The Importance of Edges

Flowers in Vase
Acrylic on Arches 300-lb. Watercolor Paper
7 x 9 in/17.8 x 22.9 cm
Copyright Byrne Smith 2016 

One thing about painting that took me a long time to understand is how important edges are. You notice I said understand, not figured out, and certainly not mastered.

Our eyes and our brains naturally look for changes. It's how we see where one thing ends and another begins.

Edges are one of the subtleties of a painting, or they should be, that affect the look and feel, the mood, the style, and in my opinion, can make or break a painting.

An important thing to remember about edges is not to make them all the same. They should have variety. Some should be sharp and distinct. Some should be lost. The art is in learning and knowing what kind of edges to paint and where and when.

Edges are used to show depth, with softer edges being in the distance. Edges help show the viewer where to look and let the painter emphasize or de-emphasize an object or area. They can also be used to help show the texture of a surface.

A good way to learn about painting edges is with water media, either watercolor or acrylic. With either you can easily paint sharp edges and, by adding a little water, make them disappear or almost. You can practice and see where edges should and shouldn't be and how to use them to control a painting.

Today's image is a simple painting, but I think it shows how edges can move the viewer around a painting. See how your eye moves and stops as needed on the sharper edges of the vase and leaves, for example. On the other hand, the lost and found edges of the flower petals help portray their softness.

Edges are important!

My Recent Visit to the McNay

View of the McNay Art Museum
Photo by Byrne Smith Copyright 2016

I recently visited an exhibition at the McNay Art Museum (the McNay) in San Antonio. Titled Made in Germany: Contemporary Art from the Rubell Family Collection, it's numerous pieces culled from the collection of the Rubells of Miami, FL.

An informative (and free) pamphlet, given to each visitor, tells you, "Made in Germany unites works by German artists from 1980 to 2014." It provides, in a nutshell, the dramatic political changes that took place before and during this period and several factors that helped shape artists and artwork, such as the Leipzig  school of painting and general attitudes of the East vs. West.

The artwork of 54 (or so) artists can't be described as anything other than contemporary. This includes drawings, paintings, sculptures, textiles, collages, and photographic prints.

For example, there is a large (60 x 48 in/152 x 122 cm) collage by Georg Herold composed of beluga caviar, shellac, asphaltum, and acrylic on canvas. Interesting, and as I said, contemporary. But all are thought-provoking, reflective, and/or attention-getting, if not beautiful.

I think it would be interesting to meet the Rubells and discover how they made their art selections. You can, in a way, because there are three huge headshots (82 x 63 in/208 x 160 cm) on chromogenic prints from 1989, one each of  Mr. Rubell, Mrs. Rubell, and their son Jason Rubell.

I had never been to the McNay, which is located in a leafy setting near Alamo Heights. I was taken not only with the gravitas of this exhibition but also with the rest of the substantive collection, both permanent and currently showing. I especially liked their prominent Edward Hopper: Corn Hill (Truro, Cape Cod), 1930.

If you're in this part of the world, I hope you can visit the McNay and this exhibition, which runs through April 24, 2016.

Go Outside, Paint Your Neighborhood

Waiting for Breakfast
Oil on Canvas Panel
10 x 8 in/25.4 x 20.3 cm
Copyright Byrne Smith 2015

If you read artists' magazines, either in print or online, or if you spend time looking at your favorite artists' websites, you may think that you have to be either well-traveled or well-off (or both) to find an interesting, pretty, or eye-catching motif.

I say this because to look at most of these painters' paintings, it appears they all have traveled to locations with fantastic scenery or semi-exotic views. I'm talking about locations such as lakes in Italy, California coastlines, rocky Maine seacoasts, the south of France, etc., etc., etc., etc., etc.....

I'm here to tell you, all you have to do is--go outside.

What a simple concept and cost efficient as well. You don't need to travel to en plein air competitions or Paris or Sydney harbor or the Grand Canyon. No, just walk down the street.

Whether you live in the urban core, city suburbs, or a small town, there are plenty of fine motifs for painting. Open you eyes.

