Abstract in V Minor

11 x 14 oil on linen board


I really love paintings that show a definite abstraction as well as signifying a known object. I had a definite stream of consciousness going here as the effervescent qualities of the Tiffany Vessels were also present on this dump site on the American River. There was much industrial pillage of the natural resources on either side Of the American River Gorge near Auburn. When bridge construction was no longer useful the company mining the earth just heaved their iron work constructions into the river. However...one can turn an ugly incident into an interesting image. I'll do one more in this series. I am very curious how Studio Tour Audiences will take to these images.....hmmmmm

Post Rocker places

Well..... I entered this portrait in the Fine Arts Online October Competition and I just received an email that I placed in the top %15. I guess that means that the actual winners will be judged from this group. Click here to se the stiff competition.

Reflected Light 2 ...The Underpainting

Dear Reader,

How a painting is done is as important as the subject matter itself. I tend to disagree with some artists that the subject is secondary and should take a back seat. Why should it be either /or? I just read an Art Book recently where the artist claimed that the subject matter was insignificant to the art. What really mattered , he claimed , was the artist's interpretation and rendition of his experience. I agree with that statement on many levels but not in the extreme. It has a Kantian ring to it. For those who have not studied German Philosophy, Emmanuel Kant is famous for positing that we cannot really know a " thing in itself" . The best we can do is communicate our sensory experience of it. Many artists wittingly or unwittingly have followed this dictum in their art. The problem I see is that it can destroy the " subject" in the extreme and produce an expressionistic worldview. What I mean by that is that I " proJect my thoughts and feelings" unto my subject and that that perception becomes my truth and reality. Think of it as Mel Gibson in the Movie " Conspiracy Theory". You can be loony tunes if you take this view to the extreme but like a stopped clock you can be right once in awhile....or you end up like Larry David's misanthropic character in Woody Allen's movie " Whatever Works".

Now what does that have to do with Reflected Light 2. Nothing..absolutely nothing.. Its early and I'm still in my quasi dream state stream of consciousness rant....

Now back to the subject at hand....If you have been painting for awhile, you will find that you will choose a method that you find " strengthens" your means of communicating your thoughts in paint. Some find the immediate Alla Prima the best approach for their statement while others find a more academic approach with layers of oil glazing better suits their style. It really only matters to you.

I have posted the painting above as an example of an underpainting technique that helps achieve a unified sense of color and reflected light. I can't remember the artists name , but this picture hangs at the De Young Museum in San Francisco and it is partly finished. However, the artist's stopping point adds to our benefit. We can actually see how he achieved his effect of light streaming in through a window and lighting his figures. Notice on the figure on the far right how he has scumbled the paint and let some of the underpainting peek on through. This gives that illusion of light bouncing into the shadow areas. I find it fascinating that he has finished his light areas first. The scene out the window and the characters around the window receive the finished treatment. There was an old illustrators trick that went like this ...keep your light areas opaque and your shadow areas as transparent as possible to get as much brilliance and glow in your painting. This advice really worked when your painting had to be photographed and reproduced.

Sometimes we have to be like the dog in this painting and " sniff out" how something is done and learn and see if it can benefit us and SOLVE a problem we are possibly struggling with.

Tiffany in Blue

So why are you painting these Tiffany Vases in an hour Frank? Well, I plan to sell these 9 x 7 oils at my Studio Tour and the starting price point will be $150 . So if I can get that price for an hours time then its okay with me.

Same technique and these are really fun to paint. Again, this vase is on display at the De Young Museum in San Francisco. I changed its environment and gave it a cool cast. There is another vase to end this set that will also have a cool color scheme.



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Reflected Light

I pained these yesterday giving myself an hour deadline for each. I wanted to explore the reflected light on these Tiffany Vases that were at the De Young Museum. Objects d' art have always attracted me. Tiffany explored and created the standard of the beautiful vase in America.

There is a trick to painting these rather quickly. If you are interested just post a comment and if there is any interest I will add it to the post. And no...it does not involve pre mixing strings of color.



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Okay. As Jeremy said so succinctly.." I like Tricks". For those of us who have been painting for years, the surface of the canvas is very important. How it is prepared will affect, for better or for worse, your painting. If you are slack about the ground or if you begin to paint on a canvas you bought at the art store you may not be painting on the best surface. I still prepare all my store bought canvases.

Let's say you paint on gesso. Regardless of the amount of layers you apply , when you start painting, the oil paint takes a while to set and get absorbed into the ground. You will be able to tell after 20 minutes or so when the paint starts to " float" and at that point it is very easy to affect paint strokes . If you want to eliminate this "sink" time may I suggest this trick....

Using Mars Black acrylic and titanium white acrylic, mix a grey that approximates the dominate value of your painting. In the case above. I mixed a grey that matched the background. What you will find is that the oil paint " floats" on the surface of the acrylic and the oils don't have to set as they do on gesso ground or oil ground. Its an amazing phenomena. We used this technique alot at LucasFilm in the Matte Dept . We would mix sky colors or whatever in acrylics and then when it was right we painted over it in oils.

The rest is just plain ol' observation and separation of the lights and darks in masses. Since the grey matched my background, I matched my color to the value . This cut down alot of guess work and approximation. The palette is fairly limited....Yellow Ochre , Terra Rosa , Chrome Green , Burnt Sienna . THEN at the end I will add the CADS . yellow or Red for that extra chroma to make the painting sing. Also...I use the largest brush possible that still gives me the ability to make detailed strokes. The size of the brush is usually dictated by the size of the canvas.

Try it...the trick is not to make the grey TOO dark....otherwise you might end up being one of those black velvet painters. You are in good company if you use this technique. Nelson Shanks has his students work on an acrylic paint ground surface.

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Portrait .... quick study

9 x 7 oil on linen board






Reflected light can be tricky, but if you consider the planes and locate and gauge the reflected light you can make a good go of it. In this case the sitter is in the shadow and receives abundant ambient blue light from the sky. Then there is a reflected light source coming from my concrete driveway that is off to the left of the model. Both of these light sources have to be considered if you want the painting to feel like light and have an outdoors feel as opposed to an interior studio look.

Notice the yellow ochre of the light source bouncing up to the left side of the face. It has to feel consistent. To make the face feel round you must consider that the face in this case is turning away from that warm light. It is still a warm tone but it is cooler than the plane that directly is affected by the reflected light. In this example all the side planes will be warmer that those planes that are at 90 degrees to the ambient blue sky. Its a good practice to slightly ( or abruptly ) exaggerate this phenomena to give the illusion of light.

Portrait..Little Jude

8 x 10 oil on linen

Have you ever met a mini adult? Well, my friends son Jude is an adult stuck in the body of a ten year old. He is probably one of the most precocious kids I have met in recent memory. He mugged for me after he came up for a brief reprieve from swimming in the pool.

Colors around the pool are so much fun and give me license to play with bright colors. The colors you see in the background are also integrated into the form of the figure. The values are just keyed down and kept as bright as possible without stepping out of the valued range of shadow. The paint is applied fairly thick throughout and Gamblin"s " Flake White Replacement" is a nice gummy white that really helps me get that thick look.

If you are interested in how to "approach" a portrait where there is a distinct reflected light source, then just let me know. I will then comment on the process of seeing the color temperature patterns and keeping them grouped in masses in the proper plane. A bit tricky, but the process will help you keep the painting unified.

Here is a thought that I grabbed from the Van Gogh Blog. Vincent is remarking about the bright light in Java and how it affects the shadows. Check out his last two sentences....

