Showing posts with label Instructional. Show all posts
Showing posts with label Instructional. Show all posts

Finished- Long Slide Falls 28"x 22" oil on linen























Callin' er done I think...

Today I wrestled with the water...bit more shadows on the left, and at the whitewater applied a good amount of white pigment.
















Learned some time ago...that if you want a pigment to appear its brightest, best to use a paint knife and lay it on thick and flat.  The minute ruts left behind of a bristle brush actually invites the play of shadows each rut casts upon another...and a color appears a tad dull.  So, I applied the pigment quite heavy...smooth with the paint knife, but where I think the eye should pick up on more turbulence of the water...I mixed up another batch of white pigment, used a wide bristle...and laid in very thick strokes...

Here is a smaller view, as if standing 4-5 paces back...(and all images clicked on show up bigger)

4th Session...Long Slide Falls...28"x 22" oil on linen






















Perked up the chroma intensity of purer pigments, warmer in color temperature along the upper right foliage and rock faces.  Deepened the values of water in shadow just a bit more...and brought the more center/right rock to a greater rendered finishing...













This area is left to be more abstract, looser in brushwork...a tease on the eye...but being less finished than the other rock by virtue of compare and contrast, is designed peripherally to call less attention to itself.  A fun thing really when you consider how front and center the rock is.

Also...breaking a fundamental rule in the landscape where purer color, darker darks, crisp edges should all define that which is closer...opting to trust the peripheral pan of the work by the eye to find the interest in the area above...or, this area more-













I'll look it over for a few days now before deciding if it satisfies what I set out to do...

On the same subject...I labored to put a good explanation together on the direction I'm trying to push as a painter, sharing examples of some fine painters, their influence and inspiration...as well as a few examples how I'm taking such things to experiment with the landscape...here is the detailed post taken from a thread of mine at Wetcanvas.com

Plein Air Workshop Announcement- Park Rapids, Mn


Looking forward to my time in Park Rapids, Minnesota this summer, dates are July 13th- the 15th... 9am-5pm daily, though I'm sure we'll paint a nocturne one of those nights for those eager enduring ones...actual meeting/paint location will be the Toad Mountain Ranch, in Osage, MN...a short drive from Park Rapids.

For information on attending, contact Steve Beaubien, 218-237-5112 or 605-940-8446

This event is hosted by Blank Canvas Gallery and Education Center

I will post more information shortly on my main artist's website, which will detail the scope of learning I will be teaching...

Hope to see you there!!!

Starting a new one, Long Slide Falls..28"x 22" oil on linen

Starting a possible entree for OPA...allowed to use any works within last three years, but if someone asks me, "what's your best painting" my canned answer is, "my next one!"  and...I can't help but believe most my peers probably feel that way.  Pushing ourselves for more, expecting more...reaching just outside of ourselves with a taste of what is possible...

Using a past plein air as reference and study...



















 

Painted at Long Slide falls of the Pembonwon River in NE Wisconsin...a favorite place to paint, bring hearty workshop students...

Using this, and a couple reference photos taken my last workshop time there this past summer-

 

















So...started by building my own gallery wrap style stretcher frames, then stretching oil primed linen...and applied a tone of quinacridone red, cad lemon yellow, touch of black...copal medium and turps.  Immediately using a rag to wipe out the sky, light hitting rocks and water...























..and couldn't call it a day without at least starting to get some values goin' in this one,























Will update posts as this develops...


Broaden your interests...deepen your passions, live life full to paint lively!




















Somewhere in my copy of Edgar Payne's book, "Composition of Outdoor Painting" is a passage I remember reading and was impressed, where Payne suggested to be a good painter, drawing from the kind of passion to paint lively works..was to expand your personality and drink, take life in and live a lively life.  An observer, participator of life.  I'll find it, and perhaps come back here and edit that comment in.  It wasn't long after this I had stopped after some gallery business in a German style cafe/bar for their famously popular ten inch bratwurst sandwich and an Sprecher Optimator.  The staff were wearing shirts promoting "Otto's"...the establishment name, and I had to buy a shirt because its motto was..."Eat Well, Live Life, Laugh Often!"

I guess its easy for me perhaps to soapbox, having spent near 30 some years studying, pushing, and growing my art...and I guess I can say I'm glad I have much of that learning behind me, (though I still push myself), but I think its fair to say I have life to the full...