Painters are supposed to have visual and creative abilities. If you can't find something pleasing to paint around your neighborhood, then maybe you need to find something else to spend your time on.

Today's image was painted not far from my backyard. I'm near a relatively small bayou and when you cross the bridge at the end of the street you can often see birds, such as hawks or blue herons, fish, and turtles up and down the banks. On this sunny morning, a lone egret was fishing for her breakfast.

So, next time you think there's nothing to paint--just go outside.

Quickly Painting the "Country"

El Campo
Acrylic on Watercolor Paper
on 12 x 9 in/30.5 x 22.9 cm
Copyright Byrne Smith 2016

I had some remnants of a small block of watercolor paper that was sitting around just asking to be used. So I did.

I had recently returned from a road trip to the southwest part of the state that lets you enjoy some rural areas out in the "country" (el campo in Spanish). Although you're never far from huge metro areas, you are able to see prairies and meadows and rolling hills with scenic vistas of trees and scrub brush among other things. Of course, it's hard to feel very isolated when you're speeding along the Interstate with a herd of other cars and trucks, but if you look out the window you can see it.

A sunny, warm day (and warm winter, actually) was perfect for picture-taking.

With my remnant watercolor paper I quickly painted today's image in less than 20 minutes. Sometimes I like to dash off paintings such as this and attempt to capture the fleeting moment racing by. Painting quickly makes you concentrate on the bigger shapes and colors and not dwell on any details--a good way to help you paint more loosely

I hope you like it and are able to paint a few quick paintings this week, too.  

Reasons to Paint Large

Beautiful Coast
Acrylic on Canvas
48 x 36 in/121.9 x 91.4 cm
Copyright Byrne Smith 2016

I recently completed a large painting or what for me was a large painting. It is 4 ft. wide by 3 ft. deep (121.9 x 91.4 cm.). It may be the largest painting I've ever done. Why did I paint such a large painting?

I like to think I'm a practical person as well as painter, so the reasons were practical.

First, I had this large stretched canvas that I have been moving around my studio and house for the last four years. I don't remember why I bought such a large canvas or what I planned to paint on it. However, its wrapping had become tattered, and I was afraid it would get damaged sitting around on the floor even though I tried to take care.

Second, I had a very nice reference photo taken by a family member of a panoramic landscape along the Southern California coast. In my mind's eye, a painting of this view would require a large format to help showcase the broad view and high sky.

Thirdly, I had plenty of acrylic paint in my palette colors on hand that would be needed to cover the 12 sq. ft. of canvas.

Finally, I have blogged about large paintings before and decided to take my own advice. Here are links to those blogs:  9 Tips for Painting a Large Canvas (with Acrylics) and Where and How to Hang Large Paintings.

So, as you can see I had good reasons to paint large, and it was about time I did!

That's How We Learn with Paint

Pears in the Light
Acrylic on Watercolor Paper
8 x 5 in/20.3 x 12.7
Copyright Byrne Smith 2016

As I mentioned before, an old artist friend used to remind us painters to try new techniques or paints or tools or brushstrokes, and always ended with, "That's how we learn."

That is how we learn as painters; otherwise, you may get caught in what feels like a circular room with no doors (or windows). What I mean is, you keep going around and around, but can never break out.

We should try things that may not always seem logical or conventional, and may even be considered just  "wrong" by many painters.

Well, I say if you're painting like most painters, you're not doing it right. That is, you're just trying to paint like others, and you're not finding your own way to paint.

I do agree that to improve it's perfectly OK to find a mentor painter and study how he or she paints the way they do. But at some point you have to make it your own.

I painted today's image with water-y acrylic on (gasp) watercolor paper. Watercolor and acrylic painters are probably rolling their eyes.

But if you never try something different, you may be missing an opportunity to find a new, painterly way to express yourself.

After all, that's how we learn.

Taking a Watercolor Break

Citrons
Watercolor on Paper
9 x 7 in/22.9 x 17.8 cm
Copyright Byrne Smith 2016

I hope your painting life is going well so far in the new year.

