Oil Painting

Fasten Your Seat Belts He’s a very Jovial Gent

Howard Friedland · Nov 18, 2013 · 1 Comment

Notes from the Harley Brown, Allan Duerr Interview

By Howard Friedland

Attendees at the 2010 Oil Painters of America National Show in Scottsdale were treated to an informative and extremely entertaining experience. I don’t use the word “experience” lightly, because being in the presence of Harley Brown (a legend in the field of representational art) cannot be expressed by using any other word. Allan Duerr who is the co editor and publisher of Art of the West Magazine had the pleasure of interviewing Harley. These two chaps go back a long way, so there were high expectations in the air, and boy were those expectations met!

Harley Brown, Allan Duerr Interview 2 — Allan Duerr

Harley Brown, Allan Duerr Interview — Harley Brown

Allan: Harley, when did you know that you want to become an Artist?
Harley: I remember a moment, at seven years of age, while sitting on the floor drawing. I knew then that I wanted to be an artist. As I was growing up I was a visual savant, I wasn’t much good at anything else. His mother played the piano and encouraged him to take lessons. He later would become a professional musician.
While mentioning that his father was an artist, he suddenly leapt up and left the stage excitedly to grab a painting that was on display at the front of the stage. It was a painting that his father painted of the actor Ronald Coleman. Showing the portrait to the audience he declared, “This painting is my prized possession”.
From that point on, Harley became more and more animated. He moved gracefully down from the stage to cast his spell on the audience. He just as seamlessly popped back up on the stage to resume his interview with Alan. He made the room come alive.
Allan: Did you ever consider giving up?
Harley: No, I never felt like a failure or a success. I didn’t much care what others thought. I had “Tunnel vision”.
Allan: When did you get the recognition?
Harley: Recognition doesn’t really happen in reality. I don’t think about it. It’s fake.
I did a portrait of Ronald Reagan. I got only one commission from it. Life is fickle. People are fickle.

Harley then proceeded to tell us about “The Three Harleys”. First he picked up a self-portrait of himself as a young “Serious” Harley. The style and color clearly showed the determination and seriousness in his demeanor. Next he showed us the second self-portrait that was painted later in his development. Cranky Harley the “Hyper-Ego” period. This is the time that he considers a “Tipping Point’ in his life. The Third self-portrait he called “Happy Harley”. This is a more self-assured, jovial look. He said that at this point in his life he says whimsically that he doesn’t “look down” on people for not having aesthetic values.
Allan: You are a member and invitee to Prix d’ West and Cowboy Artists of America. How do you keep the shows and the galleries supplied?
Harley: I have learned to say NO!

To interject some fun, Harley livened things up with his impression of John Wayne, followed by the same impression only in reverse, as if it was on a film being played backwards.Harley’s huge smile and warmth are infectious and his quick wit and antics were hilarious. He has the ability to convey his enthusiasm and wisdom about art by spicing it up with pithy and humorous stories. One such story was about a time when he was starting out. He was married with kids and was working in a studio in a fellow’s basement. The janitor that worked there became his “Art Dealer”. Harley began painting glitzy pseudo-modernistic portraits with graphic backgrounds and Elvis paintings on velour. To do this, he reinvented himself as the artist “Belenofski”(a pseudonym, the name Brown simply didn’t have the glamour). The problem was that Brown was becoming jealous of Belenofski. It seems that Belenofski was selling his paintings for more money and faster than Brown’s paintings. The people just loved Belenofski! Harley created a life and history to go with Belenofski. Belenofski was a white Russian who was married 5 times. To get rid of Belenofski when Harley didn’t want to paint more of these pot boilers, he had made up the story that Fleur, (Belenofski’s last wife) came back into is life and Belenofski and Fleur disappeared together.
Allan: What does respect mean to you?
Harley: It could be just a little word from a friend. Years ago I had a two man show with Ramon Kelly. Ramon was really established already. The show was in Denver and most of his paintings sold and I only sold one. Ramon said to me “Don’t worry about it, your stuff is just too damn good”. I love giving respect. When I see good work I love telling the artist. Once I was watching a little kid draw. I saw that he had so much talent so I told him “If you don’t continue drawing and growing, I will haunt you!”
When I was young I used to talk a lot about being an artist. One day my father said to me “You’re a big talker; you are just a lot of talk. Make your mind up. I will support you and send you to art school. Sign up tomorrow. If you don’t, I don’t want to hear about art any more”. God bless my father for making it happen.
Harley’s teaching style:

From what I gathered from watching and listening to Harley I can imagine that a student would have to be on his or her toes to capture the essence of what he is saying. He will interweave topics that are seemingly unrelated to painting such as movies (Harley is a big fan), classical and jazz music (he is an aficionado), what is the best pizza (Harley wants one named after him), etc. At times there would be those who didn’t like his rambling style and thought that he was “wasting time”. Harley considers them “Spoil sports” and devised ways to “Hunt them down”. The truth is though that Harley was an extremely dedicated teacher. So much so that his classes would go on day and night.
Some things that he stresses are; never put detail in both the light and shadow equally. If the model is primarily in light, keep the detail in the light and not so much in the shadow. The same is true if the model is cast in more shadow than light. Keep the detail in the shadow and then the light side will be bleached out with less detail.
Harley pointed to the work of Donald Teague and Rembrandt to talk about the importance of design and correct values to a painting. He stated,” Values are an artist’s best friend”. The more you know the values the stronger the color. It’s not just throwing on color.
On another subject, he remembered being shocked by a painting that he saw in London. It was a painting of flags by Jasper Johns.
To make a point he picked up one of his most valued drawings to show to the audience. It was a charcoal drawing that he did years ago of the actor Boris Karloff. He then proceeded to slowly and deliberately tear the prized work in half, and then in quarters, over and over he tore the drawing until it was torn to bits. There was a collective gasp that was heard from the attendees. Harley said “because of the shock value, this spectacle will most likely be the only thing about the interview that will stick in your visual memory.” He called it “Memory value”. We remember the out of the ordinary, the shocking. The Jasper Johns flag painting. The composer John Cage’s composition where he sits by the piano for an hour without playing a note.
Allan: Harley, you have had a number of memorable quotes.

