"Little Gems" - Small-Scale Paintings Inspire

Small Pumpkin and Squash
Acrylic on Canvas Panel
7 x 5 in/17.8 x 12.7 cm
Copyright Byrne Smith 2015

I blogged about painting "little gems" a couple of times last summer. If you remember, "little gems" are what I call those small paintings that are 7 x 5 in/17.8 x 12.7 cm or smaller. I think I heard a well-known painter describe them as such, but since I can't recall his or her name, maybe not so well-known after all.

I like to paint "little gems" when I am in between working on larger paintings or paintings that take several passes or days to complete. To me it's like cleansing your palette between tastings except in this case I'm referring to a paint palette.

Painting small paintings gives me a new perspective, and since they can be completed in hours or even minutes, you can use them to try out new subjects or techniques or practice value studies or whatever. I get inspired.

Today's "little gem" is an extremely simple still life of seasonal fare with an autumn/all-hallow's- eve motif.

I hope you'll be inspired to paint your own "little gem."

Painting Atmosphere and Light

Central Coast
Acrylic on Canvas Panel
20 x 16 in/50.8 x 40.6 cm
Copyright Byrne Smith 2015

Time marches on, and I hope I continue to learn more about painting as it does. In that context, I want to blog about the importance of painting the atmosphere in landscape or en plein air motifs. I last blogged about this subject about a year ago, (Paint Atmosphere in Your Landscapes).

We may not usually think of the  atmosphere as part of a painting, but it is. Atmosphere in my paintings isn't the makeup of physical elements that meteorologists would tell you it is. I hope not; I'm a painter, not a meteorologist. In my landscapes atmosphere is often a central character. 

Many artists and painters speak about painting the light or being a painter of light. They understand painting light as it relates to painting shadows, cast shadows, reflected light, highlights, and to its presence in their paintings.

However, in painting landscapes, especially outdoors, you are not actually seeing (or painting) "the light" unless you're looking at the sun, which you shouldn't do, ever. You are seeing the effect of the light on and around all objects.  

Similarly, you are not really seeing (or painting) "the atmosphere" either; it's invisible. Rather you are painting the effect of the atmosphere. In addition, any natural (or man-made) by-products, such as water vapor or dust, will also have an effect on the atmosphere surrounding all objects.. 

It would be a lot easier if painters just painted what they see, but I also think it helps to delve a little deeper and understand why we are seeing what we're seeing, at least to some extent.

Happy painting.

Put Feelings in Your Painting!

After the Storm
Acrylic on Canvas Panel
 16 x 20 in/40.6 x 50.8 cm
Copyright Byrne Smith 2008

I have blogged about feelings (Put Feelings Into Your Artwork and Let the Emotion Flow!) before.

But I thought it was time to revisit this important, but often missing, ingredient of many paintings.

Feelings, as the old standard song goes, nothing more than feelings. It sounds so simple. Just go to your art supplies and pull out that bottle of feelings, right?

Not that simple. First of all, what am I talking about--feelings? When I say feelings, I mean that hard-to-capture and define "thing" that draws your viewer in.

But it's more than just grabbing the viewer.

It's the subject matter and the way it's positioned on the canvas. It's the way the values and colors capture the mood. It's what you, the artist, are trying to express.

When I paint a picture, I want it to have feelings that overtake the viewer and compel him or her to not just look, but see, what I'm trying to show with paintstrokes. I want the impression and feeling to be worming its way into the heart or brain or both.

Finally, I want the viewers to be moved or changed in some way so they will remember my painting and who painted it.

The Unusual Painting

Costa Del Mar 
Acrylic on Canvas Panel
10 x 8 in/25.4 x 20.3 cm
Copyright Byrne Smith 2015

Today's image is from a reference photo (with permission) that got my attention because of the somewhat unusual colors. However, it took me three tries at painting it before I got a result that I thought was passable.

Like the box of chocolates in the movie Forrest Gump, sometimes you never know what you're going to get, even if you do have knowledge and experience with color theory.

What I like about the colors used in the painting is that not only are they complementary, with the soft blue ocean behind the terra cotta stucco building with a lavender spire in front of it, there is also contrasting value in the bright lemon- yellow foliage against the dark burnt umber landscape.

The viewpoint is also somewhat unusual in that the viewer is looking down from above and out at the ocean simultaneously. In addition, it's also somewhat unusual in that there is no visible horizon line.

As I said, it is unusual, but I hope you like it anyway.

When Painting Is a Habit

Baja
Acrylic on Canvas Panel
16 x 20 in/ 76.2 x 61 cm
Copyright Byrne Smith  2015

Not to make a distinction among the different types of painters today, as we are all worthy of respect, I would rather focus on our similarities.

Among the different types of painters today, I am unscientifically putting them in one of four categories. Again, all worthy of respect and in no particular order:

- Art Student, and by that I mean one who is actually enrolled in a school with an actual art curriculum or a "recognized" academy of art or some such.

- Art Teacher; one who teaches art or painting in one of the above-mentioned settings.

- Professional, and by that I mean one who is able to make a living entirely by the sale or other commercialization of his or her paintings.

- The Rest of Us Painters, and by that I mean all the rest of us painters.

As I said, what makes us similar? I believe we aspire to paint, or we practice painting diligently, or we paint on-again-off-again, or we join a painting club or league or society (or not), or we paint for the pure creative pleasure of it.

Whatever it is, the most important similarity in my opinion is that, for us, painting has become and is a habit we have no choice but to pursue. We must paint habitually, although the type, the style, the place, and the frequency varies as widely as the human experience.