"Only there are several people who call themselves Impressionists who don’t have his knowledge of the figure, and it’s precisely that, that knowledge of the figure, that will later come back up to the surface and that he’ll always benefit from. I very much want to get to know them one day, De Haan and Isaäcson. If ever they came here, Gauguin would certainly say to them: go to Java and do some Impressionism. Because Gauguin, while he works hard here, always has a nostalgic longing for hot countries. And there you are, it’s undeniable that if one came to Java, for example, with the preoccupation to work there with colour, one would see a heap, a whole heap, of new things. Then in those brighter countries under the stronger sun, the shaded parts as well as the shadow cast by objects and figures become completely different, and the coloration is so intense that one’s tempted quite simply to suppress it. That’s already happening here."

I painted this portrait as a sample for the Placer Arts Studio Tour Nov 13 , 14 and 15.

Round Up

Its been slightly over a year since I started this Blog. I have found it enormously helpful in documenting my progress and evolution as a painter. There is no better place to experiment and try new things than with a live model. I started painting at Bobbi Baldwin's figure class this past year. I have uploaded figure paintings that were posted this past year. It had been years since I painted from a live model and I found it very challenging. I kept trying new things and I realized that I needed improvement in many areas. It also was good to get immediate feedback from other artists.

There is a Thursday night figure class at Patris 's Studio and I plan to get going on that and stick with it. I want to grow as a painter. Its only $10 for a 3 hour pose. Can you beat that deal?

There is no instruction and you never know what to expect. One of the painters atDon Hatfields class was commenting about last Thursdays drop in class where one new artist decided to take it upon himself to critique everyone's painting regardless whether they wanted to hear it or not. This class is definitely going to be interesting.





I wish I would have painted that mellon leg better. These are all 3 hour poses. 16 x 20 oil on linen.

Blast from the Distant Past

Yeah...Its old stuff...but if you have young ones or grandchildren you might think of picking up a Dino Puzzle painted by yours truly over 18 years ago. Christmas shopping is just around the corner. I still get some use out of this old illustration licensing it to puzzle and card companies. I can't think of one illustrator who did not paint a least one dinosaur illustration in their career. Anyway...I took a more cartoonish styling to these ancient giants.

I think my style has changed just a wee bit over the years.

I started using a technique suggested to me by Jim Gurney at that time. You do a pencil drawing on cold press illustration board and when you are happy with the design and layout you fix it. Then you apply a layer of matte medium over the entire surface. When it dries you have a toothy surface to apply oil paint on. I don't paint this way anymore but it sure works when you need to remain faithful to a tight drawing.

Tuesday's Figure Class

Coach Don Hatfield Teaches in SacTown at Patris's Capital Art Center. You can learn just by listening to what he says to other students.





Dear Reader,

Half of Life is recovering well from bad news. I mean, painting is difficult enough. But when you get the discovery that your computers hard drive has to be re initialized then that news can really bum your day out. The realization that I had to backup everything ( we are even talking about internet bookmarks ) was at the back of my mind while I painted at Don Hatfields figure class on Tuesday. But that's life and I'll take it. Distractions are part of the obstacle course of our daily routine and it causes us to sharpen our focus and concentration. Consider it part of the package and you will be pleasantly surprised and joyful when all goes well in your day without a hitch!

Again, we had a 3 hour pose. And I sank another hour on the portrait when I arrived home. It was an exhausting day. The highlight came when Don, Robert Sandidge , Silvio Silvestri and I had dinner together and we talked about the art landscape and where we saw it going. It was a magical moment to savor.

...who touched me...

16 x 20 oil on linen ...who touched me....






Dear Reader,

The name of this painting is called " who touched me". Its a turn of a phrase from scripture where Jesus was walking amongst a multitude of followers and his disciples. Amongst the tussle and pushing and shoving to get close to Jesus a woman who has a rare bleeding infirmary boldly approaches Jesus somehow and purposes to touch the edge of his garment to receive healing. At the precise moment where the woman finally gets near enough to Jesus to touch his robe Jesus stops walking and asks " who touched me?". Of course this confounds his followers as everybody is touching and shoving each other as the throng moves along the dusty road. So what made this touch special? Jesus said he felt energy move from his spirit. This is astonishing. It seems to me that this " Touch" was of a deeper spiritual condition. It was a touch of Faith and an action of sincere intimacy. I imagined the same woman seeing Jesus on the cross and ironical and spiritually " being touched" by Jesus.


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Hannah's Ascent and The Gift

16 x 20 oil on linen



14 x 18 oil on linen



Dear Reader,

There is a gallery back east that is interested in viewing these 2 paintings. I have tried twice to email jpegs to them and somehow my Mac generated images are not being displayed on a PC. So, I am uploading these images for them to see and hopefully you can get a peek as well.

It seems to me that this is one other reason why Blogs are useful.

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Well, I guess I can now say that I will be in a group show at the White Stone Gallery in Pennsylvania. They specialize in promoting artists who are passionate about their faith and their art. Bravo for them. If all goes well, they are planning a show for my work next year in August. What a blessing. I guess I better start planning at least 10 paintings......and focus!

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I was listening to one of newest favorites. Phil Wickham. He has a remarkable voice that evokes passion and sensitivity. His album Divine Romance is inspired and all the songs speak about his love of his Redeemer. His song " Holy Holy Holy " was playing continually as I painted "Hannah's Ascent".

Breakthrough

oil on linen 16 x 20



Dear Reader,

I don't know if I have mentioned it, but I have been battling the Flu for the past 2 weeks. I felt good enough to go paint at Don Hatfield's figure painting class yesterday. It was a packed studio and I set up in the middle and just did not worry what the pose would look like at my angle. You can never tell what you will get unless you pose the model yourself . I tried not to let the direct angle of the models front leg bother me and I went at painting the entire figure.

The painting session is about 3 hours and I'm glad the time was so short as I probably would have added a lot of detail and made it look like one of those academic exercizes ( not that there is anything bad with that ). Everything Don was saying in class clicked. He instructed all of us that the ballet dress was the star in this pose and it was our challenge how we would treat this bright orange form. There were so many folds and bends and stuff that he directed us to look at the forms and planes and try to simplify as much as we could to tell the story. The subtle color temperatures also had to be recognized in order to really sell the impression of color and light.

I was exhausted after the painting session and I am happy with the outcome. I am such a different artist when I paint directly from the model. I am really a Jekyl and Hyde from my Illustration personae.





I was talking with Robert Sandidge after class ( he painted a real beauty ) and I commented that I was mentally exhausted. I had left it ALL on the canvas. He made an interesting observation. Painting involves decision upon decision upon decision. Add up all the decisions and its as if you are the chairman of the board at a corporation and making important decisions one after the other for 3 hours straight.





I have really benefited from Don Hatfield's coaching. He has a keen eye and he has an intuitive grasp in how to resolve problem areas. In fact, the model had her hand on the foreground leg and it looked like a string of tootsie rolls. I was struggling with it and he directed me to decide what I was going to do about it. Since I figured only me and those in the classroom would know that her hand was on the leg I decided to eliminate her hand and make it look like it was hidden behind her leg. It worked for me.

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Painting Tip......The Model was resting on black velvet . Since I was using Pythalo Blue as my cool I mixed it right out of the tube with Utrecht's Cad Red Light and it really gave me a rich dark black that was " In the Light ". Try it .

What's on the Board

I'm working on an illustration for my favorite publisher. St. Paul is preaching. There is very little detail and I will be adding stonework on the back wall next.