Harley Quotes:

“An artist’s greatest attribute isn’t skill it is attitude.”
“I had average talent, I worked my butt off”.
He then screamed,
“I WANT TO BE AN ARTIST – Not for the money.
TO MAKE ART!”
“Draw everyday from life not just photos.”
“Value drawing is the artist’s best friend. Be religiously faithful to values, it will take you to another level.”
“There is a moment when you are on your own.”
“Allow your sub conscious to do the work.”
“The painting is finished before the artist knows it is.”
“Feel the portrait’s heart beating.”
“Leave well enough alone.”
“Learn the rules first then say,’the heck with it!’”
“Go as close as you can to Mother Nature.”
“Be yourself! You won’t become the artist that you want to be
until you become yourself. That takes time.”
“James Dean was influenced by Brando, Brahms by Beethoven.
We are all influenced. You will get to the point when you don’t think of other artists. You will let it flow and let it pour out of you. That’s a magical moment.”
Harley told us about his two imps. One imp is on his left shoulder and one on his right shoulder. One imp whispers “put that in the painting” the other good imp implores “No, No, No, Don’t do it!” The first imp hollers “SELL, SELL, SELL!” The other shoulder good imp advises “Have fun and explore”.
“My hope is to live in a little log cabin, some trees, a creek, listen to the birds and have a few shows. If I never sell another painting I could be happy.”

I know that this OPA member will not soon forget this “jovial gent” and his sometimes-outrageous ways of communicating his love for art and artists.

Bryce Cameron Liston Interview

Mr. John Pototschnik · Oct 7, 2013 · 4 Comments

“Being an artist and painting the human figure is what compels me. It wakes me up at night, it’s what I love and I drive myself to do it very well. Art is my lifelong obsession, pleasure, and torment.”

One thing I have learned about Bryce Liston during this interview process…he’s a very professional, dedicated, and responsible artist. But why should I be surprised? Except for a short time at the University of Utah, he has directed his own educational path. It’s been a path of very focused, hard, persistent work, and he believes that the lack of formal art education actually helped him discover his “voice”.
Freed from the influence of the so-called “sophisticated voices” of college art departments, that tend to scorn illustration, or anything representational for that matter, Liston fell in love with the works of Pyle, Wyeth, Rockwell, and others. These great illustrators of the past proved to be instructive and immensely inspirational.
Liston knows what it takes to succeed in this business, but he also knows it takes more than just hard work. In a recent blog posting, he closed with a quote from Edgar Payne, “Great patience is called for on the hard path that I have entered on.”
I’m pleased to bring you this wonderfully informative interview with Bryce Cameron Liston.

Why are you a figure painter?
Great figurative art is an enduring depiction of the human experience. The human form completely inspires me. People are beautiful, mysterious, ever changing and completely individual.
I grew up looking at the wonderful art of the great illustrators, like Howard Pyle, N.C. Wyeth, Frank Frazetta and Norman Rockwell. In school I spent hundreds of hours pouring over the images created by those great artists. I guess that’s not such a great thing to be doing in math class…maybe that’s why I never “got” math. I think back to those wonderful and powerful Frazetta paintings, and how he painted the human form. His characters were alive, dramatic and VERY sexy– it really stimulated my imagination. I’ve been focusing on the human form ever since.

What training did you receive in order to pursue your career?
I have had little to no official training. I’ve gathered information and training in my own manner. Growing up in a rural area of Utah in the 70’s and 80’s, resources and financial backing were very limited for me. So with that facing me, the local university seemed to be my best option. Boy was I disappointed! It only took a little over a year to decide it was not the right fit for me. I wanted to learn about the craft of art. I wanted to learn to actually produce art, not just discuss it. I wish I could have found some solid training back then, but can you imagine finding about far flung art schools without any internet and very little money? My only connection to the art world at that time was an institution that had no patience for traditional art. And then, I was fortunate enough to find a world class sculptor living in my area that needed some help in his foundry. So I spent 15 years working for sculptor Edward J. Fraughton. Ed was very liberal with his advice in the arts. Many times it felt more like I was in a school than a foundry. I learned a lot about anatomy, gesture, line and composition, not to mention being on the receiving end of some great lessons in art history. It’s funny, I learned about painting from a sculptor- I don’t think that’s something that happens every day. Obviously for painting there were certain gaps, such as color, value and edge. Since my time in the foundry I have worked very diligently to increase my skill up in those areas.
So, you really don’t think you received sufficient training to be an artist?
No, not even close. I continue to learn every year, every week, every painting. It’s what drives me. Degas said it best I think…on his death bed it is reported he said, “Damn and just when I was starting to get it.”

