Oil Painting

Back when I was beginning to paint the landscape, I did this great trip with a few others to the Wind River Mountains.  It was an ambitious trip for me, especially because I was a novice painter. I remember asking myself, “How do I capture this subject on my canvas?” and “Where should I put the focal point?”  Heck, I was asking, “What IS a focal point?”

When people take photos they frame a subject so it looks good.  As “artists” we are often credited with having a “good eye”.  But in doing a painting with a whole world in front of us and a panel that can capture only a part of it, the idea of subject placement becomes job one.

I remember observing how unequal divisions created a relationship of spaces.  Notice the diagram below.  On the left are rectangles with equal divisions, on the right, with unequal.  In this most simple of illustrations, notice how on the left, A and B are equal in size and shape.  They almost become meaningless, speechless.  On the right, A and B are unequal and they now are in relationship to each other in a way that says something about each.  This principle of unequal divisions is foundational to good composition.

Most of us have heard of the “rule of thirds”, which is very helpful.  Arguably the more sophisticated version of that concept uses the golden mean, used throughout history in painting.  Below are a few examples from some of my heroes. Let’s take a look at how their primary subjects are positioned on the canvas. 

In Homer’s “The Fog Warning”, both the dominant vertical and dominant horizontal follow this idea.  Additionally, so does the diagonal.  The three directional lines make for a simple yet powerful composition. 

Bellow’s “Dempsey and Firpo” follows a similar structure where in this case, the strong diagonal is even part of a triangle

Isaac Levitan, the most poetic of these three, paints “Vladimirka Road”, a dirt road on an overcast day.  It is a masterpiece of simplicity.  If the vanishing point was centered like the left sides of our diagram above, each division would compete with each other, and it would be a weaker painting.

I include the last image, “Smith Rock”, because I kept the basic principle of unequal divisions in mind as I approached what for me was a complex subject.  I have found that doing so helps all my work.

Finally, in the first “Pirates of the Caribbean”, when Keira Knightley’s character pleads for “parlay”, according to the the “pirates’ code”, the captain’s response was “the code is more of what you’d call…guidelines than actual rules”.  The same applies here. 

I believe Richard Schmid said that most problems with paintings are due to drawing.  Most of us start out drawing but often, as we begin painting, we don’t circle back to drawing much.

I was fortunate to study drawing principles, such as perspective and anatomy, in art school in the ’80s in Detroit, Michigan.  However once I began painting a lot, I did not draw much and even began to feel that drawing was becoming a weakness I could mask with the occasional lucky shape, splashy brushwork and such. 

Fortunately, I was asked to do a series of charcoal portraits around 2007, and since then have done about a thousand of them! These have helped me to regain some confidence in drawing. They are usually done from my own photos, which I set up as though the person is sitting near.

This brings me back to Richard Schmid’s point. I think what he meant is that very often what is required to “bring a painting home” is accurate drawing, along with excellent values, color, brushwork, etc. 

It is confidence in drawing which helps to capture details that can really help elevate a painting. Richard Schmid was very accurate in his “drawing” of things like leaves or other details in his work, even if they were supporting characters in the overall composition.

To be clear, to me drawing is getting accurate shapes in my work. I’m not interested in minute detail of rendering every eyelash or thread or leaf or whatever.  I try to continue improving shapes throughout the drawing or painting process. I don’t “get a perfect drawing” and then fill in between the lines.

As you can see in the comparison of the block in photos and the final paintings below, it is drawing that helps to “bring home” the finished paintings; placing the shapes of the head and background, features, highlights and such correctly. This makes for a decent result at our three hour, Wednesday Night Head Study group. (We’ve been getting friends and neighbors to sit for us most Wednesdays since 2013!)

If you’re feeling like you’ve lost touch with drawing skills, or would like to improve them, you might consider joining or starting a drawing class, drawing some still life subjects, or drawing your own face in the mirror. 

It may be necessary to revisit basic perspective or anatomy to understand our subjects, so that we can render them with confidence. For the figure, I like Andrew Loomis’ Figure Drawing For All It’s Worth, and there’s no shortage of information out there about basic one, two and three point perspective so that we understand things like eye level, vanishing points, ellipses etc.

I believe Norman Rockwell said his ability to draw was a little gift that he always had in his pocket that enabled him to pursue all of his ideas. It’s good to think of strong drawing skills as we draw or paint as our friend and ally, and not a weakness that we can somehow avoid for the rest of our days.

