“IMPRESSIONS” GROUP SHOW OPENING

I’m very excited to be included in a new exhibition called “IMPRESSIONS: Paintings by the artists of Plein Air Austin”, happening at The Hive in Bee Caves, TX. This show celebrates the 150th anniversary of the Impressionist painters. If you don’t know much about the Impressionists, even if you don’t like the style (weirdo!), the history is fascinating. 

In short, the movement, as it were, was actually facilitated by an American painter, John Rand, who in 1841 invented… wait for it… paint in a tube! Over the following years, some artists started to take their hobby outdoors (thanks to their tubes of paint) and began capturing the scenes of the world around them, a major break from compositional structures of the time, and emphasizing light and color to give a sense of place. 

The debut party for the Impressionists is what’s marked as the anniversary, which occurred in 1874 in Paris at a show called “The Cooperative and Anonymous Association of Painters, Sculptors, and Engravers”. This group of arty-farty rebels included some of the (now) most recognizable names of the art world, including Monet, Renoir, Pissarro, Degas and Cézanne. 

One final fun fact. The term “Impressionists” was initially an insulting critique from the press, who hated the style, calling one of Monet’s paintings “Impression, Sunrise” and comparing it to wallpaper. 

Back to the opening, where 6 of my pieces will be included in this fantastic group show of plein air works. Opening reception will be Saturday, April 6th, 2-4pm. Swing by if you’re so inclined and meet some artists who love the outdoors and have created some amazeballs artwork! Let me know if you plan to drop by and I’ll keep an eye out for you. 

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Spring Point in Spackle

I recently attended a 2-day workshop at The Contemporary at Laguna Gloria. The focus was textured painting, which ultimately boiled down to playing with joint compound (gypsum spackle) and acrylic paint. I was amazed at how easy and fun it was to adapt to this medium.The technique is very straightforward, whereby one mixes acrylic paints into the joint compound, which is an off-white, and do whatever you want provided it’s put on a hard surface, for which I used wooden boards.

Most of the class did abstract pieces, which make sense as you get to play with pottery tools to get cool shapes and textures. It’s very forgiving, too, because you can simply wipe it off and start over again provided you don’t wait more than a day, at which point it hardens. I chose to do still life and landscape pieces, taking advantage of the impasto nature of the spackle. The instructor said she hadn’t considered doing landscape compositions with this technique, but to me it seemed intuitively suited for the textural nature of the real world. 

I intend to add some vibrancy to this composition with acrylic paint… I think. This is definitely the start of a new and exciting medium! Stay tuned for a number of new pieces in spackle and acrylics.

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Answer to the Lotto Question

WINNERS | 12×9” | Oil on Board

The coast of Maine is one of the most beautiful in the country. Needless to say it provides plenty of inspiration for painting. While this is not a plein air piece per se, I did a study sketch plein air and spent hours on Fishermans Point enjoying the cool sea breeze and beautiful views.

The inclusion of the home on the sea cliff is not only intentional in this composition, but it is the name my wife gave the house, “Winners”. We have no idea who they are, but we’ve strolled by 2 Bay Road often and we know what we would do if we won the lottery.

This piece is a study of sorts, in large part because it’s a very tricky subject matter for me, combining all the hard things into one painting – boats, complex architecture, and rocks. Man, the effing rocks! I can say, however, this turned out pretty well and the learning experience was very rewarding. I also had the good sense to setup the time lapse camera, both as entertainment for all of you dear readers, as well as a way to remind myself how I went about this painting when I decide to do something similar.

Enjoy the movie and thanks for reading!

Painting Time Lapse

Waiting to Sail

SPRING POINT BOATS | 10 x 8” | Oil on Canvas Board

This is a follow-up to a previous post while in Maine. SPRING POINT BOATS was started en plein air, the session just long enough to allow me to lay in a solid structure and composition that was interesting. There was some artistic license taken in terms of boat placement and colors, but the remainder of the setting is, believe it or not, an accurate depiction. 

While the paint didn’t effortlessly jump off the brush, something did click regarding boat shapes and structure. I’m not happy with how some of the areas look a bit chalky, but that should be easy to improve in future efforts. I believe I relied too much on Titanium White to lighten values throughout the piece, as opposed to reserving it primarily for the boats. However, the sense of a strong mid-afternoon sun on a calm day came through pretty well.

The last self-critique, and it’s a big one, is the compositional structure. I didn’t notice until the work was done, but now I can’t “unsee” it, that the lighthouse jetty looks artificial because it comes into the painting in a parallel that’s very distracting. It needs to be more angular, or at the very least, I need the sight line to be above the jetty so you can see the side and top, not just the side. I have to laugh, though, because I was so proud of my artistic licensure of the boats, yet I ignored the massive rock jetty in the background. Oh well, there’s always next time.