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Contrast is the Key to an Engaging Painting

Flyover
Acrylic on Gallery-wrapped Canvas
30 x 24 in/76.2 x 61 cm
Copyright Byrne Smith 2015

I know most all the painting instructors and artistic rules say what it takes to make a good painting:

Yes, it's composition.

Yes, it's drawing ability (or draftsmanship)

Yes, it's subject matter (or motif).

Yes, it's color palette selection.

Yes, it's center of interest (or focal point).

Yes, it's technique.

Yes, it's style.

Yes, it's brushwork.

Yes, yes. yes. It's all these things.

However, in my opinion, if you want your paintings to be really engaging (or enthralling or even spellbinding) and more than merely good, contrast is the key.

Wait, what?

Yes, contrast is the key to an engaging painting. Contrast is that element that catches our human eye and brain and emotion and keeps us interested.

Contrast is in color; complementary colors attract our eye and make us look. Red vs. green, yellow vs. purple, blue vs. orange when placed next to or near each other appear to vibrate.

Contrast is in value; light versus dark is an even greater eye-catcher. Black vs. white or any combination of a darker value against a lighter value keeps us engaged.

Viva la difference. How about that?

How to Love Your Own Paintings - Part 2

Some of my Favorite Paintngs
Hanging in my Space
Copyright Byrne Smith 2009 - 2014

Last week's painting life blog was about how to (learn to) love your very own paintings. I offered several ways that could perhaps help painters reduce doubts they have about their work and be more confident.

During the last week, I realized I had forgotten to include one thing that most painters are already doing that shows they really do love their own paintings. If they're not doing this already, it's the easiest thing to do. It will also help you love your paintings even more and will let others know you love them, too.

And what is it?  Simply to frame and hang your own paintings all over your studio and/or home!

The paintings you select to frame and hang can be ones that have been in shows or won awards or maybe they're just the ones you really love and always will be your favorites. No, they didn't sell, but that doesn't matter, not really.

You will have the pleasure of seeing your work everyday and all who enter your space will see them, too, and know you are proud of your work.

Happy painting...

How to Love Your Own Paintings

Blue Skies
Acrylic on Canvas Panel
 10 x 8 in/25.4 x 20.3 cm
Copyright Byrne Smith 2015

If the headline of today's blog sounds a little narcissistic to you, that's OK. That's what loving yourself is about.

Confidence in your abilities and a little chutzpah not only is a good thing, it's really important to your painting life and to staying motivated to achieve even better work.

In that context here are a few pointers on how to love your own paintings:

- If you don't like your current direction, methods, palette, medium, etc.--change one or more today to whatever does make you happy.

- Throw away every painting you've completed, but don't like, and still have in your studio; they're not going to change and will only remind you of your perceived "failure(s)."

- Paint what you're good at painting; if you paint clouds (or cats or whatever) well, then paint a lot of those--how well you painted them will be a confidence-builder and will make you happy.

- Imitation is the nicest compliment, so find several painters whose work you really, really admire and find out as much as you can about their methods; this will help your own work in all kinds of ways and give you something to aspire to.

- Finally, be the best painter person you can be--be kind, be sharing, be open-minded, be forthright, be reasonable, keep learning, and maintain a world-view for the arts.

(Just one caveat: loving your work, if taken to the extreme, is not advised as other painter people will not like you and will call you names.)

But other than that, learn to love your own paintings and embrace the painting life.

Changing Art Gears

Last Day of Summer
Acrylic on 140-lb Paper
12 x 9 in/30.5 x 22.9 cm
Copyright Byrne Smith 2015

Today being the unofficial "last" day of summer (in the northern hemisphere), I am feeling a hint of change in the air. It's not a change in the weather per se, although the light is noticeably different than it was even a month ago

 It's still warm (OK, hot) and still very much shorts-and-flip-flops weather, but there is a haziness in the atmosphere that sets in this time of year that portends the coming of autumn. It also makes it a good time for painting.

It's rather like changing gears to a different speed, and that's also what I'm feeling about my artwork--a changing of art gears yet again.

By gears, I mean several things:

- my painting interests

- my willingness to experiment again after a period of ennui

- my medium

- my palette (even if it's only a tweak)

- my outlook

I am one who thinks change is good, especially for a painter. It's about the only way I know to be able to see if progress is being made at all.

If you agree, fine; if not, then I hope you are truly satisfied with the status quo.

Happy Painting.

My 6 Opinions on Painting Landscapes

A Day in the Hill Country
Acrylic on Canvas Panel
20 x 16 in/50.8 x 40.6 cm
Copyright Byrne Smith 2015

Everyone is entitled to his or her opinion about what makes a painting "good." I am no different.

I like to paint landscapes of all kinds, and I have my own opinions about what makes a "good" landscape painting.

If you aren't interested in my opinions or what I have to say about anything, really, please stop reading and avoid the aggravation.

However, if you would like to compare your ideas with mine, here are 6 opinions for what makes a landscape painting "good:"

- If a horizon line is visible, then place it either higher or lower but not dead center.

- Know where the focal point is or is going to be and emphasize it and de-emphasize other elements; that is, if a tree is the focal point, don't make the clouds/sky so busy they compete (and vice versa)

- Use some natural element to draw in the viewer and lead them around the painting--a stream, a path, a tree branch, a cloud deck, a rock formation, etc.

- Put in a contrast of light and dark values in the fore- or mid-ground; even on overcast days there can be shadows; even if you don't see a lot of contrast either in person or a photo, then contrive it.

- Make the background recede by pushing it back visually using light blue washes or tints (even if it's your focal point); also by not having any sharp edges in this area.

- Stick to a limited palette, but depending on the type of landscape, mix colors that are natural for the scene; for example, if my painting in today's image had been a desert scene, I would have used more yellow and ochre rather than greens.

Happy painting!