I finally discovered what I've been doing this whole month of January. I've been taking a watercolor break. It wasn't until this week as I looked back that I realized I have not painted anything except watercolor beginning January 4th or 5th.

I evidently needed a break from my (water-soluble) oil and acrylic landscapes from 2015. I haven't painted with watercolor since way back sometime in 2014. I'm so glad I did.

It let me re-discover not only the beautiful work one can muster but also the quirky ways you have to work in the medium--light to dark, correct amount of water, and those edges...

It also gave my mind and my mind's eye a needed respite from the other mediums and landscapes. I do hope that although I was taking a break that the artistic wheels in my brain continued to spin. If so, when I do resume with acrylics and oils, I'll be even better and ready to roll.

Let's see what February 1 will bring.

Ah, Watercolor!

An Apple
Watercolor on Paper
6 x6 in/15.2 x 15.2 cm
Copyright Byrne Smith 2016

Ah, Watercolor...you put painting (and life) in perspective.

You're so fickle. You're so capricious.  You make us want to scream bloody murder and break our paintbrushes over our knees as golfers do their clubs.

You tease us with your transparent beauty and mesmerizing colors.

We try, try, and try again to control you, to little or no avail.

And yet, we keep coming back for more as if to say, "You can't do this to me. I'm better than that."

One thing is crystal clear, absolutely nothing tests our patience more or makes us feel as powerless as you do.

Watercolor, taming you is a lifelong quest.

How to Keep Your Painting Vibrant

Reflecting the Light
Watercolor on Paper
 8.5 x 5.5 in/21.6 x 14 cm
Copyright Byrne Smith 2016

Has this happened to you as a painter? That is, you look at the paintings you've completed over the last several weeks/months/seasons (pick one), and all you can say is "Meh."

Well, me too. Sad, but true, all painters go through this. It seems to happen at the beginning of the year. I'm sure it has to do with the calendar page turning to January and feeling I should be showing some signs of progress and moving on.

Why is this? I came up with the following.

- Fear of (trying) something new--this is known a neophobia or cainophobia (drop that into the conversation at your next cocktail party)

- Boredom with your medium

- Boredom with your motifs/subjects

- Insecurity with your ability to paint (happens when you constantly compare yourself to other painters)

So, what to do?

To keep your painting vibrant, I heartily recommend:

- Overcome your neophobia by being open to change; quickly rip off the bandage that's holding you back and walk in the sunshine (you must and you will).

- Select a new or different medium and use it to paint your very next painting; I recently started painting with watercolors again.

- Paint something--anything--that you never or almost never paint; I am going to do several watercolors this month, which is a change for me.

- Embrace your own personal painting style and quit wishing your painting life away by fawning over other painters' work; a lot of painting and time are the only things that will move you to the place you want to be.

That's how to keep your painting vibrant.

Happy New Painting Year

Ripe on the Stem
Watercolor on Paper
12 x 9 in/30.5 x 22.9 cm
Copyright Byrne Smith 2016

I wanted to start off 2016 with something different, it being a time for new starts and all that.

That's why I decided to pull out my watercolor paints, which I haven't used since at least sometime in 2014 (I think). Not sure why except that it seemed like time to paint with them again.

I spent all of 2015 with my water-soluble oils and my acrylics, both of which I am very fond and both of which I am very comfortable.

And yet, I do remember the several years I spent painting almost exclusively with watercolor. Like riding that proverbial bicycle, you never really forget how. You just need to dust off the cobwebs and give it another go.

One of my favorite things to paint (and to eat) is chile peppers. So I did!

I immediately remembered how fresh and bright watercolors are. And how they give you a feeling of freedom because you can paint so much with so little effort and with big brushstrokes. Of course, there are a few things you have to remember with watercolor, like you can't paint lights over darks, you have to be careful with edges, and to leave bare paper for any highlights.

I enjoyed it, time well spent. I just may do more watercolors this year. Oh, and Happy New Year to all.