Steve Atkinson painting blog

"Hare Trigger" step by step 5

2011-12-27T18:45:00.008-06:00

"Hare Trigger", 60X40, oil/linen

Hi Everybody, I hope you all had a Merry Christmas (those of you who celebrate it). I finished this painting during the last week before Christmas. Ann and I delivered and hung it on December 23, and now it's permanently in it's new home in Tucson, AZ.

When I posted last, I hadn't even finished laying in the saddle and the cowboy's boot. That was my next step. Once the canvas was covered, I set about refining the painting. The rabbit was an important element and I spent a lot of time making sure he was hauling tail and kicking up lots of back lit dust. I reworked the cowboy's shirt and added a pinstripe and pearl snaps. The shirt needed a bit of interest and the western details were just the thing . I made sure to keep the cowboy's face dark so it was not the first thing you look at. I worked over every inch of the painting, making sure the values, colors, edges and details all were working together. Things like deepening the value and color of the chaps, making sure to work cools in with the warms. That's why there are violets mixed in with the oranges/browns. I changed the headstall that I had roughed in on the horse, and changed the bit to a snaffle bit. I added in details such as the reins that are flying away behind the cowboy. I also added a hint of carving detail in the saddle fenders. The prickly pear cactus were then feeling a bit dark and dead, so I bumped up the color and made sure to mix in warms and cools, and made sure to add lots of back lit spines to add drama and to remind everyone what was at stake here! Then definition in the flying mane, leather fringe on the chaps. The last thing I did was to increase the size of the cowboy's boot by about 15% or so. As I was painting, I had that little voice in the back of my mind telling me it was just reading too small, and when Ann asked if I thought the foot was reading a little small, I knew my little voice was right and that I had to change it.

Then all that was left was to put it in the frame. The frame was a 5" molding and added 10" in either direction. So the final framed dimensions were 70X50". The frame is from America West Frames in Flagstaff, AZ. They always do a great job and work with me to get just what I want.

That's about it! You made it to the end of another painting with me.... thanks for coming along for the ride, and we'll do this again real soon.

"Hare Trigger" step by step 4

2011-12-04T12:58:00.003-06:00

Hare Trigger, step 4, 60X40"

Hi Everybody,
I hope you all had a great Thanksgiving and have sufficiently recovered. I've had to do a bit of art show related traveling and have been away from my easel for too long. But I'm back now and have taken the next step on our painting. This is actually two days of work. I didn't post after the first day because I was working to lay everything in and with the light effect of all the dust and running rabbit, it wouldn't have made any sense to you to show you until I had it all down and relating to each other. This is a pretty good sized canvas and it takes longer than a single day to get your things laid in. Something that slipped my mind when I started this step by step.

So, where are we now. Well, I have the prickly pear, rabbit and dust laid in. But I put it in a little darker than some of it will end up being. A lot of my time was spent in making the prickly pear appear to be partially obscured by the layer of dust the horse is kicking up. In the next step, besides putting the rest of the saddle and cowboy's boot in, I will be going into the foreground to add colors and bouncing light into the cactus and dust layer. I want to lighten it a bit, but not so much that the painting feels top heavy. Remember that it's always better to go from dark to light with oil paints... thin to thick. But for the top dust layer I'll be scumbling on the paint. Scumbling is just a way of saying I'll be adding lighter paint by dry brushing it on over the existing layer of dry paint. If done right, it's a very convincing way of painting dust and making adjustments. Also, I'll continue to add the cactus spines to make it the place the cowboy does not want to end up. As I'm looking at it, I'm feeling that I need to add a few paddles to the cactus that are coming toward the viewer to make it more of a 3D effect. I will be adding a few rocks and twigs in the foreground being kicked up by the bolting hare. Also, it's time to get the light effect around the rabbit perfected. Right now it's a bit dark. I want it to pop a bit more.

"Hare Trigger" step by step 3

2011-11-14T14:00:00.009-06:00

Hi Everyone,

I just returned from my Greenhouse Gallery 4 person show. It was a great time and I got to meet Mark Smith and Jim Janes, the gallery owner/operators, as well as the whole staff. We were treated like royalty and for that Ann an I are so grateful. Also, I got to meet, and hang out with two of the three artists who showed with me, Gregory Packard and Andre Kohn. In some ways we couldn't be more different, but in most ways we are fraternity brothers who share so many experiences in life. More on that in another post. We also had the pleasure of meeting many collectors, some of them who have collected my paintings in the past. It's always like meeting friends or even family, when you get to meet people who cared enough about one of your paintings, to take it home. Not to mention the collectors who care enough to put your show on their Friday nite schedule and come out to meet you. Thanks to everyone who took the time to come out, not only for the Friday night reception, but also for my Saturday morning demo. It was my first one at Greenhouse and I hope not the last. There were some awesome people in the audience who asked some very good questions that made me think. When I get the chance, I will be putting up photos in the next week....

.....In the mean time, here is the latest step in the progress of Hare Trigger.

Hare Trigger, 60X40", step 3

The lay-in continues, as well as the comparing of values. To bring the front legs forward on the horse, I keep them darker than the back legs. Those back legs will be covered in dust in the final painting, but it's important to knock them back visually now. Get it as close as you can now, even if you know you will be covering over it later. Since I knew I would be out of town during the lay in stage, I knew I would be working a dry painting at times. When that happens, and I'm ready to start on the dry painting, I will lay it on the ground and give it a good liberal coat of liquin painting medium. This enables me to work on a painting that has the look and feel if wet into wet. It's not the way I prefer to work, as I would much rather work wet into wet straight away, but that's not always possible, particularly when it's a big painting. So with the background sky now blocked in, I lay in the rest of the horse and a good portion of it's saddle. Some of the tack is also added, such as the reins, cinches and stirrup. Along the horse's belly, I've added some greenish reflected light from the cactus below it. It may look a bit odd now, but when I've added in the ground and prickly pear, it will look right. That light is bouncing around, you need to marry together objects by making sure their reflections are there effecting each other.

"Hare Trigger" step by step 2

2011-11-08T22:25:00.005-06:00

So, as you can see, I've jumped right in on the cowboy's face, then shirt, hat and finally I've roughed in some of the sky, just to make sure my relationships are right. I'll keep beating the "Don't get caught up in the details" drum. This painting will change considerably as I work on it.

Working down the canvas, I continue to lay in the chaps, jeans and glove. Then it's on to the body of the horse. I will work along areas that touch each other, rather than jumping from the cowboy's face to the rabbit or prickly pear. It's easier to judge values when you have objects next to one another than trying to guess how they'll line up once they do come together. I try to make it as easy on myself as possible. Also, I'm working on the clouds and sky in the background. It's easier to work the edges of the cowboy and horse into the background when everything is wet, rather than coming back to them later when they are dry. I tend to keep my edges soft at this point, knowing that #1) it looks more natural that way, and #2) it's going to be a painting that has a lot of dust in it and that demands softer edges.

New Step by Step of painting "Hare Trigger"

2011-11-07T17:46:00.014-06:00

Hi Everybody,

Yeah, I know, it's been forever since I've posted. I'm sorry about that. I've spent the Summer doing paintings for the Greenhouse 4 person show, "Through the Artist's Eyes". It opens on November 8, 2011, and runs through the month of November. I'm done with the paintings now and they are at the gallery. So....now I've started working on my largest painting so far, a 60X40" I'm calling "Hare Trigger. It's one I've been preparing to do for a while and I was excited to finally put paint to canvas. I've been collecting my reference, taking photo reference and doing sketches, refining the design and composition. In this blog, I will be taking you step by step, day by day to the painting's finish. The only break I'll be taking is for the show opening coming up. But I hope you'll hardly notice. As I work it, I'll post it. I hope this will be a help to you artists just starting out, and help to take some of the mystery away for you collectors. There's nothing mystical about what we artists do. It's very logical.

To start, let me share with you my sketch, and the reference I've taken and used to assemble this painting.

These sketches are for information/design use only.... The whole idea is to get the compositional elements in place and work out all the problems such as focal point. I don't spend a lot of time on these and don't think of them as precious in any way, they're just a tool. Right now things are fluid and I don't want to be locked in along the way, and doing finished drawings are a good way to fall into that trap. I want just enough information to get things onto the canvas in the area they need to be. Here are the reference photos I took in preparation to assemble the concept. Again, nothing fancy, but it's imperative that the light source is consistent. For this painting I needed the horse/rider, the bronc rider is from a rodeo and doesn't have the right kind of saddle, so I had to add that to the horse. I used one of my saddles and took lots of photos of it in different positions (things like the stirrups and the fender). From that photo shoot I selected the one that was right for the horse and rider photo I had. Next, I needed prickly pear cactus reference, which is easy enough around here. The next is the running rabbit. Since I knew I was going to be painting this, I kept my eyes open for good reference. I was open to inventing the rabbit, but knew that it would be more successful if I had reference. Luckily, I was in a local shop and discovered a statue of a rabbit running, in just the pose I wanted. I don't get lucky often, but once in a while.... so, I photographed the statue in the postion I needed it to be in. The final reference is a cloud shot I had in my reference morgue. I'm showing everything in black and white because the colors don't matter now, just the values (lights and darks). It's all about simplicity and structure in this stage. Colors can be deceptive, but values don't lie.

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finished sketch

So now, once this prep work is done, it's time to transfer the drawing onto the canvas. I grid the drawing, scale it up, and draw it onto the canvas. Now it's time to start painting.... finally! But remember, it doesn't do any good to short yourself on this prep work. It's as important, if not more so, than the painting part. The more problems you solve on the front end of the project, the easier it will go when you get to painting. Then you can concentrate on applying the paint, not on having to move things around. This is a large painting and I'll have my hands full of other problems as I go along, but not composition problems.

Here it is on the canvas. No heavy duty details, just an simple drawing with everything in place. The shadow you see on the lower left side of the canvas is from my painting table (I'm a lefty), and the shadow on the top of the canvas is from the canvas holder attached to my easel. I work on a Hughes Easel, which makes working on a larger canvas a breeze. I can move around the canvas with the touch of a finger. Up and down, or side to side, it doesn't matter, it's easy to work the entire canvas on this easel. As you can see, I started applying the paint around the face area. If I'm going to have a problem with an area, this is probably going to be it, so I'd rather know it early on when I'm still fresh and eager.

Well, that's enough for the first day back to blogging. Thanks for taking the time to follow me and I hope this will take some of the mystery out of the artist's studio. If you have questions as I go along, don't be shy. I'll try to cover everything I can think of, but you know how it is.

Happy Painting, Steve

NEW PAINTINGS FOR UPCOMING EVENTS...

2011-02-24T13:15:00.009-06:00

"Bradley" © 2011, 16X12, oil on stretched linen
Phippen Museum's 37th Annual Western Art Show and Sale
May 28, 29 & 30, 2001 Prescott, Az

Like most working artists, I've been putting in lots and lots of time in the studio. I'm working on getting together as many new paintings as I can for my first year's participation in the Phippen Museum's Western Art Show and Sale on May 28, 29 + 30, 2011. I've attended the show many times as a visitor, but this is my first ever participating in an outdoor show. I'm learning lots about tents, display walls and what services are available for commerce challenged artists like myself, so I'll be able to take credit cards as payment.... I'll also be participating in a quick draw for the first time. It takes me back to my college days when I worked at an amusement park for a summer, while on display airbrushing tshirts.

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"Welcome to the Family" © 2011, 24X30, oil on stretched linen
Trailside Galleries (480) 945-7751

In the mean time I just finished this painting for Trailside Gallery's Western Art Classic Show, March 7-19, 2011, in Scottsdale, Az. It's always a good show with very good turnout. I'll be at the artist's reception on March 17, 7-9 pm.

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"Guardian of Honor" © 2011, 24X36, oil on stretched linen
Greenhouse Gallery of Fine Art (800) 453-8991

I'm also pleased to announce that I've added two new galleries to represent me. Windrush Gallery in Sedona, Az and Greenhouse Gallery of Fine Art in San Antonio, Tx. I'll be adding new artwork to both of these galleries in the coming months, so check back often.

and as always, Thanks for lookin' ---Steve

Cowboy Reading Light

2011-02-07T20:13:00.012-06:00

Hi Everybody,
this is my latest painting, which I call "Cowboy Reading Light". The inspiration for it came from the great cowboy song titled "Night Rider's Lament" by Michael Burton. I've heard that Garth Brooks recorded the song, though I haven't heard his version, but then many cowboy musicians have recorded it. I've also heard that this is the only cowboy song Michael has ever written. I'm always moved by the message in the song. It paints such a vivid picture...... Here are the lyrics:

Night Rider's Lament
Lyrics and Music by Michael Burton

Last night as I was out a ridin’
graveyard shift, midnight ‘till dawn
the moon was as bright as a readin’ light
for a letter from an old friend back home

Chorus: He asked me why do you ride for your money
Why do you rope for short pay
You ain’t getting’ nowhere
And you’re losin’ your share
Boy, you must have gone crazy out there
But he’s never seen the Northern Lights
Never seen a hawk on the wing
He’s never seen Spring hit the Great Divide
And never heard Ol’ Camp Cookie sing

He tells me last night I run onto Jenny
she’s married and has a good life
Ah, you sure missed the track
when you never come back
she’s a perfect professional’s wife

Chorus: She asked him why does he ride for his money
Why does he rope for short pay
He ain’t getting’ nowhere and he’s losin’ his share
He must have gone crazy out there
But she’s never seen the Northern Lights
Never seen a hawk on the wing
Never seen Spring hit the Great Divide
And never heard Ol’ Camp Cookie sing

Well I read up the last of that letter
and tore off the stamp for Black Jim
When Billy rode up to relieve me
he just looked at the letter and grinned

Chorus: He sang . . .Now. . . Why do they ride for their money
Why do they rope for short pay
They ain’t getting nowhere
And they’re losing their share
Son, they all must be crazy out there

I do know that this song paints such a vivid picture in my mind, that I had to put it down on canvas. My goal was to give it a dream like quality. I hope I've come close to doing it justice. I also know that nobody would have understood the meaning of the title if I had given the painting the same name as the song.... besides, the name is a bit of a downer. So, "Cowboy Reading Light" seemed like a perfect fit for it!

Thanks for looking, Steve

Skull Valley and Beyond

2011-01-18T14:49:00.006-06:00

Hi Everybody!
Last week I got out of the studio long enough to paint this piece on location. I found this view when I was out geocaching, which is a modern day treasure hunt (hidden are little capsule which contain a log book to sign in and some small trinkets you are free to take with you, as long as you leave something of equal value. But for me the treasures are the locations I'm taken to by other geocachers who hide caches for the rest of us to find. Locations I might never find on my own. Breathtaking views and vistas are the norm). Anyways, when I found this site, I knew I would have to come back to paint it. We've had plenty of snow here in the high desert and this scene is evidence of that. True enough it usually doesn't stay around long, but if you're quick you can get it down before it melts. As the name implies, this is a view of Skull Valley which is a ranching area.

Skull Valley photo reference

I got this down between 3 and 5pm, and touched it up a bit in the studio. When I started out it was intermittently cloudy, but was clearing up. Here is what the scene looked like when I started painting it. As the afternoon wore on it cleared up and I was able to get the light effect I was looking for.

Thanks for looking! Steve

Painted the Grand Canyon yesterday

2011-01-07T14:51:00.006-06:00

Grand Twilight, 10X8, oil/linen panel

Hi Everybody,
yesterday I was fortunate enough to take a road trip with fellow painter extraordinaire Bill Cramer. Bill is an extremely talented painter who spends a lot of time outdoors painting on location. So when I had the chance to get back up to the Grand Canyon with him, I jumped at it. Though you would have thought having my plein air butt kicked there last September would have been enough! But I figured, Hey, It's a new year, there's snow on the ground, and well.... it's the Grand Freakin' Canyon. Many thanks to Bill for all the coaching and tips he shared with me about painting the Canyon. Plein air painters joke that painting the Grand Canyon is like getting your graduate degree in location painting. I couldn't agree more. We only had time for a couple of studies. Today in the studio after a good night's sleep, I decided one of them was good only for a color study from which I can do a larger painting down the road. Which is the real reason to do these in the first place. But the second one had possibilities if I did some repainting. So, even though this painting started as a plein air, it is squarely a studio piece.