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Technique Tip. Here is a tip that some of you might find useful. This painting was done using 4 colors plus white . They include Chrome Green Deep Hue, Terra Rosa , Yellow Ochre and Cad Yellow Medium. Okay here is the fun part. I lay in the entire painting using combinations of ochre , terra rosa and chrome green . I want the effect to look smokey so my darkest dark is a 6 on the scale of 1 - 10 , black being 10. When the paint is dry I then use the Cad yellow medium in combination with the other 3 colors and this adds vibrancy to the light and shadow areas " In the Light" . The areas that are in shadow benefit from the " greyed " combination of the other three colors.It really comes alive with the brighter hue. My blacks are created using a combination of chrome green and terra rossa and slightly biasing the hue to warm or cool depending on the location of the shadow planes. This is a great technique for unity and time constraints. Try it!

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Got ArtCraft?

Greetings,

A commenter to this Blog linked an interesting article by Denis Dutton in the OpEd section of the New York Times. It was an article about Damian Hirst's latest offering, a medicine cabinet, to be auctioned off at Christies for a quarter of a million. The article points out that the Art World has discarded craftsmanship for the pure symmetry of Concept or " Conceptual Art". The artist often times does not even touch the end product. He is the imagineer and directs workers to finalize his or her creation.

What was interesting about this article is that Dutton, a Philosophy of Art Professor , deftly points out that craftsmanship, from the Cave Paintings at Lasquaux to the carving of a jewel, is an evolutionary display of skill that can be readily recognized by the non artist . He credits Marcel DuChamp for famously toying with the artworld by exhibiting a urinal and then calling it Art. What mattered was the idea or rather the " Concept". Think of Nobel winning Obama as our conceptual politician and then the fact that he has no accomplishments yet will work for you. Yes...now I see it !

I started to think about craftsmenship while laying awake in bed last night. So many times , we have all seen museum goers pack in front of the Old Masters or the Impressionists or any traditional piece of artwork and stand close to the canvas and try to disassemble it. How did they do it? What devilry created this magnificent ocean scene where I feel I can touch the water and feel the sand. What occurred to me is that Dutton unearthed something that will always be with us and that is the appreciation of ANYTHING done well. Whether it be music to cooking to building a house. We intuitively recognize something done well...when we compare. Just imagine a Ferrari next to a Chevy Malibu and you will get the idea. That is why the representational arts will always be a thorn in the side to the modernists. Regardless of the subject matter, a painting skillfully executed will be seen by your average Joe as something special...something that needed time, skill and knowledge to achieve. And it is in this way that the artist connects and identifies with a cab driver and the short order cook. We all regard the effort and execution as a process to be either joy or toil. The conceptualist has cheated himself and others of this basic human activity . There...I said it.

I case you are interested, Mr. Dutton is publisher of Arts & Letters Daily . You will find many articles of interest there from all over the internet.

A RoundUP

Ordaz- oil on linen




Greetings Artistadores,

This is probably going to be one of my favorite post features. Its a round of good stuff floating around the internet and snatched and displayed here " On Being Frank" for your viewing pleasure.






I just love the feeling of this recent post by Julian Merrow-Smith. His Blog "Postcard from Provence" is one of the original daily painting sites that is REALLY good.






There is a great Blog that features letters by that ever tortured artist icon Vincent Van Gogh. So What? Well, What's great and unique about this site is that they feature a letter that corresponds to the present date. How cool is that?

It"s here that they posted a letter that Vincent wrote that described a visit to a Museum and he recounted paintings that impressed him. The blogger linked those paintings to the letter. This feature brought the moment to life. He was much taken with the painting by J. Breton called " The Blessing of the Corn ". Today 's post features his thoughts on his famous bedroom painting. This is a MUST bookmark Blog if you are interested in his thoughts while he painted his masterworks.

I discovered this link at Bill Guffy's Blog.








I recently was at " Underpaintings " which is a wonderful resource Blog if you are looking for shows and art events around the country. Matthew Inniss has documented his rich content site with lots of good images. Its here that I surfed and saw the work of Dan Thompson. I've been turning my friends unto this young artist. I just love his work. You might too. Here are some samples.







Send me links if you have found items of interest.

Have a painterly weekend and don't lick your brush!

Pear on my Easel

Mendocino Joe

oil on panel 6 x 9



Greetings,

The best way to start my day is usually with a good cup of hot Joe. We brew our own . When the eastern sun climbed over the Mendocino Mountain Ridgeline and spread its wings of golden rays ...well it felt like a cup of Solar Joe.

This 6 x 9 is one of the images that I will be selling at the Placer Arts Studio tour in Nov. 13 , 14 and 15. Luckily, I have a whole years worth of plein airs and still lifes with different price points. I did well last year and we will see how the downturn in the economy affects studio participants.

I painted this from a pastel sketch that I did on location in Mendocino this summer. It was very foggy and the scene was in a very high key. It was a very magical moment. I took a photograph of this spectacular backlit tree giant and the photo just could not capture the luminosity that I was seeing in the shadows. Backlit conditions like these are best experienced live. That way, when you get back to the cave, you know where to add the much needed color. Usually the sky is washed out or the shadow planes go black.


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Directions

This photo of the painting is pretty flat but I think you get the picture. Work in progress.... " My Jana Banana" Its about 18 x 24. Oil on linen





Greetings,

This Blog is fast approaching a one year existence. I've been contemplating in what direction, if any , I should go. There are so many Blogs featuring so many good artists, as Mary says, who needs another? That is a very good question. And the thoughtful person, who has a family to feed and care for must consider the time considerations that are involved in any endeavor in order to perpetuate happiness and felicity amongst his charges and clan.


The fact is, I have a very supportive and loving wife ( as I hear her reprimanding one of my stubborn kids in the background ) who has been cheerleading my efforts ever since we got married. She supports any activity , within reason and propriety that increases my skills and generates knowledge of my existence as an artist. We were talking on my porch last summer and she moved towards me to listen to the vision that I had for our family as well as my portrait venture. As she looked at me, I saw that expression of acceptance that I have over the years come to love and need. I told her to " hold that pose " and I photographed her and started this painting about a year ago this time. I set it aside as I felt I could not do it justice. Its been a year and as a result of Blogging and learning new techniques and considerations and being coached by Don Hatfield, I now feel I can pull this painting off with the vision I had in my head.

As a result, this Blog will focus more on portraits and figures in that I really am interested in the human condition. I love people and I am interested in what they do and think. It naturally follows that I want to include them in my paintings.

Sooooo....I plan to continually dig around the art blogosphere making friends with fellow travelers. I will now try to include as best as I can a weekly roundup of blogs or articles that I find interesting that may also interest you. My schedule is pretty hectic...would'nt it be nice to see some of the more interesting sites and posts without having to click all around the place. When you see the heading ROUNDUP, that means I have scoured the Net and located samples of interest. Also, if you are doing something interesting at an event or show or spot an activity or Blog that may be of interst, please let me know. I will try to include them.

Also, I am currently reading books on turn of the century artists and I plan on posting articles about stories and biographies I have read...for no other reason that I myself REMEMBER things better when I have to regurgitate it and retell what I have read. Consider it remedial reading and learning comprehension for Frank . I will force myself to write about what I have read. Maybe some artists may interest you and you may expand my knowledge by adding your own 2 cents.

Any way, comments and crits are always welcome and thank you for reading and following " On Being Frank ".

Check out Celeste Bergin's Blog. She has a wonderful Bravura Plein Air style and she is very involved in the Art Field. She also has accumulated some very interesting links on her site.


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The true artist

Dear Reader,

I will add more to this post as I will describe the direction this Blog will take in the months to come.

oil on panel

Eat of the Blog Tree of Knowledge?

