Education

When I attended the American Academy of Art in Chicago, my life-drawing instructor, the legendary Bill Parks, often spoke of Creative Illustration by Andrew Loomis. In fact, one time he even said, “All I try to teach is what’s in that book.” Of course, I wanted to buy a copy but it had been out of print for years and was trading for around $550 on E-bay. Fortunately, one of my fellow students had access to a copy, so a number of us chipped in to have Xeroxes made of the entire book! Even though the section on color was reduced to black and white, I still found the information invaluable!

Not withstanding the title, the book is more about creating good representational art rather than just “illustration”.  I read the book cover-to-cover, and then went through it again several times underlining and highlighting key concepts. Finally I made an outline of the important principles, just to try to cement them in my mind.  A couple of years ago I was thrilled to learn that the book had been reprinted. Right now it’s available on Amazon for $22.95!

Why is it so good?

It is pragmatic. It was written in 1947 when “fine art” was firmly in the grasp of  “Modernism,” (with all its pretensions and affectations). So this book was designed to quickly and efficiently teach the principles of 400 years of the representational art tradition not to effete artistes, but rather to humble illustrators – who had to be good or they wouldn’t get work.

Loomis states that everything in the book is based on the Form Principle – “The convincing illusion of form must do so first by the rendering of light on that form.”

He then explains how light behaves when it strikes an object and its environment.

Every chapter is filled with nuggets of information such as:

• “No area in the shadow [including reflected light] can be as light as the areas in the light.”
• “The big form makes the subject carry, not the incidental surface forms.”
• “The best pictures run to a few simple values.”
• “The design makes the picture, not the subject or material.”
• “Contour becomes lost and found and interlaced or woven into other areas in nature.”
• “The darkest part of the shadow appears nearest the light, between the halftone of the light and the reflected light within the shadow.”

All these quotes appear within the first three pages of the first chapter!

Loomis provides practical thoughts on materials, drawing, various methods to begin a painting, design principles, avoiding common flaws, dramatization, and narrative…among other concepts. He also ties various approaches to historical masters like Sargent and Zorn.

Well worth the price!

Whether you are an accomplished artist or a beginner, the journey of each individual artist always includes growth and personal challenge. Master’s in the field of painting have made it their single focus and goal, and others have a passion to paint while fitting it in with “life”, however that may look. 

For a career, I was a graphic artist and an Illustrator, then chose to be a stay-at-home mom and homeschool my three children. I joined a large homeschool group in my area so that my children had the opportunity for park days, field trips and classes. I was asked to bring my knowledge of art to the high school students, so I spent months writing down all that I had learned and done on the job, as well as research a mountain of books in order to write curriculum for the first-year students. I then went on to write curriculum for levels 2, 3 and 4 of drawing and painting.

My objective was to produce portfolio ready college students using my knowledge from my college art classes and being in the workplace. There are so many people who are unfamiliar with homeschooling and may even be skeptical, so for my part, the job of teaching was of the utmost importance. From day one, I told the students that everyone’s talent is different and they must not worry if they were a “Picasso” sitting next to a “Rembrandt”. I promised to teach them to their individual “bent” and that they would enjoy the process – which they did.

For those of us who have “twists and turns” with our life and art, it’s my reminder to you that it is a journey and continual learning process. Gleaning knowledge from the old world and contemporary masters has been and continues to be a tremendous part of the learning process for me and I encourage fellow artists to do the same. Currently, I am studying “Alla Prima, Everything I Know About Painting” by Richard Schmid and concentrating on paintings that have more dynamic compositions. Our lives are on pause with this virus and we each face daily challenges but I also see it as a golden opportunity to do something with our art that we normally are too busy to work on.

The teaching in Richard Schmid’s book is tremendous and I would offer some reminders from his writing:

1. Each stroke from your brushwork has four main characteristics: color, value, edges and drawing.
2. “Zeroing In” – What made you choose your subject? Identify that paintable element such as: the color, values, drawing or design and focus on that.
3. Profit from your failed paintings.
4. Embrace the style that is your own.