The painting ended up being set at twilight with the stars just becoming visible. The colors are saturated and the shadows in the canyon are long and deep. It retains the feeling of a plein air because I kept my brush loose. I don't believe it would have improved the painting by tightening it up. What's important to me here is the feeling and mood of the light.

Thanks for looking, Steve

Canyon Glow

2011-01-04T13:07:00.008-06:00

Canyon Glow, 9X12, oil on canvas panel

Hi Everyone,
Things have been busy in the studio. I've been working on several figurative paintings lately, which for me at least, take more time to finish. But I found time to do this landscape studio painting last week, just before Christmas. Ann and I have a tradition of going to Zion in early November right after the peak season finishes. The cottonwood trees are at their peak and the weather is cool and comfy (ok, sometimes it's cold and frigid). At this time of year, the sun's arch is low in the sky and it takes a long time for it to light up the canyons, but boy when it does, it's glorious! I always joke that at this time of year, you can't throw a stone without killing a photographer.... they're EVERYWHERE! And since we're all there for the same reason, it's like you're part of this fraternity that's on a working holiday. Most of our time is taken up with being with friends, so I didn't bring my paintbox this time, but my camera was never out of my hand. I remember taking the photo from which I painted this picture. I stood there for some time making mental notes about what the light was doing, the color temps and why it would be so effective as a painting. The smaller trees which are still in shadow in the foreground were surprisingly green compared to the line of cottonwoods being lit by the sun. This helps to separate them from the focal point of the glowing foliage. There was quite a bit more detail in the canyon wall, but if I had painted it in in the same detail as was there, it would have competed with the tree line, so I minimized it. I have a quotation taped to the top of my easel which I see every day to remind myself, "Minimize the Obvious, Maximize the Essential". That about says it all!

Thanks for looking, Steve

Arizona Cowboy Poets Gathering 2011 poster announced!

2010-12-08T09:55:00.009-06:00

First String

Hi All,
I've been in the studio and have some new work that I'll be posting for you in the next few days. In the meantime, I wanted to share some exciting news about one of my pieces that was featured right here as a day by day painting demo a little while back. "First String" was selected to be the image used for the 2011 poster for the Arizona Cowboy Poets Gathering. Every year some of the nation's best cowboy poets and musicians gather in Prescott, Az in August for a few days to tell stories, poetry and share their music. I've been fortunate enough to meet and get to know some of these talented performers and I'm honored to be associated in some small way with them. They are artists in every sense of the word. The dates for this year's gathering have yet to be set, but I will be there every day signing posters and meeting folks who love cowboy poetry as much as I do. I will be sure to add the dates here, as soon as they are announced.

Arizona Cowboy Poets Gathering

Steve's painting given as AWEE's Spirit of Volunteerism Award

2010-09-23T14:00:00.004-05:00

Barbara Jean Polk Spirit of Volunteerism Award
2010
"Promise" painted by Steve Atkinson

Hello Everybody,

I'm pleased to present you my latest painting titled "Promise". It's a very special painting to me, and I was excited to do it for many reasons, but I think the most important one is that it's been done to honor a very special woman by a very special organization. Arizona Women's Education and Employment, Inc (or AWEE, from now on), is doing some incredible work here in Prescott as well as Phoenix, Arizona. What do they do? Well, pretty much what their name implies. In 1981, a few trailblazing Arizona women took on the challenge of changing lives through the dignity of work for the growing number of individuals relying on welfare. AWEE has been successfully investing in women, families and local communities through life and career success planning, training and support. To date they have served and supported close to 100,000 individuals on their career journey to obtain quality employment that creates positive changes and successful beginnings for themselves and their families.
AWEE provides a number of programs and services to unemployed and underemployed men and women. Their participants may be re-entering the workforce or seeking to improve their current employment situation. But to boil it all down to the basics, their mission is all about changing lives through the dignity of work.

The image of a pioneer woman was chosen, in part, because of the can do spirit of the people of Arizona, and a strong belief in self reliance. She is standing proudly and facing into a sunrise of a new day. The wind is blowing into her face, breathing life into the scene. I chose to have her holding a child, because 70% or so of the women who are helped by AWEE are single heads of households. A staggering number, and one that reflects a breakdown in the traditional family, and the strength of the women in our society.

As I work on a painting, I have a lot of time to think about what it is I'm doing, and trying to accomplish in the piece. I'm constantly asked how I come up with the name of a painting. Well, there isn't an easy answer since it's never the same twice. But they all have one thing in common, I never force the name, and trust that it will come to me when the time is right. Since this piece was for the AWEE Spirit of Volunteerism Award, as I was painting it, I spent much time reflecting on how one person could make such a difference in the life of another. It really comes down to living up to the potential of our Humanness. The simplest things can make the biggest difference in the life of someone who is in need. The name "Promise" was an easy choice for this painting, as it can have so many meanings . It stands for the Promise we've made to each other, to be there in our time of need. The Promise of God's Love to give us strength and to see us through the good times and bad. The Promise of a Mother to her child; in teaching what needs to be taught, and the Promise to let go when the time comes. In a larger sense, it also means the Promise to accept help when it's needed and offered. And, of course, the Promise of the rewards of a life well lived.

This is the first year for the Barbara Jean Polk Spirit of Volunteerism Award, and as the name implies, the inaugural recipient is Barbara Jean Polk. Barbara's volunteer efforts are legendary in Yavapai County. She works tirelessly to make the community she lives in a better place. Since this painting was going to be awarded to her, I decided to ask her daughter Julie, who just happened to be visiting from London at the time, if she would be the model for the painting. I think she was a little reluctant at first, but she soon agreed. She fit perfectly into the pioneer dress my wife Ann had sown, and with the addition of a period apron and baby we had our models (Thanks Julie, you were GREAT!!). The setting in the painting is a pond on the Polk's ranch, with which Barbara is very familiar. So with all the elements, it is a painting that will have more meaning than just an image. It's the things that she loves, and it makes me very happy to have been able to be a small part in giving back to this incredible woman. And I join with AWEE to say, Thank you Barbara!!

First of all, Barbara is a person who has devoted more hours volunteering to her causes than most of us ever do in a work day and her volunteerism started virtually the first day she set foot in Prescott back in 1956. Her resume summarizing her volunteer activities covers 3 full pages and an array of areas concerned with children in foster care, homelessness, mental illness, infant drug exposure, child abuse, status offenders, permanency planning for abused and neglected children, Prescott Arts and Humanities, and Prescott recreational services. There is obviously not enough room for me to cover everything, so I’ll just highlight a few.

Barbara was a founding member of Catholic Social Services, now Catholic Charities, in Yavapai County in 1976, and she was instrumental in expanding the services from a small one- room office to a countywide agency with many programs for the underprivileged.

For at least 30 years, Barbara has been involved in every level of foster care from providing a home to infants, to her appointment as a charter member on both the Yavapai County and the State Foster Care Review Board where she has served since 1979. Today, Barbara volunteers as a CASA, a court appointed special advocate, for children in foster care where she advocates for the best interests of children in the court system. Barbara is a co-founding board member of the Yavapai Big Brothers/Big Sisters, and has been a Big Sister to several young girls over the years.

I have barely made a dent in recounting for you Barbara’s volunteer work and the significant impact and difference she has made in the lives of the less fortunate here in Y.C., nor have I told you about the many local, state and national awards far too numerous for me to cover. What I want to specifically mention is the uniqueness of Barbara’s model of volunteerism. I think what I have learned from Barbara's unselfish model is just how much of a difference one person can make in this world. It reminds me of that old story about a man that was walking along a beach in the early morning. As he walked he would stoop over, pick up a starfish that had been stranded on the beach by the receding tide, and toss it back into the ocean. Someone who was also walking the beach at that time asked the man, "why are you even making the effort to save these starfish, there are thousands of them on this beach alone. You surely can't think you're making a difference?" The man stooped over and picked up another starfish and tossed it back in the water. "Made a difference to that one", he said.

Bullets and Water Tanks Don't Mix

2010-09-17T12:32:00.005-05:00

I did this painting on site, but put it away for a few days to let it dry and come back to it with a fresh eye. When I did take it out again to look at it, I felt I needed to do a few things to make it better. I simplified the trees in the background to the right. Once I set them back, the bullet riddled water tank became the star, which is as it should be. I also added a couple of prickly pears at the base of the tank.

Detail 1

Detail 2

Detail 3

This was painted at the Spider Ranch in Arizona, which is a cattle ranch about 30 minutes from where I live. The foreman and his best hand kindly offered to take me back to where they were scattering salt in preparation for the gather later this month. It's very rough country out there, and not easily gotten into. We could have gone on horseback, but the salt blocks are 50 lbs apiece on their own and we needed to take in quite a few. So, the foreman took his pickup loaded with salt, hay and dogs, the long way... roughly a three hour trip. That left Amy and myself to take the quads in, going over what can only be loosely called roads. OK, they were roads back in the 70's, but now they are more of a suggestion of a road on a lunar landscape. It took an hour and a half to get to the tank, stopping along the way to set out the salt blocks. When at the tank, we had a great lunch of beef wraps and a very cold beer. Then I was left to paint, while they went out and did their work. The tank did have holes in it from hunters who practice their marksmanship by shooting this poor defenseless tank. Hey, how hard is it to hit a huge water tank anyways? I'm just askin'. The myriad of colors on this rusty metal tank is what caught my eye. When I got done, I realized I hadn't brought my panel box with me, which protects a wet painting from smudging. Luckily, Gail offered to take it in his truck and saved me from having to wipe it. Thanks Gail and Amy for allowing me to tag along. It was a very special day for me. I was grinning for days with the memory.

Thanks for looking, Steve

Monument Valley UPDATE

2010-09-14T20:20:00.006-05:00

Where the West Was Won, 12X16, oil/linen panel
SOLD

Monument Valley Backlight, 12X16, oil/linen panel

UPDATE:
Added to the Monument Valley painting was a mounted rider who has stopped just to admire the view. Monument Valley is widely known as the backdrop to some of John Ford's classic western movies such as "She Wore A Yellow Ribbon" starring John Wayne. That's why I decided to rename this painting "Where the West Was Won".

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Hi Everybody,
this painting was done as a result of my trip out to Jackson, Wyoming. On the way, we drove through Monument Valley. The artist reception at Trailside Gallery was the next day, so I didn't have time to set up and paint. But I did manage to take some great photos of the area. This setting was right behind a roadside Navajo stand, where they set up and sell their arts. So much of the jewelry and pottery is beautiful, and I'm a sucker for turquoise jewelry anyways, so, I usually end up leaving with something (so does Ann, bless her heart).

As I've mentioned before, I love painting backlit subjects, and these sandstone formations are no exception. When you see rock formations in the distance, you are looking through the veil of atmosphere that is between you and it. This veil flattens out and minimizes the values and definition of such formations. It's important when you paint these, to keep your values close and remember to paint the planes you see. A vertical plane catches less light than a flat plane, so it needs to be painted darker. But if you paint this area with just one color, such as blue or grey, you will not achieve the illusion of depth. It's important to mix warms and cools in those shadows. Just as important as doing it in the lights. You just need to keep them closer. Also, there is a natural color difference in color in this type of stone. It's important to pay attention to these subtle changes. I make sure to simplify the rock formations in the distance. It's sooooo easy to get lost in the detail that you see, but don't fall for it. You'll be much better served if you pick out a few defining cracks and crevices. Keep your detail in the foreground and allow the detail to fall away as your distance increases. It's the way our eye sees, and it's the way to fool the eye into believing it's seeing depth in a two dimensional surface. If you do these things, your paintings will have the atmospheric perspective that is much more believable. And in the end, you will have a painting, not just a copy of your photograph. Use your photos for the shapes and selective detail, but never be a slave to it. Make compositional changes to make your painting better. Nobody cares if that bush or that tree was painted exactly in the place you put it. What matters is, for you to end up with the best painting you can!

Thanks for looking, Steve

Quickie from Labor Day Camping Trip

2010-09-08T12:55:00.006-05:00

Hi Everybody,

I've been busier than a cricket in a chicken coop these last few weeks, so, taking a long Labor Day weekend camping trip with friends to Lake Powell was a welcome relief. I did manage to take 45 minutes to paint this 6X8 of Castle Rock at sunset. When you do a small study like this with an end of day light effect, you really have concentrate on simple shapes, blocking in the shadows to lock them down. Once the shadow shapes are down, don't touch them. The easiest way to fail on one of these, is to keep adjusting the quick moving shadows, trying to keep up with what you see. Put down the big puzzle piece shapes, working as fast and as accurate as you can be.

Earlier in the day we had gone out kayaking and had strong winds and white caps kick up on our way back.... we weren't sure we were going to make it back to the harbor, being the land lubbers we are. But, since I'm here writing about it, we made it. Of course, when we made it back to the marina, we couldn't help but sing the theme song to Gilligans Island..... "a three hour tour, a three hour tour".

I've been working on some larger paintings which I hope to post for you soon, and haven't been able to post some of the paintings from the recent Grand Canyon paintout, but plan on doing that one of these days. Painting the Canyon was quite the challenge for me, and I found myself failing more than I succeeded, but by the end, I was producing some work I was happy with.

So, here is a quickie to hold you over till the next post....

Castle Rock Sunset_Lake Powell, 6X8

This is a photo of Bill Cramer, one of the painters at the Outdoor Painters Society Grand Canyon paintout. Bill is a wonderful painter, even if he is a little extravagant. Here's a photo of him looking for a place to set up his easel to paint. Come to think of it, I didn't see him after he painted from this spot....hmmmmm.

THREE NEW PLEIN AIR PAINTINGS...

2010-08-19T13:22:00.005-05:00

Hi Everybody,
Here are three on location paintings done last week before I left on my Wyoming trip. All three are Arizona high country scenes.

Tranquility Lake, 9X12 oil/canvas panel

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Seen Better Days, 9X12 oil/canvas panel

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View from Table Mountain, 9X12 oil/canvas panel

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"Tranquility Lake" was done early morning at a small lake on the property of a local cattle ranch. The people running the place have been so very nice and supportive about letting me roam around the place and paint what I want. It's this artist's dream come true.

"Seen Better Days" was done at the same ranch around noon. They have a number of great old buildings in disrepair, but just oozing with personality. This buildings days are numbered, I'm told, so I'll be back soon to do more of this one.

"View from Table Mountain", just behind our home is a plateau known as Table Mountain. The views of the valley and surrounding area seem to go on forever in 360˚. It was an extremely windy day on top of Table Mountain, and even my Soltek held down with boulders was blowing over. So I painted with one hand holding the easel in place. Wind that strong and constant is really disconcerting after a few hours, and I can tell you I was glad when I was finished with this one.

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On a more personal note, I'm pleased to announce that my painting "Hell For Leather" was selected as a Finalist in Raymar's Art Competition for July 2010. The judge for this month was Randall Sexton. My thanks to Randall and Raymar for this honor.

Thanks for looking, Steve

Buffalo Heart Studio

2010-08-06T11:33:00.015-05:00

Native Head Dress, Buffalo Heart Studio

Hi Everybody!

Today's post is going to be different from any I've posted before. As a western painter, I have to keep a good number of articles of western clothing on hand. Chaps, chinks, guns,hats..... anything I might need to use as reference in a painting. The cowboy clothing is easy to obtain. But the period pieces for Native Americans or mountain men are harder to come by. Harder to get still, are pieces that are historically accurate. I do my research and know a little bit about a lot of things (as the song goes), but I don't know enough to be an expert in period clothing. That's when it helps to have a "Guy". Someone who can take your request for a piece and give you exactly what you need. Today's collectors are a savvy bunch. Particularly ones who collect a certain period or genre, like Native American art. Not only do they require the work to be top notch, but they know what they're buying. I want to share with you my best kept secret and secret weapon, Dave and Jan Hagstrom at Buffalo Heart Studio. They've been doing this work for some time, but the website is brand new. This is what they write on their site about what they do,

'Buffalo Heart Studio has been owned and operated by Dave & Jan Hagstrom since 2000 however Dave has been making creations of this type since the mid 1970's. We create historically accurate, museum quality Plains Indian artifact replicas for collectors, western artists, reenactors, interior designers, a few selected stores and galleries, museums and the film industry. Everything is done in-house including our braintanning so we retain complete control of the finished piece. We are proud of our work and we take it very seriously. This is what we do...this is how we make our living'.

that's quite a claim, but they back it up! Their creations are nothing short of spectacular. I know of several world class artists who use Their services and trust in their expertise to deliver museum quality show pieces which they use in their art and display in their home. Recently they delivered to me a stunningly beautiful head dress. I will be using it for future paintings, but I also display it in a place of honor in our home. And no, I didn't receive or ask for a discount, to put up this post. I just believe in what he does. And I want the rest of you artist's out there, who are in need of a good affordable source for accurate Native American or mountain man costumes, to have one.