Not just painting, though often a couple hundred paintings per year, but a veracious reader, a musician with past history...still writing songs, playing my guitar and seeing myself grow that way.  Love being outdoors, hiking...fishing, hunting...going to Green Bay Packer games at Lambeau, time at our family's cabin...you name it.  Oh, that..and the fact that my vocation is teaching art! 

I was our high school JV golf coach for seven years, and just this past week accepted the position of head coach.  Loving to play golf, and teaching it.

Some say, "how do you have time for all this?" and my question is more, "how can you afford the time not to live so?"  This isn't dress rehearsal.  We don't come back and do this again?

Perhaps...so much time wasted with the television, I don't know...but it strikes me ironic we watch the lives of other people lived and played out.  Oh...I have a television, and enjoy a movie...watch news...but, its on often as background to whatever else I'm doing.  I'll often be painting a gouache in the living space with television on...or something else.

Its this stopping to smell the roses thing.  Taking in the moment.  Seeing just how precious this gift of life is...taking no moment for granted.  Its having served in the Navy...perhaps even having a disability from that time serving, realizing freedom does not come freely, and for those many that paid the ultimate sacrifice, a sense of being the best me I can be some way of saying "thank you!"


I took a photo last night (posted above)...a simple set up in about a four foot square space of our living space where my two channel acoustasonic amplifer is set up, by guitar and a nice singing mic...and did so, just to reiterate I have a life and ambitions even outside of painting.  A place where I can practice simply enough, work out material.  I store my sound reinforcement equipment, other guitars elsewhere...but this is sufficient for me to keep my chops, think out and thru my music.

I believe I am actually a better painter than what I could be, because life is so precious and so very intriguing to me.  When the morning alarm goes off...its like, okay...wow, another day on God's good earth.  What excitement lays ahead?


And then, of course what greater joy than one's grand children making a visit, and always there is time for them...






I guess, the bottom line is...you want to paint well? Want something deep inside worth saying?  Experience the deep human experiences calling onto deep.  Eat well...live life, laugh often!

Addictions to BEING a somebody...an Artist of Reputation?


Social networking such as Facebook, personal blogs...has been nothing short of amazing, putting oneself out there, gaining feedback on one's creative endeavors, critiques, honing in on areas for specific growth, teaching, sharing...

One of the cardinal rules of marketing is to put your best face forward, and not to become so understood that your potential genius is less appraised above all others.  Who needs a piece of somebody or at least pay thru the nose for it, who when it comes right down to it is as normal and common as another?  

Those that don't recognize or understand a skill that has been developed over the years, require being sold on an individual to justify their investment and prepare their defense of acquired works amongst their circles of status quo.  One way to do that...is to be less revealing, less transparent.  Stay clear of talk of politics, religion or controversial topics for one.

I find myself in a conundrum however...for I am not an artist only, that pushes and works to acquire skill and understanding; I am not so easily compartmentalized.  Besides being an artist, I am a father, a grandfather, a husband...friend to some.  I am a Christian...I have thoughts about good government versus corrupt and poor.  I am an outdoorsman, a sportsman, one who supports good sound wildlife management and conservation.  I am a musician continuing as I approach those 60's years (in about three years), to hone my guitar playing skill...write songs.  I am an author writing now my second book, and a videographer.  A workshop teacher...but alas, an educator since 1979...

I was a moderator and staff person at the near inception or beginning of Wetcanvas.com which is a virtual artist's community.  Myself joining when there were less than 1,000 members...and now well over 240,000 artists internationally.  I created eight forums, and held a position to see over them and help artists as a moderator to keep the peace, encourage, and teach..and did so for perhaps a little over a decade.  Retiring from that just recently...and, appreciate the days of working and living in isolation NOT having access to other artist's thoughts or ideas unless taking part in an exhibition or show.  We've come a long way with the internet.

I have seen my own flesh and blood grow from a young lad drawing at a kitchen table to becoming internationally known and celebrated.  I have experienced personal gain...but also personal loss, like many in the art biz, getting ripped off and as a result falling hard.  I've seen the good, I've seen the bad.  To sum up, I've learned its not what happens to you that matters, but in you,  and once a person learns that important life lesson...they begin to take the reins of control over how much power difficult moments in life are allowed to have.



For those that do not object to reading, I offer the following thoughts which come after reading David Kupelian's book, "How Evil Works"  (author of "The Marketing of Evil")  and specifically Kupelian's chapter titled, "The Secret Curse of Celebrity" which spoke greatly to me as an artist looking over my own life experiences.






















