CAKES is the name of this diptych, which includes CUPCAKE and PANCAKES, both of which are 5 x 7” drawings. CUPCAKE, from 2024, has been in my private collection of studies, but when I recently completed PANCAKES I knew it was a match that just had to be framed!
This diptych composition can be viewed at my Kerbey Lane show, “Paintings and Pancakes”, running through June 30th. As a reminder, this show has more than 30 works spanning a wide range of subject matter, including a few new paintings of iconic Austin scenes – Paramount Theater, Pennybacker Bridge, and the Congress Avenue Bats. If you live in Austin or you’re here for South by Southwest, swing by and check things out while enjoying one of the best brunch offerings in town.
PANCAKES was initially going to be a study in preparation for a still life of said pancakes. My wife, however, said the drawing was better than any painting she could imagine, and thus PANCAKES à la pencil was born. Either way I was going to end up hungry staring at pancakes all day.
The trick, at least for me, with drawing a completely new subject matter is gauging how best to introduce realistic reflections with the limitations of graphite, which in case you hadn’t noticed is a singular hue. As it turns out, reflections were going to be the least of my worries, as pancakes are expected to be “fluffy”, while syrup tends to mimic a slow flowing waterfall with behavioral problems.
I ended up using curved directional lines (vertical) and undulating horizontals to give the sense of a fluffy pancake, as well as drawing a number of the small, oddly shaped “circles” that make up the baking soda induced air holes of any self-respecting pancake recipe. At some point during the course of a still life, one hits the right level of detail that makes it look realistic. For me, honing the details beyond this subjective threshold starts to erode the artistic appeal of the piece at the cost of realism. While I can appreciate appeal of the challenge, as well as the skills to make a painting or drawing look as good as a photo, I don’t understand why someone would want to hang it on their wall.
Ultimately, PANCAKES has already inspired me to consider more brunch-themed subjects. Top of the list is eggs Benedict, and if I’m feeling particularly confident, chicken and waffles would be a worthy challenge.
This still life still makes me thirsty! I have a wide range when it comes to tasty beers, but a good amber ale is one of my favorites – I’m looking at you, Thirsty Goat!
Imagine a warm Spring day – we’re getting close, so start day dreaming – but the humidity is low and the shaded patios are calling. Time for a few pints with friends while you solve the problems of the world, plan the ultimate vacation, or simply people watch and admire the current state of humanity.
Now that we’ve covered the inspiration for AMBER ALE, on to the artistic elements. This isn’t my first half-drunk pint still life – I’ll admit the series needs a better name – so I knew to spend the proper time creating the mother color for the amber beer. Everything else pretty much evolved from there, a sort of virtual “filling of the glass” from the inside out. Even the untrained eye can spot the mix of brush work and palette knife, but note the focal points are the thicker bits laid on with the knife.
In terms of critiques to recall for next time, I’m going to ditch the white tablecloth. Not sure what I’ll use instead, but probably something less contrasting than white… perhaps the edge of a wood table.
AMBER ALE will join the rest of the gang at the “Paintings and Pancakes” show at Kerbey Lane, where it will adorn the walls for your entertainment and purchase if you’re so inclined.
ENVY | 4 @ 5 x 7”, Grouping 16 x 20” | Oil on Canvas Boards
Finally, the Birkins are done and assembled as the ultimate quadriptych, ENVY! Hopefully it’s readily apparent that this composition is inspired by Andy Warhol, which is somewhat ironic because Warhol’s work never resonated with me. That said, I can’t deny he had some uniquely creative compositions that piqued one’s interest.
The Hermès Birkin Bags (Sotheby’s has an Interesting article about the origin of the Birkin name) make for excellent still life models, I guess… given they cost $15,000 and beyond, I didn’t have one handy for modeling in the studio. However, between my wife’s distractingly pink knockoff “Firkin”, and the internet’s infinite library of images, I was able to cobble together plenty of reference material.
I really enjoy doing still life pieces, but things like purses and clothing have very tricky shape and textural challenges that are, quite frankly, intimidating to translate on canvas. To help me temper the difficulty level, I allowed myself the flexibility to NOT create 4 identical purses, but rather focus on the design elements that are common across a given Birkin release and really blow up the interest level with colors. The end result was 4 Birkins that have very similar handles, hardware and shape, but none are identical.
In terms of focal point and compositional strategy, the quadriptych lends itself to some interesting options. Ultimately, my intention was to allow the viewer to pick the focal point, which was done by looking around the composition and evaluating for themselves which bag they liked the most, thus the focal point… for them. My wife, who has a real eye for framing, had the bright idea of using a black background and black frame to ensure the panels really pop for the viewer. Given the high key value of each panel, the use of black readily achieves the goal of pushing the paintings at the viewer.