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'Dave Hagstrom was born in 1947 in northwestern Wyoming not far from where he now lives which is 60 miles from the east entrance of Yellowstone Park and 15 miles from Montana. He was a taxidermist and tanner for many of his teen and adult years and has worked as a hunting guide in Wyoming and Tanzania. While Dave makes a living at creating these historically accurate artifact replicas, he is also a painter in acrylics and sculptor in bronze plus a Northern Traditional powwow dancer. They spend a good deal of time with friends and extended family on the Crow rez in Montana dancing, hunting and attending sweats.

Jan Hagstrom was born in New Mexico but has lived in Wyoming since the mid 1970's. She is an accomplished beadworker, seamstress and works on many of the pieces created by Buffalo Heart Studio. Jan is also an herbal healer and a multi award winning baker. Her talents and abilities are a large part of what makes up the business and she is the glue that keeps it all together.'

••••••

Here are a few examples of Buffalo Heart Studio's work, starting with the head dress they created for me.

Feather Headdress

Approximately 32 hand painted golden eagle feathers tipped with natural or dyed horsehair and ermine spots. Cap can be old felt hat (historically accurate from 1860) or buckskin. Back of cap has hand painted eagle body feathers and fluffs and Sun Dance plume. Lazy stitch beaded brow band with hawk bells. Split and tubed ermine drops and ribbons at the temples. Split and decorated buffalo horns available.

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Now some pieces are very labor intensive and don't come cheap. Native American shirts are one of those. The amount of work that goes into one of these shirts in ridiculous! They can make you any tribal shirt you need. Dave will research it to make sure it's accurate.

Crow Hair Shirt

Approximate replica of a Crow hair shirt. (Please note that this shirt has been sold and we are now in the process of making a new one which will have some differences. Description is of the new one) Braintan deer. Fringed with about 100 real human hair locks wrapped with colored thread. Many ermine drops split and sewn into tubes. Shirt is painted with earth and mineral paints. Crow style beaded arm and shoulder strips. Beaded tradecloth and buckskin neck flaps front and back. Back of shirt is very close in appearance to the front. Only a very important man in the Crow Nation would wear a shirt such as this.

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Northern Plains Bowcase & Quiver

This one is a Northern Cheyenne style replica bowcase/quiver made with braintanned deer. Lazy stitch beaded panels at both ends of quiver and bowcase. Please note that beaded panels and the fringe on both the bowcase and quiver are on one side only which was not uncommon in the old days however some were on both sides and we can do that as well. Both seams wrapped with tradecloth and laced with braintan deer. Tradecloth backed carrying strap has two beaded panels. Three historically accurate, sinew wrapped, iron trade pointed arrows and non-shooter bow. Altered commercial buckskin model is also available. Other tribal style and designs are available.

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Painted Buffalo Robes

This one is painted with acrylics however we can and have painted them with natural pigments. Good soft robes. As you can see this one is of a buffalo hunt but we can also paint horse raids or battle scenes or anything else you might want. Subject matter is historically accurate. A design like this can be done on deer as well. We also offer painted elk robes. If you prefer braintanned robes let us know and we'll check on current prices and availability at that time. Stake holes can be added for slight additional charge.

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Split-Horn Ermine Headdress (Blackfoot style replica)

Several tribes used the split-horn ermine headdress but the Blackfoot headdresses were different in some ways. For example, most used split buffalo horns and other horns were made of wood and wrapped with wool tradecloth. Two other identifying qualities are that all ermine pieces are split and sewn into tubes including those on the cap and side drops which is very time consuming. The other is that very rarely did they use a beaded brow band. Trailers were usually full length but some were shorter like this one and others had no trailer but used extra long ermine skins instead. Please note, this one pictured here was a custom order created for a well known western artist and we agreed not to make another exactly like it for other artists. Pronghorn antelope horns are available instead of split buffalo horn. Full trailer instead of half length with approx. 50 hand painted in-line golden eagle tail feathers available for an additional charge.

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Gros Ventre Style Shield

Approximate replica of a shield that belonged to Bull Lodge. This is the only shield we've done that is a very close reproduction of an original. Most shield designs came to men through dreams and visions so we don't like to copy them closely. There are some changes on this shield that are not like the original for that reason. Buffalo rawhide wrapped with red tradecloth on a willow hoop. Twenty-one hand painted golden eagle feathers, two beaded medicine bags, hawk bells and two horsehair locks. Hand and arm carrying straps. Paints are ground up earth and charred wood pigments applied with willow and porous bone brushes in the old way. Deer rawhide over willow hoop version also available.

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Well, there you have it. I hope you've enjoyed this posting and will visit Dave and Jan at the Buffalo Heart Studio website, not only to buy, but just to browse. Please pass this info along..... I believe it's important that we support those people who make it possible for us to create accurate works of art.

Thanks, Steve

The Rancher

2010-08-01T13:49:00.005-05:00

The Rancher, 14X11 oil on linen panel

Hi Everybody,
I decided to take an afternoon and do a quick portrait study. Something that wouldn't take a week or two to finish and throw caution to the wind. In my latest painting, The Rancher, I worked quickly and with more paint than I'm used to putting down. But in the end, I think I got the look I was going after. There is nothing more exciting for me to look at than a painting in which it's pretty obvious that the painter enjoyed him or herself while doing it...

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I have to thank my sister-in-law for being responsible for this painting happening at all. Ann's brother's family came up for the Prescott Rodeo on the 4th of July and we were all having lunch at a local BBQ joint, when I spotted this gentleman having lunch with his family too. I leaned over and quietly told them that he had the look I was looking for and that I would love to paint him. But I was too shy to go up and ask a perfect stranger if I could paint a picture of him, so we left without saying a word. We spotted him again when going into the rodeo, and again a few rows away from us in their seats. On the way out, I had stopped to get a refreshment, but my sister in law spotted him again, and taking it as a sign from the Gods, went up to his wife and introduced herself and asked if Jim ( I later learned was his name) would be open to meeting me, an artist who would like to paint him. She came up to me and asked if I would like to meet my model. Jim was as nice as could be and we talked for a while. He is a rancher and roper and was very gracious in granting my request for some photos. It was too crowded there, but we met up at the local courthouse square, where we got to know each other a bit and he posed for me. Thanks Jim for being so willing to help out an artist... your print is on it's way. And thanks to Danyelle too for being my nerve on this one. I now have a specialty business card that I give away to prospective models so that they know I'm on the level and ain't some kind of crackpot. The front of the card has a portrait I've done so they can see my work, and the back not only has my info, but also a short model release that they can sign and date for my records.

original photo

I kept the background more abstract but also retained the greens of the pine tree in the background. It's a nice neutral color which compliments skin tones. The colors are broken and unmixed in the thicker passages. Also I worked in some of the reds/pinks from his shirt into the background. I did that same mixing into the figure, adding some of the background colors.

Detail 1

Detail 2

Detail 3

Detail 4

Detail 5

Thanks for looking and let me know what your thoughts are. Happy painting, Steve

"Paint the Parks" Show Awards Announced

2010-07-20T22:57:00.003-05:00

Hi Everyone,
Today the awards were announced for Paint America's 2010 "Paint the Parks" Competition and Show. My entry, "Dawn Over Tsegi Overlook" was given the Western Regional Award. This national competition is open to paintings of our National Parks. For the competition, the country is broken down into three regions. The region I competed in was region 2 which includes Texas, Oklahoma, New Mexico, Arizona, Nevada, Utah and California, as well as Hawaii. I'm truly honored to receive this award, since the skill level of the artists participating is so very high. Honestly, I would have been thrilled to just have been included in the show. This is a touring show and will be traveling to many cities throughout the United States in the next year. You can go to their website at www.paintamerica.org to view the show.

PORTRAIT OF A MOUNTAIN MAN

2010-07-13T13:02:00.017-05:00

Free Trapper, 30X30 oil/stretched linen

Hi Everybody,
I've been wanting to do this painting for some time now. This is a simple portrait of a free trapper. During the fur trade era, the western mountains were over run with a rare breed of men who were looking to make their fortunes by trapping animals which were in great demand back east. By far, the fur that was most in demand was beaver. Most of these men were content to leave their civilized world behind to live by their wits in a decidedly hostile environment. Many started their training by working for the fur companies like the Rocky Mountain Fur Company, but a few moved on to be their own boss and master.

Keith Walters in his wonderful, information filled book, The Book of the Free Trapper, wrote this in his introduction:

'When John Colter left the enlistment of Lewis and Clark and began an amazing wilderness odyssey, a breed of men unsurpassed in bravery and skill was born. It was the breed of man who would roam the Rocky Mountains in search of beaver for the next 40 years. It was the breed of men known as the Free Trappers; the Mountain Men.
While the land was still virgin and unpeopled, the free trapper, bound by none, lived, loved, and ended a very misunderstood life. Labeled as crazy, outlaw, and forsaken for their wayward lives, the mountain men were the freest men ever t0 walk this land.
An attempt to explain the reasoning for any man exchanging a secure life for a life filled with constant danger, extreme loneliness, and no financial gain is an exercise in futility. Perhaps this was the reason for the misunderstanding of the mountain men. The reason a man would choose a life that would probably be his death can only be understood as a feeling, a sort of enchantment cast by the Rocky Mountains upon a handful of men predestined to roam as mountain men.'

Now, why Mr Walters chose to completely ignore the fact that the Native American roamed these mountains, and described the mountains as "unpeopled" is beyond me. But moving beyond that, he was right that these men lived by their wits and usually in a solitary existence. Once a year they would gather together to restock their supplies and make trades for their plews. These rendezvous, as they were known, were often the only time they would be with other human beings. It was a time for playing hard, as well as drinking hard.

I like to paint people who live by their wits and grit. The attitude is all important. His glance is wise and slightly defiant. With one hand on his rifle, and the other holding a willow hoop upon which is stretched a beaver pelt. He wears a capote (french for cape), a coat which is made from the wool trade blankets which were so prevalently available to the trappers. You can tell the quality and the cost of a trade blanket by looking at the number of stripes it has on it. Each stripe represents one beaver pelt required for the trade. The more stripes it has, the thicker and warmer it is. If you look at this trappers capote, you'll see three stripes, so this blanket cost him three beaver pelts.

I first became interested in mountain men after watching the great Sidney Pollack movie, Jeremiah Johnson, starring Robert Redford and Will Geer. Since then I've read just about every book on the history of the mountain man, and attended yearly rendezvous, which are gatherings of reenactors who try to reproduce, as accurately as possible, the ways, clothing and accoutrement of these hardy souls (although, I'm not one of the reenactors, and never dress up). It's where I met the model for this painting, a gregarious man known to everyone as Grampa Jim. Jim not only posed for me, but took a ridiculous amount of time answering my questions and tutoring me to correct my misconceptions. I am always grateful to anyone who is willing to share their hard earned knowledge.

Detail 1

Detail 2

On the technical side of this painting, these two close ups are just for the purpose of showing the broken colors and technique. Notice the reflected light in the close up of the shaded parts of his face. There are reds and greens and blues there. They are subtle and placed in the proper place and are not random. The greens reflect the pine tree, the reds reflect the light bouncing up from his coat and the blues are reflected from the sky. I've found that reflected light of those colors that surround an item is the single best way to paint believable light and turn a form to make it read as three dimensional. Reflected light is present almost everywhere. It bounces colors and influences all things around it. Be careful to not over do it, reflected light must never be as bright as the lit side of an object.

Detail 3

In this detail photo of the hand, if you look at the dark head wrap in the upper right corner, you'll see that the bright red of his coat is reflected up onto it. The red of his coat is also glowing a bit into the dark area of the head wrap. Do this strategically to reinforce the idea of strong sunlight.

If you take a little time to look at how light works, and consistently add it to your paintings, you will go a long way to improving your paintings.

Thanks for visiting! Steve

Racing the Wind

2010-07-02T15:57:00.005-05:00

Hi Everybody,
this scene has so many of the elements of western art that I love. First are the riders , which are coming directly at the viewers. Second is the dusty atmosphere. The riders are trying their best to stay ahead of the dust devil, which seems to be chasing them. The dust keeps the edges of everything soft. The third thing I like to challenge myself to paint, is the backlit subject. The way it keeps the shadow element values very close, while it lights up the edges of these things leaves no room for error.

Detail

One more thing about this painting that I enjoyed, is that its set in one of my favorite places in the world, Canyon de Chelly.

View of Yellowstone Falls

2010-07-01T10:37:00.003-05:00

View of Yellowstone Falls, 12X9 oil/canvas panel

Hi Everybody,

I've been finishing up some larger pieces for Trailside's Western Classics show in Jackson, Wy later in the Summer, which I'll be posting here in the next couple of days. But I needed a break from staring at the same couple of feet of canvas, so I did this quick painting. Painting loose was just the thing I needed to recharge my batteries. Start to finish it was about two hours. Just as if I had painted it on site and not cooped up in the studio.

Dawn at Tsegi Overlook

2010-05-28T23:59:00.005-05:00

Dawn at Tsegi Overlook

Canyon de Chelly
16X40, oil/stretched linen
©2010

Hi Everybody,

This is my latest painting, still wet even. You don't need to go down into Canyon de Chelly to get some truly incredible views. Tsegi Overlook is an incredible vista any time of day, but it's in the early morning that it truly sings. This is the perfect spot to see atmospheric perspective at work.

First String, finished version

2010-05-26T11:21:00.003-05:00

Hi Everybody,

I finally got to finish "First String", and wanted to make sure I posted it. I've been working on several other larger paintings in the mean time, but needed to have a little time and distance before I came back to this one. It always helps me to take a break from a painting, turn it to the wall, and come back to it with a fresh eye (that is, if you have the time, and deadlines don't require you to get it to the gallery). Problems that plagued me originally, or things that were wrong that I hadn't even noticed before, jump out at me and are much easier to address now.

First String, 24X30 oil/linen

First String will be included in Trailside Galleries' "Salute to Summer" show in June, 2010 in Jackson, Wyoming.

Thanks for looking, Steve

DUST AND THUNDER

2010-04-30T10:51:00.003-05:00

Dust and Thunder, 30X40 oil on stretched linen

Greetings!
My latest painting is called "Dust and Thunder". I find that I don't paint many still life's, just because I don't find that the traditional subject matter of flowers or fruit interesting. But I could look at a scenes like this forever. A painting with history or a deeper meaning, and yet is simple at it's very heart. In this scene, just a Navajo blanket, a lariat and a buffalo skull. It's the whole history of the west in one scene.

sketch for Dust and Thunder

This painting will be included in Trailside's upcoming "Salute to Summer" show at their Jackson, Wyoming location. I'm planning on having 4 new paintings to be included in the show that kicks off the season in the Jackson Hole area in Wyoming. The tourist season starts the Memorial Day weekend. It's almost like someone fires a starting gun in the air, and the people and buses start streaming in. If you've not been to Wyoming in general or Jackson specifically, try to get there. It's one of the most beautiful places in the West.

MARIAH

2010-04-28T14:16:00.010-05:00

Greetings!
I will be posting a 30X40 painting in the next day or so, but in the mean time, I did a small landscape painting for the "Salute to Summer" show opening in June at the Jackson Wyoming Trailside Gallery. I love how cloud cover can quickly come in and cover the peaks of mountains. It's what happened the last time I visited the Tetons in Wyoming. In the distance you could see that it was clearing and wouldn't be long till the sun was back. It was a very windy day, so I named it the name of the wind, the same as the old song of the same name. Total painting time, 3 1/2 hours.