He starts off citing his youth, his pleasure in viewing the Wizard of OZ only later to find out that the actress Judy Garland lived a miserable life and died from a sleeping pill overdose.  Over the years, as he reminds us...many actors, performers, singers, artists...have done the same.  Self-destructive lifestyles...Marilyn Monroe, Janis Joplin, Jimmy Hendrix, Jim Morrison, Kurt Cobain, Elvis Presley, Keith Moon, Beatle's manager Brian Epstein, Led Zeppelin's John Bonham, guitarist Mike Bloomfield, blues artist Paul Butterfield...John Belushi...on and on ...and most recently Australian born actor Heath Ledger...Lindsay Lohan, Britney Spears...and then turning to the more criminal falling outs of celebrities...quoting Dr. S. Mark Young, points out "the behavior of today's celebrities is much more dramatically dysfunctional than it was a decade ago"

The chapter then analyzes, what is going on?  Why with all this success coming their way are these things seeming to be part of the package?  They've got it right...so what goes wrong?  What secret curse afflicts them?  Many...he points out, like so many rest of us..."are profoundly shaped by childhood traumas and other major life experiences"

Mark Ebner's short answer..."is ego. Insatiable ego.  Constantly massaged ego, 24-hour-a-day concierge ego.  400-thread-count linen at the five-star luxury dog kennel ego.  Trading in your pre-fame spouse for a world-class model ego."  A developing growing absurd sense of entitlement, which becomes in time downright pathological.  By comparison...Kupelian says it like this- "The full-time job of parenting requires absolute selflessness.  In contrast, the full-time job of celebrity requires absolute selfishness."

The desire to become a star requires an incredible appetite for attention and approval.  Approval, praise, applause, adulation, worship.  This he then very well details how desire for such while feeling great, does extremely weird things to human beings.

"Not for nothing does the Bible warn that worship is meant for God alone- in fact, it's the first of the Ten Commandments: "Thou shalt have no other gods before me" (Exodus 20:3).  When humans are idolized and praised- or more precisely, when they lower themselves to accept that homage and bask in its warmth and glory- the idolized "star" starts to change profoundly for the worse."

The fixation on self leads to a very narcissistic tendency to the level of approaching personality-disorder levels.


 
According to the Mayo clinic, it's "a mental disorder in which people have an inflated sense of their own importance and a deep need for admiration.  They believe that they're superior to others and have little regard for other people's feelings.  But behind this mask of ultra-confidence lies a fragile self-esteem, vulnerable to the slightest criticism."

"American culture's focus on self-admiration has causes a flight from reality to the land of grandiose fantasy"

"We have phony rich people (with interest-only mortgages and piles of debt), phony beauty (with plastic surgery and cosmetic procedures), phony athletes (with performance enhancing drugs), phony celebrities (via reality TV and You-Tube), phony genius students (with grade inflation), a phony national economy (with $14 trillion in government debt), phony feelings of being special among children (with parenting and education focused on self-esteem), and phony friends (with the social networking explosion).  All this fantasy might feel good, but, unfortunately, reality always wins.  The mortgage meltdown and the resulting financial crisis are just one demonstration of how inflated desires eventually crash to earth."

"Never mind the celebrities; their arrogance is equaled if not surpassed by the grandiosity of so-called average Americans."

"You see, on the one hand, narcissistic personality disorder is a genuine psychiatric condition with an extensive diagnostic symptom picture that pretty much corresponds with a classic sociopath- extreme delusions of grandeur, near-total lack of empathy for others, constant demands for adulation, and so on."

So...now we come to Kupelian beginning to wrap up his chapter with a spiritual analysis...

"Addicted to praise, super-sensitive to criticism?  We're talking about people whose entire sense of self-worth is based on what others say to them and about them.  Compliments make them "feel good" and criticism makes the "feel bad," which means other people are in control of how they feel.  Not good."

"This prompts a big-picture question:  why on earth are human beings- any of us- so insecure that we need approval and reassurance from others to maintain our sense of well-being?  And why are we so adversely affected by the unkind words of others?  Where does this lack of wholeness, this emptiness that craves reassurance, come from in the first place?"

"Furthermore, assuming we can agree that it's not ideal for us, as mature adults, to have our happiness based on the vacillating moods of other flawed people, the next unavoidable question is, If we're not meant to be rooted in the outside world, with all its confusion and outright craziness, what else is there to serve as the wellspring of our identity, confidence, contentment, and purpose, but something inside ourselves?"

