"Lilacs and Twilight"

"Lilacs and Twilight" - Oil - 11" x 14" - $400

"I'm always attracted to a tranquil scene and this fit the bill perfectly. All was in cool shadow and backlit by the evening sky. The rough condition of the barn synced with the profusion of lilac shrubs left untended. Their chaotic condition added just enough action and texture to draw the eye." --- SFG

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WORK IN PROGRESS:

My usual line drawing in cadmium red went over a white-washed painting that was unsuccessful. I'm careful to remove any raised paint on the surface of the old painting with a palette knife or sandpaper.



I became so engrossed in painting this one that I forgot to take as many shots as I usually do, but even at this point, you can tell that I've kept mostly simple, flat shapes of color. You can see in the finished painting, how "details" were placed over the early shapes and did not disturb their structure.

"San Luis Obispo Plein Air Festival"

"San Luis Obispo Plein Air Festival" - Oil - 18" x 24" - $1100

"A couple of years ago, I participated in this fast-growing event. The last morning, artists painted in the mission square near the art center. White tree trunks led the eye to a single artist's white umbrella and a vendor's booth which added interest to the festive scene. This is a larger, studio version of the piece painted on site and auctioned later that day." --- SFG

Step by step:

After toning the canvas with my usual cadmium red because I like the way it vibrates with the overlaying colors, I sketched in the scene, paying attention to the division of space and placement. For instance, the shadow area in the foreground takes less than half of the vertical distance creating a pleasing proportion. The larger white trees are just off center since they are the focal point.


Starting with the darkest areas, I designed the shapes of the tree foliage, making sure they are varied and interesting. Always consider both the shape itself and the negative shape it creates, like the sky openings.


I've continued to cover the shadowed area, saving the light shapes to lead the eye around the canvas and create the focal area. Everything in the light will be lighter than any of these values in shadow.


Finally, I'm developing the smaller details and sunlit shapes. Just a little more to go....


I will go back and refine a few areas after letting the painting sit in the studio within sight for a while, but the main work is done. By glancing at it often, I identify the problems and decide how to correct them. It's almost a subconscious process.

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Your palette is a keyboard.

What would it be like if a musician were playing an instrument and had to ask, "Where's middle C? Where's middle C?" The music would be almost unrecognizable and definitely off beat.

Art instructors are asked, "What colors are on your palette?" or "How do you arrange your colors on your palette?" It is more important that the artist be able to find a color quickly without interrupting his thought process while painting. To do this, he must be consistent when he arranges his palette.

Some painters put all the cool colors on one side and the warm colors on the other side. Some put white, black, and the earth colors in a separate location from the others, across the top or bottom. Any of these arrangements is fine, but you will find that your painting process is smoother if a given color is always placed in the same location on the palette.

During the painting process, especially the mixing process, you are making many decisions in nanoseconds. As quickly as you can flick the brush, you decide which out-of-the-tube color you need and whether to pick up a large or small dab. Then, you move on to compare the mix with the color area on the subject. When this process hits a speed bump in the form of a search for the right color, you are likely to be stalled and think, "Now what was I mixing?" Such interruptions break the concentration artist and the tempo of paint mixing and application. Both are necessary for unity within the finished work.

Here is my preferred arrangement, which I place on the left side of the palette. (I am right-handed.) With white closest to me and black at the far end, I place the colors in the order of the color wheel including the earth colors where they fit. I vary the colors chosen by the subject matter, the number of tubes I want to carry on location, or by mere whim.



In order, left to right: Daniel Smith Mixed White, lemon yellow, cadmium yellow light, yellow ochre, cadmium orange, burnt sienna, cadmium red, thalo red rose (Grumbacher), alizarin crimson, magenta (Winsor-Newton), ultramarine blue, cerulean blue, thalo turquoise, thalo green, black. (I place a strip of saran under the colors for easier clean up.)

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Making Your Art Collection Your Own

I hope all of you have the opportunity to visit the Prix de West Show at the National Cowboy and Western Heritage Museum in Oklahoma City. If not, go to http://www.nationalcowboymuseum.org/events/pdw/2009catalog/available.aspx The stop was part of my multi-city trip and was well worth it.

