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Bill Farnsworth

The Artist as Conservationist

Bill Farnsworth · Jun 10, 2019 · Leave a Comment

Painting by Thomas Moran

Growing up I was always outside exploring the woods and loving the changing light but never thought about painting it. It wasn’t until after a career as an illustrator that I began taking my easel outside to paint. When I paint outside and spend two hours capturing the light it is a spiritual experience. During that time, you get to see, hear, and feel the changing world around you.

I created a natural setting in my own backyard where I started planting trees and bushes. One of the great joys of my life is watching the plants grow. You buy a $2 plant and it turns into a $20 one.

It’s my oasis where I’ve taught painting workshops and gathered with family and friends. It is literally a living room. Everyone loves to be in this environment whether it’s my backyard or in their own.

“Good Night Sleep Tight” by Bill Farnsworth
Oil on Canvas ‐ 24″ x 36″

Artists throughout history have documented the outdoors and through this empathy for the landscape, they became conservationists.

Thomas Moran created a stunning painting of what is now Yellowstone Park. Congress was able to see the beauty and the National Parks were born. J. Alden Weir turned his estate into a park and Ding Darling left a preserve in Sanibel.

My artist friend Mary Erickson has preserved 30 acres for a bird sanctuary in North Carolina. This past summer I painted on the property of the famous Indiana artist TC Steele. It is now a park for all to enjoy.

Every time an artist paints on location they are preserving our world. It will never look the same.

Hurricane Michael hit the Forgotten Coast and leveled the area of Mexico Beach where Mom and Pop shops and restaurants once stood. Quaint family beach cottages gone forever.

Over $117K was raised by Operation Fund Storm started by artist friend Larry Moore. Artists donated paintings for the auction and some pieces were of this devastated area.

“Along The Coast” by Bill Farnsworth

We have painted the area for many years and those paintings have preserved what has vanished faster than we ever thought possible.

About two years ago I was approached by Greg Vine, who had this idea of turning 50 acres of prime real-estate in Venice Fl. into an Urban Forest under the umbrella of VABI. Venice Area Beautification.

He needed an artist to create a forest with paint and canvas to show Sarasota County what could be done with a raw piece of land along the intercoastal that borders an industrial area.

I first photographed the area and began painting directly over the photographs to eliminate scrub and add trees of various shapes and sizes with smaller bushes underneath.

When we approached the Sarasota County commissioners with our proposal and my paintings as a visual guide, they finally approved the Urban Forest.

But this had taken almost two years from the time Greg asked me to come on board. There is an enormous amount of red tape that an organization must go through in order the achieve any endeavor when dealing with City, County, and State officials. As volunteers, we had countless meetings to set up promotion, funding and planning committees. Once the word got out about our plan’s, volunteers came to help clear brush and plant new trees. Without volunteers, a project like this cannot happen. This a totally funded by donations.

Venice was designed by architect John Nolan back in the ’20s. Nolan was inspired by the amount of green space in cities and introduced that in Venice and Mariemont Ohio.

Our Urban Forest catch line is; “In the spirit of the John Nolan Plan, VABI resolves to create the Urban Forest, an oasis for all generations to enjoy”.

As this project finishes phase 1, we are having artists come out to document what has been done and create sort of a “Baby Album” of this young project.

Many people can see what a derelict piece of land looks like now, but an artist can see what it could be in the future through a small rendering.

Beyond the initial decoration, a painting may have had a big role in how people feel and their empathy toward the world we live in.