"Yet what is there inside of us that could possibly fulfill such an extraordinary role, other than the direct influence of God?"

"We all know the answer, even though part of us reflexively doubts or denies it.  We all intuitively know we're here to be obedient to our Creator, who cares enough to enfold within each of us a tine bit of Himself, to light our way, to be a "lamp unto our feet."  We're literally designed for this purpose- to discover how to follow the moment-to-moment faith impulse God imparts to us from within, in an unbroken chain of service to Him.  In return, He gives us direction, purpose, energy, and genuine and lasting happiness, which means, among other things, we no longer crave the vain reassurances of other troubled souls."

Later continuing, the author says, "So, in a very tangible sense, human beings have two natures- one noble and the other very ignoble.  Our conscience pulls in one direction, urging us to strive toward honesty, patience, kindness, courage, and unselfishness, while the lower nature pulls downward on the strings of our thoughts and feelings, twoard anger, selfishness, lust, greed, resentment, and envy."

"Very simply, genuine change for the better is quite natural and effortless for the person who honestly recognizes and acknowledges his own flaws. but guess what?  If we are coked up on the anesthetizing "drug" of praise, or false love, we can't see our flaws.  To the contrary, we see our failings as virtues!"

"One problem...as happens with many performers, I became accustomed to the admiration of others.  But when you live for appreciation and applause, that motivation doesn't cease when you leave the stage.  All of life becomes a stage, and you're constantly performing to elicit a positive response from everyone else."

"We're not whole people, and in a ceaseless attempt to fill that inner emptiness with other people's "love" and approval, we're less than honest, we calculate what we say, how we come across, how we look, all to manipulate others to seeing us in a favorable way."

He goes on to discuss the dangers of our over inflating others' talents,  not wrong for example to say, "Good job, son, that was great!" but a huge difference from, "Son, you are so awesome.  And I am soooo proud of you.  You're just great, and handsome, and talented, and really really special!"  That kind of praise is corrupting, because whenever we build our pride, we're growing in conflict with God."

"It's a core truth about how evil works in our lives.  If we don't understand that by feeding our prideful ego, no matter how good it feels to us, we're just increasing our inner conflict with our Creator, then we don't understand ourselves, we don't understand life, and we don't know where true happiness is."

"Remember...if you are sensitive to people praising you- if you soak it up and feel nourished by it- you will also be very sensitive to people criticizing you."

If we get addicted to the drug of worship, it destroys us.

"Remember, what keeps us sane, happy, and moving in the right direction in this life is living in the light of constant, good-natured self-awareness.  It is that self-awareness, with our conscience brightly shining through it, that becomes the regulator of our life and makes our perceptions and decisions right and wholesome."

"When we worship someone, whether it's a movie star or our spouse, we are in effect robbing them of this precious relationship with the real god.  Although a part of them loves (is addicted to) the drug of praise, another deeper and more innocent part of them longs to be tread normally, honestly, soberly."

A good book that I highly recommend...dealing more perhaps with the destructive forces transforming America today...but for artists, creatives...this chapter was worth reading and chewing on.  What I have shared are excerpts that I highlighted and go back to every once in awhile.  The scriptures implore that, "you shall know the truth...and the truth will set you free"

The most subtle secret takeover of our well-being are those things that originate within us, hidden motives.  As Proverbs tells us, "the heart is most deceitful, what man can know it?"

Every once in awhile...you come across something well written by someone well dealt with by God over time, who in like manner comes across your consideration given your own past experiences, and it becomes a "wow!" moment...

Hope as we all here pursue our callings, our collective creative outpourings...you will find something here to both empower you and to help you recognize that motives need to be called into question.

I myself have gone thru some difficult hard transitions.  From convincing myself near 30 years ago that attaining a reputation in the arts with a name would jockey me into position to have positive influence on others.  Being the best you can be...a steward over time and developing your potentials is I think a noble cause, but it can be fueled by hidden longings, pampered and nurtured over time by praise til life becomes that stage and our hearts find itself unwittingly narcissistic.

I can look back at getting ripped off near a quarter million dollars perhaps as the greatest injustice and insult being an artist trying to take care of his family, however...I cannot deny going thru such trying times, such financial despair and heartache did much to loosen the hold that the "need" to be held in such high appraisal of others had on me.  To see what harm and evil other human beings in building their own egos and kingdoms are capable of has caused me to look beyond the smiles, the gestures, the extending hand to shake and assure, and perhaps even more so...look in the mirror and ask, "why...have you Larry Seiler, so badly over the years required the approval and high regard of others?" 

