Oil Painting

I realize I’m really stepping in it here.   –  An artistic minefield.

This is an issue that I feel is worth addressing but is one of those things that artists talk about when in small groups of like-minded friends, as to not offend anyone. This is the issue that has many names, “painting for the market”, “selling out”, or “following a shtick”. It is a touchy subject with artists, like talking politics or religion. 

It is generally understood that following one’s muse or artistic desires is the highest form of artistic expression, and counter to that it is generally understood that painting simply for the all mighty dollar describes an artist who has lost his or her way artistically. As extremes, these seem pretty accurate. Everything between those bookends can be slightly more murky ground.

I am partially writing this as I have often found myself in the midst of this murky netherworld.  

There seems to be two different yet not at all unrelated realms; the realm of what we are drawn to create- “our passion”, and that which the unquantifiable market will support – “sales”. For many of us, there is a huge overlap with these two realms. With some, a much smaller part of those aspects overlap. I do not want to focus on the aspects of marketing as this is a whole different and immensely varied topic. I am more interested in what sways us as artists, what motivates us and gives us direction. 

I have found myself in an ongoing mental dilemma and it has ebbed and flowed for decades. When choosing the subject and manner of approach for each painting, are the choices based on my love for art or for the market? This sounds simple at first glance but it gets murky rather quickly upon further thought. My first answer is; well kinda both. 

As an artist whose subjects are primarily animals, it is no surprise to anyone that I just love animals. I am fascinated by their multitude of textures, colors, forms and expressions. I have painted every kind of animal imaginable, from local to exotic, winged, furred, and clawed. So this is clearly a decision of love for subject and painting. I could happily paint animals from around the world but I have primarily chosen to paint ones that live around my chosen market: the western United States. So this is clearly a market driven choice. I often explore different styles, methods and expressions of painting, so clearly this is a choice driven by art, but I often find myself revisiting tried and true motifs, techniques and subjects which to me looks as if it is market driven. 

When studying other artists’ work, I see similar traits in even the most famous and accomplished examples of our trade. With extreme technical wizardry, artists revisit tried and true motifs and subjects. I have seen even the most masterful take on subjects that are appropriate for a show they are in or new region they are painting for.  When is it “selling out” and when is it “evolving”. The lines can be as ethereal as smoke and perhaps only the artist knows the real answer.

I revel in those artists who are simply driven by the passion for art. Who will steer, with horror, away from those pieces that galleries might say “Our clients LOVE this, you might want to create something similar!’.  The purity of their passion is inspiring. I also know the intense pleasure I get from a couple who come up to me in a show and with real emotion in their eyes, express the joy they feel in a piece of mine they own, one that, though it is a unique painting, is of a subject or motif I happen to have painted dozens of times before. This is an experience that is a true gift to an artist.

As professional artists, it is almost impossible to extract the art side of things and the business side of things. We all want to be successful in what we do, both with recognition and sales. We want to be known for producing great quality work and we also want to be successful as a result of that work. 

As we thirst to soak up other artists’ techniques and be inspired by their expressions, we also, almost subconsciously, study what has sold and what has remained on gallery walls for cringe worthy amounts of time. We may make a mental note on what did not sell at a show or what seems to fly off the walls. It is good information to tuck away and does shape our decisions in the future. 

It seems to me that the best of artists are consummate craftspeople AND savvy in the knowledge of how their art is received. The best artists attempt to look at their own work through others eyes to see what might not be working, or where their vision is not coming through effectively enough. This same sense has them keenly aware of what makes their work captivate the viewer and that in itself is a form of reading the audience and drawing them in. And yes, this is a form of masterful marketing, for what is marketing if not engaging others in your vision? Effective artwork by its very nature is marketing. 

The question remains: should our decisions be based on our knowledge of what will do best in the market, or what is in our artistic best interest. The answer to this is personal and very much varies for every artist. An artist can never go wrong if they spend decent time perfecting their craft, growing as an artist and keep dipping into that well of artistic passion that is the source of all of our choices to become artists in the first place. In the midst of that, if there is also a consideration on what clients enjoy and what allows you and your family to survive and flourish, then that too has a place in every professional artist’s life.

We might ask ourselves, “Do I still have something to learn or express in this given motif?” Am I growing and challenging myself? Am I still excited to wake up and create? What do I really want to communicate?

If you think about it, we are all just making this up as we go. Much the same as we are creating our artwork, we are creating how we express ourselves in the great art world. And as there is no one way to “do” painting, there is no one way to navigate that art world. We must choose the path that works for us, redirecting our course as we see fit.

“Keep away from people who try to belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great.” ― Mark Twain

 Back in my days of freelance illustration I was a one man band and did it all. So, I thought when I made the jump from illustrator to fine artist, it would be the same. Little did I understand all of the hats I’d be wearing. Book keeper, scheduler of deadlines for upcoming shows and galleries, ordering frames, shipping box maker, shipper, social media guru (yeah, right), writer of thank you notes to collectors, newsletter and blog writer/editor, YouTube video creator, studio manager who makes sure I don’t run out of anything, social director who has to say yes or no to attending parties at my collector’s homes. And that’s just a small sample of what has to be attended to throughout the day. Oh, I forgot… that doesn’t even include the art of painting. Boy was I in for a surprise! Painting for a living is a blessing that I thank God for every morning and night. I don’t know how artists do it if they are with a partner or in a family that doesn’t support them, or even worse, tells them to go out and get a “real job”. 