An added bonus was the McCloy Collection. (Go to http://www.nationalcowboymuseum.org/events/event.aspx?ID=189) This is a private art collection of Bob and Curtice McCloy of Oklahoma. It features the works of such notable artists as Bob Kuhn, Ken Carlson, Tucker Smith, William Acheff and more. The show, “Patrons Without Peer”, coincides with the release of a book by the same title in which Tom Davis documents the substantial collection.

What struck me while enjoying the virtuosity of these masters, was that the work shown told me as much about the collectors as the artists, perhaps more. Their vision and ability to foresee the artistic value of these works was surely based on their own preferences, but excellence was the underlying determinant. To have linked top-ranking painters into one group ties them together as long as the collection is united. What a boon for artist and collector alike. The whole becomes greater than the sum of the parts and is the creation of the collector.

Anyone who collects art has the opportunity to create a strong collection. The McCloys bought, traded, and sold works over the years, refining their stable of artists and pieces and, ultimately, produced a very noteworthy representation of themselves and of art itself.

Now, seize the day! Work on your collection with all the joy and promise that an artist feels as he steps before the easel.

More New Work in September!

I hope you have been enjoying the summer and have been traveling and painting as much as I have. I've taken a breather (I've been eBaying and, later, blogging for 10 years now) and will have more new work and fresh ideas and comments for you.

Meanwhile, enjoy reading through the postings here. Comments are always welcome. Also, what would you like to see or have me discuss?

---SFG

"Capistrano Arches"

"Capistrano Arches" - Oil - 11" x 14" - $195

"The mission at San Juan Capistrano has always attracted artists and I'm no exception. The light glows under its arches and the brick exposed by breaks in the plaster adds texture and color. When the bougainvillea is blooming, all is set right." --- SFG

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"Mendocino Morning Glow"

"Mendocino Morning Glow" - Oil - 9" x 12" - $300

"Mendocino, that pocket of East Coast architecture and culture transplanted a continent away, enjoys misty mornings and soft light that enhance its romantic mystique. Only the unique water towers and trees shaped by the Pacific wind belie the location."

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NOTE TO ARTISTS:
For the last year or more, I've concentrated on more dramatic atmospheric effects. Since I'm mostly a fair weather plein air painter now, I've had to draw on those years of experience and knowledge of what light and color do. I've found that I pay more attention to composition when I'm 'painting out of my head'. Such an approach was advocated by my best teachers, as long as it was only one of the methods used and direct observation was practiced most often. --- SFG

"Clear Day"

"Clear Day" - Oil - 16" x 20" - $350

"A little artist's license... rearrangement of buildings and trees... made this scene sparkle. I used the reflections in the water to direct me and the pristine day added its flair." --- SFG

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NOTE TO ARTISTS:
As they say, it's more about what you leave out of a painting than what you put in. It's also about where you put it. Rarely is a subject perfectly composed and the artist who is sensitive enough will either eliminate an element that is not working or move it. I used the direction of light on the fronts of these two buildings - one outside the picture plane - to create a reason for the reflections in the water.

"Half Dome, Yosemite"

"Half Dome, Yosemite" - Oil - 24" x 20" - $395

"This famous landmark in Yosemite National Park is familiar to legions who love the out-of-doors. No, I did not stand with my feet freezing in the snow this time, but I've turned a photo record into a credible artwork. Photos are not truthful - colors are inaccurate and shapes are distorted by the camera lens - , so I had to incorporate the storehouse of knowledge I've accumulated in my 35 years of painting." --- SFG

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NOTE TO ARTISTS:
Nothing can replace painting on location to hone one's skills and provide all of the information needed to produce a skillful work. However, almost all fine artists will add refinements to small works or use the plein air sketch to produce larger works in the studio. Surprisingly, for a large work, you need more detail...meaning information..., not less.

"Cool Day at Clear Creek"

"Cool Day at Clear Creek" - Oil - 11" x 14" - $195

"The Redding, California, area is becoming home to many delightful trails for walking, mountain biking, etc. A new one follows Clear Creek through areas that previously were not easily accessable. This rugged canyon is cut sharply through granite and roars in the springtime. In autumn, when this painting was done, it is still very dramatic and offers gravel beds for spawning salmon." --- SFG

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NOTE TO ARTISTS:
This complicated rock formation had to be broken down into two basic values of light and shadow. Since the sun was so strong coming from the left and the far bank was in deep shadow, it was easy to do so. I had to be careful from then on to keep everything in shadow simplified and within a very close value range. I constructed the painting so that the diagonals countered one another and led the eye to the sunlit boulders and the soft needles of the two small trees. The bright coloration of the foliage at the point of the sunlit bank was the strongest contrast in color and value.