In some regards, I suppose I have lost opportunity that I would have otherwise and long ago jumped on, because pain naturally leads itself to cynicism and skepticism.  But, life is not so neatly packaged and managed, and sometimes it takes more than a chapter or two of one's life to fully begin to get a grasp and sense of it all.  Perhaps in the end...it is not the level one builds one's own kingdom here anyway, but that all of this God is using in preparing us for the next world to come.  That wisdom we gain...the knowing in our heart that He is central and only He is most worthy.

So...who knows what then is to come?  Working hard, living each day in and to itself.  Not wanting to be poor in my stewardship of that which God has given me, namely the talents and potential they can be used for, yet for very good reasons holding myself suspect, holding my other nature's motives at guard.  God will forgive me, I believe, for failing in all that I could have discovered possible to do in this fleshly body...but He knows I earnestly desire Him, and to honor Him.

Where I error now as I move on from here...that my caution means I might miss some opportunities, I pray He will be merciful and loving as always to help meet our needs, stand up to my responsibilities.  I pray the same for you all...

If you stayed the course long enough to finish reading this, I am humbled, perhaps even a bit surprised.  I think Kupelian gives us some great tidbits of wisdom here, and putting on such glasses of fair honesty, we perhaps can look in retrospect at our life's past greatest moments of difficulty and learn from them.

It is our necessary conundrum in today's world...that we need some status of becoming known, which may result in being celebrated, in order to market our work and effectively do our business end of art...but we must walk cautiously not to be lured in to believe our own press.  To that end, I will endeavor to continue to work very hard as an artist, but work not lose site of who I am as a father, husband...and everything else.  Its often quite hard to see and keep things in proper balance.


So, a tip of the hat and a thank you David Kupelian...at least, from this recovering addict...and perhaps with God's grace, I can resolve better who I am, undeniably an artist...but free (if I so choose to be) from what might hold sway, influence and power over me.

The Process of Growing...

Based on some comments I have received, here...Facebook, and Wetcanvas...thought I'd ramble a bit, reflect...offer perhaps some insights to the growth process, my growing at least...should that prove of any interest.

I've worked on the idea of lures for sometime now.  I've been fascinated with the moment of euphoria, men and women as sportsmen engaging the outdoors, their spirit lifted up, refreshed...filled with anticipation and joy.  A whole other area of "Sporting Portraits" was born out of that...which is a whole other area of my artistic life that I share with sportsmen one on one...give them a card with a special online site for them to check out...

but...of that, is the lore..

My younger son now 29 years of age...caught a monster trophy largemouth bass when he was quite young.  It was quite a story, and an outdoor television program listed/featured his catch, and we had the bass mounted, kept the lure...and one old polaroid photograph.  I decided to set them on my art table...and did a simple painting, a study...of the photo, what was written on it, the lure...etc.,














you can click on the images to see them slightly larger...

thing is, I was already trying to break up the background in this painting, done just a few years ago now.  Getting more and more dissatisfied with flawless fill...and you see I've allowed the undertone to come thru to create more interest...

In this "incidental" done sometime in 2006...you see my use of brushwork, hints of color again aiming to create more variation in the background, though the spinner is the focal interest, attempting to diminish edges here and there. 















Its funny now that I see it, but many of what I called "incidentals" that is...studies done aside with the idea that they should not define who I was ultimately as an artist...were done with an aim to more and more loosen up, become proficient, efficient, make quicker decisions all the hope to give me greater empowerment outdoors where sunlight comes in a smaller window of opportunity.

I actually thought at the time that this next one was more suggestively painted as an illusion of realism, well...when you compare to my old realistic rendering and laboring, sure...















I was so proud of the smudging of paint that suggested the Boy Scout logo...but still, look at the refinement of the topographical map and the finishing of this small painting top to bottom and side to side...

As fine as I thought this one was, I yet have it...meaning to my thinking it did not capture the mind or interest of viewers enough to buy it.

I mean...selling isn't everything, and my wife probably wishes that I had more interest toward that end actually or at least was more business savvy so-to-speak, but when you think you've done something well and sometimes doesn't sell, you think perhaps you missed the mark of what appeals and catches the eye.  

I don't get discouraged by such...but am encouraged then to push, experiment some more.

We live afterall in an image bombarded world, and the eye is attuned to the necessity of wading thru all those images by tuning out, and doing so quite effectively.  Part of the painting game is to reflect and develop strategies in our design and composing that would cause a work in this age to command attention and interest.  One more thing that makes painting so alluring for me is this undaunting task...