Tips for your Toolbox

Bill Farnsworth · Oct 9, 2017 · 1 Comment

"Good night sleep tight" by Bill Farnsworth
“Good Night Sleep Tight”
Bill Farnsworth

I hope this blog finds you well and painting.
Here are some tips for your tool box as you try to achieve the next level. For starters, we need to know what’s wrong with your painting and how to correct it. There are two major problems, value, and shape.
VALUE
There are 9 values in painting. 5 representing the middle value and 1 and 9 representing white and black, then there are 3 light values and 3 dark values.
I have found the best way to is to start with a “known value.” It may be the sky or your darkest dark. I usually start at my focal point where you will have your lightest lights and darkest darks most of the time. In the block in stage, you can create a 3 value relationship. A dark, a light and a mid tone. If they are all near each other, you can compare everything off of these values. Comparing the values next to each other will create a bench mark for your painting.
SHAPE
As we determine a value, we have to consider what shape it is. Seeing shapes is nothing more than drawing. The key element of drawing is seeing the angle of a line and general mass. Look for intersecting lines and the overall silhouette. Work your big shapes to small shapes. Remember; You are always drawing while you paint.
Now, after you feel you have gotten the right shapes and values, let’s determine the color and its temperature.
COLOR TEMPERATURE
You have two ways to go with color; Warm and Cool. 
If the color looks muddy on your painting, it’s because the temperature is wrong. Mud is not the color at the bottom of your brush washer tank. Mixing paint is always a challenge for students but doesn’t have to be if you have a plan.
First, determine the color family of the shape you want to paint. Stick with just simple two color mixing in secondary colors, like orange, green, purple, etc…. Next match the value (most important). Then modify the color temperature and chroma.
Too many students get hypnotized by color and lose the most important goal. Don’t worry about capturing that special color, instead focus on getting the right value. If the value is right and the color is somewhat close, you will be fine. Your painting might be overall cool or warm and will still work because of how each color relates to one another. It’s all about comparisons.
EDGES
When everything in your painting looks right, consider your edges. You should have sharp, soft, and lost edges. Edges will make your painting believable.
PRACTICE
Stick with these tips and practice, practice, practice.

Failure and the Power of Believing.

Bill Farnsworth · Jul 10, 2017 · 22 Comments

“Against the Tide” by Bill Farnsworth

Failure;

This is a word that makes people cringe and we all try to avoid the dreaded act. Our society is built on those who succeed and those who fell short and failed. Yet failure is part of the journey to becoming a better artist. Be kind to yourself in knowing that you succeeded at the first step. TRYING.
There’s an old golf saying that goes something like this, “You miss 100% of shots you never take”. Many people who would like to take a painting class or workshop never do for fear of looking foolish. To all those who feel this way, stop it! Take a chance, get your feet wet, and throw caution to the wind. Did I miss any other old trite sayings?
Everyone starts at the beginning and there are no short cuts to getting better as an artist. We can be taught the principals of painting and it may not come out of your brush for a while. You need the time of practice, which will yield failure after failure until the pile of bad paintings shrinks and the pile of good paintings grows.
Let me be clear, THERE ARE NO SHORT CUTS.
All your failed paintings were valuable learning experiences. If you have a painting that is not going well, wipe it out and start again. You will find that your next start will be much better because you learned something. My students that progress the fastest have an attitude that their painting is an exercise and not a precious master piece. I watched Bill Anton paint a demo that was a beauty and at the end he wiped it out, to the groan of 600 people. He said this was just an exercise. As it sunk in, the audience gave him a standing ovation.
Your painting journey will have many failures until the jewel comes to the surface and will erase 100 bad paintings.

The Power of believing;