When I first started painting landscapes, it would take me days to produce one of these. As usual, I was getting lost in the details, instead of concentrating on the light effect, which is the essence of so many successful landscapes. I would get lost in painting the pine trees, being a slave to my reference, instead of using my photos as a jumping off point. Now I paint my areas in as general shapes, puzzle pieces which fit into each other, leaving the details until the effect was there already. Decide wher your focal point is and let the other areas in your painting play seconds to it. I wanted the focal point of this piece to be the area highlighted in detail #3 below. It has the areas of biggest contrast, and most detail. Everything else should support it, not compete with it. Don't kill a painting with extraneous details!

I get a lot of positive feedback on the close up details I post. So, here are some close ups of some of the more interesting passages.....

Detail 1

Detail 2

Detail 3

Hope you find this post helpful and interesting. Thanks for checking in!! --Steve

First String Daily Demo, Day 5

2010-04-18T12:58:00.007-05:00

Hi Everybody,
Today is "Paint a Cowboy" day. Time to get the rest of the canvas covered. That means painting in the shirt, jeans, boot and hands.

The shirt is in as well as the hands and part of the jeans. Like in the rest of the photo, I've simplified the folds in the shirt. The things I'm concentrating on for the shirt is getting the proper values in the right places. And getting in the light effect. This means adding colors that the photos don't usually contain. As you probably know, photos are great for giving us details that (my mind at least) we have a hard time retaining, or an even harder time making up. And though, the computer monitor is better at getting the colors as close to the original as we can, it still is only as good as you can tweak it. And you can only tweak it as good as you understand what happens with light. It's why I paint on location whenever I can. Nothing is better at teaching you the laws of light. I've never really mentioned another reason to paint outside. Willingness to publicly fail. I find that it's a very humbling experience to paint on location. Nothing, and I mean Nothing, draws people to you like setting up a tripod and paint box. People who would normally never dream of talking to perfect strangers, feel completely comfortable walking up to an artist and starting up a conversation. I've found that the law of crappy attraction applies, at least for me, while I'm painting out. This means that people will be attracted to your easel only when you are struggling with a painting, and come up at the worst time. People never seem to even see me when I'm working on a painting that's going well. That will keep anyone's ego waaaay down. So, back to the painting at hand.... now I'm working on painting in the light effect.

Here's a detailed view of the shirt which has a good representation of the warms and cools in both the light and shadow areas. Since the light areas have a warm light source, most of the lights are warm.... yellows, oranges and such. But it's important to put in some grays and blues here and there to make the effect more believable. I keep the warms an cools close in value and the human eye accepts the temp changes. Lots of reflected light in the shadow areas, especially where the reflected light is bouncing off the shirt itself.

The jeans go in next. The thing I spent the most time doing here is painting the top of the jeans more blue, and transitioning the pant leg to have more dust down at the bottom. So it ends up being warmer down at the boot. Two reasons I'm doing this, even though the reference doesn't have this. It makes the scene more believable, since the cowboy should have more dust on his pants down by his boots, since there is so much blowing dust. And it keeps him from looking like he's been pasted into the scene. Also is doesn't draw your eye down to the foot, and keeps it at the focal point, where it belongs.

The shadow areas have a nice warm reflected light bouncing onto the leg and really helps to turn the edge. I'm also keeping the edges softer in these areas. This also turns the edge and keeps your eye moving.

Here's the complete figure painted in. The canvas now is completely covered.

The painting at the end of day 5. I forgot to mention that I also went back into the foreground dirt and added a nice thick area of paint to bring more excitement to the painting. The thicker areas of paint are usually the first things people see when they look at a painting. But that's usually one of the last things I paint.

Only now that the entire canvas has paint covering it, can I begin the process of refinement. Now I can begin to adjust and balance the values which are too weak or strong, warm or cool, hard or soft edges. This is always my favorite part of a painting. This will make or break it's success.

I darken the shadow area of the horse's breast and bring it's value up to where it belongs. I also start to work on the lead ropes, softening edges and refining lights and darks. In the next couple of days I will be concentrating on adjusting any of these trouble areas. Also it's time to start perfecting the anatomy of the musculature of the horses legs and hooves. Finding the balance between detail and simplification. I will also be concentrating on getting the fence and gate finished, as well as adding the background details. Lots to do, but it really is the fun part.

Now I wait for a couple of days till the surface of the thicker paint dries. Right now it's in that weird tacky stage and can't be worked on till the entire surface dries. Then I'll bring the paint back to it's true colors by coating the surface, but more on that in the next installment. Needing to let the painting dry is why I work on several paintings at once. See you in a few days...

First String Daily Demo, Day 4

2010-04-14T11:35:00.006-05:00

Hi Everybody,
Time to move onto the dogs and main figure. I don't always wait till the end to do the main figure, but it just naturally flowed that way on this painting. The rest of the figures will have everything to do with how I paint the cowboy. Painting the others first will keep me from painting him too tightly. Yep, you can probably see a theme developing here, with me always talking about keeping it loose. That's because my tendency is to go directly into painting the details and getting lost in the weeds. By keeping it loose and waiting till the end to selectively add the details, I'm able to make adjustments and paint a more artistic picture. One that focuses your eye to the exact spot on which I wish it to land.

First Dog laid in. Not the perfect face or head, but close enough for now. I will come back and tweak it later, but all the info is there and I can move on to the next dog.

Second border collie laid in. It was very important to me that the back of it's body was obscured by a veil if drifting dust. Right now it's purely about getting to dog to sit back and be one of the last figures you see.

I'm happier with this guy's face and I won't have to do much fiddling with it. Once you get it right leave it alone. Remember, there ain't no undo button like there is on the computer. I've lost more good painting by messing with a passage than anything else. If it's right, leave it alone!

Here it is with the dogs in place. I still have a couple of hours, so I go ahead and start on the head of the cowboy.

Keep your shadow areas separate from your light areas. Remember to add your reflected light, but don't let it compete with the light side. You'll notice that I began to put in the shirt, but I keep the lay in in the shadows, always comparing this shadow value to the surrounding areas, like the face and the horse which borders his sleeve.

Here's a close up detail of the face. Nothing is labored over. Be clean in your value changes and remember that the reflected light which is bouncing off the underside of his chin is a version of what is causing it, in this case, his light purple/ blue shirt. It might look a bit funny now, but will be right when I paint in the light side of his shirt.

See you tomorrow!

First String Daily Painting Demo, Day 2+3

2010-04-11T13:50:00.005-05:00

Hi Everybody, day 2 begins and I'm ready to start in on the horses. The first horse I will do is the white one on the far right side. For some reason, I had a senior moment and did not photograph the end of the first day with the two horses in on the right side, so just know that at the end of the second day, I had worked in the red metal swinging gate on the right side and two horses on the right side.

Here's what the first horse looked like when it was laid in. At this point, all the values were pretty close to what I wanted them to be. It's really important to me to get the reflected light bouncing from the ground onto it's undercarriage. Almost everything you paint will have reflected light. The stronger the light source, the stronger the reflected light. Remember your secondary light is light that's just what its sounds like, light that's being reflected from another object onto your subject's shadowed area. It's never as light as the directly lit area. It needs to read like it's still in the shadows, so be careful with your values here.

Closeup view of the first horse. Keep it simple. Don't put in every detail there is. Be selective, strive for accuracy of shapes, value, and color temp. You can always make adjustments later, but be as accurate as you can without putting in too much detail. Details don't make a successful painting! Mood, story, values, composition and edges do! For me, the painters who are most successful are the ones able to paint accurately, yet with a looseness. I love paintings where it looked like the painter had a good time painting it.

Another thing about this stage is: I know I'm going to be obscuring the hooves and lower legs of the horses with dust, so I don't waste a lot of time putting in details which will just be obscured later. I know I will be dry brushing the dust over the hoofs, coronets and pasterns because it has a very believable look to it when it's done this way.

The head and neck of the second horse after the lay in. Again, accuracy of shape, value and temps. One of the things that helps make the horse more believable (or any object, really), is making sure to put in warms and cools. You can see on the forehead and nose that I put in purple grays along with the yellows and oranges.

Here's a more detailed view of what I'm talking about. You can see how the warms and cools work together here to make a believable painting. It also shows how very little detail was painted in. No individual hairs were needed to convey the idea that he has a mane.

Here's where I left it at at the end of day three. All three of the horses are laid in. The faces, heads and necks have the most detail. Saddles and tack have less and the legs/hooves have the least, but more than they will have when the painting will be finished.

Thanks for looking! Steve

'FIRST STRING" DAILY PAINTING DEMO

2010-04-08T22:19:00.013-05:00

Hi Everybody,
I'm now settled into my new studio and have begun painting again. For this entry, I thought I would post another painting demo. It's been quite a while since I did a demo, and I feel like it's time. This time around the painting is called "First String" I'll take you from the initial concept pencil and include as much of my thought process as I can include without putting you to sleep.

Here is the pencil I did to work out any kinks, and save me time on the easel. If I don't work out all the holes I have in my reference, I can spend a lot of time repainting areas, so, for me, it's time well spent up front. The main image of the horses and cowboy is from some reference I took at the Tucson Rodeo in February. The lighting was less than I deal and I had an idea to add some backlit dust to knock back the background and help with the focal point. The dogs were added to help with the concept and to highlight the partnership between cowboys, horses, and dogs. Besides, I like painting dogs. Hey, it's a weakness. The middle ground with the gate, fence and treelined background were invented using separate reference photos. Just enough of a background to give it a general place. It's not that important to the painting, so I don't overdo it with detail. When I put them all together, I find out if the drawing has enough merit to carry it into a painting. I originally was going to do this painting 18X24", but I decided that it would look better and have more impact at a larger size. So, the finished painting will be done at 24X30".

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Once I'm happy with the pencil, I transfer the image to the toned canvas. I tone all my canvases using a color I think will work if I let little areas unpainted and poking through. For this painting, since it will be infused with dust, I used a thin wash of yellow ochre. When I do plein air work I usually use a thin wash of Cadmium Orange. It just depends on the painting.

This is a close-up of the very beginning of the painting process. I included this photo to show you how thin the paint is at this point. If you look at the paint that's being loosely applied, you can still faintly see the drawing through the wash. The paint isn't like watercolor wash, it's thicker than that, but still thin enough to work over. This is important to me since I will be working over it while it's still wet.

My painting set up is pretty simple. The painting is on my easel. I've mounted my 30" display monitor on a wall swing arm mount. This allows me to work horizontally, or rotate my monitor 90º and view it vertically, which makes for a much larger viewing area if the piece I'm working on is in portrait mode. On my monitor you can see my original photo, to which I've added the dogs in Photoshop. Also, I've got a photo of western fencing I'm using as generic reference. The lighting isn't right, but it lets me see the details of how it's constructed. And, I keep my sketch taped to the wall, to refer to when I need to see how I worked things out, just in case.

I'm only at the start of the lay in, but I wanted to show how simply it begins. Right now all I'm concerned with is getting the value relationships close. This block in goes pretty quickly, since I am not putting in any detail. In fact, I don't always put in the lightest lights or darkest darks. I don't know what needs to be detailed now, and if I put them in, I run the risk of making it too busy. The simpler the start the better. I can always add more later, but it's harder to take it out.

Here is where I ended up at the end of the first day. Simple shapes, simple values and most of my time was spent thinking about supporting the figures once they started to go in. The dust cloud behind my figures is going in well and I think will highlight the focal point and add the dramatic lighting I want. I'm not just painting the reference photo exactly like it is, I'm adding a light effect to make it a painting and have it create a mood. This painting will be all about attitude and confidence. Almost like gladiators walking into the coliseum, ready to do battle.

Round 2 will come tomorrow....

Blogger confessional...

2010-02-06T18:53:00.005-06:00

Forgive me painters, for I have sinned, it's been one month since my last post.

OK OK, I've never been accused of great time management, and I don't think anyone ever will. I'm closing on the sale of our Minnesota house next week (yay, it sold), and the movers come at the end of the week to load everything into a big truck to take it to Arizona. So, needless to say, I've been busy packing and showing the house and selling our extra "stuff". But I did want to do a quick post of a painting I just finished for the Catholic Charities fundraiser "Men Who Cook" coming up in April. I did this painting as a donation for them to auction off. Since the fundraiser has a food theme, I thought it would be fun to do a big stack of steaming blueberry pancakes being doused with maple syrup. A little looser in style than I usually work, I like it that way. Since I was an illustrator for a package design firm, I've illustrated lots of food over the years (raspberries are my least favorite food to do), and I'm comfortable doing it. So this was a natural fit for me and I had a blast doing something different from what I have been doing lately.

Thanks for looking, Steve

New direction for a study

2010-01-11T09:45:00.005-06:00

Autumn's First Kiss, 9X12 oil on linen panel

Now that the blanket has covered us here in Minnesota with all the subtlety of a freight train slamming into the side of a mountain, I am here painting in the studio much more. It's a good time to review the plein air studies I did last year, and see if there are any of them from which I might like to work.

Here is a painting that I did by taking one of my plein air studies and painting over it. The original study, titled "Wildflower Hill", had many things about it that I liked. It was a success in my mind, as far as it went, which wasn't far enough. It was a painting which needed more. Here it is as I posted it last summer.

Wildflower Hill, 9X12 oil on painting panel

And though I liked it, I felt that it could be a much better painting with a few simple changes. As I saw it, there were two things to be addressed. The first was the depth of the composition. As I stood on site and did this painting, this is the way the actual landscape was. But when I took a more critical look at it, I wasn't comfortable with the fact that the foreground, middleground and background were so layered and separate. There was nothing leading your eye around the painting. One of the challenges we face as plein air painters is to take what nature gives us and translate it into a two dimensional work of art. One which leads us around the composition in a logical and pleasing manner. Most of the time, things need to be deconstructed and rearranged to get a successful painting. In the original, I really was trying to translate into paint, something as challenging (at least it's challenging to me) as a field of wildflowers, without getting drawn into the trap of painting individual flowers, instead of general shapes and correct values and edges. But what was missing were the elements which broke up the strong line of the hillside and lead you back into the trees. It was missing the depth. So, while repainting, I paid attention to breaking the line of the hillside by adding bushes which lead your eyes from foreground to background and back again. I also added a small post fence to the hilltop to help lead you around the painting. The smaller tree on the right side of the painting was pulled forward and does a nice job of breaking up the diagonal of the hill, and keeps your eye from sliding off the edge. It's job is also to add to the three dimensionality of the landscape. It's your invitation to step into the next layer. It keeps things from being flat.

I also reworked the patches of wild flowers into shapes which were of unequal size and shape, and into a more pleasing pattern. And was careful to paint the patch just under the large tree brighter than the rest. In this way, I help to establish my focal point of the large tree.

The second thing I wanted to do differently, was to paint it with more style. I want the person looking at the painting to know I had fun painting it. So I painted this one with a looser hand and more style. So here are a few detail photos to show some of the brushwork.

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Thanks for looking, Steve

There's One in Every Bunch

2010-01-03T15:18:00.007-06:00

Hi All,
I've been busy in the studio working on some new medium sized paintings for the show deadlines coming up, as well as the spring gallery season. The Oil Painters of America National Show deadline is fast approaching. This painting was to be my entry, but paintings need to be available for sale in that show. I am blessed to have some wonderful collectors, and when I was approached by one who wanted to add it to their collection, I wasn't about the say no. So, I'm working on another piece for that show. However, I wanted to post this painting and share some of my thoughts and processes on how I painted it.