As a footnote: I homeschooled my two sons through junior high, then put them in our local public high school. I homeschooled my daughter all the way through high school. My daughter now teaches Art for Pre-K through 6th grade students at a private school, one son works for the Sheriff’s Department and my youngest son just graduated with honors at Laguna College of Art & Design as an Illustrator. 

My father was a conceptual artist for Hughes Aircraft Company, my career is art, now I am seeing the third generation of artists. It feels good to “pass the baton”.

Besides being an artist, I am also currently a geology student at the University of Texas at Austin. I have realized much of the skills used in geology have applications in art. Here I wish to break down how all of us can learn from the discoveries in geology.

Observation:

I believe the most important skill in art and geology is the same. And that is observation. Geologists must take their observations either from the field or in the lab and use it to make interpretations. After making that realization, I was struck by how similar this sounds to what artists do. As an artist, we take information we gather from our subject or reference, and interpret that information as a 2 dimensional representation on canvas. 

The first example I would like to show is looking at this piece of granite. Granite is very commonly found on continental crust. Many of you might be familiar with how granite looks, but I will go into more detail on how exactly to identify this as granite. First notice the size of the mineral grains, in this case the grains are large. This means the rock cooled slowly, so minerals are able to develop into larger crystal lattice structures. This usually also means the rock cooled beneath the surface. We call these rocks intrusive igneous rocks. Next we observe the mineral composition. Geologists must develop a strong visual library of how different types of minerals appear, both in a petrographic microscope and in a hand sample. As a general guideline minerals found in igneous rocks are typically black or green when they are rich in magnesium and iron, those are referred to as mafic minerals. More silicate rich minerals on the other hand can have a wide range of colors such as clear to white or pink, we refer to these minerals as being felsic. This is not the most ideal way to identify minerals, but will serve our purpose for now. Notice how much of this rock contains the more felsic minerals. In this case the most felsic mineral is quartz (the grains that appear somewhat translucent), which are essentially a 3 dimensional framework of silicate (sio42-) units bonded together covalently, meaning electrons from each silicon and oxygen atoms are shared. Another notable felsic mineral is orthoclase feldspar(the pinkish grains), which contains Potassium, Aluminum, and silicate. There are a few mafic minerals as well such as biotite mica (the black grains) and plagioclase feldspar (the white or milky grains). 

 Knowing if each mineral is mafic or felsic is very useful in understanding the rock. According to the Bowen’s Reaction Series, mafic minerals are the first to crystallize from magma or lava. So this rock likely crystallized in stages, crystallizing from most mafic to most felsic minerals. We can also learn that because of the abundance of felsic minerals that the magma that formed this rock had to travel through a fairly thick crust. As magma travels through the crust and cools, the most mafic minerals gradually crystallize out leaving a more felsic melt. This explains why granite is more common in continental crust and basalt, a more mafic igneous rock, is more common in oceanic crust.

The picture above was simply an image of my countertop. But I hope you realize there is so much to learn just from looking at this piece of rock many pass by without thinking much of, and this article was barely scratching the surface. But imagine how much we can uncover about earth’s history if we learn to observe properly and have knowledge to be able to interpret our observations.

Observations in painting:

Now I would like to bring this subject back to painting. In the painting above, the focus was to capture the lighting. So instead in this case it is important to observe how the light behaves in different areas of the landscape. Some helpful background information is that this scene was from Mount Evans about 4000 meters above sea level, it was an early afternoon in July and the latitude was about 40 degrees North. Based on this information, I can already conclude that the light will have to be coming from an angle, since it is in the afternoon the color temperature of the light would be relatively warm, causing some cool shadows. Because of being so far above sea level the air was very thin and visibility was far, so the effects of atmospheric effects were slightly diminished. These hypotheses were confirmed by observations on site. Another interesting observation was the reflected skylight making all the top planes cooler and reflected light from the ground making all the bottom planes warmer. This made it easier to define form. 

Now is the time to come up with an interpretation. The subject was so brightly lit it was impossible to capture the full range of values visible on canvas. So keying the painting effectively was crucial. Because the scene is backlit, it made sense to key up the shadows and allow the lights to be washed out. With this, the pattern of light versus shadow, became the most important element in this piece. Because the shadows are keyed to a relatively light value, there was a lot of opportunity to add in reflected lights without breaking the light and shadow pattern. 