Knowledge and procedure

Does one need to have a thorough knowledge of anatomy to be a good figure painter?
I live by and teach this quote by Robert Beverly Hale: “First you draw what you see. Next, you draw what you know, and only then, will know what it is that you see”. It’s a brilliant statement; it’s stated so simply, but behind those words lie a lifetime of study for anyone. So yes, anatomy is very, important. In fact, coming at art partially through sculpture, anatomy is paramount. The sculptor works with form first (anatomy), and he knows his form is correct by the way the light falls on it. The painter approaches it in almost the opposite direction (albeit a complementary one). And that is, he paints the light and when he gets the effects of the light accurate, the form will read correctly.
How much of your work is done from life?
I have always worked from life, be it drawing, painting or sculpture. I continue to work from life each week as many times as my schedule will permit. But I must admit that I’m not the fastest painter. So in order to obtain the finish needed in much of my work I also need to use photographic reference. Many of my paintings are a collaboration of both life work and photo reference. My studio is also my place away from the world, it’s my refuge. I would find it difficult if I had to share all this time with a model.
What’s the key thing you’re trying to capture when painting the figure?
I guess it depends on what my particular subject is and how I’m feeling at the time. Many times it’s just the desire to turn the form. That is, making something look three-dimensional on a two-dimensional surface. It’s that sculptor in me I guess. I love the lines of the figure, especially the female figure, and trying to capture the subtle lines and gestures in a figure can be extremely challenging.

Is the popularity of the female form in art throughout history a result of artist’s being predominately male…or is there another reason?
I certainly think that aspect can’t be ignored, but it is certainly much more than that. I enjoy working with the simple beauty and the elegant flowing lines of the female form. There is certainly a sensuality and grace to the form; it’s beautiful and lovely in so many, never ending ways. It’s interesting that most of my female artist friends agree that they also enjoy working primarily with the female figure.

Working with the model

When setting up the model, what is the main thing you’re after?
Line and gesture are always at the forefront of my thoughts. Shapes come in next along with the lighting.
How do you typically select and work with your models and how are they compensated?
Beyond using my family members, the selection and use of models, quite often is a hit and miss game. I like to work with someone outside of my studio first, that is, in an open group of artists. That way I get to know the person first before inviting them into my personal space. Personality is so very important; I have to enjoy working around the person. And as far as compensation, it’s typically an hourly rate.

“Study for Le Jardin" — “Study for Le Jardin”

It’s one thing to capture a likeness, it’s another to capture one’s inner character, how is that accomplished?
I can’t tell you how many times I’ve been working on a piece and felt like it looks very much like the model, but I can see it’s technically a bit off, so I proceed to “fix it”. In the end I know that it’s technically correct, but now it no longer looks exactly like the model. I believe the painter is painting the person’s essence, their spirit if you will. I don’t know exactly how it happens; it just kind of sneaks in there when you’re not looking. That is one reason an artist’s portrait far exceeds a photograph.
Describe your working procedure.
I seem to approach nearly every painting a bit differently. I keep thinking maybe someday I’ll do it the same way each time. But the more I learn about myself the more I realize this is the way I’m wired. I guess it’s a way of keeping things fresh. Sometimes I start with a drawing of the subject or figure. I like having a drawing to refer back to in case the painting gets out of whack. But many times I just start drawing on the linen.
Beyond all of that, I first look for the overall design, flow and placement of the subject matter. A strong design is the foundation of any great painting. After I feel I have a good start with the design I start looking at the light. I ask myself what temperature is it? What direction is it coming from and what is the intensity? The light unifies all the elements in the painting. It gives the painting its mood.

The Process

“Repose” 16″x 24″ – Oil (Completed Painting)

How thorough is your initial drawing?
It depends on how complex the painting is. On a simple painting I will only indicate the drawing with simple geometric shapes. If I’m working out a more complex painting I can spend days working on the drawings.
What colors are most often found on your palette?
Titanium white, flake white, cad yellow lt, cad orange, cad red lt, perylene red, quinacridone violet (mostly I mix those two together to make a very good permanent alizarin crimson), ultramarine blue, viridian, turquoise blue, yellow ochre, raw umber, ivory black. This is a general overall list of colors I typically use; I don’t always have all of these colors out. Many times I will limit my palette or simplify it depending on what I’m painting.

Perseverance and painting what you love

How does one find their individuality as an artist?
I think in this day and age that can be a bit difficult. I mean, the whole planet is at our fingertips instantly. We can look at nearly every style and approach by nearly any artist anywhere in the world from any time period. It’s easy to maybe lose yourself in there somewhere. It’s important to ask yourself, what excites you? What type of scenes enliven and motivate you?
Do you experience dry spells, where everything seems to be a struggle? If so, why do you think that is?
Yes, it actually happens quite often for me. I have determined it can be caused by several different factors. The first is plain and simply overworking. I don’t mean overworking an individual painting (that happens too, but it’s a by product) I mean too many hours and too many deadlines back to back. The artist’s mind needs time away, time to think, rejuvenate and just experiment. I guess the saying fits “all work and no play makes Jack a dull boy”.

Landscape has been the most salable subject for years, do you see that changing?
I don’t see that changing. In fact with the huge popularity of plein-air painting right now I see landscapes becoming even more popular. I think it takes a gutsier collector to buy figurative art, and of course people who purchase nudes, are even more so. Figurative art tends to make a statement; it’s more personal. Landscapes are simply more accepted, more passive. I have been told by some people they don’t collect paintings of people because they don’t want someone they don’t know in their home. But really, when most of us think of great artists of the past…and the greatest of all work…what and who comes to mind first? Velasquez, Rembrandt, Vermeer, Titian, Michelangelo, Courbet, Sargent, Sorolla, Repin, Fechin..etc. are all at the top of the list. Great figurative art is an enduring depiction of the human experience.