Among the many artists’ organizations in this country, I feel that the Oil Painters of America is unique in the sheer number of events, programs and services that it provides its members.  I am making this observation after having a discussion with a member about OPA’s unique operating strategy compared to other art groups.  This member mentioned recent research comparing many of the leading artists’ organizations in the country according to their “operating efficiency”. Drawing on publicly available 501(c)3 filings, the research showed how these organizations compare based on the amount of earnings generated per member, and the percentage of stockpiled cash reserve. I was pleased and not surprised to find that the Oil Painters of America was ranked lower than most of the other organizations for cash reserve.

While it is good to have a reserve in place to help an organization through financial fluctuations, it is hardly the purpose of a non-profit to generate income and stockpile cash.

Our goal as an organization is to serve our membership well, using our funds to create the maximum benefits that we can afford, while being financially responsible and keeping moderate reserves.

We perpetually look for ways to add value to our OPA “family” and to serve our membership. Spending on OPA member benefits is a valuable investment. We spend our funds on education through Lunch and Learns, student awards, our newsletter and blog, as well as educational sessions and demos at our many exhibitions. We spend our funds on shows that promote our artists online and at physical shows. Our funds are there to serve our members.

While it is important to keep “rainy day” reserve dollars, what’s even more important is using all
that we can to help our artists succeed and, as per our mission; “advance the cause of traditional, representational fine art by drawing attention to the lasting value of fine drawing, color, composition and the appreciation of light”.

I was particularly gratified to have these reflections supported by a letter that was passed on to me. It was written by one of our members, Micaiah Hardison, who suggested that other arts organizations could learn from the example of the OPA.

I close by sharing his observations…

Susan Abma
OPA President

“OPA is like a working parent, providing opportunities and resources for the family. Income is used to the benefit of the family, which keeps it alive and thriving.  The children are healthy and able to learn to support themselves and others. The more they receive the more they offer and give.

OPA is accelerating artists’ careers and providing opportunities for them to show and sell their work in galleries and offering prize money. They have about a dozen shows and competitions every year, along with an annual convention, workshops, paint-outs, etc. The advancement and success of its members’ skills and careers is its top priority. This is the value, motivation and validation most artists are looking for.” 
— Micaiah Hardison

To view a video on Hardison and his visit to the 2024 OPA National Exhibition and Convention
go to: https://youtu.be/89aths7DwNo?si=w7vUB2697ECLHgJv

Some things don’t change, such as painting backgrounds and backdrops.  With that in mind we are re-presenting a blog written by one of our Master Signature artists, William Schneider.

I have received a number of questions about painting “backgrounds” specifically for portraits. Too many students spend their time rendering the subject and then try to paint the background at the last moment. The result is often a disaster; the figure looks pasted on or there is a formless envelope around the head. The problem is that the background is an afterthought rather than an integral part of the painting. 

Don’t forget, someone looking at the painting sees the whole…not just the subject. In reality, the background is vitally important because it defines the center of interest. My pastel mentor, Harley Brown OPAM, told me “always work the background at the same time as the subject”. The key is to give some thought to what you’re doing and why. Here’s a great quote from Quang Ho OPAM: “If you make a decision, it’s always right!” Think about it! 

I think of three elements and three approaches when I make decisions about the background: 

Elements:

1. Value – is the background darker (like a typical Rembrandt portrait), lighter  (like a more contemporary graphic piece) or the same value (used by some artists to lose the edges on the light side of the face).
   
   
2. Hue – A background that is the complement of the dominant color of your subject (either grayed or high-Chroma) automatically defines the subject as the center of interest. Furthermore, if you place equal amounts of the discords (two steps on either side of the subject’s hue on the Munsell color wheel) near the subject you reinforce the effect.
   
   
3. Shape – Rather than have a flat tone around the portrait (boring) you can create secondary points of interest…the three approaches listed below. 

Approaches:

1. A specific scene or environment. Sargent did this in almost every portrait. He used columns, chairs and vases as secondary points of interest to create a mood.
   
   
2. A suggested environment. Abstract shapes still place the subject somewhere other than empty space. 
   
   
3. A vignette– although the picture plane is not completely filled, the shapes that are there fulfill a design purpose. (I was taught that it’s a good idea to have a vignette touch three sides of the picture plane. I often design the “background” to have a movement that opposes the thrust of the figure.)