The most incredible achievements known to man would not have been possible without the dedication of having faith they would prevail. A career in art is a hard climb with many road blocks that often lead most to taking another path. It is not a career you can successfully do without very hard work and sacrifice. There are many artists that are starting late in life these days and are finding it tough. Even the artists who have been in the business for years still are working very hard.
I know this doesn’t sound like a good intro to motivational speaking, but the good part is coming. There is no other way than total dedication to achieve success in any endeavor.
Orville and Wilbur Wright had this idea of manned flight. They faced enormous odds with trying to break the code of lift and drag. No one thought it was possible and even the Wright’s themselves had doubts. Through countless trials that risked their lives every time they took to the air, the Wright Brothers finally achieved sustained flight.
John Singer Sargent was commissioned to paint a Parisian socialite that he had hoped would have catapulted his career in Paris. He painted his client with a fallen strap and the critics were brutal. His client who had loved the painting was now attacking him. Most artists would have been ruined, but Sargent had faith in his abilities and left Paris for London with his painting “Madame X” to further his career. We all know how that turned out.
There is a gleaming common thread with successful artists and it’s not talent. It is the unrelenting faith they have deep in their gut. Where does this come from? We all should believe in something, whether it is Jesus, Allah, Buddha, the moon, sun, or even just a rock. But the most important is believing in yourself.
Nothing of substance comes easy, and your failures are the steps you must climb and your belief is the vehicle.

Dear Art Student

Bill Farnsworth · Feb 8, 2016 · 2 Comments

"Rhythm" by Bill Farnsworth OPA
“Rhythm” by Bill Farnsworth OPA

Art has long been discouraged as a career choice because parents grew hearing about the “starving artist” label and for good reason. It is simply not easy pursuing art as a career. However, if the artist can make it work where they can pay their bills, the reward is that you are creating something beautiful and living life on your own terms. People wait until they retire to pick up a brush and in fact today the baby boomers are painting more than ever. They are taking workshops, joining painting groups, and doing something they always wanted to do.
For the young artist wanting to attend an art school, the financial commitment can be a big one. When I went to art school, tuition was $3,000 a year, now it is upwards of $50,000. The opportunities coming out of an art school have changed from the days of a graduate starting in the bull pen doing paste ups or Illustration in a studio. I was able to stay busy in Children’s Books for many years but that started to slide with Illustration as well. Computer generated art is the norm today and young artists are producing wonderful animation and children’s book illustrations. Graduates are getting jobs right out of school working for gaming companies and animation studios. While employment looks good in the digital field the big factor for these young graduates is the cost of paying back these huge tuition bills. Leaving school with $100,000 to $200,000 in student loans is crippling. Even if they have a good paying job the prospect of owning their own home or affording rent is very low. Colleges have been trying to outdo each other since Harvard’s inception.
"Hanging With Albin" by Bill Farnsworth OPA
“Hanging With Albin” by Bill Farnsworth OPA

It’s big business, and making campuses bigger is impressive but you want quality Instructors not infinity pools. I personally know many wonderful instructors teaching in art schools that offer workshops outside the campus. Having a degree will get you the better paying jobs, but at what cost? We never needed a degree to get illustration assignments or fine art commissions, but if you really want a degree, then possibly get it at a cheaper state school. You can take your tuition savings and travel to Europe and attend the best Atelier’s or take monthly workshops from the best painters in the world. Workshops can be taught outside on location or in a studio environment.
Whether or not you paint as a hobby or plan to make it a career, taking workshops without practicing what you’ve learned will be a dead end. So when you are not attending a workshop, paint with a friend or group on a planned day. If you make Thursday’s your group painting time you will put it in your schedule. Other days you work on your own. Students will choose an instructor because they admire their work or they heard they are excellent teachers. You might take a few workshops unit you have found an instructor you feel comfortable with. It’s important to stay with that instructor for a period of time so you keep with a consistent approach. Many students will follow an instructor because they love their technique. Technique is fun and flashy, but your true focus needs to be on the principals of painting with good shapes, values and edges. 
"Collioure Boats" by Bill Farnsworth OPA
“Collioure Boats” by Bill Farnsworth OPA

Some students are fearful of failing in a workshop with a group because they have just started painting or haven’t picked up a brush for a long time. Everyone starts somewhere and the fact you are considering it is the first step. The workshop environment can be inspiring, not only for the students but the instructors as well. The camaraderie in the classroom forms lasting friendships while improving your craft.
As you improve and maybe start entering shows where you are competing with seasoned professionals it is important to keep things in perspective. Enter only your very best work and frame the painting with a quality gallery frame.You might start selling your work and that’s when hobbies can become professions.
That’s what is so great about art, you can blossom late in life, and start heading down a wonderful new road.
So whether you are the aspiring professional artist or hobbyist, the one thing to remember is that we are all students constantly open to learning new things.