Influences and wise advice

What advice would you have for a young artist/painter?
DRAW, DRAW, DRAW! Paint and draw all the time. Do it now! Do not wait. Do not think you have a lifetime because it takes your whole life to figure it out. It’s about mileage and pushing yourself to grow and learn. Learn while you’re young, you learn more efficiently. So do it now and don’t ever let anyone tell you that you can’t be an artist! Your doubt and your fear are truly your greatest enemies.
What advice would you have for a first-time collector?
Collect from your heart. Collect art that speaks to you; you’ll know it when it does. You’ll feel that little twinge in your gut when you see that painting across the gallery, and it makes your pulse quicken and calls you over for a closer look. Those are the paintings to add to your collection.
If you could spend the day with any three artists, past or present, who would, they be?
This can be a daunting question. When choosing an artist from the past I always wonder if you should take their personality into the equation. I mean, I would love to spend the day with Sargent, Zorn or even Sorolla, but I believe they wouldn’t have much time or patience with me or anyone else asking a bunch of questions. They seemed to be men with large egos, larger than life and in certain circumstances perhaps not the nicest people. But that’s a big part of what made them great artists. I do know a little bit about Norman Rockwell and I’m pretty sure a day spent with him would be very enjoyable, smoking a pipe or two and learning a lot to boot. As far as artists alive today, I would love to have some time with Zhang Wen Xin. He’s a Chinese artist that lived in the U.S. from 1987 to 2005. When he was in the U.S he would make his way up to Salt Lake City from Taos to teach workshops in the summer. I did manage to take part in some of his workshops, many, many years ago. But I look back now and realize that nearly everything I saw and that he said went way over my head. If I had the same chance now, I think I might be able to grasp a little of his genius.
You asked for three artists, so I will throw in John William Waterhouse. He is one of my all time favorites and I believe he was a humble and sincere man. I would love to know more about his process and thinking behind his paintings…but really, just the chance to watch him work…priceless!

If you were stranded on an island, which three books would you want with you?
Well first off I would want the U.S. military survival guide. Because I’m pretty sure I wouldn’t have the ability to make coconut and banana cream pies like Marianne. Beyond that I guess just about anything by John Steinbeck. Or perhaps the Lord of the Rings trilogy would be nice. On the other hand perhaps that would be a good time to try to take in War and Peace or Moby Dick.
Who has had the greatest influence on your career, and why?
Again, I would credit those illustrators I mentioned above. But perhaps the reason I was so interested in those artists to begin with was because I grew up around art. My Mother was an artist and art was always prevalent in the house. I always had the smell of turpentine, oil paint and varnish in my house and oil paints in the freezer—I mean, didn’t everyone?;-). Many times I would go out with her and her friends while they painted plein air. Although at the time it bored me to tears, I think it must have planted a seed in my subconscious. Looking back I remember how bored I was, you know kids like to be around other kids, and these were…well…OLD people! I realize now (with a smile) that many of them were probably younger than I am now.

“An Aura of Fragrances” – 28″x 22″ – Oil

What does it take to become a successful artist?
I think that‘s very individualistic. We’ve all had a completely different set of experiences and input. Some start early in life, some later. Some of us have families to support. Some artists have had great teachers or schools, and fortunately we all want something different out of art. But beyond all of that, it takes persistence. I think when you’re starting out it really helps to have support; support of family, friends, teachers and the current education system. Try to find your own voice, but don’t worry too much about that in the beginning. Just get your skills up.
How do you know when a painting is finished?
Probably about three or four hours before I think it is.
If you could begin all over again, knowing what you know now, what would you do differently in developing your career?
Wow, that’s a loaded question. If I dwell on it too much I start down that uncomfortable road of resentment. But I guess the first thing is, I would NOT listen to anyone who told me I could not be and artist, ranging from my family to the school system. I would have found a way to attend an art school or move to an area that had a great teacher, and I would have worked a LOT harder when I was young even if I had no money.
How many hours do you typically paint per day?
It can range from 2 to 14. But I prefer to paint about 6 hours per day. I find much beyond that I get a diminished return. But deadlines and pressure from galleries can make for some very long days. People who think it’s easy to be an artist should try it for themselves. Forcing the creative spirit to be there when you need it can be very challenging

Many thanks Bryce for submitting to this interview, and thank you for contributing such beautiful work to this world.

Roger Dale Brown Interview

Mr. John Pototschnik · Sep 23, 2013 · 5 Comments

One would need to have lived in a cave, isolated from humanity, to have not heard of Roger Dale Brown. In a recent article in Nashville Arts Magazine, Brown is recognized as the ‘go to’ guy of the South when it comes to teaching plein air painting.
I’ve heard of the thoroughness and excellence of his teaching for some time, for he has been a favorite instructor for several years now with the Dot Courson hosted painting workshops.
A resident of Franklin, TN., Brown credits historical master artists, John Carlson and Edgar Payne as strongly influencing his belief that plein air painting is an essential element in being a great landscape painter. He is able to capture the emotion of a scene by drawing on his knowledge of painting and dedication to fine art.
He really didn’t pursue art as a career until 12 years out of high school, but he has certainly made up for his late start through study and lots of hard work…much of that outdoors…en plein air.
His spiritual journey in itself is a pretty interesting story and will be covered in a later blog. For now, I know you will appreciate hearing from Roger Dale Brown on the subject of art.

I have heard you are an excellent teacher. What is the importance of teaching in your career?
I feel so blessed to be able to have a career that I truly enjoy. I also enjoy passing the information on to other people. There is a sense of accomplishment for me to see the progression of a student. I love sharing and as I progress there is more and new information to pass along. To be able to share and talk and discuss scenarios with aspiring artists and get them excited about the process of art is invaluable.