There's One In Every Bunch, 24X30, oil on linen

Firstly, let's talk about paintings and photo reference. I have lots and lots if ideas rolling around in my head for paintings I would like to do. Sometimes the ideas for the painting comes first and I take my reference to fit the idea I have. Sometimes I get an idea for a painting from the reference I've taken and fit the painting together from that. Sometimes I even get a name for a painting and develop the painting to fit the name. For this painting I had the idea and name first. I had the reference I needed for the bolting steer and chasing cowboy, though they came from different photos. The thing I needed was the setting for the painting. I wasn't happy with anything I had for this piece and waited till I found the perfect scene. That happened when I went to Canyon de Chelly and along with Rusty Jones, stumbled into this wash. The layout and lighting was perfect. It didn't take long to put the scene together. I love the S curve of the composition, with the dust of trail taking you back into the gully to where it opens up to the basin in the background.

I always try to do some drawings for any areas in a painting that have changes that need to be worked out ahead of time. Honestly, taking a little time now can save you a whole lot of painting time later on. In this case, I had to add sleeves onto the shirt of the cowboy. I took the additional photos for the sleeves I needed and worked out any problems in this charcoal sketch. In this sketch I was considering adding a vest to the rider. In the end, I decided against it.

Horse and rider study

These pencils are done quickly and I don't labor over them. That way I don't spend a lot of time adding information I don't need to work out. It doesn't need to be photographic for me to use it, it's just a tool for gathering information. Drawing is fun, but in the end, it's about doing a painting, not drawing.

Once the painting information is gathered, I draw the image onto the canvas and paint. I start with large shapes and cover the canvas as quickly as I can while still being accurate with the values. I can't stress this enough. Color temps can be tweaked later and the details added last, but I try not to add these details until I'm happy with the values, composition and color temps. It's the things you notice first in a painting that you paint in last.

Cowboy detail

Detail

Dust detail #1

Dust detail #2

One additional note.... if you are painting from photos, do not be a slave to the colors or values which you see. You need to adjust these things to work together into a cohesive scene. Photography is a wonderful tool, but it's just a tool. Your photos will always disappoint you when you get back to the studio. Your darks will become black holes, and your highlights will almost always be too light. But if you do your homework and spend some of your time painting in the field, you will be able to trust yourself to make corrections and adjustments when you need to. I know for me, that the trip I took last year to paint in the Canyon, helped me to be able to paint the colors I knew to be there, not the colors my camera recorded. I can't stress this enough. Thanks for taking the time to look at my latest work. My next post will follow me as I work a painting from start to finish.

taker easy, Steve

Hell for Leather

2009-11-07T17:06:00.005-06:00

Hell for Leather, 40X30, oil/linen

Hey there everybody,
since I've been unable to stand in front of my easel as of late, I decided to post a painting I did earlier this year, but never posted. I know there are lots of you who visit my blogspot, but have not made the jump over to visit my website. What??? Why the heck not? I don't post everything I do on my blog. Hey, I have to give you some reason to visit my website.

So, here's a larger studio painting I did of a wrangler I met in Colorado. We had come back from a trail ride and I asked if he would mind me taking some reference photos for a painting I had an idea for. Most of the paintings I had been doing were pretty static and I wanted to do something that showed a lot of action. So I had him make several passes at me with me shooting pictures just as fast as my camera would go This is where investing in a good digital camera really pays off. It only takes one rider photo, but it has to be the right photo for it to work. I did get a photo that worked for the horse and most of the rider. But there were some things that I had to change. First, he was wearing a short sleeve shirt ( and it was a washed out flesh type color). OK, yeah, technically I guess they do wear short sleeves.... but as a friend of mine says, 'no one wants to buy a painting of swayback horses or bow legged women. You can paint it that way, but that don't make it right'. So I took some extra photos of myself with my arms and hands in the position that looked best. When you do this, you've got to replicate the position of the sun. I'm gonna repeat that cause it's soooo important. Look at the location of the sun in the original photo you're looking to modify. Orient the sun to the same position as in the photo. You can take the best reference in the world to change something in an original photo, but if you don't make the lighting the same, it won't look right. And it doesn't matter how well you paint it. The eye knows. Damn the evil eye....

The second thing I didn't like about the original photo was the face of the wrangler. Oh, he was a good looking fella, but he had a habit of scrunching up his mouth, you know, curling it in. It just looked funny and I knew it would be a problem. So I went outside and set up my remote wireless shutter button and snapped pics of myself till I got the one that I felt would work (yes, that ugly mug is mine). Then I just put them all together. Simple, see?

I guess my whole point is that no matter how good your reference is, it can almost always be improved upon. I never paint something the way it is just because it's that way in my reference photos. If you do, you might as well just sign the photo. I'm always asking myself if I can improve on the scene. Is there something that's not right, how do I fix it. I take things an move them around. Edit. Add. Whatever I can do to tell the story I want to tell. If you care enough to do these things, it shows in your final work.

The whole point of this painting, beyond the action part of it, was to make him as large and in your face as I could. I played with the idea of actually cropping off part of his head, just to push the idea of meyhem and speed. But luckily, cooler heads prevailed. But I did exaggerate the tilt a bit. Not enough to look like he was going to fall off, but enough to help the composition. For the setting, I kept it pretty simple with minimal distractions. I put the rider on a dirt path going away from a small bunk house in the distance. I added the branches to help push him of the painting and give the impression of motion. You can see I also blurred the edges of the sunlit areas to really light him up as well as the horses legs and hooves. The flying dust was the finishing touch to make this rider go, "Hell for Leather".

Thanks for looking, Steve

Mexican Silver

2009-10-29T15:49:00.004-05:00

Mexican Silver, 12X16, oil on linen panel

Hi Everyone,

Well, Ann and I spent the last three days traveling cross country in a car that was stuffed to the gills (including two cats!... who were great, btw). We arrived safe and sound in Arizona and have started the moving process. I'll be back in Minnesota next week to finish getting the house ready to put on the market. Then I'll be in Arizona permanently. The amount of time I can spend in front of the easel lately has been almost none, but I did manage to paint this still life. I almost never paint still lifes because I can't get into the traditional subject matter. Flowers, fruit and vases ain't something I can get into. It's just how I'm wired. But a pair of spurs with mexican silver, well, now your talkin'. I originally set these up to do a quick painting of them, you know, the "painting a day" kind that are so very popular now. But what I discovered was that, even though I could lay it all in quickly enough, I wasn't going to be happy with the spur rowels (the pointy wheels that are used to get the attention of the horse) when I painted them fast. They just looked sloppy. So I slowed down and took my time with them. I put a single light source on the scene and added some silver coins and wooden beads. The edges are loose in the areas where I want the eye to pass over. Since I wanted the spur wheel on the right to be the focal point, I made it the area of greatest contrast, as well as the hardest edges.

Thanks for looking, Steve

Canyon de Chelly paintout post #2

2009-10-16T09:34:00.012-05:00

Sunset at Spider Rock, 9X12, oil/panel

Hi Everybody,
I'm in the middle of moving a house packed full of stuff from the basement to the top floor, from Minnesota to Arizona. Now I remember why I never wanted to have to move again....Hmmmm. But, it's all worth it to be moving toward something as great as living in the West. I won't have to jump on an airplane in order to paint the mountains anymore. Now I can slip out my back door and I'm there. Within a couple of hours to Sedona, the Grand Canyon, Phoenix and Flagstaff. Within driving distance to....Canyon de Chelly! Not to mention my Gallery. Several lifetimes worth of painting material right in my back yard. I'm feeling so blessed right now....I just have to get through the MOVE!!

But I have a spare moment, so I wanted to post the rest of my Canyon de Chelly paintings. The painting above is of Spider Rock or Tsi na ash jeii, probably the most well known and easily recognizable of the rock formations at the Canyon. This rock spire is 800 feet tall, so you can see that the vantage point is above the spire and is probably over 1000 feet. According to Navajo legend, atop Spider Rock lives Spider Woman, a deity who taught Navajo women to weave. She's also believed, by the Navajo, to carry naughty children to the top of Spider Rock.

The way to do a painting with quick moving light, such as this, is to lock in the shadows quickly (no details), and leave them. Do not try to follow the light. If you get your values down quickly, the whole time checking them against one another, you will have enough information to add the details later if you need to. Even if you have to do it in the studio later, you can, as long as your values are accurate. For this painting, I had plenty of time to do it all on site. Partly because the arc of the sun is relatively low across the sky in Northern Arizona, so when it gets close to setting, it does it more slowly than I'm used to. Which is a blessing.

My friend Rusty Jones and I, sat down to paint this on a rather windy evening. Rusty is an incredibly talented plein air painter and all around good guy. I truly believe that in the two hours we took to paint at this site, the temps dropped twenty degrees. I've painted in a lot of cold weather since I live here in Minnesota, but I have to say that I have never been colder than I was when I painted this one. I wasn't dressed for it in just a t-shirt. Luckily I had a wind breaker in my back pack, cause if I hadn't I don't think I'd have been able to finish it.

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Tsegi Overlook, 11X14, oil/Canvas Panel

Painted on location at Canyon de Chelly, Sept 21, 2009 approx 2pm on a very very windy day. In fact, this painting has a great deal of sand embedded into the paint. It was impossible to turn my paint box to keep the sand out of my paints or off my painting. This painting was painted in wind gusts I have to guess were 30 to 40 mph. So I painted it with one hand holding the paint box and panel and the other holding my brush. This painting truly holds a special place in my heart. My wife calls it my "Sand Painting". That's about right.

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Canyon Passage, 9X12, oil/canvas panel

There are still Navajo families living and working on the floor of Canyon de Chelly. They farm and raise livestock and the fences you pass by while in the Canyon are put up to keep curious tourists out and their livestock in. I've learned that there is an incredible amount of water just a couple of feet under the surface and cause the cottonwoods to be this incredible neon green. If you painted them that way, no one would believe they were that color. So I dial down the saturation in the tree on the right side. The trees in the middle ground are a greyish blue green. I don't know what kind they are, but I thought they were a nice variation of all the cottonwoods.

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Ancient Waters, 9X12, oil/canvas panel

I love the depth of the cliffs in this painting. I didn't have to change too much in this composition. I stayed pretty true to what was actually there. The only change I made was adding water rivulets. Originally the tracks were made by the jeeps that drive through the canyon. All I had to do was fill them with water.

Canyon de Chelly plein air post #1

2009-10-08T08:51:00.005-05:00

Navajo Fortress, Canyon de Chelly, 10X20 oil/canvas board

Hi All!
I wanted to talk today about my recent experience of painting at Canyon de Chelly and how you can approach painting such a daunting subject. OK, so you've traveled a long way to this place, you've already painted it in your head a hundred times. You know how to do it, I mean, it seemed so easy when you did it in your head. No problem. But now that you're here with the panoramic vistas and the wind, and your humble place in the Universe are staring you in the face. Time for a deep breath. Painting the cliffs here can be overwhelming if you stand there thinking you have to get it all in. I mean, how do you paint the Grand Canyon, or even the humblest mountain? The key, of course, is the same key as you need to use to paint anything. This isn't any different at all. Just remember this. Simplify. There is no way to keep up with all the visual information you will be faced with. Not to mention all the other stimulation you will be given. As I painted on the rim the last evening I was there, I was dive bombed by a crow (or a raven, I can never tell the difference between the two). It would come at me from behind, and I could here the wind through the beating of his wings as he got close. It also was very windy that evening. So as you stand there trying to paint and tune out all that's happening around you, you need to boil down the scene to it's essence. What's your focal point? Is it in the shadows or the light? If it's the light, you need to keep your detail in the shadow areas to a minimum. At my first plein air workshop, Joe Paquet used to try to pound this into my thick skull. As an illustrator, it didn't make sense to me. How could the detail in the shadows be any less important than the details in the light? I mean, i could see the detail in both when I looked, so how come I had to weed those out? The answer is: you don't paint everything in because, our eyes don't see everything like that. Think about it for a moment.........I'll wait.........yep, when we focus on something, the other things we see are in our periphery. We only see a blurred representation of what surrounds our focal point. So what I'm trying to do as a painter, is a visual representation of what I truly see. Don't stare into the shadows, and you'll get a good idea of what you need to leave out. All that detail of the cracks and crags is wiped away and you're left with only the big shapes. I make sure that the detail I do put into the shadows is minimal and the values are kept pretty close to one another. This gives me a more cohesive painting and a much more pleasing work of art. Thanks Joe for teaching me what to see.

Sandstone and Shadows, 9X12, oil/canvas panel

The second thing that you can do to not be overwhelmed by an overwhelming subject is to play a mind game. Tell yourself that what you are seeing is a big puzzle, with pieces that are unequal in size and shape. Don't think in your head, 'Holy Moly, That is one big canyon down there. No way can I get that down in a couple of hours'. Think of it as putting together a puzzle, and at the end of your time, you'll have a painting. I have to get everything blocked in to judge anything. Now, lord knows I'm not the fastest painter you'll ever come across. It's one of the reasons i usually decline the offer to do a demo. I take my time and work and rework a painting till I feel it's right. I call myself a 'grinder". But I do try to block things in simply and quickly. I can't judge accurately the value of a cliff I've put down until I have the surrounding trees and ground plane and sky in that surround it. Save the details for later. Cracks in the cliffs, tree trunks, variations in warms and cools of the grasses. All of it can, and should be saved for the time that the big shapes are sitting on their proper planes. John F. Carlson's book, "Carlson's guide to Landscape painting", should be in the library of every landscape painter. And every landscape painter should be painting en plein air. No excuses unless you're bed ridden. Then you get a pass....I guess. Carlson's book gives you a great explanation of how atmospheric perspective works and the values of the planes of what you're seeing. I don't want to get into too much detail here, since i don't want to put you to sleep, or give away the surprise ending of the book (the butler didn't do it). But it's a thin book with a lot of gems in it. I don't reread books usually, but I do come back to this one, and every time I do I find more gems. Things I wasn't ready to soak in on my previous reads, I guess. Anyways, you can find it on Amazon used, but even new I think it's only ten bucks or so. Dover also sells it on their website since they're the publishers.

The first painting is called "Navajo Fortress, Canyon de Chelly". The cliff in the center of this painting is famous as being the place where the last of the Navajo held out against Kit Carson, who was sent into Canyon de Chelly in 1864. The army decided that it was time for the Diné to surrender once and for all. This rock fortress was the place the last Navajo holdouts chose to make their stand. According to the story told, the holdouts reached the top of this rock face by using notched tree trunk ladders, which they pulled up behind them. Unfortunately for the natives, Carson simply waited them out until, starving, the final Navajo simply gave up. In the spring of 1864, when the ordeal for the Diné should have been over, another was about to begin. The Long Walk, as it's known to the Navajo, took all the captives from Canyon de Chelly to their new place of exile in Fort Sumner in New Mexico. It was known as the Long Walk because only the sick, the very oldest and youngest of the captives rode. Once at Fort Sumner, the conditions were beyond horrible. The Navajo were one of the few tribes to negotiate with the government to get at least some of their native lands back and eventually were able to return, where they have lived to this day.

The second painting is "Sandstone and Shadows". This was painted within the Canyon, which requires a Navajo guide to accompany you. Kaye Franklin of the Outdoor Painters Society, arranged our guide and four of us split the cost. Traveling in the canyon gives you a point of view that is completely different from painting on the rim. Whatever the time of day, you can find interesting compositions to paint. When I painted this one, I came away feeling that something was missing from it. I put it away for about a week and when I came back to it I knew that it needed another cliff behind the central cliff. So I painted in the far off cliff. I could do it because (thanks to Carlson's book) I understood atmospheric perspective, and the colors of the distant cliffs were still fresh in my mind. I knew what they looked like, so all I needed to do was to put in an interesting shape. I also added some wispy clouds for direction and interest. There weren't any clouds just about the whole time we painted there. Well there was one tiny one that looked like a bean, which we quickly named, but it didn't help much.

I'll post more paintings from the trip later in the week and talk about what I learned, which hopefully can help you too!