"Laundry Day"

"Laundry Day" - Oil - 14" x 18" - $700

"I shared models with other artists on a trip to Ruidoso, New Mexico. This coy model kept a lively expression and was a delight to paint as she and her compatriot pretended to sort and hang laundry. It made for a colorful subject and pleasant work for all of us." --- SFG

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NOTE FOR ARTISTS: To compose this work, I used the natural bands of light, dark, and light again. The shadow of the trees, formed the natural dark which set off the sunlit hat and apron of the main figure. Note the location of that figure. She is off center, a bit to the right. The chair on the right helps anchor that edge and balances the larger light and smaller figure on the left. Sunlight is represented by the value contrast and reinforced by warm and cool colors.

"McCloud, First Snow on Shasta"

"McCloud, First Snow on Shasta" - Oil - 8" x 10" - $300

"An unexpected snow storm covered Mt. Shasta in early November and gave a preview of the upcoming glory that visits its slopes yearly. The view is especially breathtaking from the charming town of McCloud. Its just a few minutes off Interstate 5 and well worth a detour." --- SFG

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"November in McCloud"

"November in McCloud" - Oil - 11" x 14" - $400

"A cool autumn day rendered this view of an alley in the charming town of McCloud, California. The glowing light set off this delicate color harmony that enhanced the fall colors. There are countless subjects for painters along the alley way such as old garages, tool sheds, wood sheds or wood piles, varied fencing, trash cans, and a delightful jumble of varied shapes and objects." --- SFG

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"Mill and Mountain"

"Mill and Mountain" - Oil - 11" x 14" - $400

"The early 20th century lumber town of McCloud in northern California sits below Mt. Shasta. The picturesque scene here is of the old mill on the east side of town and was bathed in early autumn light. This is another of a series of paintings done in the area in November 2008." --- SFG

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"McCloud Power Source"

"McCloud Power Source" - Oil - 11" x 14" - $400

"On this corner in McCloud, California, sit two churches dating back in this old lumber town. The Catholic church, built of logs, faces the viewer and the Presbyterian church is the white building to the right of it. I couldn't help noting the prominent power lines, the other power source for this charming town." --- SFG

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"Conversation in the Alley"

"Conversation in the Alley" - Oil - 11" x 14" - $400

"McCloud is a small lumber town near Mt. Shasta in beautiful northern California. People often forget this part of California, but that's the way people in McCloud like it. Since the mill has closed, McCloud has become a hideaway for city dwellers who enjoy small town history and friendliness. Since the garages are often located on the alleys, friends meet and catch up there." --- SFG

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"Beside the Sacramento"

"Beside the Sacramento" - Oil - 11" x 14" - $400

"On this overcast day, the color across the Sacramento River was blended into a harmony of lavenders and autumn oranges. The near side had it's usual mix of grasses, shrubs, and trees and a lively dance of intertwining branches, all whipped by the wind that unsteadied my easel." --- SFG

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"Autumn at the Creek"

"Autumn at the Creek" - Oil - 9" x 12" - $350

"I love to paint water. The chance to paint reflections, transparent water and what's below the surface, and whites in waterfalls and turbulence is always a challenge and such fun. This stream had a small waterfall in the foreground and I painted it quickly with broad strokes. The trees and shrubs surrounding it gave definition to the scene"." --- SFG

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"Appy in Waiting"

"Appy in Waiting" - Oil - 6" x 8" - $150

"This Appaloosa was in the upcoming halter class and the handler had her ready and waiting near the horse show photographer's background drape. While sunlight warmed her back, the shadow side of her became a lovely aqua." --- SFG

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NOTE FOR ARTISTS:
I used the strong contrast of color and value to compose this small piece and it became a bigger statement. It would have been static and boring if I had not given the human figure an unexpected pose. The darks of her pants and the head of the darker horse on the left balanced the scene. Watch for such opportunities while you are painting and put them in quickly with assurance. If you don't get it right the first time, wipe it out and lay it in again. Temerity always shows.