What makes a good teacher?
Being able to break down a topic into its simplest form and build it back up in an understandable explanatory way, both visually and academically.
I try to explain things from a student’s perspective at each student’s individual level. I put myself in their shoes, and remember when I was at their stage. That makes it easier not to talk over their head, and to explain situations at each unique stage.
I love to figure out the best way to teach a student. Understanding strengths and weaknesses of individuals and understanding personalities help. I love to figure out the best way to impart a sense of accomplishment to each student.
In a workshop scenario you have to rely on impact…meaning, there are many different ability levels of students. In a time constrained workshop you do not have the luxury of teaching drawing, design, color theory, etc. It is futile to try to teach this in a 3-day workshop setting. I have good success with verbal teaching, coupled with visually showing the students what I am talking about, and then giving them the opportunity to implement it themselves. My goal is that they will take that information and seek knowledge outside the workshop. Helping the student to see certain important facets of the academic process, such as different types of light, simple shapes and the values of those shapes, seeing atmospheric perspective, simple drawing of shapes are all important elements that can be shown in a class with significant success. It gives them a base to learn from inside the class and out. It gives them a success which in turn creates passion, and passion goes a long way in the learning process.
Understanding individual needs so I can work within the capabilities of each person is helpful for the advanced student since they need instruction at a higher level.
When I lecture, talk through a slide show or give a demonstration, I don’t hold back information for the sake of the beginning student. The beginner or intermediate student will not understand a lot of the theory or logic presented, but they will grasp what they need at the time and it will introduce them to terms and knowledge they can refer back to when ready. This way, all levels are getting proper attention.

Do you feel you received sufficient training to be an artist?
I don’t know the answer because I’m still training. I think the answer is “no”. I never had formal training and have worked extremely hard gathering as much knowledge as I can. I hate the phrase “self-taught”. I don’t think anyone truly is. I have taken workshops and have had very good mentors and I am close to some excellent artists that help me. I am in a perpetual state of study and learning. I think it is a never ending process in one form or another. I will always strive to achieve more…then one day, I will die.

What part has plein air painting played in your development as an artist?
It played and still plays a huge part. Knowledge proceeds execution. Being able to see the nuances of nature proceeds painting them. Sight has to be developed. You teach yourself to do this by going to the source and replicating natures subtleties.

What qualifies as a plein air painting?
I think if you go outside with the intent to paint, study, or complete a painting…it’s a plein air piece. If you have to work on it inside to correct a few things or make it a better painting…it’s still a plein air painting. I do not believe in percentages, as in 80% plein air. That is politics that has no place in the art world. No professional artist raises an eyebrow or questions whether you tweak a painting inside. That is petty and unworthy of their time. The only thing that matters in the long run is if it’s good or not. Personally I don’t believe in genre labels. You’re either a good painter or not, whether it’s portrait, figure, landscape, or still life. I believe in being an artist for all it’s worth…

What is your view of the current plein air movement?
I think it’s good. It draws attention to representational art. I believe anytime you paint from life it is a positive step and a great teaching tool. It helps teach us to see as an artist needs to. It has introduced new collectors and buyers to the art market. Its created a new vibrancy in the art community. All in all, it leans more to the positive than negative…but…
I do think there are drawbacks. I think its been bad for the perception of what good art is to both aspiring artists and collectors. There are some great artists that do an exceptional job painting on location, and there certainly needs to be room for every level of painter, without question. I think the issue is what is being advocated as good work. There is a lot of mediocre work being passed off as professional quality. In turn this hampers the artist because they are being told on all levels that their work is great. So they stay drunk and stagnant with praise, hampered in the learning process.
With that said, I’m being hypocritical because plein air is the way I started and I wasn’t very good. Years ago, when I first started painting and was so excited and passionate, I threw myself into the “art world mix”. In retrospect, and in my opinion, too early. Luckily, I had good mentors and started to mature in my understanding of art, coming to see the “error of my ways”. I took a step back and did what I needed to do to further myself as an artist. I started to study and became a student of art…and I will continue to be a student for the rest of my life.

Is it necessary for you to continually discover new locations to paint in order to stay inspired?
I always have places that are special to me…those places never get old and I feel closer to God in these spots. These are comfortable places I submerge myself into, exploring the layers of culture, history, and beauty. I feel that eventually my paintings will translate the depth of those areas. I do like the exploration and discovery of new places. The enigma of a new location has a pull on my spirit that no other element in art can produce. The sheer excitement of the exploration and discovery of a new area can produce mountains of new material to produce artworks. For my temperament, it is important to discover new locations.

What do you hope to communicate through your work?
I try to create art that intellectually engages the viewer with a positive narrative. I want to evoke an emotion and give the viewer enough information to set the tone, but not spell out everything. I want the viewers imagination to work, and let them come up with their own conclusions while directing them to certain areas…interactive art.

Do you have basic rules of composition that you adhere to?
I can see merit in many different theories. There are many ways to approach a painting and they are all the correct way. Artist’s throughout time have come up with their own way of putting into words why and how they create. It is their description of what they see, feel, and do…put into words. One artist might have a different way of describing than another, but they are all trying to get to an end result, which is to make a good painting. I do adhere to some basic rules of composition, but I am not critical of other views if they produce good results.

What is your major consideration when composing a painting?
I look at the whole of a scene that intrigues me, then I lock in on something. I find something to grasp…a focal point. It can be something as simple as the light hitting a tree or colors that complement each other. I then can mentally work what’s around the focal point into a design of darks, lights and color as I see fit. I always bring the landscape to its abstract and work with simple shapes and their value. I break the scene into a dominate color and its complement, or even simpler, into thinking of it as a warm or cool dominate. I visually compare values. For instance, I may compare the lightest part of the tree foliage to the sky, or the darkest accent under a rock to the surrounding ground or water. The “art of comparison” is important in capturing the essence of your scene. I understand that my sharpest edge will be in and around the focal point, but the rest of the scene’s edges are very important and have to be considered also. Sharper edges tend to be in the foreground while getting softer as the landscape recedes or form turns.

How thorough is your initial drawing?
I don’t necessarily draw the scene out. I carve the scene in with shapes of value, after laying in washes for my initial color composition. The proportions of the different shapes in a scene need to be accurate in order to make the scene believable. I think drawing and value are neck and neck as far as importance in the painting process.

