Figuring Out Painting

The Palm at Balboa Park
Oil on Canvas Panel
6 x 6 in/15.2 x 15.2 cm

I'm not sure we are supposed to figure out what painting is really all about. I certainly haven't figured it out, either as one who paints paintings or one who views paintings.

I think I know what kind of paintings I like and like to view. I think I know how I want to paint.

But as for figuring it out, not as yet; but I believe figuring it out is more important than the end result itself (it's the getting not the having).

I have figured out that improvement is part of it, at least for me. When and if I see improvement, I am motivated to paint more and better.

Improving, or thinking you have improved even if you're the only one, is part of figuring it out.

As for the rest of painting, well, I haven't figure that out yet.

More Time Painting...

Courtyard and Tower
Acrylic on Canvas Panel
8 x 8 in/20.3 x 20.3 cm
Copyright 2013

Today I will begin to paint more. I will spend more time with my paints and brushes and supports actually painting. I will spend more hours in a day painting with the intent of incrementally increasing the number of hours.

I will still read and research art and artist's techniques including looking at favorite painter's paintings online. I will still read art books that will enhance my skills. I will still attend art galleries and art museums to see beautiful paintings. I will still go to my local art supply stores.

In short, I will spend more time painting and improving my painting, but I will spend less time:

- On painters' blogs

- On painters' YouTube videos

- On various Art and Artist Magazines and Online Art sites in business for themselves

- On social media

I'll post my paintings on OrbisPlanis, but I will spend more time actually painting.

Painting in Solitude

Standing Alone
Acrylic on Canvas Panel
6 x 8 in/15.2 x 20.3 cm
Copyright 2013

I know we humans are (supposed to be) social creatures.

I'm not convinced that's true for us painters or at least not for painters who commune with their paintings more than with other painters. I would rather work in solitude for hours on and with one of my paintings rather than spend that time socializing (with painters).

That doesn't mean I don't want to learn from painters I admire, I do. I choose to learn from them by observing their work and methods in books or online or even at a gallery or museum exhibition (definitely not at the reception, though).

Workshops have a place, I'm sure, and providing them may be an economic necessity for some. But it's basically a group activity in which you're expected to participate, that is, be social. No, I don't think so.

I suppose today's image in some way represents my feelings on the subject.

Capture Viewers' Interest with Contrast

Behind Couthouse Square
Acrylic on Canvas panel
6 x 8 in/15.2 x 20.3 cm
Copyright 2013

I did not paint today's image en plein air, which would have been nice, I suppose, except that I would have been painting on a cold, windy afternoon on a busy street with traffic whizzing behind me.

For me to paint en plein air, it has to be a near-perfect outdoor environment, which is rarely the case. That means moderate temperatures, comfortable humidity levels, preferably sunny, and no bugs. As I said, rarely the case, but I live in hope.

But I digress. I painted this from a pretty good reference photo I took, which allowed me the artistic license to make a few changes.

I edited several items from the scene, such as a scrawny, misshapen tree that looked as if it were dead and didn't add a thing to the motif, in addition to a trash bin in the foreground.

I also added greater contrast of value and color than appeared in the photo in order liven up the buildings, which are the stars of this painting. I darkened the areas in shadow and lightened the sun-lit sides of the buildings.

To capture viewers' interest, nothing draws you into a painting and keeps your interest more than contrast in my opinion. That change in value and color is why people keep looking.

Notice how successful painters use contrast in their work. Then use it wisely, sparingly, and in just the right places in your own paintings.

Perseverance in Painting

Somewhere in Spain
Acrylic on Stretched Canvas
18 x 24 in/45.7 x 61 cm
Copyright 2013

My last blog, Why Paint a Study?, discussed why a "study" may be a good tool for some painters. Today's image is my finished painting of Somewhere in Spain, painted from the study.

But today, I'm blogging about the need for perseverance in painting. By that I mean, the need to persevere--that is, keep going--as a painter on your paintings.

Because the act of painting is, generally, done in solitude, it's easy to get discouraged. What you're working on isn't developing the way you envisioned it, which I will say happens to me on just about every painting I do.

Just yesterday, I was half-way through a painting when I could see it wasn't going to work no matter what I did. So, before the paint dried--which is extremely fast with acrylic--I sprayed water on the canvas and wiped off as much paint as possible back to a toned canvas. Today I will start anew.

Without perseverance, I would have given up painting years ago. Although this sounds a bit dramatic, like the phoenix, painters must rise from the ashes of their work and keep going until they are satisfied.

Why Paint a "Study?"

Study for Somewhere in Spain
Acrylic on Canvas Panel
6 x 6 in/15.2 x 15.2 cm
Copyright 2013 

I recently blogged about how difficult it can be for painters to choose the motif for their next painting.