Thanks for reading!

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Sailboats, Ospreys and Bird People

SPRING POINT BOATS | Oil on Canvas Board | 8×10”

SPRING POINT BOATS is a work in progress from a gorgeous day on a pier overlooking a marina adjacent to Spring Point Ledge Lighthouse. This initial session was about 2.5 hours, half of which was spent establishing the composition structure and a practice sketch to verify the arrangement of the boats. Note that boats move, even when they’re tightly anchored in the marina, so photos of each boat in the desired position are essential to finishing a seascape like this in the studio. 

The temperature was perfection in the shade, my wife was with me enjoying the outdoors and providing very helpful compositional tips, and there was a family of Ospreys on the other side of the marina (right behind us) that are the talk of the town… amongst bird people at least. I’ll admit they are interesting to watch, as the parent (not sure which one, I’m not up to speed on Osprey gender identification) was busy dropping off fresh caught fish for the two babies. At some point, one of the bird watchers rounded the corner of the pier where I was painting, said “hi”, and I was convinced she was about to ask to see what I was working on, only to then question “why aren’t you painting the Ospreys?” Of course I told her I hate birds, was dismayed at the tankards of shit they spray all over town, and that their screeching was something of nightmares. 

Of course that was with my inside voice. My public self, using my actual voice, told her instead that the Ospreys were entertaining but difficult to paint, an answer she seemed to deem acceptable – perhaps she hadn’t considered the complexity of painting moving birds in a nest of twigs atop a 75’ pole in the middle of the bay. She giggled and shuffled away, apparently never having noticed I was painting. Perhaps some grumpy plein air painters – you know who you are – scared her off in the past and she’s afraid to ask. I digress…

As to this painting, I had already decided this was going to be a 50/50 job, namely half outside, half in studio. The goal was to lay down a solid structure and really balance the massive blue expanse of the sky and sea with the focal points of the boats. The lighthouse should give perspective and some added interest to the piece, but the intent to so give the sense of place sitting on the water watching the day go by. For me, this is still very difficult because virtually all sailboats are dominated by white, either the sails or the top deck, so the brush strokes have to be very intentional and the values need to shift much stronger than what I see “live”, at least that’s how I think it should be done.  

Stay tuned for the completed work, which I’ll keep very loose and painterly in an attempt to put the viewer outside with the boats. 

Thanks for reading!

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Fix and Finish Spring Point Lighthouse

SPRING POINT LEDGE LIGHTHOUSE | 6×8”| Oil on Canvas Board

Finished! I’ve posted a couple of progress related updates regarding this composition and I’m happy to say the 3rd time is a charm… this one’s done! If you look at the previous progress post, you’ll notice the removal of the tiny island fortress of Fort Gorges, an extreme application of artistic license. It was giving me fits compositionally, in part because the intent to use it as a balance with the lighthouse on the right was more of a distraction than something complimentary. I was going to simply mute the greens of the trees and push it back in the scene, ensuring the lighthouse was the focus, but what I discovered was that it’s such an unusual structure that it took over the composition as the viewer is sucked into wondering “what the hell is that?” I mean seriously, how often do you see an old fort on an island with a miniature forest growing in the center? I tried to convince myself that I painted it so realistically and thus it was a distraction, but in reality it’s simply weird to see out of the full context of Casco Bay, so I wiped it out… in the interest of artistic integrity.

The fort was easy enough to wipe out, but the issue it was meant to address, namely a well balanced composition, was still a problem. Not a pro at just dropping shit into a painting out of thin air, this seemed like a good scenario for practice. I’m pretty happy with the result, but it took a conscious effort to ignore details and simply work in some loose brush strokes. I also incorporated some of the ubiquitous lobster buoys found in and around Casco Bay, and lastly some distant sailboats to give the sense of an active afternoon on the water.

As to the focal point, the final result of the lighthouse and the complex stones of the jetty came out pretty well given my relatively minimal subject matter experience. As any of you artists know, tackling new subjects can be a reminder of the impossibility of knowing how to paint anything and everything equally well. The process was very enjoyable and satisfying, so there will be more lighthouses in the near future. I might expand my new found rock painting knowledge to some coastal scenes, too. 

Thanks for reading! 