Why Blog? Well to start , I will let Victor Hugo describe the condition I was doomed to play out if I did not find an outlet for my melodrama. In this passage he describes Ursus, my most favorite character in all of literature in the book “ The Man Who Laughs”...

“Ursus was great in soliloquy. Of a disposition at once unsociable and talkative, desiring to see no one, yet wishing to converse with some one, he got out of the difficulty by talking to himself. Any one who has lived a solitary life knows how deeply seated monologue is in one's nature. Speech imprisoned frets to find a vent. To harangue space is an outlet. To speak out aloud when alone is as it were to have a dialogue with the divinity which is within. It was, as is well known, a custom of Socrates; he declaimed to himself. Luther did the same. Ursus took after those great men. He had the hermaphrodite faculty of being his own audience. He questioned himself, answered himself, praised himself, blamed himself. You heard him in the street soliloquizing in his van. The passers-by, who have their own way of appreciating clever people, used to say: He is an idiot. As we have just observed, he abused himself at times; but there were times also when he rendered himself justice. “

It is in the spirit of stopping my mental self abuse and seeking justice that I have sought and found an outlet in Blogging. I have sparred my wife and friends the disabuse of cornering me and gently smiling as they escort me to a nice white house with large men in white bath robes. Come this way Frank, this is where angst ridden artists rest and seek solace as we premix tempera colors for you. Please don’t lick the brush. Now sit here at this corner. Smell the crocus.

Blogging has also been a cheap medicinal outlet instead of paying for much needed psychotherapy and the expensive use of psychotropic drugs and stimulants. Would I have been lobotomized? Quien sabe...Art can drive you crazy and it almost did me in. Stop me someone when I dash out onto the street naked like Nietzche. Art has Narcissism in its operating system and we must be on guard so that we don’t believe or disallow all the views and comments aimed at our efforts. Since mastery in the arts is so difficult, we artists can easily get wrapped up in our own worlds and have no idea that the house is on fire. Just think if Van Gogh had a blog. We could have helped him and praised him and maybe stopped him from over thinking and fretting so much. Forget about Gaugain ...you will surpass him Vincent...trust me.

It is in the spirit of communal sharing and comraderie that Blogging can have a healthy and beneficial outcome if the pitfalls are recognized.

So this brings me to Mary’s question which I will now share.....and my response along with some embellishments.




An old illustration. When the internet bug hit, I signed some of my pieces with my then email address. It was amazing to get feedback on my illustrations from fans. Check out all that old hardware.

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HI Frank:
Sorry to bother you - I know how busy you are. But I was thinking about your suggestion for me to write a blog. I have thought about it before, but really, I can't think of what I could write about that would be of interest to anyone else - there are so many blogs out there that I follow because they are so interesting and informative (like yours) - but I don't feel I could add anything new. Also, it seems so time consuming.
Do you find it hard to keep up with writing a blog? Does it seem like it is just one more deadline that you must meet? Or do you really like doing it? It is so nice to talk "art" with people all over the world that I have never met - so I really enjoy that part.
I guess what it boils down to is that I am afraid that it would infringe on my already short painting time. Do you feel that way?



Hey Mary,

Its been a pleasure meeting fellow artists like you in the digital world. I was thinking about your question for awhile now as a few of my fellow art friends have asked me the same question. And since at the end of this month I will have been blogging for a year...its seems that your question is very relevant as I have been in the mood to reassess why I did this in the first place.

For one, there is an embedded isolationism in the field of art. Although you can paint in a group setting, for the most part its not like being on a sports team . Artists pretty much swish the brush alone. Having a blog connects you to other artists struggling and grasping after this thing called painting. It really is a difficult craft and getting honest feedback is very helpful. Also, the encouragement goes along way. In the real world, I have enjoyed plein air painting with a friend and then afterwards having a beer and talking art. Its the best. Blogging is a close second.

Also, there are some artists like Jim Gurney and Stapleton Kearns, that are gifted writers and artists accomplished in their fields who also have a desire to share their vast knowledge of art and also have a teachers heart. A Blog is really conducive in helping and directing aspiring artists to locate good art and good training, even though it may not be hands on. Also, some just share what's going on in the art world where others share artwork that needs to be seen and addressed to this generation that has long been overlooked and discarded.

I've also seen artists that just want to chronicle what they have painted and share a digital notebook. I have found , as I look over some of my past posts, that I have seen growth in my own work and it helps me to climb up the ladder of development of my artistic skills. Hey, I say to myself...that wasnt so bad after all. Also, by posting, it keeps me accountable to a small group of followers. You can kinda tell when you have produced a stinker as well as a hit. But no matter, the process can be enjoyable and by keeping a digital diary we can connect to other artists who are traveling on the same dusty path.

It's also a great way for potential and current clients to get familiar with you. I have secured sales and commissions by having potential clients read about my goings on. Others have Blogged as a mere source of income such as the Daily Painters. In fact, I often times hear that question from an outsider...Can you make any money with a Blog? Many have...it depends on your talent and marketing skills . Also, Media has shed the spotlight on some Blogs and the artists harpoons the giant whale. Bill Guffy's Blog comes to mind.







Also, since I paint sacred art, it is a way to share the gospel and encourage others in their walk. I can't and should not put my light under a dark closet of canvases. I try to avoid being preachy although when you are opinionated like me, it can be almost impossible. I is what I is.

I am REALLY very hyper active so posting is almost a neurotic activity for me. But I have also seen artists post once a week or infrequently with good results. People want to know that there is a real feeling person at the other end. We don't have to be alone. We can share the joys, the struggles, the breakthroughs and surprises. I have also found, and this is between you and me, that the older the artist the more interesting the blog because they have just plain lived a bit more and life has dealt them a reality check. So their experience is priceless.


So, to answer some of your questions. Yes, I enjoy blogging. I don't do too much TV so blogging is a constructive use of time for me.

Frank


I also want to add some other points. Blogging has made me more productive and aware of how I produce my paintings. Being in the Blogoshere opens up the door to see how others have achieved good results. I remember getting a magazine called “ Step by Step “ Graphics and I was always amazed how artists shared their secrets. Now you can go straight to the source and get it unedited from them! Unbelievable! Let’s face it and be Frank. Artists by their very nature desire the approval of their peers. Even Macchiaveli was smart enough to figure out that man has a deep desire to be respected and recognized and to be loved. That’s why the “ Godfather” resonates with men when the mafioso says...” You show me no respect” .

Also, I have never liked the term “ Lurker” to a person who does not comment but reads and looks at Blogs. It sounds a bit creepy. I would rather hear the term “ Sideliner” . It means that you are part of the team but are not in the game. Yeah, some comments sting at times, but isn’t that a good thing as it makes us stronger and better as people as well as artists?

Also, Blogging has exposed me to artists that were shunned as a result of the tyranny of the Modernists. I am blessed to read about all the amazing talent that went unrecognized for so long. So many Bloggers have a vast inventory of knowledge that they are sharing. It really is amazing and beautiful how artists have collected and learned about so many other artists past and present.

Well there you have it. Some thoughts that you may consider. If some of you have found other benefits I sure would love to hear them and I am positive that others are interested as well!

blessings

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Why Blog? and When you meet the wall.....

circa 1997. My backyard........




Dear Reader,

I have received a few emails recently that really touched on subjects and issues that I have had to struggle with myself.

1. How do you find the time to transition from being an illustrator to a gallery artist ( notice I left out fine artist ) ?

2. Are there any benefits to Blogging?

I will address the first question today and post and add the email that somewhat answered the latter. Question 2 has been on my mind this month as I will have been blogging a full year by the end of the month. Has it been that long?