Describe your typical block-in technique.
I typically do not draw the scene. I start with washes; sometimes with earth tones; sometimes monochrome; sometimes with complements. Although there are situations, with some particular scenes, that I will draw and use no undertones. I do whatever I feel is the best to capture the essence of that moment. The one constant is that I always bring the scene down to its simplest shapes or abstract shapes. This is the starting point for the block-in. For example, if I am painting a lake or a group of trees, they each become one large pattern with a general value. This is my platform to start creating from. As the painting progresses, I paint within these abstract shapes keeping the values close, so that the original shape always retains its identity.

Do you let the subject determine the concept of the work or do you create the concept and use the subject only as the starting point?
I use the scene as a platform to develop an idea from. It evokes a mood and sets the tone, but we are all creative and to be too literal with every aspect of the scene deprives the viewer of your unique vision.
Manipulating the scene to create a better composition has been done for centuries. Strengthening certain aspects of a scene, while playing down others, is the beauty and genius of Sargent or Schmid’s work. Creating the essence of the scene by being free to create is critical for a successful painting.
Whistler once said, “An artist is known for what he omits”.

How do you decide on a dominating color key for a painting, and how do you maintain it?
Part of my initial analysis of a scene is to simplify it into a dominant color and a subordinate color; the subordinate is always the compliment of the dominant. Nature gives it to us, we just have to look for it. Defining these two principal colors helps me maintain the mood and harmony I want in the painting…this is not to say there are not other colors in the painting, but these take precedence.
There are instances, such as early morning and late afternoon, when there is a hue cast over the scene as a whole. It is like a filter of a particular color held in front of your eyes (rose colored glasses come to mind). In this case, I sometimes use an analogous color system to better capture the moment. I define the hue I’m seeing and then use adjacent colors on the color wheel to paint the scene. Toward the last quarter of the painting, I will introduce the complements (opposites on the color wheel), or I might glaze the painting at the end, to reinforce the cast of light and color in the scene.

What are the key points one needs to know when creating a true sense of atmosphere?
The power of observation, and the science of art. Knowledge precedes execution. If you know that values, color, and edges change according to atmospheric conditions, you are better able to see it when you’re in nature. If you can see it, you will eventually find a way to paint it. You can only paint what you’re able to see.

What are the main problems encountered when translating a field study to a large studio work?
I don’t view the field study as a miniature studio painting. My field study is one piece of information to be used in the studio. Although I have brought some field studies to completion, most of the time it is not my intent. My intent is to be satisfied with the field study and try to get the best painting and most information I can. I don’t want the pressure of thinking I have to take a field study to completion. I prefer the freedom of exploration. The result of solid foundational application coupled with exploration allows for more unpredictable elements in the field studies that I might be able to use or draw from in the studio.
I approach a studio piece with more purpose than an outdoor piece. My objective is to create a studio piece that evokes the mood of the scene, not a replication of it. If I tried to paint the studio piece exactly like the field study, I would fail. Usually it will not translate into a bigger format. It’s a guide, just like a photo, a drawing, or narrative of the scene. In the studio I have a completely different mentality, a completely different arsenal of tools and techniques, a completely different time frame. I have the tranquility of my own space and the time to work through problems and produce the desired affect of the scene.
Think of it in terms of a writer who wrote a 50-page narrative of a story and wanted to make a novel. The story is there in the 50 pages but the novel has to have more information. The writer has to put more into the story, build each character, expand each aspect and create more sub-stories within the main body of the novel to make it complete and interesting.

What part does photography play in your work?
I like to use photographs to jog my memory, to put me mentally back in an area, as a reminder. I think gathering information is key to having a more successful painting. Knowing and understanding your subject helps the photo reference work. When I am on location I try to explore the area, not just the object. I walk around and study the scene up close, how the light falls on it, around it and behind it. I study the culture of the area. I really absorb the moment. Sketches, drawings, descriptive words all help in creating a studio piece. By gathering all of the information possible, I am able to fill in gaps that the photograph leaves out.

What colors are most often found on your palette?
Although I shift colors in and out of my palette, I do have colors that can always be found on it. I use a split primary palette with a few friends…Titanium White, Cadmium Lemon, Cadmium Yellow Medium, Cadmium Red Light, Quinacridone Rose, Ultramarine Blue, Cobalt Blue, Cerulean Blue, Indigo Blue, Burnt Sienna, Raw Umber…
I do not use a green because when I do, it becomes the dominant color in all the greens in the painting. I mix the green for the specific area I’m focused on. This insures a variety of greens…key to a successful painting in spring and summer.

How does one find their individuality as an artist?
I think your individuality finds you. I often hear a student ask, how do I develop a style or how did you get your style? My answer is, “don’t worry about it, just paint”. Painting is a process and you should not get caught up in developing a style. You will restrict your ability to explore if you try to force or copy a style. It will lead to formulating your work, which you don’t want to do. Your unique voice will develop naturally. Your spirit and individual personality will show through in your work if you just paint. That is obvious if you have ever been with a group of artists painting the same scene. None of the paintings look the same.