Thanks for looking, Steve

Prescott Arizona plein airs

2009-10-06T17:39:00.005-05:00

Hi Everyone,
It's been too long since I posted some new paintings here. But I do have an excuse. For me it's the best kind of one, I've been traveling for the past few weeks. Painting on location is something I enjoy doing more than almost anything else in the world. The studies I'm posting here are from my trip to Prescott, Arizona. Recently, Ann and I have purchased a home in Prescott and will eventually be making our home there. We're pretty excited about living out west. Ann is a native Arizonan, while I.....am not. Hmmm. I've got lots to get used to there. I've always lived in a place where I'm at the top of the food chain. So, even though I'll be getting used to coexisting with the rattlesnakes, scorpions, coyotes, tarantulas and other assorted creepy crawly things that bite, scratch, or stick you, I'll be doing it amongst some of the most beautiful western landscape you can find anywhere. I am happy to tell you that I killed my first black widow spider and lived to tell the tale. Relax, she had moved into the garage and had laid lots of eggs. She broke the cardinal rule in my house, They can live there..... as long as I don't see them. If I do, they're fair game. All rules go out the window.

The week we recently spent there was full of pulling the most evil weed in the world. Of course I'm talking about the dreaded tumbleweed. The scourge of the desert. We've discovered there is no easy way to remove this weed from your property. Ya just gotta pull 'em, and keep pulling 'em. And then pull some more. But, I did get out and paint almost every day. One of the things I need to remember to do is spray BOTH arms with sunblock. I sprayed my right arm, but forgot to spray my left painting arm. I will never make this mistake again. Oops. Here's what that looked like
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here are some of the studies I produced that week

Williamson Valley, 10X20, oil on canvas panel

This is the view that overlooks the Williamson Valley and is the location of our new home. Until very recently, the Williamson Valley, located in the shadow of Granite Mountain, was prime cattle grazing country. It's true that there are still plenty of cattle grazing in the area, though, admittedly, these days there are more homes and less live stock. You can still see lots of wildlife here though. Pronghorn antelope are abundant. Coyote can be heard yipping their lonely songs at night, and warily skulking across the roads by day. Horses are corralled in the valley alongside burrows and cattle. It's a wonderful place to visit and experience the wide open spaces of the West.

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Granite Outcrop, 9X12, oil/canvas panel

The paintings I did this week were to get me used to painting rock formations. The kind of formations I don't see much in Minnesota. I was going to be painting in Canyon de Chelly the following week with a group of incredibly talented painters, so I didn't want to show up and suck. This is how I prepared for the paintout. It was my homework. And I think it paid off when I went to the paintout at the Canyon.

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Desert Scrub, 12X12, oil/canvas panel

The desert has a completely different palette than I usually paint on location. Everything has a dusty, subtle color to it. The greens aren't quite as green. It's why, those of us who are crazy enough to paint on location, do it. Those differences just don't show up on film in quite the same way. You simply need to be there to see the difference.

The Granite Dells is a world unto itself. The granite rock formations there have a kind of melted ice cream look to them. There isn't a hard edge to be found on the stone formations. I've been told that Tom Mix used the Dells in many of his movies. I will be doing many paintings here.

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Corriente Creek Wash, 12X9, oil/canvas panel

This is a wash that is around the corner from the house. There was no water in the wash at this time, but I added a trickle to help with the composition and to have something that leads your eye into the scene.

Tomorrow I'll begin posting the paintings I produced at the Canyon de Chelly National Monument in the heart of the Navajo Reservation. Along with some of the photos of the paintout.

Spending some quality time in the field

2009-09-02T17:00:00.005-05:00

Lanternman Falls, field study, 9X12, O/C

Mill Creek Morning, field study , 9X12, O/C

Six AM is too Early to Paint, field study, 9X12, O/C

Heavy Rain, field study, 9X12, O/C

Breaker Point, field study, 9X12, O/C

Finally,!!!

I've been getting outside and exercising my plein air muscle. I'm not sure where that muscle is, exactly, but I know I have one, 'cause it gets flabby if I don't use it. So when I went for my annual trip to Ohio to visit family, I got out in the mornings and painted one painting each day. Unfortunately, it was cloudy or rained just about every day. Well, that's not exactly true. The sun did peek out occasionally. The paintings I'm posting here are from that trip, all except for the last one. That one I did a couple of weeks ago on location in Minnesota. The light effect on the "Lanternman Falls" painting was only there for about 10-15 minutes, so I painted that part on site quickly. When I got back home I spent about an 45 minutes refining it. I don't have a problem with doing that to the field studies if it makes them better. The values and colors are still fresh in my mind when I get back, and I'm able to make corrections quickly. Most of these have had some touch up in the studio. Not alot of touch up, but some. Things sometimes don't read exactly right and until I get home and get it under studio lighting, I can't always see it on site. The only one that I didn't touch up was "Mill Creek Morning", field study. That was the first painting I did that week, and worked on site. The painting "Six AM is too Early to Paint", originally had a telephone pole on the right side. I removed it because I felt it was too important and distracting for this painting. I've never painted this early on location before. In fact, when I got set up and was ready to start, I realized that it was too dark to see my colors. I had to wait long enough for the light to be bright enough to mix my colors. Next time, I'll bring a head lamp. The study, Heavy Rain, was started on location and taken to about 90% completion. But I packed it in when the thunder and lightning started. I was chuckling to myself when I was painting in that thunderstorm, remembering Bill Murray in Caddie Shack, telling the priest who was playing in the lightning storm, that the hard stuff wasn't going to start for a while yet. So I finally gave in and packed up and left. Thanks for looking and I hope you like them. I'll be out of town for the labor day weekend, so I won't have access to your emails till then. Have a great holiday!!

Canyon Morning Light

2009-08-14T21:48:00.006-05:00

Canyon Morning Light, 12X9, o/c

Detail 1

Detail 2

Hi All,
I've only been to Zion National Park once in my life. One week that made an impression on me more than just about any place I've ever been. There were so many incredibly beautiful spots there, as evidenced by the fact that there were photographers everywhere (and I do mean EVERYWHERE). If you are wanting to visit Zion, I would suggest you go off peak in November. Prices are reduced at the hotels, temps are warm in the daytime, cool at night (bordering on cold). The cottonwood trees are turning their autumn colors, the crowds are diminished, and you can bring your camera for some stunning photography. I did see some painters there, painting on site. I'll be back this fall with my paintbox again so I can be one of those painters.

This piece was so much fun to do. I composed it so that everything leads your eye into the sunlit trees and around the corner into the light. I added the detail 1 photo to give a better view of the sunlit area. I kept the edges soft to enhance the impression of glowing light. Detail 2 shows that there are actually a lot of colors making up the rocks in the shadowed areas. I find that things are much more believable if I add both warms and cools to objects. It's what nature does, but we're so used to thinking in our minds, "oh, thats a grey rock or a green tree, that we no longer register all the colors that go into making up that grey or green. If you keep the values of the warms and cools the same, or very close, you'll end up with a much more pleasing painting.

Buckskinner portrait

2009-07-31T08:43:00.005-05:00

Buckskinner, 16X14, oil/canvas panel

Detail

Detail

Hi All,
I got back last week from my one man show at the Bosque Arts Center. Needless to say, it was a wonderful time. I got to meet a bunch of new people, reconnect with some old friends, and sell some work. One of the most memorable parts of the trip for me was getting to meet Rusty Jones, who is a wonderful painter and now a good friend. Rusty, bless his heart, drove several hours to come to the show from his home near Dallas. It touched me deeply that he would do this and I want you to know how much that meant to me Rusty. Be sure to check out his blog, which is linked here from my page. Unfortunately, I didn't think to run around with my camera and take lots of pictures of the reception. Something I'm sure I'll regret.

I also was fortunate enough to be invited to George Hallmark's 60th birthday bash the next night. It was a party of George and Lisa (his beautiful wife.....ya done good George), and 200 of his closest friends. George and Lisa are two of the most generous, giving people I've ever met. People came from as far away as England to celebrate with the master painter. One of the evening's highlights was getting to meet Martin Greele and have my picture taken with him and George. These are two of my painting heros, and I'm blessed to have gotten to know them a bit. In addition to being two of the best painters working today, they are just nice regular guys.
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My latest painting is of a buckskinner named Frank. When I first saw Frank, he was being painted by artists participating in the Quick Draw for the Phippen Museum's Art Show on the grounds of the courthouse in Prescott, Arizona. Frank is a great character and makes the perfect model to paint. He's part Native American and can tell a story with the best of them. And he has lots of stories to tell. So many of the people who get involved in reenactments are like that. He offered to take me around the area, next time I'm in town, to show me the scenic sites. and to model for me. I always appreciate it when people go out of their way to make my job easier. Thanks Frank!

I loved the reflected light on his face in the shadows. With the sun hitting his grey beard and deerskin tunic, it was bouncing up into the shadows of his face. On portraits like these, I like to keep the edges soft. It keeps him from looking cut out on the background. Speaking of the background. I put him in front of one of my favorite backgrounds for these kinds of subjects. A textured plaster wall. I can use the colors that compliment what the subject is wearing, while still giving a bit of interest.

Wildflower Hill, plein aire

2009-07-21T21:05:00.003-05:00

Wildflower Hill, 9X12, oil on linen panel

Hi again,
I painted this one on Monday, July 20, 2009. I had participated in a paintout with the Outdoor Painters of Minnesota on the previous Saturday. The location was beautiful and I stood on a hillside covered with wildflowers. Two problems. First, I chose to use a pochade box that was new and when I started setting up, I realized that I hadn't put the quick release mounting plate on the pochade box. So I wasn't able to mount my paintbox onto the tripod. Ugh!! So I spent the day painting with one hand while I held the box on top of the tripod with my other. I would paint till I needed to clean my brush, set the box on the ground, clean my brushes, balance my box onto my tripod and repeat the process. Absolute rookie mistake and one I don't plan on repeating. Second problem was the heavily cloudy day, and the wildflowers on the hills just looked so dreary. When I had finished painting for the day, I decided to return on Monday, if it was sunny, and paint the wildflowers. I'm really glad that I did. It was a beautiful day to paint, and other than a strong wind that threatened to blow my box over (normal stuff for plein air painting), I had a ball. Rapids Lake, which is part of the Minnesota Valley National Wildlife Refuge, is located along the Minnesota River. Along with all the wonderful wildflowers and trees, I was treated to small aircraft flying over head performing aerial stunts. Loop the loops, barrel rolls, stalls and other stunts that were nice to watch when I took a break.

New Painting, "King of the Hill Country"

2009-07-13T11:02:00.007-05:00

King of the Hill Country, 30X40, oil on linen

Close-Up of brush work

There is no better fitting symbol for Texas, in my mind than the longhorn. An imposing animal and fiercely independent, the longhorn seems perfectly at home here today. Probably because the longhorn and Texas have such a proud history together. You could even say they've grown up together. Naturally, I placed this small herd in my favorite part of Texas, smack dab in the middle in Texas Hill Country.

Many thanks to Wally Penberthy, for taking me on a tour of his ranch in his jeep (all the bumps and bruises were worth it). The landscape is based on a hill on his place which we climbed one beautiful morning. The longhorns are owned by a nearby rancher which we drove out to see. They were happy to pose for me, at least till the truck came along and dripped off the new salt blocks in a distant field. I never knew they could runs so fast! And that was the end of the photo shoot.

"King of the Hill Country" is an idealized painting, complete with fields of blue bonnets and live oaks. At 30X40 inches it's one of the largest paintings I've done to date, but because it is an idealized view, it benefits from it's bigger size. I've included more detail in the foreground and reduced the amount of detail as it gives way to the middle ground then to the background. Just as the eye sees things.

This painting will be included in my upcoming one man show at the Bosque Arts Center, in Clifton Texas. Show opens on July 21 and runs through August 8th. I will be there for an artist's reception on Friday, July 24th, from 6-8 PM. It will be hot, but we'll have wine I'm told.....and dancing girls.....and cirque de soleil....annnd. Alright, maybe not, but we will have wine. And lots and lots of paintings and drawings. Thirty or so in all with prices to fit just about any budget. Limited time offer while supplies last.

Lunch Line, 24X40, oil on linen

I've also reworked "Lunch Line" a bit and will also be at the show. I've settled down the sky and distant mountain a bit, knocked down the intensity of the colors, and added dust with floating bits of hay, lit up by the sun. All in all a much better painting.

Simple Beauty...to be featured in Southwest Art's Art View, Feb 2010

2009-07-02T09:58:00.009-05:00

Simple Beauty, 12x9, oil on linen panel

Hi All.
OK, so I've been told my those in "the know", that I should never paint those things that are obviously beautiful. That it's like throwing an underhand softball pitch to Hank Aaron (I'm definitely not Hank Aaron in this analogy). It's waaay too easy. To which, I respectfully say....Fooey! Why not paint beautiful subjects? These kinds of picturesque scenes are the very essence of what makes the west, and, the landscape, so alluring. That argument is like saying, don't listen to beautiful music, because it's too easy, there's no challenge in the listening. It all comes down to why you listen to the music, or why you look at art. For me, it's always been about the way it makes me feel....the enjoyment. Personally, I would much rather look at a painting of fall aspens than a city alley. And I believe most people would too.

I've just learned that "Simple Beauty" is to be included in the February 2010 issue of Southwest Art's column "Art Views".

Cowboys and Miniatures are like peas and carrots...

2009-06-11T15:05:00.007-05:00

Saddlin' Up, 11X14, oil on linen panel

Hi Everybody,
This painting is of a Texas Cowboy. After lunch he's ready to get back out to finish the day's work. It's a simple scene, with a simple story. But those are the one's I seem to gravitate to. Nothing preachy or profound or political. Just regular people going about their business. Of course, when I try to saddle up, my horse jigs and dances all over the place. Cow horses have a lot more training than the one's I get to ride. Or maybe it's just user error (more likely).

In this sun drenched painting, there is light bouncing all over the place. It really does hurt your eyes when you are actually on site. So it's important to paint reflected light, but not to paint it so brightly that it competes with the sunlit areas. I used to paint the reflected light too bright and wondered why things were out of whack. After all, if a little is good, then a lot must be better, right? Always control and compare your values and you won't have to regret (or repaint) it later.

I'm going through this stage where I'm finding that I enjoy painting the miniatures more than I enjoy doing the larger paintings. Although, I really like how the larger paintings look when they're done and hanging on a wall. There is much more enjoyment for me to paint something quickly and see it come together. It must be AADD, Artist Attention Deficit Disorder.

I'll be visiting Alaska to see family, and will be bringing my paintbox to finally get out of the studio and get some location work done! I expect to do a lot of scraping. I'll post anything that makes it past my palette knife.

Thanks for lookin', Steve

New painting for upcoming one man show

2009-06-03T11:03:00.005-05:00

Into The Light
oil/linen, 16X20

Close-up view of brushwork

Closeup view of brushwork

Hi Everyone,
As I've mentioned in passing in some of my other blogs, I'm getting ready for my first one person show, coming up at the Bosque Art Center, July 21-August 8, 2009. I'm thrilled to be given this opportunity to have my first solo show at the venue that essentially launched my professional career. I'm sure you can imagine that I've been painting furiously to have the number of paintings I'll need to fill the space. In fact, I've probably more than enough now, but I'm always trying to do better and larger pieces, so that it's not a show of 6X8, 8X10, or 9X12 paintings. I'm just about done with the "King of the Hill Country" 30X40 painting which is to be the centerpiece of my show. You may remember the King of the Hill, study, that I posted a while back. That's the study that I did before I tackled the more ambitious piece. I'll post the large one when I'm done, which will be soon....I hope.

This painting is all about light. It really doesn't matter where this country road is. It could be anywhere. It just happens to be in Clifton, Texas, the site of my upcoming summer show. I'm pretty sure, even the folks there would have a hard time identifying it's location. But like all backlit scenes, I love the play of warms and cools, lights and darks. Everything has to be in correct proportion to everything else for these lighting effects to read properly. There isn't much room to fudge. It's one of the reasons I like painting them so much. It's like painting people. You can't fool the eye with incorrect values or color temps. They have to be right. It keeps my eye sharp. The focal point of where the road bends behind the shadowed trees is the area of greatest contrast and interest. Everything else had to be painted to be subordinate to that. I separated the shadowed tree from the trees behind it by cooling the background and lightening the value.