I’m thankful that my wife Ann has been my muse, my biggest supporter right from the very moment I shared with her my thoughts of making the switch to full time artist. And for the past 5 years or so, she’s been my studio manager. She does everything for the studio except paint (and I’m worried she may just pick up a brush one day). It’s been the same with my Mom and Dad, who always encouraged me to do what I love and never wavered in their support. But it’s not that way for many artists. I can’t tell you the number of my artist friends who have a completely different experience than me. Not only do they not get support, but often have people in their lives trying to keep them from becoming great. I hope you have people in your life who celebrate and help you to pursue your art, however they can. But If you aren’t one of the lucky ones, there’s still a bunch of ways you can get your needs met.

Of course, the main place to find belief in yourself is, well, yourself. Get those positive thoughts rolling around in your head and practice healthy thinking. You can’t expect people to believe in you if you can’t even believe in yourself. Reject the self-doubt recordings that repeat themselves and are so familiar to you. Put on new positive thoughts. I find, for some unknown reason, that when I’m in a good place, more good things just start happening for me. Try it.

If your family isn’t going to cheer you on, your second line of support should be your friends. For lots of us, our friends are the family that we get to choose. You know if you have good ones by how you feel about them not just when you’re together, but also when you’re apart. If they’re your cheerleaders you’ve got good ones. If not, keep looking. We don’t get to choose our family, but we do get to pick our friends. Life’s too short to have friends who aren’t interested in you or belittle your dreams. But, it goes without saying that you can’t expect to be supported if you aren’t a good friend yourself.  Another Mark Twain saying that I love is, “Never allow someone to be your priority while allowing yourself to be their option”.

Now we get to organizations. These are great places to find your tribe! I’m not a joiner, never have been. It’s just how I’m wired. But I’ve found that some organizations like the Oil Painters of America (hint, hint), have me changing my opinion about that. I’ve met so many of my friends, who happen to be artists, through my OPA membership. Sometimes I meet them at the Regional or National shows or Paintouts. We keep in touch through phone calls, zoom calls, or emails. Just finding out what they’re up to, letting them know what I’m doing and giving the “attaboys” we all enjoy. Don’t overlook all the opportunities you have by participating in your local art outings. There are lots of art clubs and plein air clubs that meet regularly in most places. If there isn’t one, start your own. It doesn’t take much to shoot out an email on Instagram or FB communities in your area to let them know you’re going painting on a certain day and time and invite others to join you. It may be a small group at first, but I promise if you keep at it, it will grow over time. Sometimes, I’ll just send a fan email to painters who I admire. I’ve never had a bad experience reaching out to another artist. I promise, you’ll make their day!

Taking classes or workshops is where I’ve met some of my dearest friends. Talk to the other participants who are there standing right next to you. Ask them about themselves and get to know them. I’ll never forget, the first plein air workshop I took. At the very beginning, the teacher encouraged all of us to arrive early each day, and stay late to continue to paint after it’s over. Wring every bit of knowledge out of the experience that you can. I wasn’t the only one who listened to his advice, and the others who showed up early and stayed late, well, we bonded so much that we still keep in touch. Artists want to connect with each other. It’s what we do.

I’m constantly amazed by the opportunities that are there to make those connections if you look for them and recognize them for what they are. Being able to make art is a blessing. Take time and share yourself with others. Get out there and be amazed at what happens. After all, painting is a participation sport. This thing we do called ART is all about relationships. The more you understand that and live it, the stronger your foundation will be. That can’t help but make us better artists, but more importantly, it might just help us to all be better human beings.

If you are not confident in your color mixing ability, ask yourself if you have too many colors on your palette. If every time you have taken a workshop from a different instructor you have purchased their recommended paint colors, then you might be both confused and broke! It means you have not found your palette yet. It’s time to find your own palette.

Do you have too many colors on your palette?  Try editing your palette. Get comfortable with your palette and paint a lot. Know what your selected colors will do. One way to get more competent and confident in your mixing ability is to experiment with a limited palette. Each one of these limited palettes will help you with harmonious color.

Experiment by using a limited palette.

Try these very limited palettes: 

1. Extremely limited palette: Ivory black, titanium white. Using these two colors lets you concentrate on your design, drawing, values, and paint quality. 

2. Very limited palette: Ivory black, burnt sienna, yellow ochre, titanium white. With these four colors, you can make beautiful color. Ivory black with a little white added to it makes a blue. Yellow ochre with black creates a green. This is a nice palette to use for still lifes and portraits.

3. Culinary palate (ha, ha!): ketchup, mustard, salt, pepper:  Ketchup is alizarin crimson, burnt sienna, cadmium red (used alone or mixed with other of the reds). Mustard is yellow ochre and/or cadmium yellow. Salt is titanium white. Pepper is ivory black. You may use burnt umber and or burnt sienna for drawing.