Back around 1994 it occurred to me that I had drifted from my art roots. I almost gave up art altogether. My buddy Tim Solliday came to my rescue and he told me something that I will be forever be grateful to him for. It was this..." Frank...I have always thought you had alot of talent but no discipline. So far , you have been surviving on the fumes of your raw talent. What you need to do is go back to the basics and start painting outdoors to understand light and learn how to paint the way you and I were taught by Lukits" . I knew he was right and because I had been exposed to a formal training I sensed so much was lacking in my work. I had rejected Lukits as a result of personal issues I had with him, but I also learned that I had thrown the baby out with the bath water. It was a very humbling time. I am your classic prodigal son.

Tim was exhibiting some of his plein airs at a gallery in San Francisco and he invited me to go out and paint with him after the show. We are talking 1994 here. The outing was a total and complete disaster and humiliation on my end. I looked over and saw that he had captured the effect of light and in my niavete I had chased the sun..running after the wind...and ended up with mush. It was also a hot day and my turpentine had also evaporated. I came home totally and completely devastated. Tim encouraged me on and prodded me not to give up.

My challenge was juggling a large mortgage payment, 2 small children and 1 income. Jana and I had decided early on that I would be the bread winner and that she would home school our children . I was constantly working and hustling. I had also built and financed a new studio on our property.

I came up with a strategy that worked for me and possibly this may help some of you. I made time either at lunch or after a day of illustrating to paint something in my backyard. There were times that I even stayed in the studio and painted looking through a window or door. It did not matter. What was important was that I was learning to UNDERSTAND how the sun's light moved across the landscape ( my backyard ) . I made all the rookie mistakes and constantly changed shadows and lighted areas. But soon I was starting to get it. I then read Stobarts book on outdoor painting ( it wasn't even fashionable then to call it plein air ) and he related the story how he was drying up as an artist and how painting outdoors saved his soul and spirit. Man , could I relate...except I did not want to paint as tight as him...I wanted to find my voice.

It was around this time that I was talking to Jim Gurney and he asked me if I knew anything about plein air painting. I told him that I was actually painting outdoors these days in a very limited way but that I was getting alot out of it. He asked to see them...this is way before the internet...and I sent him some samples. Jim, as always, was very encouraging and told me he had caught the plein air bug and was trying it himself.

The time spent, even on a limited schedule and distance, painting outdoors showed me colors and moods that I could never come up with on my own. Thats the big thrill of it all. I was just taking it in and discovering principles that just now I can articulate and communicate to others. I still had a bit of the rebel in me and I refused to go get any art books that taught you how to paint outdoors. Even if it was a "Master" such as Edgar Payne, I di dnot want to be influenced by someone else at this fragile time. In hindsight, it probably would have helped me to learn some of the more practical elements of outdoor painting and now, with the availability of blogging I am learning from all the great talent at my fingertips. But I would not have traded that experience for the world.

So my advice is, use your environment. Its you and nobody else. Some of us are tired of seeing the same lemon being painted a million times over. And please...keep the duds...they are important benchmarks on your progress...so here for the first time I am uploadding 24 life paintings which also include 3 self portraits.

You will see the styles change....but the freedom and exhilaration you will feel when it starts to click is like nothing else in the world if you were born to be an artist. Most of these paintings are 9 x 12. Some are a bit bigger . All are oil on cheap canvas...it will make you appreciate linen.




I started by painting my studio that had well defined edges and lights and dark patterning.




Our london plane sycamore gave me years of inspiration. I loved that big ol tree. I was seeing purples and greens on the bark. Say what? Yeah, there it was. I was painting what I was seeing. Part of me was glad that I did not read any books on limited color and burnt sienna underpaintings and such. Those are traditional conventions and are useful, but I WANTED to sense the light and color of the scene without an old artist technique. I started to apply paint with a palette knife. I don't know why...but it seemed to liberate me from using a "little" brush and seeing all the detail.




I painted this out building under different conditions of light. I found that overcast days were easier to paint. I did not have to chase the shadows. What I discovered was the subtle nuances of green. Oh my Good Lord. Look at all the red on the green in the foreground lawn. Unbelievable. I had to rethink all the Art Center conventions I had been taught....Just give it a wash of green and you have your lawn color son....




Even the trash can was food for inspiration. I was starting to see reflected light. How did a grey trash bin become ochre...I was soon finding out....




I was too lazy to set up outdoors so I just painted through the door. I discovered that purples could be used to be my warms in the cool shade. Again a revelation. This was now getting REAL exciting!!!!




This time through a window... My mind said trees were green. So why was I adding so much ochre and red to make it feel right to match what I was seeing?





This time on my studio porch. Remember those day glow fisher price kids toys?




I loved painting my studio in the late afternoon...I miss that studipo with great north light...




I experimented with dabs....




I remember Jim Gurney asking me...so why did you put that kids swimming inflateable down there on the edge...I don't know Jim....it just felt right to me...remember...I'm not reading any books on " conventions" at this time...




I tried thick paint on this bad boy




Out on our side yard....




Here i look like a terrorist...maybe thats why I was arrested three times in France for looking like one...but thats a whole other tale.... . I started painting these on my lunch break. They wre painted in an hours time. I'm not bragging here, but I was forced to get in as much as possible in that short amount of time as I was highly stressed to meet deadlines and such and change diapers and other husbandly chores. This experience has served me well as I try to get the right value , tone and color temperature right at the start. No screwing around. Time is a precious commodity I did not have.




Okay...I'm cleaning up my act by now....




looking depressed....




yikes...a stinker...




another stinker...some of the early stuff....




more dabs...




cool light..I was blown away by seeing purples on the roof..wow...




Santa Rosa sun was very bright




a little interior... Jana kicked me out of the living room and said no more...the house reeked of oils and she is allergic to the smell...we fought about this one...don't you know Jana that I AM an artist! Jana Dear...I need to paint from life dear. Well Frank...can't you just take a photo and paint from that...Jana...its taking all my strength not to strangle you and bury your body under the studio where no one will find you...ha rumph.....We went back and forth and I lost...I mean a man has special needs that only a wife can provide...I'm not that stupid.




too lazy to set up outside and I included the door knob... I learned that a grey day and a grey sky still had color. What a revelation.




Another stinker... I read a book about pumping up color and I know it messed with my head . So I decided to go back to just learning about the conditions of light. You have to do several of these pumpers before you realize that nature really doesn't need your help.

A Loving Father

What would you do if your child ran away from home and you loved him more than life itself? Every family is unique and struggles with life's challenges in their own unique way. If you have been following my blog for awhile you probably figured out that 1. Frank is one of those Christians and 2. He is a huge Christafari Fan.

I have always loved reggae and I was a huge follower of a band called Steel Pulse. I remember getting tickets to see them live in Berkeley. I went with some friends. Reggae music, and especially Rastafarians love God " Jah" and love to smoke the ganjah. As the Berkeley concert started, a Rasta holy man entered center stage and sang a Psalm to God. The place was like a Jamaican Church. As soon as the lights went out and the concert started the concert goers lit up and the whole place was a fog of pot. I looked around and some how it just did not seem right. I could not tell you why, but I loved the music but being stoned at the same time , with the God element , just didnt work for me.

I like Christain music but alot of it seems like pop Jesus , so when I first heard and saw Christafari live I felt like I could inhale again and rejoice with music that I loved. But what really moves me is that Mark Mohr, the lead singer, was a prodigal son just as I was. His father loved him so much that he went the EXTRA mile to save his son. Take the time to hear how a father's love impacted the life of a gifted young boy.