The difficulty comes, in part, because of fear of failure or lack of creative confidence, not to mention the complete waste of time and material if the painting is unsuccessful, at least in the eye of the painter.

What to do?

Although I don't usually do this, I have found if you, the painter, are unsure about the subject matter and how it may turn out, then consider making a "study" before actually committing to a painting. That is, practice painting your motif first.

There is a long history of artists doing studies going all the way back to da Vinci. It's almost a prerequisite for many painters who don't leave home without their sketchbook and pencils or watercolors.

Anyway, I was going through the selection process a few weeks ago, poring over numerous photos that caught my eye. Becoming indecisive and somewhat dejected, I decided to paint a small study of the subject I was considering.

I'm glad I did, and it's today's image. I liked it so much that I painted it again on a larger canvas that I'll show you next week.

Why You Should Paint Alla Prima

On the Rocks
Acrylic on Stretched Canvas
18 x 24 in/45.7 x 61 cm
Copyright 2013

Ever have one of those Mondays when you feel as if you must paint right now, right away and alla prima?

I had one of those yesterday. It may be part of the way painters work, that is, with all that pent up painting energy.

Anyway, I was having trouble getting started. I would look over at my painting area--at my brushes, and paints, and supports, and whatever else was sitting around over there. I was having trouble with my inertia, which I've blogged about previously, it being Monday and all.

And then. I thought of my acrylic painting from a couple of years ago that I saw again over the weekend when I re-organized the closet where I store my completed works.

Most painters want to improve. I am no different. I looked at that painting and thought, I can do better than that.

And so yesterday, in less than two hours, I reworked every brushstroke in that painting with a lighter, higher-key palette and a looser style, in addition to simplifying the motif, all of which you can do relatively easily in acrylic.

I find I paint more freely and more creatively and more openly when I just let loose, so to speak, and go for it. You may discover that, too.

I present On the Rocks.

Simply Painting/Painting Simply

Two Figs & a Strawberry
Acrylic on Canvas Panel
6 x 8 in/15.2 x 20.3 cm
Copyright 2013

Although Fall/Autumn has officially arrived here in the northern hemisphere, I wanted to post my painting from earlier this Summer when everything was blooming and bearing fruit.

At that time, I was working on several small still lives in both acrylic and in oil; this one in acrylic: Two Figs & a Strawberry.

The point I'm making is that the subject of a painting does not have to be an elaborate set-up or some breath-taking natural phenomenon, such as a canyon or waterfall. It can be as simple as two figs and a strawberry. The figs came from my backyard, and the strawberry from the local grocery produce department.

The other aspect of simplicity is how you apply paint to the canvas. I was just reading about the techniques of John Singer Sargent, and how he mastered the economy of form and brushstroke. He knew how and where and in what value and color to precisely place each brushstroke. He placed each one deliberately, nothing more.

I will make every effort to employ his method in my future paintings.

A View in Florence

A View in Florence
Acrylic on Canvas Panel
6 x 8 in/15.2 x 20.3 cm
Copyright 2013

Today's image is a small acrylic painted from a photo gifted to me by an artist friend. She had recently visited Italy and returned with dozens and dozens of photos, many of which will make beautiful paintings of Italian land-, sea-, and cityscapes. Although not my original composed photo, I am so glad she allowed me to paint from this.

Some painters and/or art leagues frown upon using another's artistic vision (photo) as a motif, as if it were somehow immoral.

The act of rendering a painting is difficult enough--the inspiration, the imagination, the execution, not to mention the angst many painters feel in making that first brushstroke--without invoking some provincial code of what is or isn't acceptable.

Please. To those I would say, life is too short, and there should be no place in painting for such pettiness.

No. 1 Rule for Selecting the Best Motif

Kinston Ave., Culver City
Acrylic on Canvas Panel
8 x 8 in/20.3 x 20.3 cm
Copyright 2013

Here's a California street scene I recently painted. A simple motif, it was a hazy morning, and I liked the atmospheric view of the Baldwin Hills in the background.

Selecting a great motif, or even a good one, is about the most important thing a painter can do, other than the actual technique and talent in laying down the paint.

I often have trouble selecting a motif that I think (and hope) will make good painting. I'm guessing most painters have the same kind of trouble.

What makes a good motif? The cliche of art being in the eye of the beholder holds true. What many would agree is a great motif may be frowned upon by other painters with just as much of an artistic eye as you.

So, my no. 1 rule for selecting the best motif is that it first pleases you, the painter. You must have some level of excitement about spending your time re-creating the illusion; otherwise, you will quickly become disenchanted. You will not give it your best, and you may even give up.

Of course, a good composition, color palette, and your ability to paint go a long way, too.