Thanks for visiting, Steve

Last One Back

2009-05-22T15:07:00.004-05:00

Last One Back, 30X24, oil on linen

Hi bloggers,
It's been a month since my last post (sounds kind of like a confession, don't you think?....forgive me father, it's been a month since my last blog...). I have been painting furiously and not goofing off, uh....really. I'm working on several larger paintings at the same time, so it feels like forever till one is finished. I wanted this painting to have a dramatic feel to it. Nocturnes are one of my favorite things to paint. This cowboy is coming back to camp after dark. The long day is now over and it's time for chow and a chance to rest. The campfire is waiting and will help to get the chill out of his bones. Out here you don't get paid by the hour. You work till the job's done. And you sleep really good at night.

This is a painting with lots of angles to it.The clouds, the rider, even the ground is sloped. Everything has the feeling of dynamic movement. Nothing is standing still. Just the way real life is for these guys.

New Landscape

2009-04-22T15:34:00.003-05:00

Hi Everyone,
This painting is of an area near Tucson Arizona known as Tanque Verde Falls. I live in Minnesota and though I'm looking to eventually make the move to Arizona, I don't know where the scenic areas are. Luckily, my wife grew up in Tucson and she knows where these areas are. During our last trip home for us to visit family, she wasn't able to take me out sightseeing as we usually do. Ann's dad offered to take me to one of his favorite spots, the Tanque Verde Waterfall. When we got there, and I stood high above the area looking down to a river far below, I couldn't believe how beautiful it was. When we climbed down to the river itself, I was surprised at how much water was flowing here in the desert. It was like an oasis in the middle of the desert. There were a number of people splashing in the pools, swimming, playing with their dogs and just having a ball. Obviously, this scene isn't of the waterfall. But I was struck by the fact that this tree had sprung up out of the water in front of this huge boulder. Then I realized that the water was unusually high and this tree was normally along the bank for most of the year, not growing out of the water.

I love to paint backlit scenes. I love to look at other artist's paintings of backlit scenes. The way the branches are lit up and fairly glow is such a fun effect to try to reproduce. Strictly speaking this tree is side lit, but the effect is the same. The way I've found to paint this effect is to make sure that the area behind the subject dark and cool. That way the transparency of the tree and the light hitting it will be highlighted (no pun intended). This pool of water was deep and the rust color was deep and saturated. It was a spot loaded with paintings waiting to happen.

Thanks for checking in, Steve

Ojibwe dancer's portrait

2009-04-03T15:44:00.012-05:00

Anishinaabe, 16X20, oil/linen

Eyes Closeup

Feather Closeup

Hi Everyone,

Here is a painting I did of an Ojibwe dancer I came across at a pow wow last year. He was always smiling and seemed to know everyone there. As I was taking photos, I was lucky enough to get some serious expressions. I had a very clear idea in my head of what I wanted this painting to look like. That's not always the case. His face paint and porky roach was an important part of this one, but like so many portraits, the eyes tell the tale. So I made the background simple and neutral. The area around his eyes are the sharpest and most clearly defined. I enjoyed doing this one, getting lost in the painting of the different edges and textures. Feathers, beads, skin. They all have their own unique edges, and therefore their own unique brushwork. I always start with the face and usually can tell if a painting is going to work for me pretty early on. Though, sometimes you can't tell which areas of a painting will give you trouble. I swear, I wish I had a nickle for everytime I thought a difficult passage was going to trip me up, only to the tough part paint itself and have the simple parts derail. Well, that keeps me on my toes anyways.

The name of the painting, "Anishinaabe" is an Ojibwe word. In the language of the Ojibwe, "Anishinaabe" (pronounced Ah•NISH•in•AH•bay) means "one of the people," "original people," or "original man." "Anishinabe" is how the Ojibwe people identified themselves. I felt it was the perfect name for these noble and honorable Native Americans.

Steve

Thanks for looking, Steve

Front Row Seat

2009-03-22T20:30:00.004-05:00

Front Row Seat, 24X30, oil on linen

This painting came from my desire to paint the translucency of water. The rhythm of the foam and the challenge of painting the foreground rock as it disappears into the sea. When I finished this painting, and had the wave breaking behind the middle ground rock, I felt that the focus of the painting was missing. That's when I put in the sea gull on the rock, right in front of where that wave is breaking. In a moment, he's going to be wearing that wave.

Earnin' Your Keep

2009-03-16T19:05:00.004-05:00

Earnin' Your Keep, 12X16, oil on linen panel

This study was done as a donation for an upcoming benefit at the Bosque Conservatory in Clifton Texas. This was a scene I came across at the Tucson Rodeo. These were the horses that were to be ridden by the pickup men, the riders that help the roughstock riders dismount from their bucking broncs or bulls. All saddled and ready to ride, they walked toward the arena with calm purpose.

Cowboys and Indians magazine highlights Steve's Art

2009-03-06T16:39:00.008-06:00

Before the Day's Heat, 12X16, oil/linen panel

The April edition of Cowboys and Indians Magazine has a full page feature on my artistic philosophy and bio in their Open Gallery section. I happen to be a subscriber to Cowboys and Indians mag, since I noticed that lots of my western art collectors were subscribers as well. In it they feature lots of celebrities who either act in westerns or are horse owners/ western ranch owners themselves. As well as articles on the western lifestyle and property. Also they feature some of the most beautiful western art and jewelry being produced today. I am very humbled to have been contacted and written up by Managing Editor Ann Orsinger, who wrote a very accurate account of who I am as an artist and what I strive to do. I've had other write ups, and I know how horribly wrong they can go, even with the best of intentions. Thank you Ann for getting it right. Just a note for all the artists out there who aren't sure if the trouble or expense of having a professional website is worth it, I can tell you that it absolutely is. It's how many of my collectors have found me, and now, how this magazine has discovered me. In addition, I can't disclose the magazine yet, but one of my paintings will be featured on the cover soon. They also found me through my website. I'll tell you more when I can...

This painting is set in the early morning in a canyon in Zion National Park. I love the bond that develops between the rider and his horse. This horse is about to get his fill of cold mountain water. Run off of some distant mountain. Of course, the cowboy makes sure they're upstream from the herd.

This painting will be included in the Texas Art Gallery's Fixed Price Draw on May 8,2009.

Steve

Late Day Light Display

2009-02-20T12:54:00.005-06:00

Late Day Light Display, 9X12, oil/panel

Hi Everybody, while at a plein air workshop in Wyoming some years ago, I painted at this scene. The painting I did on site was of a different view and was more of a quick study. But I stopped long enough to snap a picture of this scene to paint at a later date. When I finally got round to painting it this past week, I decided to add this late day light effect as the focal point.

study for future painting "King of the Hill"

2009-02-16T09:51:00.008-06:00

King of the Hill, study, oil/panel, 12X12

This is a study I did for a painting I'm beginning work on called "King of the Hill". The larger more ambitious painting is being done for a fall auction and won't be available until then. So, why do this painting? Artists who do studies have lots of reasons for why they do them. I did this small 12X12 painting for a number of reasons. First, I wanted to work out the general sunlight value for this work. I wanted to make sure I had gotten the illusion of sunlight right before starting on the bigger work. Also, this longhorn was very mottled and confusing in places in the original photo I took. This gave me the opportunity to simplify the effect and get it right before tackling the much larger version. I've struggled in the past with painting a dog that was mottled, and I wasn't looking forward to a repeat of that, yikes! Another reason to do this version was to workout the line of rocks and path leading your eye to the focal point. My goal was to put something in that wasn't too obvious or overwhelming. I think I ended up with a nice balance. And finally, I wanted to have something for the Texas Art Gallery Fixed Price Draw coming up in May. These paintings are generally smaller, so this painting will work well for that. Besides, Texas loves their longhorns. So do I. You know what I mean if you've ever had the opportunity to see a herd of them in the wild. They are impressive. This study is just a small portion of what the larger version will be. That one will have a small herd tucked in the grass lower on the hillside, and of course much more landscape. The setting is the rolling hills of central Texas, otherwise known as the Texas Hill Country. For me, it's one of the most beautiful places in the United States.

Thanks for looking, Steve

Big Dreams

2009-02-10T17:35:00.011-06:00

Close-Up Detail

Close-Up Detail

The idea for this painting came to me when I attended a junior rodeo last year. I was amazed at the kids, who were competing in most of the same events as any regular rodeo, calf roping, team roping, barrel racing and of course mutton busting. The other thing I noticed was that everyone was laughing and having the time of their lives. That is until it was time to take their turn. Then they became as serious and steely eyed as any seasoned hand. I mean, they were serious as a heart attack. The boy in my painting wasn't any one competitor from that day, but rather an idealized young man with his hand on his rope and his eye to the future.

Big Dreams will be at Trailside Gallery's Western Classics show, March 16th-28th, 2009 at the Scottsdale gallery location.

One piece of news I've been meaning to share with you is last December, the Oil Painters of America awarded me Signature Status. It was a goal I had set for myself in 2005 when I attended my first OPA National show. I was only a visitor to the show and was blown away by the talent and quality of the art on display. Then and there I decided to work as hard as I could to get into the next Nationals, and to attain the designation of signature member no matter how long it took. To gain this designation, a member must be juried into three national shows. These shows happen only one time a year, so it takes members at least three years to accomplish this. Once you've reached this goal, you still need to apply to the membership committee by submitting eight to ten of your paintings along with a bio, show history and any other info you think might sway them in your favor. They then vote on your application, and if all goes well, you get the thumbs up. I'm truly honored to be in such good company. Thanks guys!!

Whew!!! I finally was able to get a new blog posted. It was forever since the last one. Believe it or not, I've been spending all of my time chained to my easel trying to finish several paintings for some up coming shows. Painting is as close as I'll ever get to giving birth. It's not an easy process usually, though some definitely go easier than others. But hopefully, when you're done you have something that brings you joy. Not to mention, you hope it has all it's fingers and toes, and can stand on its own! Thanks for your patience. I'll be posting more new work very soon.

Steve

Holiday MIniature Show opens soon...

2008-12-02T21:13:00.009-06:00

Shade Buddies, 12X16, oil on linen board

Water Ride, 12X16, oil on linen board

Valley of the Patriarchs, 8X10, oil on linen board

click here to view: Trailside Galleries, Online Holiday Miniature show

Tis the season.....for Miniature shows that is. These three paintings, are my contribution to Trailside Galleries Holiday Miniature show. All are perfect for that western art lover in your life. And none are so big as to break the bank. The show runs at Trailside Gallery, in Scottsdale, AZ, from December 1 thru December 27. I will be there on December 4th for the artist's reception. The reception is from 7-9pm, so if you are in the area, please stop in and say hello, I'd love to meet you!

My First time being tagged...

2008-11-30T15:27:00.018-06:00

Valley of the Patriarchs, 8X10, oil on linen panel

Well, I can't believe it's been a whole month since I posted last. I just got back from Zion National Park in Utah. Beautiful doesn't even begin to describe what it's like there in the fall. I cannot wait to get back. But on to other things. I received a post from the very talented painter and blogger Teresa Rankin, that she had tagged me on her blogspot. I had no idea what she was talking about, but Teresa has been so kind and supportive to me and I appreciate that. So I skipped over to her blog to see what all the hubbub was about. This is what I discovered...... In the blogging world one blogger can "tag" another by adding a link to your site from theirs. This is great, in that lots of people who have never heard of you get the opportunity by following their link. I do this all the time. I'll click on the links of the artists whom I admire, to find lots of other artists who's ability and vision blow me away. It seems like every day I stumble on another incredible talent. It's one of the reasons I love the internet so much. However, there are a few rules you have to follow if you are tagged (tagging ettiquette I guess you could say). Here are the rules:

1. Put a link in your posting to the person who tagged you.
2. List 7 unusual things about yourself.
3. Tag 7 other bloggers at the end of your post and comment on their blogs to let them know.

Hmmmm, I suppose I can think of seven unusual things about myself, but can I come up with ones that won't completely embarass my family or require me to undo all the good that my expensive therapy did by digging up my past. I'm game to try, so here goes...

1) I play the Tin Whistle (aka, penny whistle or irish whistle). There, I said it, and I'm glad it's out. Haha!! What on earth is the tin whistle you are probably asking, and why would anyone play it. Well, the tin whistle is just what it sounds like. It's a cheap whistle with six holes and is played primarily in Irish music. Usually you can pick up a good whistle for about ten bucks and they don't sound much different than the more expensive whistles. Why do I play? Lots of reasons really. Back in school I played the trumpet and almost became a musician. But I went the artist/illustration route. I haven't picked up my trumpet in many years. In the past year, I wanted to get back to playing an instrument, but wanted it to be cheap to buy, easy to learn, perfect to pick up and play at the end of a long painting day. It's also very portable, so that I could take it with me and play it when I wanted on the road, or the opportunity arose (like around campfires at the end of a painting day). There are very few things as uplifting and beautiful as a well played tin whistle.

2)When I was sixteen, I almost lost an eye. I was helping my uncle convert a stock car into a racing car. I was with my buddy, and we were trying to take the windshield out of the shell of the car. I pried a screwdriver under the seal of the windshield to try to get it to pop out. Next thing I know the windshield had shattered into a gazillion tiny fragments and I had one slice through the cornea of my left eye (this was in the dinosaur days before helmets and protective eyewear were the norm. I took sixteen stitches to the lens of my eye during micro surgery by an incredibly talented doctor who was a specialist in occular surgery. He happened to be in the area, training other doctors to repair the eyes of people who were dumb enough to do something as stupid as me. Its why I wear glasses to this day and why I will never be able to wear contact lenses or have Lasik surgery to fix my vision. Jeezsh, It's a wonder any of us live to adulthood. I never have stuck my finger in a light socket though.... those people are reallllly dumb. I think there were about 6 years in a row that I ended up in the hospital or emergency room during my preteen to early teen years for one thing or another.

3) I am distantly related to Chris Kirkpatrick, of N' Sync fame (he's the one with the Dred locks). Very distant. My Aunt was his Grandmother. That's pretty distant.

4) My wife Ann and I met at the opening of one of my art shows.

5) I have absolutely no home handyman skills. I do my best, but I'm hopeless.

6) My favorite movies are kind of oddball comedies. Grumpy Old Men, Grumpier Old Men, It's a Mad Mad Mad Mad World, and Mel Brook's homage to Alfred Hitchcock, High Anxiety. But I don't get the humor of the Three Stooges. What's that all about?

7) I'm a huge fan of the UFC and MMA. Can't get enough. I also love rodeo and the PBR (bull riding). But I can't stomach hunting. In fact I can't even watch it on TV. I have nothing against it personally, and I understand why it's necessary. I just can't do it myself. Fishing is not a problem, and I love to get out whenever I can (which ain't often).

8) When I was working as an illustrator, I did the artwork for some of the Count Chocula, Frankenberry and Booberry boxes. Also the illustration for the Monopoly Junior game box. I've worked on Wheaties, Trix, Lucky Charms and Cinnamon Toast Crunch as well as many others. I guess I'm the one responsible for trying to get your kids to throw tantrums until you gave in out of frustration and bought the product just to shut them up. This was followed by the sugar rush in which they bounced off the walls until the eventual sugar crash and coma.

.... well that's it. Just to see if you were paying attention, I threw in an extra one that is a bald faced lie. Couldn't help it, it's just how I am. But can you tell which it is?

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Here is my list of 7 other artists which I want to tag. I'm not too worried if they've already been tagged by someone else. They are definitely worth checking out, IMO.

Bill Anton in my opinion, one of the very best western artist's working to day. Bar none.
Rusty Jones and incredibly talented plein air painter. I'm looking forward to meeting Rusty in May.
Jacquelyn Bischak paints figures with feeling and mood better than just about anyone. Her draftsmanship is second to none.
Jennifer McChristian a painter's painter. One of these days I will take a workshop from Jennifer. She has much to teach me.
Xiangyuan Jie also a painters painter. The other artist from which I will be taking a workshop at some time in the future.
John Taft I love the direct and unfussed with nature of John's paintings.
John Hughes John is a master of plein air. I truly don't know how he does what he does in the field.

Heres a bonus post to my cousin Jason Eustice. He is an incredibly talented, up and coming country songwriter/singer. His father was also a promising songwriter/singer who died very young and who's star burned out way too soon. Jason is following in his fathers footsteps and chasing that dream. I'm proud of you Bro'. Enjoy!!