If you could begin all over again, knowing what you know now, what would you do differently in developing your career?
Start more with the academics. Drawing is an essential part of the growing process of an artist. At the very least it teaches us hand eye coordination. It takes what is in your head to the canvas or paper. It also teaches us the power of observation…the power to see. Getting a late start in life, I have always felt an urgency to develop my skills…and I honestly enjoyed the challenge…but in retrospect I feel I could have worked harder on academics.
Thanks Roger for a very interesting and informative interview. Your honesty and time are sincerely appreciated.
Roger Dale Brown website
Dot Courson Workshops

The Hand of a Master: Portrait Demo by Mian Situ

Rick Delanty · Sep 2, 2013 · 2 Comments

Any artist knows that seeing a master-craftsman demonstrate his/her skills in person is one of the most effective ways to learn about techniques, strategies, and concepts.
Just as significantly as seeing a quality artwork created are the intangibles communicated to onlookers, through the hairs of the artist’s brush directly into the minds and hearts of the spectators.
This is precisely what occurred on the occasion of Mian Situ’s June demonstration for the Orange County Chapter of the California Art Club at the Higbee Gallery in Costa Mesa, California. Fifty artists and collectors were treated to Mian’s process in creating a portrait of Linda Stern, wife of Jean Stern, executive director of the Irvine Museum.

Mian Situ has a reputation not only as a fine artist, but as an historian and one who loves his traditions and homeland. He came to the United States from the Guangzhou Institute of Fine Art in mainland China, via Canada, where his first portraits done publicly in North America were in Vancouver’s Stanley Park, drawing and painting passers-by. Over time he decided to paint those subjects he knew best, and he began to concentrate on figures in traditional dress in historical settings. With decades of practice, he is able to create portraits that are amazing in their lifelike quality, and inspiring in the spirit and technique with which they are created. In the demonstration, he painted for three hours with barely a single word— Mian told us he does not talk while he paints. It was by far the quietest demonstration I’ve ever attended!

“Show your soul—paint what you know.”Mian Situ

This night, Mian started with a delicate but deliberate drawing in charcoal, held at the very end as he blocked in the portrait with angular marks, some long, some short.
Then, using a dark earth color, he carefully placed the darks at the edges of the cheeks and nose, in the hair, and indicated the shapes of both eyes and eyebrows.
Medium-value flesh tones were laid in, with reds featured across the eyes, nose and cheeks. Mian’s intense observation created a complex system of grays in the skin tones, as he left highlights, blouse and jewelry for last. The way he handled the brush indicated deliberation in each stroke. Mian’s concentration was focused, his strokes confidently placed, his edge treatments considered and integrated into the whole. Even the background strokes were poetically applied, with a flourish and flick at the end of the stroke, to prevent smearing of completed passages. The blouse was created simply but masterfully with deft strokes of the palette knife.

Mian Situ Portrait Demo Block in — The painting blocked in.

Mian Situ Portrait Demo Portrait at 2 hrs — Portrait at 2 hrs.

The finished painting and model Linda Stern

What did we learn that night, from this master who taught without words?
• Compose with care
• Think and feel, then paint
• Make every stroke intentional
• Concentrate throughout the process
• Never lose sight of “the big picture”
• Love what you do
Perhaps most impressed with Mian’s work was historian, lecturer, juror and museum director Jean Stern—the model’s husband– who said at the portrait’s conclusion, “I’ve been in the art business since I was ten, and I’ve never experienced anything like that—that’s the most amazing thing I’ve ever seen!”
Art has that capacity: to amaze, to edify, to reveal the soul of sitter and painter—to everyone who sees and appreciates. That also is the power of the master: to bring the highest beauty to earth, to help all of us see what he sees within.

Taking Flight: Tips for the Winged-Artist

Lori Putnam · Jun 3, 2013 · 5 Comments

Putnam -PanelPaks Canvas — PanelPaks, labeled with size. The small stack goes in my carry-on.

“How do you pack when you are taking a trip to Europe?” I get asked that a lot. My first thought is always, “The same way I pack for (readers, insert your favorite U.S. painting destination here.) I’m not sure what it is about going over a big body of water that seems so daunting. Maybe it is scary because you are worried you will over pack and have to lug your stuff through train stations, bus stations, and airports with which you are unfamiliar. The solution?

Tip of the day

Always pack like you are flying to Europe, even when you are traveling by car. You will get better at packing light and will appreciate it even when you are driving to your local beach or mountain range.

Essential Tips For Traveling with Oil Paint

Here are a few more tips for the winged-artist, no matter where you are going:
Pack less than you need
You already know this one and still, you don’t listen to yourself do you? Pack no more than 2 bags: One bag will hold most of your clothing and a small bag of paint. The other bag will hold most of your paint gear and a second small bag of paint. You may also pack an optional carry-on, just remember that now you have to be able to maneuver with 3 items. It helps if your carry-on tethers to your luggage easily or is a back-pack style.
Invest in a luggage scale
For $15 you can purchase small luggage scale which could save you hundreds of hours of worry or hundreds of dollars. Remember to PACK the luggage scale. You will need it when you return to weigh all of those wonderful souvenirs you bought.
Use your paint back pack as your carry-on
In addition to your make-up and jewels, items to be included in your carry on luggage (should you opt to have that added piece) are things that would very difficult or expensive to replace such as your easel (needs to be a compact style for this. I will be posting soon on my latest equipment find!); your brush roll with brushes (be sure to remove palette knives); and 1 or 2 PanelPaks with clean panels (just enough to hold you over until they locate your checked luggage if it is stuck somewhere in transit). Also pack business cards, event and travel contacts, schedule, maps, tickets, and other information in your carry on luggage for easy retrieval upon arrival.
Pack your voltage converter
Pack your voltage converter for whatever country you are visiting, camera, charger, memory cards, and other expensive electronics like computers and iPads in your carry-on (or do without them for a week… even better!)
Do not expand your luggage
Whether or not you are the typical souvenir-buying-tourist, likely you have experienced that things just don’t fit right when you pack to come home. You always wish you had a little more room for some reason. If you flew to your destination without expanding the extra expando-zipper on your suitcase, you will be able to do that now and have plenty of room for your stuff to fit. Just don’t forget to weigh it!