Salmon Sunrise ....in progress

latest progress




yesterday's progress

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I finished two pencil comps for a client and while I was waiting to hear back from them I worked on my Salmon Sunrise. I step back alot while I paint. The reason for this is actually quite simple. Most large paintings are approached from a distance. I really need this painting to work from across the room so to speak. I want to give it the " Grand Effect"

My art coach Don Hatfield was talking about this the other day. Many turn of the century artists were trying to achieve the " Grand Effect". Essentially, it was a scene where nature and human emotions intersected in an out of body experience to create a memorable event that impacted the heart and soul and mind. In film talk its called an establishing shot of the WOW factor. Its pictorial Opera . Its Led Zepellin backed up by the Philharmonic Orchestra playing Kashmir. Its Michealangelo's David. Its a statement and image that has to be addressed....its another headache actually.......

There will also be a canoe with a fisherman in this painting. While I was taking the photo reference a man in a canoe moved across the mist layered lake from left to right. At one point, a shard of light illuminated his profile and it was just a " Wow" moment. It really gave me the sense of scale and grandeur of the background Buttes. It reminded me how Bierdstadt set off his grand epic Yosemite paintings with a pack of Deer in the foreground.



I'm really excited about painting this image. It reminds me of my time Matte Painting at LucasFilm. I find this 30 x 40 size very comfortable to work with. It demands a bold approach. I really lean toward the William Wendt and Edgar Payne mindset of letting your paint dabs and strokes show. Last year I saw a William Keith from across the museum room it its visual impact was like having someone throw a brick at the side of your head. I had to see it up close. What amazed and astonished me was that the paint application was thick and bold and very abstract up close...What sort of devilry was this I asked myself? It was then that I found my path. It felt like I could fly and I was sensing that an artist from the past was showing me the way...I gotta dig up the close ups or find the link to a past post....

Here is the link to see the Keith as well as the Sargent. See how masterly loose and expressive each artist applies paint to give an illusion of color and light....

Salmon Sunrise...start

30 x 40 oil on canvas

Dear Reader,

This October is going o be a very busy month. I have serious Illustration deadlines and I need to produce 3 portraits for a client.... as well as some product for my annual Studio Tour in November. It all means that I will be painting during the day as well as into the night. I could have easily painted into the wee hours yesterday but I have learned that it pretty much ruins my effectiveness for the following day.

Art Center did serve me well in one respect. They taught us that as a working artist, we would be juggling several clients at the same time. Therefore, it was imperative to allocate your time judiciously. This month I will be painting my Illustration assignments during the day and painting my portraits and landscapes at night. Don't worry Ernie...I have'nt forgot you!

I started this painting last evening as my little brother wants a large painting to put over his couch. I just was blown away by the majesty of the light reflected off the sheer wall face of Salmon Lakes Sierra Butte. I am working off a color sketch that I painted on location. The photograph turned the shadow area almost black. I remember staring at the shadow side color of the Butte so that its value and tone would be stamped in my memory bank. It felt so cool grey. I want to capture that. I usually block in the big masses and only hint at detail. Some areas are too bright and some sections are too dull...but no matter... I just wanted the energy to flow as I painted. It was really too much fun......

Meeting Jeremy Elder

Jeremy Elder and I painted at the Old Auburn Cemetery this morning. I picked this location because the trees are just stunningly beautiful and there are many tombstones and obelisks with easily defined planes and edges. We were both attracted to this octagonal storage shed and we planted our easels and went at it. I know it sounds creepy to paint at a Cemetery but it is usually very peaceful and you don't get people bothering you. I mean , those that are living.....







Meetings friends from the blogosphere has been a very rewarding experience so far. Jeremy Elder was probably one of the first followers to my blog almost a year ago. I have no idea how he found my site but making friends with him has been a real joy. He has the heart of an artist. His day job is being part of the video team for Rick Warren's Church in So Cal. He's the pastor who sponsored the debate between Obama and McCain. Yeah...that guy.

Jeremy and his wife Evangeline are on vacation and they stopped by the Ordaz Hacienda for a visit and then Jeremy and I painted together today. They also purchased a painting which was just okay with me. Keep it safe Jeremy.

Jeremy and I posed together and he is a stretchy 6' 7". He makes me look like a hobbit. I'm sporting my new Christafari tee shirt. And Jeremy is sporting his new baby boy Wyeth.

My Man Tate

18 x 24 oil on panel


Well...we are off to a Christian Music Festival called Rock of Ages in gorgeous Calistoga Ca.. The musical act I want to see is Christafari and they are opening today.



I am happily Anticipating meeting Jeremy Elder as he, his wife and new arrival, little Wyatt , will be visiting the Ordaz Hacienda on Sunday. I hear he is as tall as TreeBeard.

I painted the portrait yesterday. I am sensing that I am turning a corner. Its about time....

Old Pics

When my wife Jana and her sisters were moving their Dad this past weekend, they were rummaging through all the old photos that were lying around. In many ways I was doing the same thing as I was going over some of my portraits today. I am including images that were done in art school. These paintings and drawings were done between 1978 and 1980. And thats me next to my first ever car. I think I'm about 19 in this photo.






Air Brush










airbrush




airbrush and acyylic

In or Out part 2

I photographed this outside and I am seeing colors that I can't remember putting on the canvas. I have just plain run out of time...I gotta go wit it






I found this character lying around as I was digging deep for portraits. This is one of my art center classmates. His name is Les and he was the life of the party. This was painted in acrylics . I am really seeing how my style has evolved ...even within this past year. Definitely painted in the 80's! Check out that tie.






Do you think they'll go for a German General?






This painting was marginal in my opinion. Don Hatfield thought I definitely should include it in the mix. So its in my top ten. Its not a real flattering image and that is one of the reasons I like it. I also went back into this painting to give it the extra umph.....

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These paintings are in my opinion marginal. One is current and the other 2 are a bit older.




Do I want to include a baby picture? All that means is that if somebody likes how I do these little critters then I have a whole bunch of these to do down the road. You can tell by the date that this is an older piece.





I did this costumed portrait because I found the model's face so striking. This photo was from an out take from a project for the Discovery Channel. I don't know...this ones on the margin?





This is still a work in progress. I have not defined the shadow part of the face. The artsy side of me likes it but my critical audience ( Jana and the boys ) wants to know when I plan to detail the eye in the shadow. But I like it because this is the crazed direction I am moving into. I'm really pumped up about exploring the backgrounds and the surface further.



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In or Out ?

I am going to post all the images that I plan on sending Portraits Inc. as well as pieces that I think are marginal. Please let me know what your thoughts are. Trust me...you will NOT hurt my feelings.




I like this portrait because it is so expressive. But I am on the fence with this painting as there may not be a big enough market for tnis loose adaption. But on the other hand....maybe there is. In or Out?





This is the only good copy I have of this dual portrait. The client wanted an " Ordaz" and let me paint whatever I wanted to make the portrait look unique. I hear that more and more . They will tell me to do something different. So I went with the imaginitive world of these 2 beautiful girls . Check out that frame. Custom ordered from APF Framers in NY. $1500 just for the frame.




This is an old colored pencil portrait I did of my friends child back in my ol Pasadena days. In or Out? It shows hands and details on the clothing as well as a background treatment.

more to come on this post ......check back later

Word Up

I am submitting this small painting for this years Placer Arts Studio Tour preview. Even though its a year old and some tour goers have already seen it at my studio , I like that it reflects a quiet mood . We are all in such a rush.

My David was reading and I quickly found my camera and clicked off a few snaps. Many of my moments of inspiration come when I recognize something that resonates with me. I have LEARNED not to be lazy and find my camera and capture it before the moment is lost or forgotten.