Getting the Most Out of Your Camera

Bill Farnsworth · Aug 3, 2015 · 6 Comments

Featured-Image-OPA-Getting-Most-Camera
Just about every representational artist knows the benefits of painting from life. The naked eye can see far more than a camera and constantly adjusts for each lighting situation. Our other senses tell us if it’s windy, hot, cold, and fragrant. All this affects the painting of the scene before us. For some artists, the painting must be finished in the field that day or subsequent days. For others, field studies and photographs are part of process in creating their painting.
The huge movement of Plein Air in the country has given birth to countless Plein Air paint outs, workshops, and new artists. Art suppliers and magazines are selling everything from easels to ad space to feed this new hunger for painting outside. There is a common misconception that “Plein Air” is a style or look. Artist’s for more than 100 years painted outdoors as a means to accurately document real life. Field studies were just part of the process to creating a painting. Zorn painted from life but used photography on occasion to help in the creating his masterpieces. Like a brush, the camera is a tool. You don’t buy cheap brushes, so don’t buy a cheap camera. If you are seen at a Plein Air event with a camera nobody will make you turn in your wide brimmed hat.
In fact, the camera will help you document a new area to get ideas for painting sites. When I attend Paint Out events, my camera is always with me. If I see a great scene with fleeting light that will be gone in 20 minutes, I photograph it. Taking shots panned back, up close, vertical, horizontal, and all around, I write down the time. The next day I come back an hour earlier and paint my block in while anticipating the coming light. This approach works very well because the night before I have viewed my photos and picked the best composition. So when it’s paint time, I don’t get hung up on too many problems. If I’ve been to the same paint out for several years I have lots of photos to look over and go back to those familiar places and have a solid idea to paint. You can waste hours looking for something to paint. In unfamiliar territory, I’ll sometimes use google satellite and hover over areas that might have some possibilities to paint. You can use street view and cyber drive through the countryside. If something looks good I’ll mark it on a map. My years as an illustrator made me resourceful in finding new ways to help in the craft of picture making.
The camera is also very useful when you are visiting a wonderful place for a short time. You can document the area with hundreds of photos as opposed to only having the time to paint a few studies. Back in the studio with no field studies, I must have very high quality photographs and view them on a large monitor. It’s best to paint soon after your photo reconnaissance, so your memory is still fresh and you remember what grabbed you in the first place. I know from experience that my darks tend to get inky and lights get washed out. Your camera’s aperture tries to give you all the values, but misses in high contrast situations. Our eyes adjust constantly while painting from life. So in the studio I need to open the shadows and darken the washed out lights. Color saturation can be gone as well, so I’ll adjust that too, and make sure my canvas is in proportion to the photograph or study. An inch one way or another will change a composition, and you may lose what you set out to do. If I have no field study, I’ll paint one in the studio and work out the problems first. With a complex scene and wanting to combine several photos, I’ll use photoshop and create my composition.
I like to use figures in my landscapes and photography is the only way to record a moving person. Sometimes while painting outside a figure may walk into the scene, so I’ll take a quick shot. In the studio I have the best documentation with a field study and a quality photograph of the figure to create my painting.
When photographing your finished painting it is very important to have a set up where you have diffused natural light and a solid tripod that you can level. Glare can be a common problem and is caused by another light source like a window.
So the camera can be a great tool in your art career as long as you understand it limits and know that nothing will replace painting from life.

Bill Farnsworth OPA
Bill Farnsworth OPA
billfarnsworth.com
bill@billfarnsworth.com

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