There are many different valid interpretations of the same subject. For instance, I could have zoomed in on the top left corner, or used a completely different color scheme or key. What is important is that these interpretations come from observations. Oftentimes preconceived ideas get in the way of properly making observations. We should always observe with an open mind in order to get the most out of our observations.

Often we’ll hear someone declare “I just loooove that painting.” But do you ever listen to why they’re drawn to a particular piece?  

I do — frequently. Because I come right out and ask “Why do you like it?” In galleries, restaurants, online, on the street and even in taxis (cabbies love voicing their opinions!), I’ve queried people about what draws them to their favorite art.  

Perhaps I seem forward, but I have an excuse. I’m an artist.  I want to understand why a work of art moves someone so that I might learn something I can apply in my own painting — a quality to strive for, a nuance of emotion, a device to add to my artistic tool belt.

I believe that “good” art is more than merely decorative. While we can argue at length about what attributes make a masterpiece, one trait they all seem to share is they make us feel – even if the emotion is unpleasant. 

So why do people feel passionate about a work?  As you can imagine, there is no single reason. However, most replies fall into a handful of categories, which I present to you below. Now mind: This is not a list of why we should like a painting – these are not necessarily qualities that make a work profound. They are simply reasons why we actually connect to certain pieces.

You can decide if any are worth your further consideration and inclusion in your own work. 

Fantasy and Escapism

Many people tell me they love a painting because it makes them happy.  They want to walk into the scene. Hey, I get it. Real-life contains unpleasant things like uncertainty, rejection, loss and even violence. Wanting to forget our troubles and be transported to a magical realm is human.  

This desire to escape into the canvas is the most common reason people give for loving Thomas Kinkade paintings. Cozy little cottages, in happy villages, nestled in fairytale forests – some with gas street lamps that actually light up!  Who wouldn’t want to move in?  

Fantasy is not limited to shopping-mall art or to the landscape genre.  Highly regarded figurative work trades in this commodity too. How many of us would prefer to pull up a chair to Norman Rockwell’s Thanksgiving dinner table in “Freedom from Want” than sit at our own?   

And day dreams come in many flavors. Respected living painters make careers depicting angelic milkmaids bathed in heavenly rim light, gathering water from streams.  Artists past and present have painted nudes with perfectly airbrushed derrières swooning on chaise lounges.  None of these scenes depicts real life, but they’re loved and collected by many.

Nostalgia

One woman I spoke to fell in love with an impressionistic painting of Carmel Mission.  She and her husband had spent their honeymoon road-tripping through California, and the painting connected her to this joyous time in her life.  Many of us have had a similar experience, whether as artists selling work because it sparks a happy memory in a buyer, or as a viewers of pictures ourselves.

Sometimes an abstract element in the artwork triggers nostalgia.  My husband, a West Coast native, feels his homeland’s sparkling sunlight in Richard Diebenkorn’s paintings – their rectangles of light blues, tans and greens remind him of warm sidewalks, patches of neatly mown grass and glimpses of the shimmering ocean in the distance.  

On an intuitive level, he understands the Diebenkorn’s Ocean Park series.  Whenever he encounters one in a museum, he stops to bask in its California-ness and his eyes grow misty.  (That’s when I know a trip to see the in-laws is looming!)[1]

Love of Beauty

Beauty.  People either love it or they hate it.  Modern art critics mock it.  Most of us working in the representational genre (as well as many abstract painters) aspire to create it.  To the non-art public, it can be intoxicating.

What do I mean by beauty? Well, as they say, it’s in the eye of the beholder.

For the painter, it can mean fine craftsmanship.  How many times have you oohed and ahhhed over a magnificently painted hand?  Or admired a color harmony so glorious it makes the back of your neck tingle?  Or the one that dazzles me every time — masterfully controlled edges that play hide and seek as they lead the eye around the canvas.  Many of us have purchased a colleague’s work for the sheer delight of its technical virtuosity.

The general public often sees beauty as a state of elevated “prettiness” – a decorative aesthetic consisting of uplifting colors and an overall pleasing design.  A canvas that makes people smile always garners attention, and one that looks attractive in a living room quickly earns the “red dot.” 