It also spells out a time when I ventured into using Ivory Black. I was taught to mix my own black and that having black on my palette was tantamount to using drugs. It felt wrong. But I got over that hump and enjoyed the time I experimented with the Dark Lord. I've gone back to using my full range palette. But now I am not afraid to use a limited palette if I feel the painting deserves it.

I also am going back and forth on wether I will use this painting as one of the 10 portraits to be submitted to Portraits Inc. Today is my photo day and I must select 10 paintings and have them photographed if they have not been already. The images then have to be copied onto 8 x 10 prints. Its going to be a busy day.

click on the image to enlarge

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The Critique Pt. 2

Dear Reader,

I am exhausted after moving my father in law this Saturday into an assisted living complex in Auburn. It was also 99 degrees cool to boot. Thank God my son and nephew did most of the heavy lifting.

You will get a kick out of these YouTube videos. The assignment the art teacher has given ( played by John Malkovich ) is paint a self portrait of yourself. Of course in art school everyone is out to " out clever " the next guy and I am posting what I turned in my 2nd semester at the AC. Thats my studio and my legs...

On a musical note......6 days until I see the best band in the world ( in my opinion ) at Rock of Ages in Calistoga Ca...... CHRISTAFARI.....

The " Critique"

Some people just can't handle a little criticism.

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Dear Reader,

Tonight brings me to a subject that can have its benefits as well as its perils. And that is the ever daunting " Critique".

Here is a review or critique...." The picture of Mrs. White is hard, the painting almost metallic, the carnations are raw , there is no taste in the expression, air, or modelling, but the work is able enough to deserve recasting". This less than charitable review appeared in a London paper critiqueing the painting of none other than John Singer Sargent. Oh come on...how could someone say that about the greatest artist that ever splashed paint on a canvas?

Or how about this critique given to a student at Art Center College of Design by Ted Youngkin... "I initially thought you would go somewhere with this painting...but it looks like you took it into the John and dropped it in the urinal and pissed all over it. " I was that student who was at the end of that crit in front of a class of 25 students.

Some "Crits" are more helpful that others . But it surely follows that one has to suspect the one giving the review or instruction.

Let me recast this in movie making terms. When I was at LucasFilm I was amazed that George Lucas and Steven Spielberg referred to making a movie as a " craft". What they meant is that there certainly was an art to the process of movie making but the actual editing and getting all the elements to work together to form a cohesive and understandable statement was a technical matter. Simply put, there had to be an establishing shot , an introduction of characters with medium and close up shots. The timing and staging was key in setting the mood as well as selecting the right film stock and lighting conditions. How actors are light is not a trivial matter. Much time and attention goes into how the shot will be masked out and how the lighting will affect the scene. The editing between shots is crucial to give the movie a natural and flowing appearance. The point I am trying to make here is that there is a technical skill that is required to make a film work regardless of the content. The content is a whole other matter. I have seen beautifully shot and edited movies that I hated. I could say that I would give such a film an A for cinematography and an F for message.

So here is my point. What are you looking for in a critique? Think about this for a moment. Because a good crit can be very valuable indeed. In fact, a good crit can take you to the next level.

Back in my Star Wars days, Michael Pangrazio, Chris Evans and I would work on our matte paintings and at the end of the day our cameramen would shoot the painting on film stock. The next morning we would see our " dailies" and spend up to an hour critiqueing each painting and making concrete design and compositional assessments about each painting. It was a great experience because I can safely say that we each made our paintings BETTER.. Questions such as...Why did you place that element there? Would it be better to add a different element to sell the scene? How could we add a sense of space and production value to this painting? Is the perspective working? etc etc etc. Sometimes it hurt to hear others join in to evaluate and criticize your effort but after awhile , we took a professional attitude and developed a thick skin. Because in the long run, we all wanted the film to succeed and we wanted the shot to look excellent.

Therefore, it behooves a young artist and old farts for that matter as well, to seek out those talents that they trust to give them an informed opinion. If you are weak in your understanding of " plains" seek out a master who has achieved a high degree of competence in this area. Believe me..a good and knowledgeable assessment of your technical skill can turn your career around.

Now there is an area that is opinion and variable to fashion and that is " content" . Such as...What do you think of my sunflower paintings? The question begs a response that hinges on the viewers taste and whims. Be careful in this area because it really is just anyone's opinion. Its like asking someone...What do think about Jazz ? What do you think about country music? These are open ended questions and can only reveal the prejudices of the respondent.

Be careful of the emotional teacher. I had a teacher at Art Center who was teaching Color Theory and she walked in one day and yelled out. I want to see red today. Take out your color swatches and give me red. As we labored for several hours we put our efforts on the Crit Wall and Polifka yelled out...I don't see Red...I want to see Red! Red! Red! She never showed us how to achieve it and she was teaching us , in hindsight, by a prejudice of her own fancy. It was maddening. Avoid such teachers. They will drive you crazy.

Happy Birthday!

These are illustrations from my last illustrated book " Josie's Gift" . Win a FREE copy today! See HOW at the bottom of this really interesting post.... WE HAVE A WINNER ALREADY !


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You know its your B- Day when your 84 year old mom still sends you a birthday check in the mail. Thanks Mom! She always remembers...except for last year when she made the lame excuse that she is getting old and she forgot. Yeah...I'm buying that one.

But seriously..Birthdays at my age 53 are times to reflect . I mean, you gotta take advantage of your thought process when its still functioning. I can't afford to tie even an eighth of my brain behind my back to make it fair. I need all cylinders working in synchronized order.

So here is what I have learned so far in no apparent order....

1. Being an atheist was no fun. Being the center of the universe was delusional and expensive.

2. Waiting for the right "smoking hot" woman to come along was well worth it and I married her.

3. Art is one of the greatest roller coaster rides in the world. At least for me...Learn from the Masters

4. Look both ways before you cross the street of life. Unless your're a hindu in which case its all an illusion.

5. Have and keep good friends. Some people are just taking a cab ride with you. Spot those types right away and show them the curb..

6. Avoid spending more than you earn. Downsize if you must.

7. Disappointment and dissatisfaction is no excuse to be unhappy.

8. Enjoy a good comedy with your family. Or read " Freddy and Frederica " by Mark Helprin and have people think you are mental when you bust out laughing from what comes out of the mind of a gifted writer.

9. What does it profit you to gain the world and lose your family? Conversely...be careful what you pray for...you just might get it. Conversely what you thought was important in your twenties does not hold up when you are alot older. The simple things are really whats its all about.

10. Your family would rather you live like Jesus than you trying to convert them.

11. Philosophy and Psychology is a game for adult kids who are upset that the quarterback gets the cheerleader .

12. Learn to forgive and celebrate the successes of others. And its never too late to get it right. Today is the day to set the ship in the right direction. In art speak...if you must,,,scrape the paint off the canvas and start over instead of overworking a failure. My version of the new wine skins metaphor.

13. A person brilliant in one field can be an ignoramous when they talk about politics. That includes me!

14. If it is within your power...work at what you love...it will add years to your life and friends will comment that you look like you are 45! Learn to be content and enjoy the health that God has given you.


Okay.....Since I am in a good mood today I PLAN ON GIVING AWAY A PRESENT today. If you can tell me what artist said this quote... " Art is no mere trifle...but mere trifles make great Art " The Gift will be a copy of my illustrated book " Josie's Gift"

If no one gets it the person whose artist resides in the correct century of the quote gets it. Of course I am assuming that ANYONE even reads this Blog.....still delusional after all these years.....