4. My Chosen Palette: Ivory black, burnt umber, chromium oxide green, viridian, ultramarine blue, alizarin crimson, burnt sienna, yellow ochre, cadmium red, cadmium orange, cadmium yellow, cadmium yellow light, titanium white. I can paint just about everything with my palette. I am very familiar with how the colors mix and I make sure to buy the same brand of paint. I do extend my palette when I need different colors for flowers or sky etc. But on the whole, I have found my palette.

Whichever palette you have chosen, always place your paint on your palette in the same spot (like piano keys), that way you can reach for your paint automatically. Exercise your muscle memory. Practice mixing and painting so much that it becomes a part of you. This will help you find your palette.  

In summary, to familiarize yourself with color, start by limiting your colors. Add colors over time. Know where they are on your palette and know your paint brand. 

Go find your palette!

Twenty-seven years ago I responded to a classified ad for instructing art for the Carmel (CA) Adult School. I was doing freelance graphic design, illustration, sign work and any other art-related work to get by. The only experience I had in teaching was my former career as a golf professional. Low and behold I got hired. I felt I had to know what I was talking about so I proceeded to educate myself by reading every art instruction book I could get my hands on. I taught adult art classes for various institutions for the next 12 years until I could make ends meet by selling my paintings and teaching my own private and group lessons. My method for instructing was to do a demo and articulate verbally my approach to specific fundamentals of painting for every class. My skills vastly improved and my students didn’t seem to mind. In fact they said they learned a lot from the demos.

In return, I learned about my students and teaching. Most people don’t realize what it takes to make a painting or drawing look effortless. Like learning to play a musical instrument or hitting a golf ball it requires learning the fundamentals and lots of practice.

 Drawing & Composition 

“Drawing is the probity of art. To draw does not mean simply to reproduce contours; drawing does not consist merely of line: drawing is also expression, the inner form, the plane, the modeling. See what remains after that.” –  Jean-Auguste-Dominique Ingres

Without some knowledge of proportion, perspective and other drawing fundamentals teaching a student to paint can be challenging. Beginning painters just want to jump right into piles of color. I usually recommend starting off with still life subject matter with simple shapes and a limited palette. Sketching the human figure is the best way to improve drawing skills. I know a student is serious when I see the person at figure drawing sessions.

Recommended reading for students, Drawing on the Right Side of the Brain® 1979 (revised and reprinted in 1989, 1999, and 2012), Penguin Putnam By Betty Edwards

As far as composition goes, I stress to students what not to do instead of hard and fast rules. It is not uncommon to see the masters occasionally break so called rules of composition.

The Composition of Outdoor Painting, by Edgar Payne – The text is a bit wordy, but the thumbnail illustrations are a good starting point.

“Composition and the ability to structure your work on a flat surface takes time and practice to learn and understand.” From a book review by Dennis Babbit

Values

I recently picked up paintings from a show I had at a local tasting room. The next show, a local plein air art club, was on display. As I walked around and looked at the paintings, I was struck by the fact that overall, the most room for improvement would be in the values. Values do the work, color seems to get more attention. Novice students seem to obsess over color.

“Let me put in the darks and the janitor can put the lights in” Charles Movalli OPAM

A common fault is breaking up the dark shapes with too many values. The lightest values in the dark shapes should not be lighter than the darkest values in the light shapes.

Recommended reading for landscape painting and how planes (surfaces) reflect light: Carlson’s Guide to Landscape Painting by John F. Carlson.

Color

In college we were required to use gouache or casein mediums in class. When I was freelancing I used water based mediums for illustration and design jobs. I started off with watercolor for fine art paintings. When I got interested in plein air painting I found watercolor to be temperamental to weather conditions, so I experimented with oils. I found painting in oils challenging, especially with the color aspect. So many more options and mixing of tones! Doing color charts was not giving me the understanding I needed until I grasped the concept of color temperature. I had to literally see it to really wrap my head around it. Once I got it, it became my basis for explaining color theory in my teaching.  Warm/cool color relationships render how light plays on objects, rendering volume and atmosphere (perspective). 

Edges – where one surface meets another in a painting

“Each time we touch a brush to canvas we create edges. It is the character of those edges – the gradual or abrupt way they merge with other strokes- that makes all the difference.”  Richard Schmid, Alla Prima II

This aspect of painting is probably the most sophisticated quality in painting and the one of the most essential to the emotion of any painting. The manipulation of the edges dictates the eye flow of viewer, expression of the artist and individual style.

Alla Prima by Richard Schmid is one of the most comprehensive books on painting fundamentals I’ve read. I recommend it to all students of representational painting.

The Most Beneficial Thing I’ve Learned From Teaching

I don’t teach a style for representational painting, I try to stick to above fundamentals and believe a style will emerge with each individual student (if they stick to it). When I am at the easel I’m concentrating on the above fundaments, not the style. This is the most important thing I’ve learned from teaching.