One last note regarding ENVY, notably the custom framing. I used a matt board cutter to replace the white background that was original to the frame. The panels themselves are “stuck” to the matting using Command Picture Hanging Strips, which are essentially heavy duty Velcro that “clip” together. This makes the panels float above the matting a little – I had to paint the extremely skinny, almost non-existent edges of the panels black so the white of the canvas board wasn’t visible in the raised structure.
ENVY will be added to my solo show, “Paintings and Pancakes” at Kerbey Lane Cafe in Austin (Westlake location), Texas. Swing by and check out the 25 pieces currently on display and available for purchase!
AVOCADO | 6×8” | Oil on PanelMIMOSA | 12×16” | Oil on Canvas Board
Two more paintings have found their forever home! AVOCADO and MIMOSA caught the eye of a customer while having breakfast tacos at Kerbey Lane Cafe last week. The stories of why people buy a given painting is a very rewarding part of the experience for me. In this case, the buyer was planning to gift the paintings to an Aunt she was visiting while in the San Marcos area. I guess she’s a fan of brunch.
This sale also provided me the opportunity to conduct my first “virtual” sale of the “Something For Everyone” show, which went seamlessly and worked well for everyone involved. As someone who spent the majority of their career in high tech, the logistics of a virtual sale make for a fun intersection between art and tech. Each piece of art at the show has a label detailing the name, size, medium, and price, as well as a QR code. The QR code allows a diner at the cafe to simply scan with their phone, which brings them to my website, www.artbern.art, from which they can readily find my contact information.
After a few email and text exchanges, she sent me payment via Venmo and I notified the restaurant that the paintings could be removed from the wall and left in the office for customer pickup. Aside from taking the paintings off the wall, the restaurant staff didn’t have to deal with any logistics. Everyone was happy with the process and the final outcome!
Stay tuned to find out about the new artwork that will replace AVOCADO and MIMOSA!
A few months ago I finished this triptych, now called “GOING GOING GONE”, but it sat around in the studio waiting for framing inspiration. Well, that inspiration finally showed up in the form of cork foam board, an orphaned 12×26″ frame, and a whole lot of JB Weld epoxy glue.
If you’re interested in the details of this artwork, follow the link to the post in the above paragraph. Otherwise, read on to learn about the challenging world of custom framing, at home, with nary a YouTube DIY video to be had.
Challenge #1: How does one attach wood blocks to a frame without backing? I was headed down the path of cutting a custom wood back, but then I stumbled across a 1/4” thick foam board while looking for balsa wood as a lighter alternative to plywood. I also happen to have a matt cutter, which is much more finger friendly than my rotary saw, which is buried somewhere in the garage.
Challenge #2: How to attach foam board to frame? Also known as “glue or screw?” I was leaning screws, but as I was digging through my massive drawer of miscellaneous art crap, I came across a tube of JB Weld, an epoxy glue that’s stickier than a wet booger. Despite having been used once in the past, probably more than 3 years ago, it still worked!
Challenge #3: What was the best way to affix the wood blocks to the newly added foam core backing? See aforementioned sticky booger solution. But, the trickiest part was ensuring the 3 blocks, all of which are different sizes, were lined up properly. I’m positive there’s a better way to do this, but I opted to use a center string and blue tape at right angles to ensure the blocks were glued in the right spot.
Surprisingly, it worked out! I used the cork side of the foam board so I didn’t have to paint the white side, and I kinda liked the light brown coloring, which looked like a porter or amber beer. The best part, which my wife pointed out, was that by using the cork side for the backing, it was similar to a coaster bottom… like for a cold pint of beer… get it?
This piece will likely be added to my solo show, “Something for Everyone”, at Kerbey Lane Cafe in San Marcos, Texas, available for the reasonable price of 10 cases of Guinness or (512) Pecan Porter.
The lemon used in this drawing was given to me and my wife by our long-time neighbor, who brought it from her kid’s home in California! She toted it home on the plane, along with some oranges, not as a “thank you” for watching her house while she was out of town… she was just being neighborly!
Before I cut into this fine fruit, I wanted to do a proper drawing, as I was struck by it’s slightly odd shape and the long stem with a single leaf still attached. If I didn’t know better I would have guessed this lemon was stolen, quickly yanked from the tree under the cover of darkness!