Some people find beauty in unique subjects. I know one collector who has filled his house with images of resplendent, but damaged, men.  Their scars, he says, make them more attractive by giving them a humanity that resonates with his own life experience.  

Human Connection

Art can also serve as a portal, connecting one human to another, sometimes over great spans of time or culture. It can do this in several ways.

Art can link viewer to creator. Looking at a work can feel like reading a “message in a bottle,” cast out from the artist to the future. No matter what subject the artist depicted, his or her thoughts and opinions — including hopes and fears — are inescapably expressed.  Self-portraits can be particularly poignant: Not only are we allowed to glimpse the artist’s person, but we are allowed to see them as they saw themselves.

Some people feel a human connection with the model in a figurative work.  One OPA colleague singled out a portrait drawing by George Lambert as a favorite.  The model’s direct gaze and the tilt of her head spoke to him of her attitude and character.  Her simple gesture, performed and recorded over a century ago, seems fresh and alive today.

Art can transport us to distant moments in history.  I had the privilege of walking though the Getty Museum with a military historian.  His deep knowledge of the social context in which the paintings were produced helped me see them in a new light. I remember one painting he asked to stop and view.  It was a piece I had overlooked because its aesthetics did not initially grab me. Listening to my companion describe the political climate in which it was created, however, made me realize it was an image I wouldn’t soon forget.

The painting was Èdouard Manet’s “The Rue Mosnier with Flags.” It depicts a quiet Parisian street with flags fluttering in the wind.  The flags mark a national holiday celebrating the country’s recovery from the Franco-Prussian War and the Paris Commune that followed. On the left is a construction site, common during the city’s transformation under Haussmann’s rebuilding. The center of interest is a man walking alone — an amputee, presumably a war veteran.  The scene evokes a feeling of quiet nostalgia tinged with loss.

 This painting may not be as colorful and eye catching as Monet’s depictions of similar scenes, or Childe Hassam’s NYC flags, but the careful window it provides on a moment in history, makes it profoundly affecting. My companion who had not previously seen the painting, was moved almost to tears as he studied it.

Heritage and Cultural Identity

Loving artwork that connects us to our cultural heritage is a meaningful and distinct form of human connection that I believe deserves its own category.

I follow an art collector on Instagram who is passionate about historic paintings and drawings of Free People of Color from his native Louisiana. Not only do he and his wife fill their beautiful home with these important works, but they tirelessly promote the images and artifacts of Creole culture by lending them to museums and historic sites for public viewing.

One of his Instagram posts shows an 1840s miniature portrait lovingly cradled in his hand. He says that often pieces in his collection spend significant time on loan because he believes these artworks need to be seen. He goes on to observe that images of successful people of color, in a time of slavery and institutional racism, show a powerful story of success and survival against all obstacles. He states it is his calling to honor his ancestors.

Facing the Darkness  

Being human means experiencing suffering.  Many people connect with art because it helps them understand and cope with tragedy and loss. 

A college instructor from Wisconsin described how she was drawn to Dorothea Lange’s 1939 photo “Mother and Children on the Road, Tulelake, Siskiyou County, California.” She observed, “The harshness is difficult to look away from…it begs me to give some type of reassurance and hope.”  This photo, and other works by Lange, have helped the woman understand her own mother’s experience of being abandoned at an orphanage during the Great Depression, in ways her mother was not able to speak about.

A musician from Poland told me her favorite painting is a work by Zdzisław Beksiński, referred to as “AA84.”[2] (I am unable to post the painting because it is not in the public domain. To view it, I suggest a quick Google Image search). In this somber piece, two emaciated people are entwined in an emotional embrace.  It appears they have undergone a recent tragedy and are possibly in the last moments of life. Though the enthusiast agrees this is a scene of great suffering, she also finds peace in the image saying that it reminds her “in the worst moments, someone dear to us, who cares about us, can make even the biggest pain easier to bear.” 