Details on traveling with oil paint and art supplies

In your checked luggage you will obviously need clothing (my list is shown below) and your REMAINING PAINT GEAR. Here are specifics on how to prepare supplies and make sure your oil paints and gear are packed carefully.
Paint
Carefully wrap each tube of paint with bubble wrap and label the outside with the color name. Tubes often punch holes in other tubes if you do not do this. What mess when you squeeze really hard and all the paint comes out of a tiny hole into the palm of your hand.
The length of travel determines how many tubes of paint I will need. For a week-long trip, I will pack 1-large tube of each color PLUS an additional tube of white AND 2-small tubes of each color. Then I place the tubes in thick zip-lock bags; the large tubes in one and the additional large white and small tubes in the other.
Next, I place a sheet of paper in each of the zip-lock bags that reads:

ARTISTS’ PIGMENT ENCLOSED.
The US Department of Transportation defines “flammable liquids” as those with a flash point 140 degrees F or below. Artist grade oil colors are based on vegetable oil with a flash point at or above 450 degrees F. THEY ARE NOT HAZARDOUS.
If you need to confirm this, please contact TSA at 866-289-9673 or their Hazardous Materials Research Center at 800-467-4922.

To contact this traveler, dial (ADD YOUR PHONE NUMBER HERE).

I used to always include the MSDS (Manufacturer’s Safety Data Sheets) with the tubes, but have not done that in a long time. These can usually be found on the manufacturer’s web site or on artist supply web sites.
I put one bag of paint in EACH pieces of checked luggage. This is a safe-guard just in case one gets lost or confiscated, I will at least have enough to get me by a few days until I can purchase more. By the way, knock on wood, I have NEVER had a single tube of paint be taken from me.
If asked, never refer to your paints as paints. Refer to them as “artists’ pigments”.
Panels
4 or 5 for each day x 7 days = 28 to 30 panels. Put half of your panels in one bag and the other half in the other.
Wet Panel Carriers
I suggest bringing wet panel carriers for carrying wet paintings. I have 2 PanelPaks in each of the sizes I like to paint. These are thin and lightweight. Each PanelPak will accommodate 2, wet canvases that are the same size. Be sure to throw in some extra bands in case you lose or break one. When assembling PanelPaks with new, clean, panels, place the canvas side out. This will help you easily identify which ones have useable panels in them and which ones already have beautiful works of art safely tucked toward the inside.
Other Gear

Back-pack (can double as your carry-on luggage, or used to provide extra padding in the top of your suitcase)
Plein air umbrella
Rain poncho or jacket
Flashlight and clip-on book lights (for painting nocturnes)
Utility tool and cork screw (seriously, cork screw is on my list)
Painting hat
Palette knives (remember NOT to have these in your carry on luggage)
Sketchpad and pencils
Empty, seal-able, OMS container* and small zip-lock bag
Small roll of wide, transparent tape
Mediums which are allowed by law (see manufacturer’s specifications)*

Collapsible cooler (makes great padding for potentially breakable toiletries. Use frozen bottles of water and have cold drinks and snacks all day.
*DO NOT take mineral spirits on flights. You can get them at your destination. Your first stop, after your glass of (readers, insert favorite beverage name here), should be (in order of preference) a local art store, hobby shop, or home restoration store to purchase Odorless Mineral Spirits, White Spirits, or Turpentine and other mediums. In a pinch, use the local olive oil instead of OMS. Just don’t confuse which bottle is for your back pack and which is for your dinner!
When you get to your destination, buy paper towels, baby wipes, sunscreen, bug spray, snacks, and water and save your grocery sacks for trash.
Frames
If it is a plein air festival, you will also be required to frame your work. Here are two possible options:

Pack a small box of framing gear which includes hanging wire, strap hangers and screws, point driver, wire cutters, and screw driver. Have frames drop shipped to the location from your supplier.
Pre-wire frames for horizontal hanging (you can always change them if you paint vertically). Ship frames, point driver, wire cutters, and screw driver to your location.

Whatever method you choose, pack extra promotional materials (business cards, workshop brochures, copies of your bio, etc.) to have on hand or affix to the back of your painting.
If I am teaching a workshop, I add ‘Workshop Booklets, 1 per student,’ to this list.
Suggested Clothing
Pack 3-days’ change of clothing and washing powder. Here is a copy of my personal packing list:

Painting clothes (shorts, jeans, tees, layers) for 3 days. Check the weather reports for the region and pack accordingly. No matter what picture you have of a place in your mind, there is no reason to show up in Carmel in a bikini if it is only going to be 62º for the high.
Under-garments (Okay… so my list actually says bras and panties… substitute boxers or briefs if appropriate.)
Barrettes and hair ties (obviously, optional)
Belt
Hiking shoes, tennis shoes, or boots (as geography demands) and socks; sandals if appropriate
Sleepwear
Dress clothes, jewelry, and nice shoes if needed (for opening receptions, networking dinners)
Prescriptions and over-the-counter remedies such as Advil
Lotion, make-up, deodorant, toothbrush and toothpaste, razor, hair products, and soap (assuming you are not staying in a luxury spa hotel that supplies these for you).
Laundry detergent (dry or dissoluble sheet type) and Murphy’s Oil Soap (for removing oil paint from clothing).

"Where The Wild Things Are" by Lori Putnam - 12" x 16" — “Where The Wild Things Are” by Lori Putnam – 12″ x 16″

Once I arrive at my destination, I squeeze paint on my palette and pack my back. I’m ready to paint at a moment’s notice.
You will probably question a few of the items I use (like the transparent tape and small zip-lock listed). Visit my blog at www.loriputnampaints.blogspot.com for information on that.
I’m certain there are lots of other great ideas out there. This is just what works for me. It’s become routine now. Hopefully it will help you too.