"What a Life"

"What a Life" - Oil - 14" x 18" - $700

"'What a life,' is a phrase I utter frequently. From the joy my kids bring me, to the experience of flying with my (fantastic) husband, to the enthusiasm sparked by a bunch of flowers set before me to paint, I have much to be exuberant about. Here you can see it fully expressed in the heady application of paint." --- SFG

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NOTE TO ARTISTS:

Though I loved this flower arrangement when I started this painting, I found myself approaching it timidly. By going for more contrast and concentrating on an abstract design, I was able to break through and express the vigor of the subject and my reaction to it. Rely on your subconscious when you find yourself working too hard and thinking too much!

"Traverse"

"Traverse" - Oil - 6" x 8" - $150

"A warm summer day softened the colors of a pasture that lay above my viewpoint. Whose bay horse this was, I don't know, but like most artists, I knew immediately that I had found my my subject." --- SFG

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NOTE TO ARTISTS:

Notice how the warm tones of the sky tie it to the ground plane and how I repeated some colors in both to unify the light on the scene. I also described the color of the unseen sky above me (and the horse) by painting the cool tone on the horse's back. Be aware of what is happening within the picture plane and the unseen surroundings in order to tell the full story.

"Sunday Sail"

"Sunday Sail" - Oil - 6" x 8" - $150

"When I saw this scene, I was struck by the contrast of the moderately rough waves near the rocks and the relative serenity of the water beyond where the sailboat glided along. I'm sure the sailors felt more movement than I did from a distance." --- SFG

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NOTE TO ARTISTS:

The diminishing spaces between the waves give depth to the scene and the small size of the sailboat furthers that perception. Always pay attention to the size of objects in the background. They are usually much smaller than the artist tends to want to paint them.

"Tied Up"

"Tied Up" - Oil - 6" x 8" - $150

"I went for an unusual viewpoint for this scene north of Boston. By walking out on the dock, I could see the ship set against a beautiful sky and the historic buildings in the distance. What a lovely place to stroll. The pinks in the sky made a useful foil for the sails' masts." --- SFG

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NOTE TO ARTISTS:

I used the masts of the ship to divide horizontal length of the painting by thirds. The vertical was cut into thirds by the horizon line. Such simple considerations will strengthen any composition.

Signing your work...

Today I had a question from an artist about how I sign my work. Here's my reply for all to see:

"Signing work is a frustration, isn't it. Yes, I do use paint diluted with thinner and a liner brush. Often, it takes two or three attempts to get an acceptable signature. If the paint is wet, I usually try to keep the background in that area pretty simple in case I have to blend out a aborted signature. I'd rather not be forced to conserve color interest or brushwork beneath it.

Sometimes, it's easier to do after the paint is dry. However, if it is applied after the painting is varnished, it becomes a 'floating' signature, about which conservators should be forewarned.

I have considered taking a scanned copy of one of my better signatures to Office Depot to have a rubber stamp made, perhaps in three sizes, but haven't yet. Other artists do this from time to time, including Nicholi Fechin, so I don't think it is a questionable practice. A problem arises, though, when someone uses the stamp after the artist's death, as I believe they did in Fechin's case, to sign incomplete or substandard work that the artist felt was not good enough or complete enough to sign.

In the end, I think the best thing to do is to practice your signature often, training your muscle memory so that you can do it with both ease and confidence. Doing so helps me, though I don't practice as often as I should."

"Early November"

"Early November" - Oil - 11" x 14" - $400

"The day was crisp and the clouds grazed the mountaintops in Weaverville, California. This old mining community is a popular choice of those who want to live away from the city. Though the houses and roads wouldn't meet zoning regulations elsewhere, the residents are warmhearted and welcome artists to this town's special charm. This view set the brilliant autumn colors against the blue-purple mountain to the south." --- SFG

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NOTE TO ARTISTS:
This is a composite painting. By that, I mean that I recomposed the scene by selecting some components and rearranging them. Mostly, I compressed the scene and created depth with the pathway that leads to a distant house almost hidden in the trees. When you do this, you must be sure to keep the direction of the light consistent.

"How Many Horses?"

"How Many Horses?" - Oil - 20" x 24" - $1200

"This farm is in an area known as the 'Lost Coast', south of Ferndale, California. It was a great subject with its view from above and colorful roofs and trees. The horses milled around and by the time I finished, I wasn't sure whether I had painted the same horse twice or not." --- SFG

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WORK IN PROGRESS...

Because of the unusual perspective, I made a special effort to get the drawing right, paying special attention to the size of the buildings, truck and horse trailer in the background. If I had made them too large, the distance between them and the nearer barn would have been reduced considerably.