I used four different pencils to get the proper shading – H, B, 2B, and 4B. For those of you who don’t draw, these are how darkness levels are rated on pencils. For this example, H is the lightest, 4B the darkest. You’ll notice the reference photo has the lemon perched on a glass, making you ask “what is that about?”. This was intentional, a matter of pragmatism so I didn’t have to hunch over for a proper viewing angle.
Lastly, I’ll point out that the focal point is… the leaf! It’s not only unusual to see the stem/leaf on a lemon still life, but it’s also a unique shape, probably a result of being slightly emaciated, causing it to curlycue rather abruptly. Hopefully you can tell it’s a leaf and the fact that it’s a bit oddball doesn’t detract from the overall composition.
Today is for the wine lovers out there! This is one of the various drawings from this month’s draw-a-day self-imposed idiocy. I think even oenophiles would have trouble recognizing this drawing at first glance, but it hopefully becomes apparent that this is a grape vine. An old, grape-less, dead vine, but a grape vine nonetheless.
The reference photo is from my visit to The Piccolo Hotel (great place, btw) in Paso Robles, California. I didn’t realize what it was at first – I just thought it was a cool wood carving over the fireplace in the lobby. But when you get to looking at it in more detail, and taking into account the location (wine country!), the reality sets in that this is the epitome of upcycling! This grapevine, while alive, provided tasty wine… and in death is transformed into art! What’s not to love about that!
The Library at The Piccolo, Paso Robles
As an art subject, it was very tricky initially. I thought it was going to be a disaster, in large part due to the details involved, but perseverance won out and all the wavy lines and dark circles coalesced into a pretty decent drawing. More importantly, it was a lot of fun to draw and something I’ve added to the short-list of formal compositions. Drawing or painting, I’m not sure which… maybe both.
One final comment: Paso Robles wine is excellent! Makes sense, right? I mean, c’mon, the vines are beautiful, alive or dead!
This is the first of numerous drawings I’ll be doing over the course of the coming 30 days. There are a number of goals involved with this exercise. Initially, I was going to set a lofty goal of a drawing-a-day, but reality has set in and the target has been tempered to draw-a-day.
This drawing, ROSE, is from day 3 of the challenge. I’ve done a painting called YELLOW ROSE in the past, based on the same reference photo, so it was interesting to return to this after a few years. I was surprised how quickly this drawing came together; some sort of long-term artistic muscle memory.
The other benefit of a self-imposed 30-day draw challenge is that it drives me to practice potential new compositions. Doing a quick sketch of a painting subject is helpful in the field for plein air, and for studio work, but sketches are typically done to refine the compositional strategy. However, doing a more complete drawing answers the question, “do I want to paint this?” Sometimes, you get into the details of a painting and realize that it’s not any fun because it’s either beyond your skill set, too tedious, or simply not very exciting.
In the coming weeks, stay tuned for more drawings auditioning to become paintings!
This piece was done earlier this year using a reference photo I took while in Portland, Maine. Most of my works in that area are either “en plein air” or based on my own coastal reference photos. For those of you who have followed my work over the years, you well know I tend to veer to still life from time to time, with a particular affinity for libations. Thus, BEER BOX, technically a beer flight, from Rising Tide Brewery in Portland comes as no surprise.
For the painters out there, remember the use of photo reference is a blessing and a curse. On the one hand, they capture a place or moment for future reference, when perhaps your memory might not be willing to cooperate. On the other hand, they can significantly distort reality and create more problems than they solve. While most of what you read about “painting from photos” (virtually every painting book covers this point) emphasizes the distortions created by photos relative to lighting and hues, IMHO the real terrorist activity of reference photos is their ability to jack with shapes.
In BEER BOX, I overlooked the shape shifting my iPhone had done to “improve” the photo. I even used a grid to try and get the shapes right, something I rarely employ, and I still didn’t realize the reference photo was just a bit tweaked! It’s hard to notice at first, but the top portion is actually skewed outward, kind of a mini fish-eyed effect. I noticed this after I’d already committed to the compositional structure, so I just rolled with it to see how it would turn out.
In the end, this piece proved to be a perfect mix of frustration and satisfaction. I think it turned out well, despite the odd birds-eye view, and I learned a lot in terms of subtle hue and value changes required to capture the depth of the beer box and how the glassware fades into the deep shadows.
BTW, Rising Tide Brewery makes some great beers and should be a stop on any Portland, Maine brewery crawl. I don’t recall the specific beers in this flight, but the 4 styles were Stout, IPA, Pilsner, and the pink one was a delicious Sour.
Art Bern 