As for the latest lure I'm doing...(the Jack Cobb posted below) not yet satisfied with the background...the lure in actuality is resting on grain of wood.  I know without a doubt I can painstakingly represent that wood...

Here...a simple duck call with lovely wood grain...and as an incidental a suggestive effort to so paint the wood.















Thing is, the wood grain, is not the focal point nor interest...and the concept I'm attempting at the moment is how to use negative space as a comparitive note that directs the eye to the lure.

As an empty space...the lure being all there is, naturally the eye goes there...













 

but...like symmetry for aligning visual balance, the solution is too obvious, and thus visually "trite"...

The work then...in an image bombarded age lacks real compulsion and power to catch and hold the eye.

It is no longer how realistic an object can be rendered in my opinion that will carry promise to this end...but variation and intrigue, even paradox...

If you consider some of the works of Lipking of late, or Quang Ho...Schmid, you ask yourself, how can an image appear so contemporary, carry so many apparent abstract indicators and yet infuse the essentials of that which is realistic?  I say "apparent" because all work is abstract in nature IMO...for good works must have good design which is abstract in nature, but these artists do not labor to diminish and eliminate traces of this abstract presence but actually glory in it...while teasing the eye.



















Consider this marvelous work of Richard Schmid's "Adele" ...quite simple...but the unfinished collar, neckline and shoulder only suggested are quite abstract.  The undertone or ground allowed to come thru, the smuding and diminished edges compel our eye while leaving us this wonderful sense of the portrait.  If you are unfamiliar with Richard Schmid, considered one of our finest living modern masters do check him out!

Or check out this one "Frank's Kitchen" by Quang Ho, or his still life, "Fish on Dish"

Jeremy Lipkin is another...and these artist links are along my side categories listed here in the blog.

These artists are capable of the highest complete refinements...but then, why the tease?  Would some say simply too lazy to finish the work???


I would invite you if you have not already, read thru my post below dated, December 28th...my comparison of this approach, the variation...the contrast and compare to that of the women's fashion of the day in the 1920's...


We all come to some inner revelation as to what works and why, and the ladie's fur wrap ought not be inferred to the thinking of the fine artists I have just mentioned.  It is my own twisted kind of thinking I'm sure...but is helping to answer my self-arguments.

At any rate...if you scroll down...you'll see the lure, "Creeper" that is vertical...the painting of my granddaughter Ava Dawn..and others, where more and more I am stretching to develop this capability....

Zorn palette....a comp of a few past works


















Discussing the Zorn palette on Wetcanvas...just
thought I'd share some old works I did. As a
painter I have my preferred palette and manner,
but as an educator/arts instructor...I feel an
obligation to try and experiment. I don't as a
rule paint with black on my palette...some might
be surprised I haven't used black in my gouache
works yet...though a number of paintings done on
a black support. Yet I mix my darks.

The Anders Zorn palette consists of yellow ocre,
red, black and white. The black of Zorn's day
had a greater content of blue in it than blacks
today have...so I add about 1/3rd by volume Fr.
Ultramarine Blue to black when I play with the
Zorn palette. I have shared this palette with a
number of artists in the past..and my son Jason
took this palette to a whole other height, as he
did with the split-complementary palette...

Here's just a few examples resulting from my play
with it...(and yes...I cheated a little, let's say 
artistic license...when I added a touch of blue to
the woodduck hen's primary feathers).

Clicking on image will bring up a slightly larger
view...

Visualizing A FULL Dimensionally Balanced Composition

On a recent flight...about 30,000 feet over Lake Erie, I decided to pull out my sketchbook, my Wolff carbon pencils...and used a bit of left over coffee and a brush to create a visual that I think should help some artists better comprehend how important using color, and values, edges and so forth are for a better painting result.  So many artists I think, novices and intermediates... tend to look at their subject the way they look at their canvas.  Side to side...and up and down.

We may be painting a two-dimensional work, but we are seeking to suggest a three-dimensional reality.  We have to think in terms of a cube of space...or rectangle for the panorama...as here demonstrated (you can click on image to see larger)-



An old archived thread of mine on Wetcanvas.com put together from a drive to the western side of our state of Wisconsin from photos and such, explains what I call the Progression of the Regression in Color and Values...and should help readers/friends here visualize this principle further.  I think well worth your time...
Progression of Regression...