#artbern #berntx #crashboomzip #painting #art #abplanalp #austinartists #atxartist #contemporaryart #southportlandmaine #abplanalp #bernabplanalp #springpointledgelighthouse #lighthouse #maine #portlandmaine #getoutside #fortgorges

Gray and Rainy… Perfect Day to Paint

SPRING POINT LIGHTHOUSE | 8×10”| Oil on Canvas Board

Presented with a sketchy weather forecast for the coming few days, my need to get out and tackle this lighthouse painting got the best of me and I made a rare late afternoon plein air session happen. Nothing about the timing or the weather made sense for an outdoor session, but when the temperature is in the lower 70s that’s all the motivation I really need. 

The drawing session from last week proved very helpful with this composition. I knew exactly how I wanted to orient everything, which in this case was the jetty, NOT the lighthouse. I need to remember this for future works, namely to find the piece of the composition that’s going to serve as the anchor for all perspective and measurements and start there, noting that this isn’t always going to be the focal point. The vertical orientation of everything on the horizon and the width/centering of the lighthouse relative to the jetty was also key. This made things move very fast so I could get to the business of putting oil on canvas. 

Starting with the sky and working forward was my approach this session. I’m ultimately ignoring the very gray, muted light because I know what this looks like on a sunny day and the plan is to polish things up in the studio or return to this location to finish it off with better contrasts. However, I’m very happy with what I finished today in just over an hour. A part of me says I should leave it as is and simply shore up the lighthouse details. Maybe I’ll put myself on an hour limit and refine whatever I can within that time constraint? Something to think about. 

Side note, a family with a young girl come by to ask if they could check out the painting. Apparently she likes to paint and seeing someone doing it outside on a day like today was either very cool, or just weird. Either way they seemed to be entertained and were very appreciative of our brief chat. I’ve never understood plein air painters who get so bent out of shape when people ask to check out what they’re working on. Doesn’t bother me, especially if what I’m painting doesn’t look like garbage. 

Thanks for reading!

#artbern #berntx #crashboomzip #painting #art #abplanalp #austinartists #atxartist #contemporaryart #southportlandmaine #abplanalp #bernabplanalp #springpointledgelighthouse #paintingintherain 

So Much Granite!

This is a preliminary drawing for a plein air session I plan to do later this week. This particular lighthouse is accessible via a jetty made of granite, which I can say from personal experience is deceptively long. As is the case with many lighthouses, the setting is often more impressive than the structure, which makes sense given they’re designed to protect navigators from the very dangerous geographies upon which they sit. Ironically, in a world where technology has made many lighthouses functionally irrelevant, they’re wildly popular destinations for visitors to explore… on land. 

The other attraction to lighthouses, as an artist, is they’re much like snowflakes whereby no two are alike, so there’s something new to tackle with every composition. Combined with their intriguing landscapes, lighthouses are a must do as an artist. 

I like to do detailed drawings instead of quick sketches when the subject is complicated or something new. The jetty is very intimidating for me, so it was important to get a handle on how to simplify while not losing the feel of all those massive granite blocks. I’m not sure if the drawing approach will translate to the painting, but a few things become clear from this exercise. First, the layout of the blocks needs to have defined directional lines in the fore and mid ground planes to capture the overall shape of the jetty. Secondly, there are numerous tiny shadows and value variations that give the blocks their distinct shapes, which will require some trial and error once the paint hits the canvas. 

Stay tuned for more on Spring Point lighthouse!

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Heceta Head Lighthouse

This was a fun one! This is Heceta Head Lighthouse on the Oregon Coast. Breathtaking coastline and this area is particularly rugged and beautiful. One day I’ll replicate this painting en plein air, but for this iteration I had to use a reference photo. At least the photo was taken by myself, so I had a sense for the place; hoping some of that personal experience made it into the final work.

This piece is on 12″x18″ gesso panel and took about 8 hours to complete. While I still have a couple of minor highlights to add, this is close enough to the final product to call it done. I have never painted ocean, so the waves were a challenge, but I’ve started taking some lessons with a new instructor for a few hours every other week, and she was a tremendous guide when I ran into problems. If you like landscapes, check out her work at Mary Watkins Fine Art.

The palette is what I’m most excited about with this piece. While there’s a lot of (for me) technical skills that come into play with the water/waves/rocks, it’s the hues that I’m most excited about. Mary was very instrumental in teaching me about landscape warming and cooling using hues I hadn’t considered. Previously I had thought in terms of strict color wheel compliments to adjust saturation, but I learned how to think through the balance of what makes up colors that trend towards one end of the spectrum or another. For example, the use of Lemon Yellow, Cad Yellow Medium, or Yellow Ochre was actually a critical decision for this entire piece. Can you guess the winner and why?

Reference photo and progression timeline below. Enjoy!