Weimar this year, since Texas abbreviated the seasons spring and winter like it does “ya’ll” and I’m now in shorts and a t-shirt enjoying a “spr’inter”. After sketching out my thoughts for the scene of a cedar along a fence line, using charcoal (easiest for me), I reworked it in brush-markers to get the values right. Since this is a gray scene, I mixed up some old Cobalt blue and Cad Red Light Hue to a big pile of warm gray. For a yellow to mix muted greens, I used yellow ochre, adjusting the value with Titanium white. I got out the biggest, fattest bristle brush in my arsenal and my palette knife and went to town. No fear was my mantra. Finding my gray mix wasn’t quite dark enough, I got some thalo blue (powerful pigment) to mix with the cad red. Perfect. I can now see the branches layered on, the whites of clouds punching out of the surface and a richer sense of atmosphere I haven’t been able to achieve before. Art is conveying an impression or what I feel about a scene, and somehow in this more expressive, abstract method, the feeling is more clear than with a scene rendered more like a photograph. Great lesson! This would work great with all the run down barns here with that sun-dried, withered texture.
This has been a long relationship sort of painting, working on it off and on over the past month. It started out with a few brush marks, noting colors in a sketchpad on the side of the road as the shadows rose to the top of the trees. I think they are either cottonwoods or elms, but the yellows and bronze colors of the leaves hit by the deep orange-pink light of the sun seemed to set them on fire. Just behind the trees the sky was bright with a slight green tint that made the reds, oranges and yellows of the trees pop out even more. In contrast, the area in the shadows seemed to loose all color with slight shades of green gray that brightened towards a blue-gray as it went back in the distance. Although there’s no road, it was needed to lead th eye towards the trees. Giving the soil a muted red gave just enough variety to the grasses without making it shout out for attention. I also remember the other mental notes I took there on the side of the road was the high contrast in the sunlight off the tree trunks that seemed to soften along the edges as they dippped into the shadow. Everything emphasized the explosion of color on the ridgline between shadow and light.
There might be a few small changes as I set it aside for a while in order to look at it again later with fresh eyes.
It’s shorts and t-shirt weather here in Weimar with full sun. Hard to believe it in the first part of January, but I’ll take it! I rode my bike down the frontage road to I-10 and found an old run down house crowded in some trees. I don’t normally paint houses, but it’s a good challenge for this year. There’s too much potential for painting run down homes around here. Might as well step out of my comfort zone and learn to paint them!
After watching a video tutorial by George Strickland, I began to see the very subtle shades of reflected light on the white, chipped paint. Blues, greens, yellows… it’s amazing to see something that didn’t appear to be there before. Kind of unreal. He teaches to emphasize these variations to add interest to an otherwise flat wall. The green-blue reflected light under the roof of the front wall, and the bright yellow under the eve of the side room near where the sun hits, are examples. In his video, he works back and forth, adjusting the colors from cool to warm and back again until it just looks right. His work is amazing.
I battled my fast-dry acrylics today with the unually dry, warm air. The piles of paint formed a thick wall on the outside as it dried so I’d have to push my finger on it to make some fresh paint ooze out of the bottom side. By the time I finished mixing, I’d have one swipe with the brush before my freshly mixed paint was dry. Time to break out the slow-drying acrylics or just move to oils! Either way, it made for a fun day.
I’m also learning video editing and hopefully I’ll be able to start up a YouTube channel and start posting some of the adventures.
This scene is from the summer days when I’d pass by a field of cows in Columbus, TX on my way home. It started with that initial glance of the lazy cows trying to find shade under a sparsely branched cedar. I shot a quick photo as I passed by. Months later, I was flying to Marblehead to visit my brother and his family and flipped through the photos on my phone looking to sketch on the flight. Seeing this photo, I was able to zoom in cropping the rest of it, focusing in on the heart of what I saw in that glance. Months later, I was flipping through my sketch book and thought I’d post it to my Instagram account (@teveman) and after watching a DVD of John Poon teaching his method, figured I’d give it a go. I did the small value sketch last night to both work out the composition more and find some good brush strokes. This morning, I woke up and it went quickly! I thought it’d be fun to mix up my palette a bit and colors I don’t normally use that leaned towards the warm size. As I went, I saw the need to make the cows tan, rather than white to really stand out against the green surrounding and remembered the cows I’d seen around my home. I took a risk, but it seemed to work out well. I thought the cows might need more detail, but then stopped. It’s usually better to have bold, defining strokes than a bunch of strokes searching for a way to say what one careful stroke can do. Fun study! The enjoyment really is in the process of the painting.
I highly recommend John Poon’s Landscapes DVD. He has great organizational skills and presents how to use a busy scene, clarify the focus and work through a four step process. He also works in acrylics, but it’s equally good for oils as well.