A painting that is especially simple in its composition and number of visual elements such as my more recent one below of the boat trolling for salmon benefits from a fuller comprehension of how values and color contribute to this broader more complete sense of visual weight distribution not just up and down, side to side...but here to back there.

Ava Dawn...Session 2...oil 12"x 9"























Scraped first session away of portrait this morning...
and repainted ending session two-

Granddaughter Ava Dawn...to complete the set (for now)

With the painting of my first grand daughter Isabeau
and now my wife's portrait completed, its time to turn
attention to the younger grand daughter, Ava Dawn Seiler

The method begins much the same, as an alla prima effort
in one session...and then the portrait scraped out the
next morning, leaving a film residue, very nice flesh
qualities slowly built up layer by layer.

I started by blocking in a midvalue flesh tone for the
face/flesh...then mixed up lights and darks painting
directly into the wet midvalue. Sargent used this method
and described painting the eyes a bit like drop a poached
egg into its socket. The eyes very naturally emerge
using this procedure.

blocking in...midvalues-























and the alla prima finish to the first session...
rendering form with color and values-

Demo for High School Student Painters Today

My high school students (juniors & seniors) began their painting week, 2nd quarter...and today, I demonstrated the concepts of blocking in shapes, color and values, and refraining from worrying about what a thing "is"...or its details. Artists have a unique language, seeing shapes, color, values, texture, line...and so forth...

Each year, I am seeing less and less patience on the part of young people to embrace what is thought difficult, as though a sign therefore such is not meant to be...and, seeing less patience. I try thus, to keep my demo's very quick while talking thru it...and this one was about 15-20 minutes start to what you see here.

I put out generous amounts of paint, acrylic...which they will be using...and then used a rag wrapped around my finger to demonstrate no concern for detail at this point and the initial step of blocking all parts in. A student took
this photo of me using the rag and painting-























Here then is the painting...the last five minutes, I used a flat (brush) to suggest some detail...vertical lines for tree trunks. As always, clicking on the image brings up a larger view.












Each year, I do one of these quick demonstrations...not representing how I typically paint, but I find them fun and when finished expressive and intriguing visually in their own right.

Oil Portrait of my wife...our early years.






















28"x 22" oil on board...

I've been working on a portrait involving scraping back the
flesh next day after painting, which leaves a film residue.
You keep repainting and rescraping back to slowly build a
quality into the flesh that glows and appears more flawless,
then upon the last repaint session, you apply finishing touches
that give the work an appearance of alla prima, a fresh and
spontaneous look.

Things I've been learning from "Painting Methods of the
Impressionists" by Bernard Dunstan...attributed methods of
Sargent, Degas, Manet, Cassatt and Whistler...

This close up of the face represents the 4th repaint...and I'm
happy with the way it is progressing, and will let this one
remain without a fifth scrape back. I'll post the whole work
when finished...












Note the steps of each repaint...to paint a midvalue flesh color
and block in the face area, then painting the darks and lights
directly into the midvalue wet into wet...
click on images to see larger...


With some of the questions people have, I'll explain this process a
bit more, and I DO NOT claim to be an expert of this. It is something
I am building some familiarity and expertise with by experimenting.

My fortee has been painting outdoor subjects, landscapes, wildlife
but I have done my share of "sporting portraits" over the years.

Follow that link to see a blog I only share with folks interested in that
aspect of my artistic offerings.

But...the basic alla prima approach can be demonstrated by my
showing a composite of my own self-portrait. That which can be done
in one sitting...(ie., "alla prima")-






















A few lines to suggest the head, a mix of a midvalue color
for the face blocked in...and darks and lights painted
wet in wet to finish. This as I read was one of Sargent's
common alla prima method.

Reading Bernard Dunstan's book, "Painting Methods of the
Impressionists" I discovered that Sargent would apply such
wonderful finishing alla prima-like touches of paint, that
no one would guess it to have been labored and wrestled with,
keeping that fresh spontaneity. There is the genius and
mastery IMO...

The scraping back was a common practice, as I found utlized
by Cassatt...at times Degas, Whistler...and Sargent. Each
scraping back allows a residue of what was painted to build
into a lovely rendering of color. As the face builds thru
this scraping back, you then more judiciously decide what to
add paint to in future sessions, less and less until the final
alla prima-like finishing touches.