In the excitement of a new subject and the rush to get into color, you must not minimize the importance of good drawing from the start. Even then, I forgot to take the photo of the drawing until I had laid in my dark background trees.

Here, I've laid in all my darkest areas and cast shadows. I will refine these colors, but the shapes will remain throughout.

Now I've begun to lay in the areas in light, remembering that the more distant areas will be cooler. The further colors have to travel from the source to your eye, the more the cool color of the atmosphere influences that color. If you look closely, you'll see that I have overlapped areas of color rather than painting just up to the outline. By overlapping, I'm able to control the softness or crispness of the edge I want as I lay it in or I can alter it later. I decided that I needed a second vent roof to break the line of the roof on the right.

I've made the ground around the horses a little darker than I expect it to be in the end. In fact, I will make all of my lights darker than I will have them in the end to reserve a greater value range for the last lights.

The greens of the roofs vary so the highest one reflects more of the sky color and the lower one is richer.

You can see by my palette at this point that I have compared darks to darks, greens to greens, yellows to yellows, and yellow-orange to yellow-orange.

When I mixed the color for the sunlit part of the barn, it was much darker than it appears to have been. When compared to white, it was several values down. Doing this paid off later when I was ready to put in the accents on the rough wood and the white horse's coat.

By this stage, I've put in the sky holes in the background trees that allow the viewer's eye to escape and not be trapped. Look closely again and you'll see that I've laid a slightly different color over many areas to fine tune it. I added the posts on the lower left because I felt I needed balance on that side. Later, I decided that was too mannered and uninteresting. Notice how much improved the painting becomes by what is left out. This is where I left the painting for a few days.

Because I had laid a good foundation, I could develop the painting further during the follow-up session in my studio. I worked on each area with color that was the same value, but different temperatures to enjoy the vibration that doing so creates. I finalized the foreground using the darker grasses that were present.

"Color Change"

"Color Change" - Oil - 11" x 14" - $225

"The autumn colors this year have been extraordinary in northern California. This tree, near the entrance to the Sacramento River Trail in Redding, was brilliant in the afternoon sun and supported by the green foliage in shadow." --- SFG

NOTE TO ARTISTS:

When painting a subject that's so brilliantly lit that it exceeds the value range of our palette, I use darker areas to make the lights seem lighter and use color and intensity to further the effect. The darker leaves on the opposite side of the tree were handy for this purpose. Also, I made sure that the sky was slightly grayed and more violet than it really was to intensify the yellow.

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"Autumn Near Weaverville"

"Autumn Near Weaverville" - Oil - 11" x 14" - $400

"Overcast skies always make fall colors glow and I took advantage of this setting as I drove home one day from painting in Weaverville, California. A familiar sight to those passing, the barn has been converted to an art gallery." --- SFG

NOTE TO ARTISTS:

Using warm colors to advance and cool to recede, I walked a delicate line because of the overcast skies. Due to the presence of cool, reflected light from the sky, shadows were warmer than usual. Also, the shining roof was lighter than the sky because it faced west, where the afternoon light, though muted through clouds, was stronger.

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"This Way to Heaven"

"This Way to Heaven" - Oil - 11" x 14" - $260

"The evergreens seemed to conspire with the granite summit to point skyward. Born in the Trinity Alps National Recreational area of northern California, the repeating shapes and light-dark contrast made this one special. The mountain really was all granite to the valley floor and uncommonly beautiful." --- SFG

NOTE TO ARTISTS:

The painter must be careful when appoaching a subject like this. Repetition is a useful element in a painting, but you must vary the shapes to avoid boring the viewer. I used warms in the foreground to create the depth needed to push back, first, the dark trees and, secondly, the distant mountain.

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"Lupine in the Valley"

"Lupine in the Valley" - Oil - 12" x 16" - $260

"Lupine loves the gravel bars in riverbeds or on mine tailings nearby. This distinct array filled one side of the riverbed while a small community was nestled in the distance. The site is south of Hayfork, California." --- SFG

NOTE TO ARTISTS:
In this painting, I used the dark trees in the foreground to help create a sense of distance, leaving lighter tones for the middle ground and distance. The larger tree on the left balances the shape of the lupine mass as well. Spring colors were used with the spring-blooming lupine.

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ALL SALES BENEFIT NEW ORLEANS HABITAT FOR HUMANITY