Close up

The last post had the face washed out. Here is a closeup...and the face is far from finished. I painted this portrait in an " Alla Prima " approach. These colors are pretty accurate. I ahve keyed out the emerald and have been working the background with a palette knife to a grey with subtle color transitions.

Critiques most definitely welcome..... A good critique is worth millions...literally. A commenter inspired me to post on the value of a GOOD critique. Man do I have some thoughts on that!


I am waiting for the white paint to dry before I add all the American Legion decorations on the cap.


click on the image to enlarge
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With a little help from my friends

Well...I am done for the day. The oils are setting up and the darks are getting dull so that tells me to not force it and let the painting dry before I get back in.

I got a call from Don Hatfield encourageing me on to make this painting really work. He said something about the background that really resonated with me and maybe it will help some of you as well. He said to put as much love and care into the background as I have done in the face. Somehow hearing that from his lips seemed so right. I set about painting the background with as much attention as I had given to my Uncle Ralphs face, What a MENTAL difference that made. It was like art chiropractic from the Hatfield.

Anyway..here I go again adjusting the colors and giving special attention to the hands and folds.

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Oh Ralph

Well...painting is what happens to you while your making other plans. I was talking with my art bud Big Norse ( aka Chris Hopkins ) and he was suggesting that I make the background a little darker to match my initial color sketch. We were showing each other our work using
" SKYPE ". Jana told me it needed some " pop " ( don't ya just hate that comment ) and as I looked at it I felt the critiques were justified and I darkened the background. Needless to say...its like starting another painting as all the colors need to relate. I almost gave up on it but I am hanging in there and hope to get back on track. I have not added too much detailing but I plan to make a dent in this area today.

The colors on this post are a bit washed out and it is not as light at the top as this photo would suggest. But I think you get the idea.

I am working on cotton duck canvas and I had this ol 30 x 40 lying around waiting for inspiration to knock on my head. As it turns it...I now remember why I hate cotton duck.

Tools of the Trade.....for brushes I am using my super sluggers...Daniel Smith Bristles #8 & # 10
Silver " Grand Prix" bristle filberts # 4 & #6 Isabey # 6 round Isabey # 6 flat ox hair

Sad news of late. In case you have'nt heard Bernie Fuchs passed on . And another great left his easel. His name is Richard Lack and Stapleton Kearns has written about him on his blog. Check it out on on my side bar.

Life is short...Paint Hard and Pray Harder . Give it your best effort and You will have no regrets.

blessings

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Ralph Rodriguez Portrait start

I am starting a 30 x 40 today to include in my submission for Portraits Inc. My portfolio is really short on " Formal " portraits so I have to include something that at least shows I can produce a competent representation.

That's my Uncle Ralph who started the " Ex Prisoner's of War " Group. He is very involved in veterans affairs. He posed for me about 10 years ago. I am getting around to it now. Better late than never. I am giving myself 2 days to give it an " Alla Prima " look.


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Eden Portrait...in progress

"Where Lies My Hope" painting in progress

click on the image to see a larger version

oil on linen 16 x 24

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As you can see I simplified the left side and went more for a mood of light instead of detail. I still needd to work on that nose of hers. Its giving me some problems.

There is a story behind this painting. While the rest of our Artist Fellowship Group was asleep, fellow artist Elena and I decided to get up at 6:30 and paint the Mendocino Sunrise. As we were sipping coffee we were talking about how art has affected both of our lives and how God is useing us at every stage of our learning curve. Let's face it...there is no end to the knowledge we can learn about the process of doing Art. The more we learn the more we stretch and discover that there are new paths to be charted. Anyway, Elena looked off to the distant sonrise and she had this longing look on her face. I said...hold that pose and wait until I get my camera and catch the light as it illuminates your face. I went upstairs and grabbed my gear .Down the stairs I galloped and I looked back at her and she had indeed kept the pose and I rattled off several shots.

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Whadda Ya Think

Dear Reader,

I started this painting yesterday and I felt it was flowing pretty well. Then I would photograph it and it would look terrible. The reds came out translating very garish in contract to the cools. So I modified and cooled the light side of my models face.

Now that I look at it as a post...I plan to darken the left bottom side of the painting and only suggest the pillows. I also plan to add more broken color in the background. I would love to do it now but its already drying up and quite tacky. Its best to let it dry and go into it when its a more workable surface. I also plan to model the hand and face a little bit more.

Is the couch to loose for your tastes? Should I pump the color of her parka vest more?

So ...what do you think?

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Happy Hour

Portrait painting can drive you to drinking...literally...have a great weekend....

Say a little prayer

Dear Reader,

Have you ever thought you had some time and then realized someone moved the calendar on you? Well, I was going to submit samples of my portraits to Portraits Inc. for representation and I thought I had until the end of October. It turns out that the deadline is October 1st!

Portraits Inc. requires ten samples . I wanted to paint some portraits that I felt were diversified in nature. For example , a standing figure...head and shoulders, half figure showing hands etc. But I don't think I have enough time to paint them as big as I wanted. So....I will be feverishly painting some samples and posting them for your review. I have about a week's time to add some samples. Please be very critical and honest. You're my peeps and I am counting on you.

Say a little prayer for me as I know the competition for representation this year will be very competitive. I don't know if I will get in but I will give it my best shot.

As I was showing Don Hatfield my studio he zeroed in on this painting that I had tucked away. I painted this for a calendar company...but for some reason I did not like it and I repainted it and submitted another image kinda like it. Who knows what I was thinking...cuz the painting I submitted just looks awful. I thought this painting was a bit overly sentimental...even for my anachronistic tastes...and I just kept it hanging on the corner wall tucked away. Don had me take it down and he liked it. Go figure....Is he trying to sabotage me?

Pass the Hatfield around

Don with his newest painting.





Needless to say, Don makes himself at home wherever he lands.

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Its been pretty hectic out here and I wish I could explain all the mishaps I've been encountering recently. Suffice it to say...my son is practicing his driving and I take my life into his hands every time he drives to get his 60 hrs so that he can get his drivers license. Can't he just take a pill and become an expert driver? I mean ...there's a fortune out there ready to be made...are you hearing me Big Pharmaceuticals?

Any way, big Don Hatfield was here at the Ordaz Hacienda and he gave me his time and critiqued my work. I felt priviledged to have such an eminent painter look at my scribblings. I was working on a portrait sample and he saved my effort by some key observations about the planes and needless elements that did not enhance the overall effect. He opened my eyes to see the big effect at once. Its great to have someone you can trust to spot errors in your paintings and give you solid practical direction. Don is a walking expert on 19th century painting and he can give insight as to how an artist like Sorolla would have approached a certain subject. Don studied with Sergei Bongart and he learned how to SEE the big masses and the Big Effect and to have everything subordinate and lead up to the center of interest. We are all glad to have him around and he is fast becoming the MASTER in these here parts. His class is fast becoming the talk around here as the place to get some teaching that has been handed down by the masters .

Bongart taught....

Technique! Most important . . . develop your technical ability. You are handicapped if you do not develop well enough to hold the subconscious process so as not to have problems of inexperienced painters: How do I do this? . . . Is this the correct proportion? Learn technique; have full command to the extent of not being conscious of how it is done. When craftsmanship has been developed, you are free to create . . . technique will give way to expression! Train yourself: It is not by accident an artist becomes a good painter.

We then went off to the Auburn Ale house and met Silvio Sylvestri ( whose painting will be featured on posters etc. at this years Laguna Beach Juried Paint Out ) and drank some beers and talked art. It was very cool.

Don Hatfield and I plan to paint together next week and I will paint a portrait of him.