Here...you see my wife's portrait after its third scraping,
and you can see that the residue of paint film left behind
is revealing the building up of a portrait. Imagine then a
good six or eight such repaint sessions and how you can
eventually paint more transparently...or judiciously, leading
up to an ideal quality of the skin-























The painting I did of my grand daughter, Isabeau...has a half-
dozen separate scrape backs-






















Now...agree with what has been written or not, how I am
interpreting the description of the process...I am finding this
to be a no brainer way to eventually arrive at the ideal and
lovely portrait. The flesh appears to glow...and the final
strokes of paint you leave are not incidental or accidental,
but intended. Appearing quite fresh and spontaneous.

But...I must be honest and report that psychologically, this
is brutal. Most difficult to commit to painting with such
great effort each time aiming to improve and do even better
knowing you will be scraping it out. For me, I waited 'til
the next morning. It was painful...but, after several sessions
you begin to see what comes and it becomes consoling and
encouraging.

As for the depiction of men...the less than ideal flesh tone,
surface texture, the blemish free feminine quality..is not
necessary. Painting the effects of gravity, a rough life on
the face is fun...and requires less doctoring and attention.
So...from what I read, less scraping back was required.
However with regard to fine ladies, young children and so
forth...the flawlessness and purity of the flesh is one of the
finer details the portrait must capture.

My Book- "The Art of Seeing & Doing" by Larry Seiler



My book, "Landscape Painting- The Art of Seeing & Doing" has
been out since 2004 and has sold worldwide from Siberia, to
Australia, the UK...New Zealand, Canada and the United States
and much is due the advent of the internet of course. Until now,
I have just had a link on my website, some promotion on a number
of artist sites, but I decided to share portions, small clips of it in
a video format so you can get a better idea what this book is
about.

Enjoy...

To order this book, or consider my video on painting
a waterfalls visit my artist's website

Proof of the power of adjacent color to empower another Color!

I have had quite a few discussions answer the critics of the limited palette, my belief being there is limitless possibilities.

For one...when an artist has that option to simply buy another tube of color, they may well have missed exploring the full depth and range of the fewer colors they could get away with. Oft..I have suggested if you don't have the red you think you need (red being one example), you can influence that red to appear to take on another nature by the colors you mix up and surround it with. Johanne Itten did those color experiments with smaller gray squares inside a larger square of color. A small gray square inside a large box of red takes on the complement and appears greenish. Inside an orange square, appears bluish...and so forth.

Well take a look at this color illusion...

























The color green and the color blue are both one in the same color. If you have photoshop and sample the two colors, you will see this to be true. Amazing is it not? To read up on this in more depth go to this blog post- the blue and green to read more.

I'm rather insistent in my teaching that a good limited palette becomes a powerful empowerment for the painter, as the artist develops an intimate knowledge of its possibilities. Cadmium lemon yellow is a cool yellow, and my yellow of choice...but in how one uses it it neither has to appear cool, nor as lemon yellow. Thus its use is limited only in one's lack of understanding.

Larry

9"x 12" oil...view from Blackwell Bridge Plein Air

















A bit chilly this afternoon...with my fingerless wool gloves,
but the light was inviting. Most lakes here in northern
Wisconsin are still froze over, 14" yet in thickness. Many
fields now free from snow, but areas of shadow still finds
the white stuff stubbornly hanging on.

After so many years painting...there is a part of you that
takes a backseat and just watches. Part of you sees the
finished painting before you begin...the other part is along
for the ride and finds it entertaining to see how it will
come together. One part has its moments of doubts, the
other part of the psyche assures its okay to chill, never
fear..."we've been here before, and its progressing just
fine!"

When teaching...there are deliberate directions or paths
one may prescribe for students...but experience's aim as
Edgar Payne tells us is to have a foundation of principles
so ingrained that the gut hunch is free to fly.

So...I listened when that inner voice said, "let's try some-
thing a little different. A grayish darker olive green
undertone" that came from sensing the color in the shadows,
which then would initiate freely the placement of where the
light was playing upon the shoreline of tag alders and dead
wintry grasses that will soon come to life-

Here was my reference...















my palette with color/value mixed up, plenty of copal
medium...and with turps ready to attack the panel-















the panel after brushing this colored/tone over the surface-

















and...the initial strokes went straight away for the light
dancing among the dead winter grasses, parts of the
snow...etc.,
















My first inclination or interest was to consider the scene on
the southwestern side of the bridge...
















Overall...it was a very pleasant afternoon, and then, I went
off to the studio to work on recording my last song "Where
the Grasses Turn Green"
for my CD- Wilderness
Wanderings!
If you have a moment, check it out.