Here are some examples of all three approaches. By the way, I cover this (plus a lot more) in my workshops and DVD on Design / Composition Secrets of the Masters. 

Did you know that OPA has been sharing artists’ blog posts for over ten years?  We have an extensive collection available to the public on our website. OPA will be taking Deep Dives into our archives and sharing our favorite posts from years past. Please enjoy this Deep Dive by Bill Suys OPAM from 2020.

As the world seems to spin out of control outside of our studios, this may be a good time to revisit the ONE thing that truly enables you to stay engaged as a life-long artist: satisfaction from, and a love for, the PROCESS.

Wanting to become a ‘great’ artist is the norm for someone new to art, but with experience, what compels you to STAY an Artist? I have been an artist at my core since I was a little kid, spread out on the living room floor sketching on scrap paper, and with the global turmoil and its likely sobering effect on the Art Market, this is a good time to refocus on the one thing that will help you stay on track.

I’ll start with an excerpt from an early oil, “Self-Thoughtrait,” where I incorporated an essay of my thoughts on ‘Art’. Though written about 20 years ago, it still offers a glimpse into what excites me: 

“The blank canvas offers absolute creative freedom. Within its two-dimensional surface, it provides the same opportunity afforded past artists, from Leonardo to Picasso, Memling to Warhol, and beyond.  Each new surface sparkles with wonderful opportunity and incredible challenge.  

Today, alone in my studio, I choose to reflect upon this opportunity.

My dual relationship with each canvas begins with an emotional and physical exploration…the current culmination of my thoughts, feelings, experience, practice, and desire. I’m free to create an intimate painting of quiet beauty, or a bold and involved expression of spirit and persuasion.  The quality and depth of this personal and passionate process is infinitely variable, and I derive satisfaction and–when lucky–intense joy through the creative dance and budding conversation that takes place between canvas, paint, brush and artist. 

Once complete, the piece becomes an individual, left to stand alone…and the second half of the artistic process requires a viewer to complete the connection.”

Too often, we correlate the ‘success’ of our work with the ‘second half’, where others are in control, and though there is usually plenty of healthy feedback, we also find silly ways to be disappointed. Let me share a recent experience where the ‘process’ was joyful and rewarding, while the ‘sharing’ could have been just another source of discouragement:

A couple of years ago, upon our arrival for an extended stay in Santa Fe, my wife and I came upon a beautiful concert being held in the City’s famous plaza. The atmosphere and the music were fabulous, and watching the performance over the crowd left an impression powerful enough that I knew I would explore it in a painting. 

About a year later, with the memory still strong in my soul, I created a portrait of that evening. I placed the canvas on my easel above eye level to recreate that sense of looking over the crowd and as I painted I could feel the atmosphere, hear the music, and alone in my studio I was able to sense and celebrate that wonderful experience. 

Once the painting was complete, I felt it had lasting strength, so I decided to enter it into an important National show. To my delight, it was accepted and I shipped it off, knowing I would happen to be in the city where the show was taking place and I’d be able to attend the opening.

On the night of the opening, I entered the beautiful venue and as is often the case, the show was hung salon-style in order to exhibit as many pieces as possible on the available wall space. When I finally spotted my piece, I saw it was hung at knee level, which in the case of this particular painting was devastating to me…lost was that above-the-crowd ethereal atmosphere. If the connection and impact were lost for me, I knew the judge would never sense it and potential buyers would drift past. I immediately understood this painting would languish and it was destined to come home. 

Thankfully, the disappointment was short-lived because I still treasured the experience of my personal artistic process. My time in the studio with this piece still fed my soul, and I knew I would have more opportunities to grow and create.

With the impact of our current pandemic on the economy, and knowing the importance of the health of the stock market on the people who are able to purchase art, there will likely be a slowdown in sales (and more mac & cheese) over the next months and years. Rather than allowing this to lead to disappointment, lean into the importance of the Artistic Process and let IT feed your soul. Get in to the studio and get back to the creative dance and conversation that take place between canvas, paint, brush and artist. Your artistic life will be better for it.

For a bit more insight into the creative process, take a look at my earlier blog post, where I talk about the “two keys“ to progressing as an artist. 

You can follow my work on Instagram @billsuys.
My best to you as we walk this path together — yet socially distanced!