A New Way of Seeing

I remember the first time a painting made my heart pound in my chest. I was very young. I stood gazing at Childe Hassam’s watercolor The Garden in its Glory. In the painting, two figures stand in a cottage doorway surrounded by a chaotic, shimmering garden. Wild, slashing brushstrokes capture the sparkling light reflected off hundreds of leaves and petals.  

How could a painting so precisely describe the look and feel of sunlight, while at the same time be composed of fearless marks that scream THIS IS PAINT?  The push and pull between the illusion of the natural world, and the abstract qualities inherent in paint, showed me a new way of seeing. It lit a fire that I would spend the next 30 years (and counting) exploring.

Museums are filled with masterpieces that are great precisely because their creators brought people new ways of making sense of the visual world, though often our modern eyes take for granted these leaps forward. Once in awhile, however, a work will grab our attention with its new (to us) way of seeing – as Hassam’s piece did for me. When it does, even if that shift in perception is subtle, it can be life-changing.  

Why Do You Like It?

I could identify more reasons why people are drawn to favorite artworks. There’s Mood – but that’s more or less covered in categories like escapism, nostalgia, beauty and human connection. And there’s liking a painting for what I call its value as an accessory: when someone is fond of a piece because of the elevated social status associated with owning it. But Accessory doesn’t constitute a meaningful connection to art, and anyway, better minds have already tackled the subject.[3]

So instead of examining more reasons people love certain art, I’ll pass the baton to you. What piece moves you?  Send me a note and tell me why you like it. Are you affected for any of the reasons I’ve listed, or are there others you can add?

I’ll end this blog post by sharing one of my favorites. Can you guess why I like it?

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[1] Diebenkorn’s works are not in the public domain, so I am unable to post one. I suggest Googling Ocean Park #79 (my husband’s favorite.)

[2] Beksiński purposefully did not title his paintings, believing that titles would unnecessarily impose the artist’s interpretation on the viewer.

[3] Tom Wolfe’s The Painted Word is a fun read, especially for those of us still tormented by the legacy of Clement Greenberg.

Prior to becoming a full-time artist I spent 12 years as a Digital Imaging Technician for a professional photo lab. It explains, at least in part, how I can get excited about things like matching the temperature of my studio lights to the white-point setting of my camera. My day to day job was basically “all things Photoshop” – from scanning, to color management to image editing and pre-press. And I worked with many well-known local artists, like Skip Whitcomb and Richard Schmid. In fact I did all the scanning and color work for Schmid’s books: Alla Prima and The Landscapes. The knowledge I gained during those years has proven invaluable to me as a fine artist. One area of particular benefit has been in setting up a consistent work flow – from studio lighting to photograph-ing my own work and ultimately preparing and perfecting the images for advertising, printing and submitting to shows or magazines. So I thought it would be useful to share some of the things I’ve learned along the way, and I’ll begin at the beginning with studio lighting.

But before going into my own studio lighting setup, it’ll be helpful to touch on a few lighting basics. If you want to skip ahead to my setup I won’t be offended. But for the rest of us geeks here we go.

Color Temperature

There’s a lot of technical info on the web about how the temperature of a light source – expressed in Kelvins – corresponds to the hue of the light emitted. If you are interested feel free to investigate this more in your spare time and learn about things like “black body radiators” and “Planckian locus”. But let’s face it, we’re artists not scientists. All we need to know is what color is our light and how will it affect our paintings.

As it applies to artificial light like LEDs we are talking more specifically about Correlated Color Temperature (CCT) which is a visual color approximation of these Kelvin temperature hues. And, as if to confirm that none of these scales were created by artists: the higher the temperature on the Kelvin scale the cooler or “bluer” the light; a paradox that I assure you makes sense to scientists. Temperatures at 5000K and above begin to shift towards Blue and below 5000K towards red. On opposite ends of the scale, Candlelight would be approximately 1000K and North light would be 10,000K.

The ideal light source for accurate color rendering will have a color temperature between 5000K-6500K (natural daylight) and a high CRI value – which we’ll get to next. (Source: https://www.fullspectrumsolutions.com/pages/cri-explained)

Color Rendering Index (CRI)

This is a scale between 0-100 that measures a light’s ability to reveal colors accurately. And it’s not a subjective scale – there’s actual math involved. Basically the higher the number here the better. Sunlight, natural light and incandescent light all have CRI values of 100. For art studios, anything above 95 is ideal. Above 80 is OK. But CRI is only part of the equation. For example incandescent bulbs have a CRI of 100 (since they use thermal radiation to produce light) but their temperature is limited to only around 2700K leaving them deficient in revealing the blue spectrum of color. North Light also has a CRI of 100 but with a color temperature of 10000K it lacks the ability to accurately reveal the yellow/red color spectrum. Daylight which is the basis for all of our color perceptions has a CRI of 100 and a color temperature between 5000K-6500K revealing the most accurate color. (Source: https://www.fullspectrumsolutions.com/pages/cri-explained)

Lumens and Lux

Lumens describes how much light is emitted by a light source and Lux is how much of that light is actually falling on a particular area. Lux should always have a distance associated with it (i.e. 2450 lx @ .5 meters). There’s no perfect amount of Lumens or Lux that I’ve seen expressed in a way that would describe an ideal for every artist in every studio. But some consideration for common tendencies is helpful. For example, if you paint in a studio that is too brightly lit the tendency is to compensate with a very dark or low-key painting. If your paintings look consistently too dark in their final destination, you’ll want to lower the brightness in your studio. You’ll compensate with a lighter painting. Conversely, a dimly lit studio may lead to a high-key painting. From my own experience and research, it seems that 7500 LM is a good number for an average-sized room and depending on distance of this light to your painting this equates to somewhere in the neighborhood of 600-1000 lux on your canvas. Here’s a link to a handy Lux to Lumens calculator: https://www.bannerengineering.com/us/en/company/expert-insights/lux-lumens-calculator.html

My Studio Set-up

My studio is in the unfinished basement of my home with my easel set near a small north light window well. Although north light has a consistent color temperature throughout the day, I’m not a huge fan of the blueness of the light and I’ve found the brightness varies greatly. So even with the small amount coming in the window well I rely mostly on artificial light at the easel. When you’re relying on artificial light or even supplementing natural light it’s very important to find the right artificial lights. Which leads to my current setup. About a year ago I replaced two giant, boat-anchor sized fluorescent lighting units (I’m guessing the CRI was at or below 80), with three small, 8×10-inch, flat panel, LED lights from Viltrox (About $200 on Amazon for 3 lights, including stands and remote controls). They have a high CRI (95+), Color temperature adjustable from 3300K to 5600K and brightness adjustable from 20%-100% (up to 2500 Lumens each).

Although they are intended as mobile, stand lights, I mounted them on the ceiling to free up studio space (2 on either side at 45-degree angles and one overhead) – a luxury afforded by working in an unfinished basement. But if you have a finished studio you’d probably want to consult an electrician to do this as they are not originally designed for that purpose. That said they work perfectly well on the floor too. In fact, I also purchased two slightly larger and brighter panels (400t) that remain on their stands. I use them for doing workshop demos as they are easily portable – In fact they’ll fit in a regular laptop bag. I also purchased some battery packs in case I can’t be near an outlet. In the studio they are great for lighting models and still life setups. And you can control them individually or as a group with the included remote control. For example, I can turn off the light directly over my easel and keep the angled lights on.

By far the biggest advantage with these lights is the ability to adjust both the brightness and color temperature.  With my old florescent and incandescent units the only way to do this was to change the bulb. And with these old units I would always opt for 5000K bulbs since the alternative choices for natural daylight were either too cool (6500K) or too warm (4100K).   Now that I can be more picky I generally set mine to 5200K at 100% (I tend to paint on the cool side and this evens me out a bit).  But, again, figuring out your tendencies is important especially if you are able to adjust color temperature on-the-fly and with precision.  In fact you might be able to paint a nocturne during the day if you set your lights warm enough (you’ll compensate with a nice blue, nocturne-like painting!)  And once you’ve finished a painting and it’s sitting on the easel ready to be photographed, there’s one more very unique advantage to being able to adjust the color temperature of your lights – you can set your camera white-point to “Daylight” (approx. 5200K) and set your studio to 5200K and take perfectly color balanced photos.  But that’s a topic for another day.