Thats it. I hope you got a kick out of my post. Thanks for wasting some time with me.

Steve

P.S. The false tidbit is #4. I wasn't painting yet, when I met Ann way back in 1999. We actually met at swing dance lessons. We both love 1940's big band swing music. I actually got the painting bug on our honeymoon in northern Minnesota. True story.

New painting for Texas Art Gallery's Fixed Price Draw event on November 7th

2008-10-30T08:57:00.006-05:00

Indian Maiden, 12X16, Oil on linen panel

I painted "Indian Maiden" for the Fixed Price Draw at Texas Art Gallery on November 7, 2008. What is a fixed price draw, I hear you asking (well maybe not out loud)? It's really simple. The painting is offered at a show with a box next to it. Every painting in the Draw has a price clearly marked next to it. During the Gallery draw event, everyone who shows up, gets to walk around enjoying the paintings and deciding which they would like to take home with them. You add your name to the other names in the box for the painting you want. At a designated time the gallery gathers all the boxes and selects the name of some lucky collector who then can then buy the painting. This can be a good thing and a bad. I've seen people put their name in many boxes just hoping to take one of their favorites home, and been selected for every painting they applied for. Of course they have the right of refusal if they get in over their heads. I've also seen many disappointed collectors go home empty handed. It just depends on lady luck. Fixed price draws are a very good way for people who don't necessarily have deep pockets, to be able to compete on a level playing field with those collectors who do. Ann and I have gotten a several paintings this way from painters who's paintings are so in demand that often times they are still wet when they're sold!

I painted Indian Maiden after going to an Ojibway PowWow in Minnesota this past July. I caught this beautiful girl in a quiet moment between dances. I wanted to paint something that had a timeless quality. The photos of Edward Curtis came to mind and I decided to paint her portrait in a sepia tone. The paint in the background is quite thick and textural, much like a stucco wall. This works well to set off the more controlled paint on her face. Otherwise the painting would, for me, have been too bland. My favorite part of this painting is the where her hair is in shadow on the side of her head and the individual hairs which are lit up by the sun (above and to the left of her ear). This really gives the feeling of the strongly lit scene which was infused with sunlight.

Cowboy Payday

2008-10-08T12:19:00.015-05:00

I've been painting lots since I got back from the Bosque Conservatory's Art Classic show in Texas. Ann and I had a great time, as usual. I want to say Thank You to Wally and Punky Penberthy for generously opening their home and hearts to us. They have a wonderful collection of art and I was happy as a pig in mud, while I was able to soak it all in. The painting "Walk Softly" sold at the show to a couple of incredible collectors and I thank them for that. You might remember that that was the painting of the mountain man holding a war club, which I shared earlier in the year in this blog. It was shown step by step during it's creation. And though, at times, the creative process isn't pretty and it took a while for me to get it right, it was worth it. These collectors told me that reading the blog on that painting's creation gave them a connection to it that's rare. It's always a thrill when a painting sells. It's even more thrilling when you get to know the people who buy it. Thanks Bob and Billie!!

Painting UPDATE: Sleeves added to Cowboy Payday!

Cowboy Payday, 24X18, oil on linen

Detail View 1

Detail view 2

The idea for this painting came on the day I was talking to Alessandro. He was the horse wrangler at the YO Ranch in Mountain Home, Texas. I immediately liked Alex. When he walked into a room you knew it. He walked big, the sound from his boots and spurs boomed off the wooden floors. He talked big. I don't mean he bragged. I mean that you could tell he spent most of his life outside, since he used his outside voice. We started making small talk at breakfast and before I knew it he had talked me into a trailride (O.K, I volunteered myself for a trail ride). After we had saddled up and were on the trail, he told me how he had moved to the U.S. from Italy and that he had always wanted to be cowboy and work with horses. His job as a wrangler allowed him to do that, and he loved it. He told me he wasn't getting rich and that he probably never would have a lot of money. So, of course, I asked him why he did it. After all, his job was long hours of hard work. Why take a job that didn't make you rich? He just smiled a sly smile and with a sweep of his hand to the land, he said, " Out here, everyday is payday". That's where the idea for the painting came from. This is Alex on his horse. Most cowboys are pictured in button down shirts, but Alex liked sleeveless shirts, and he had the build that allowed him to wear them. I had a tough time deciding on whether to keep him in his sleeveless shirt, or put him in the traditional cowboy shirt. Since this painting was all about the freedom that comes with the job, I decided that leaving him in his sleeveless wouldn't single handedly cause the bottom to fall out of the western art market, wink wink. I took him out of the Texas landscape and put him in a Wyoming scene in the Fall. I wanted to condense the idea down to show that all cowboys, no matter where they're from, are rich in the ways that are most important to them. They feel that if they have a working truck, a good horse, a dog, and a job they can take pride in, they are very well paid.

I thought about this while I painted this picture and had to smile to myself. Being an artist who walked away from my job as an illustrator, I understand completely. In the end, some things are more important than money. The memory of my trailride with Alex for example. And the blessing of being able to paint memories like these.

taker' easy, Steve

New Painting: "Distant Promise of Rain"

2008-09-25T18:40:00.016-05:00

Distant Promise of Rain, oil on linen panel, 8X24"

Detail view

This is a vista view from the top of the hill which houses the grotto of the San Xavier Mission. Everwhere you look there's big air, and if you are a plein air or landscape painter, you know there's nothing that makes you want to grab your brushes and paint, more than a good bit of atmospheric perspective.

This painting will be included in the Plein Air Painters of the West show and sale at Segil Fine Arts in Monrovia, California. The show will run from October 18-25, 2008. For more information Click Here.

September Song

2008-09-17T11:08:00.006-05:00

September Song, 24X40", oil on stretched linen

Hi All,
This is my latest painting which I call, "September Song". I was inspired to do this painting during my last trip to the Rocky Mountains. That was in May, not September. But I came across this early morning scene and knew it would be perfect for an elk painting. The elk population is doing incredibly well in the park. In fact, you can't go very far without seeing herds of them grazing or walking. I have been to the Rockies in September which was when I heard my first elk call. They did echo up and down the canyons, particularly at dusk and again at dawn. So I set this painting in Autumn and added a bull elk with a full rack. The time is early morning and he has lifted his head to bugle his call. There is steam rising off his back and his breath is visible. Here is a closeup view of the elk:

It's such a joy to still be able to visit these wild places. I haven't decided where I will send this piece yet.For now, I'll keep it in my studio, turn it to the wall and put a little time and distance from me. Then I will see if there are any other tweaks it needs.

Thanks for checking in, Steve

New Painting: "Lunch Line"

2008-08-25T17:49:00.015-05:00

Hi Everyone,
I've been painting furiously in the studio since I have a number of shows coming up soon. This is one of the paintings I'm going to send to Texas Art Gallery's Auction in November. Even though the auction isn't till November, the paintings are due in the middle of September.

Lunch Line, 24X40", oil on linen

Back in June, I spent a few days in Colorado. While there I met Ian, the wrangler for the ranch where I was staying. He was kind enough to allow me to follow him around snapping photo reference of him doing his everyday chores. This painting is a result of that day. Lunch time came around, and as he started filling the troughs with hay, the horses all took their places along the rail and waited. As he filled the troughs, it got pretty dusty. With the sun backlighting the scene, it fairly glowed with light. I knew when I was standing there that I would be painting this scene. I combined many photos to get this painting. A couple of photos for the background, the wrangler came from another and the horses were placed to best show off their individual colors and poses. I almost never get that perfect photo from which I can paint in the studio to make the scene I have in my head.

Sometimes naming a piece is harder than painting it. Once in a while I have the name nailed down before I start. Sometimes I come up with a name and think of a scene that fits it. But usually its a bit like giving birth. I think about it, let it develop in the back of my mind, but never force it. Thank goodness it doesn't take nine months for it to be born. Often times I'll discuss my ideas for names with my wife Ann. Sometimes she likes what I come up with, other times she just smiles at me (that's how I know I need to keep working on it). After a short brainstorming session, she came up with the name for this painting "Lunch Line". I knew when she said it, that it was the perfect name.

Along with a custom western frame from America West Frames and a name plate, the painting has the impact I first dreamed of when I was standing at the site. If you are a painter looking to take your painting to the next level, I've found a custom frame with a name plate is the way for me. I always love to look at paintings that have a name plate that tells you the name of the painting, along with the artist's name. It just feels so complete to me. Like a cherry on top of a sundae. After all, I like to think of the frame as an extension of the painting. If you choose the right one, you can make a good painting look great! The way an artist frames their paintings tells me a lot about what they think about themselves as an artist. If you put cheap frames on your work, it tells the world that even the artist doesn't think that much of it. Scott Christensen once told me that when he first started out, often the galleries would make more on one of his paintings than he would, because he would put the best frame on it that he could afford. Since artists pay for the frame themselves, the cost of the frame is taking that part of the profit directly off the top. But your paintings will show much better and in the long run, your reputation will grow because of it. Collectors of art aren't just informed on art, they also know frames. So do yourself and your legacy a favor and put the best frame you can on your painting.

Who's Your Daddy

2008-07-21T11:19:00.007-05:00

Hi Everybody,
I did this painting as a result of my recent trip to the YO Ranch in Mountain Home, Texas. This ranch, which is located in the heart of Texas Hill Country, is rich in history and animals. In addition to the exotics that roam the 50,000 acres, like Giraffe, wildebeest and camel, they have lots of longhorn cattle as well. If you've never been close up to one of these bulls, you can find yourself pretty intimidated by their size and power. Everything about them shouts power and nobility. Instantly recognizable, Longhorn cattle are prized for the size of their horns. Horn spreads have been recorded over seven feet! These calves were following their daddy and sticking pretty close to him. But they also were pretty interested in me. I did my best to keep a healthy distance from them, since all animals can be pretty unpredictable when it comes to their young.

My aim in this painting, beyond showing the bond between this bull and what I assume were his offspring, was to convey the heat of a Texas day. The sun is so bright that everything fairly glows. I love the boxy lines of cattle, especially the longhorn variety. I can see why Texas is so in love with these animals. They are a ball to paint!

Thanks for looking

Native Dancer 1, new series has started

2008-07-03T11:17:00.003-05:00

Hi Everyone,
it's time for another post! I finished this one yesterday and am excited to have begun a series of native dancers that I've been thinking about for some time. Last week Ann and I had some of our extended family from Norway make the trip to Minnesota. They stayed with us for a long weekend before moving on to stay with other family members. When we asked them what they wanted to do while here, they told us without hesitation that a pow wow was a must. Luckily the Ojibway (Chippewa) were having one of theirs that weekend. It lit the fire under me to begin this series while it was still fresh in my mind. Man, those drumming circles are LOUD! I bought a CD of indian drumming at the pow wow and played it while I painted this piece.

This painting is all about the rhythm, balance, color and energy the pow wow dancers display. No unnecessary details here to distract from the focus. Just pure joyous abandon (just like in painting). It was a ball to paint. I discovered that when you photograph the dancers, often times they are obscured by so much fringe and movement. Usually you can't tell what the dancer is doing. You can't simply paint what you see, but must simplify and construct something out of which our eyes can make some sense. You must paint what you know, not what you see. That's the challenge on a painting like this. So much of this painting is about feel and intuition. You have to feel when it's right and when it's finished. I could have easily allowed myself to overwork it. I also wanted a more energetic and abstract background than I usually paint.

Thanks for looking, Steve

Three plein airs from trip to Rocky Mountain National Park trip

2008-06-17T16:09:00.008-05:00

Hello everyone,
I'm posting three of the paintings I did on location in the Rocky Mountain National Park, June 9-14. The first is a view of Twin Sisters peak as seen from across Lily Lake. As I painted this, there was a chipmunk who could smell the energy bar I had in my backpack. These critters are so tame that he grew brave enough to jump onto my lap and beg for a piece of my bar.

The Twin Sisters, 9X12 oil on linen panel

the second painting was painted at Mary Lake outside of Estes Park, Co.

Mary Lake Shoreline, 8X10 oil on linen panel

The third painting was done along the Trail Ridge Road at the Ute trail trailhead, in the Rocky Mountain National Park. According to the signpost nearby, prehistoric people used this path thousands of years ago. The Utes and Arapaho indians used the trail to cross from their Winter to Summer grounds. The trail led trappers and prospectors across the Rockies in the 1800's. All of this took place at an altitude of about 10,500 feet. The wind was blowing so hard that I had to sit in my car to paint it, so I wouldn't be blown over the cliffs. Being from Minnesota, where the tallest thing around are the buildings, I was pretty happy when I finished this one and could move on. Trail Ridge Road peaks at about 12,110 feet. I made it to 11,800 feet before the wind felt like it would blow the car over the side of the mountain and I turned around. The day before the park service had closed the road due to high winds.

Rocky Mountain Pass, 6X8 oil on linen panel

I always have a great time in Colorado and I can't wait to get back there again. Next time I think I'll go later in the season. Estes Park had gotten three inches of snow the day we arrived which was June 6th. I would have thought the snow was done for the season, but I guess winter goes slowly that high up. I'm really glad I over packed and brought along some warm clothing with me.

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One final note. When Ann and I were driving from the Denver Airport to Estes Park, we passed through Boulder. During our breakfast we noticed that there was a western art museum a few blocks away and decided to stop in. I didn't know anything about the Leanin' Tree Museum, but immediately knew we had stumbled onto something special from the moment we arrived.

The Leanin’ Tree Museum of Western Art in Boulder, Colorado, exhibits the private art collection of Ed Trumble, Founder and Chairman of Leanin’ Tree, Incorporated, publisher of fine art greeting cards since 1949. His collection was born of a passion for American western art that has spanned five decades and continues to grow today. The scope and quality of this rare collection will surprise you. As we walked around, we were stunned by the scope and quality of this man's collection. Over the past 50 years he has assembled a virtual who's who of western art and shares it with the public (and here's the best part) free of charge. He doesn't charge a nickel for you to see it! Not only does he have a wonderful collection of paintings, but there is an incredible sculpture garden as well, with some monumental bronzes. There are 250 paintings and 150 bronzes by some of the west's art masters. If you are ever in or near Boulder Colorado, do yourself a favor and take an hour or so and treat yourself to this visual feast. I promise you that it will stay with you for a long time to come. While you're there take a moment to say hello to Sara, the museum's curator. The museum is lucky to have her.

Till next time, thanks for looking, Steve

Thanks for looking, Steve

New Painting, "Rocky Mountain Fall"

2008-06-04T09:45:00.005-05:00

Rocky Mountain Fall, 9X12 oil on linen panel

Hello Everyone, thanks for checking in. I've been working on some larger studio paintings lately. I've not been able to get outdoors more than once or twice since returning from Texas and I miss it. But the cure is on the way because I will be heading to the Rocky Mountain National Park in Colorado this week. Part of the reason for the trip is to attend a family member's wedding, the other part is to be able to bring my paints and camera and get some quality on location painting time. The last time I went I was just getting started at plein air painting. I wasn't yet ready to tackle the complexities of the mountain vistas. I'm really excited for this trip. I did this painting as sort of a warm up to painting there. I handled it much as I would any on location subject and gave myself a limited amount of time to complete it. The next morning I touched up a couple of areas.

Happy Painting, Steve

Recent painting trip to Texas Hill Country

2008-05-25T11:03:00.009-05:00

Looking to the West, 8X10, oil/linen board

This painting was done as a result of my recent painting trip to Kerrville and the Texas Hill Country in Mountain Home, Texas. I spent five days painting and taking reference there two weeks ago. I wish it had been longer. While there I stayed at the YO Ranch and had hoped to be able to wander the private ranch, which has exotic animals such as wildebeast, camel and giraffe on the grounds. Not to mentions thousands of deer and cattle. Unfortunately, I was not allowed to roam the ranch freely, since it is also a hunting ranch, where hunters pay lots of money to visit and kill these animals ( not the camels and giraffes though). Next time I'll probe a little deeper about the ranch rules. I figured with 50,000 acres, there would be plenty of room for me. Oh well, live and learn. But the people there were wonderful and helped direct me to lots of beautiful places at which I could paint. This painting was done back in my studio though, right after I got back home. I took the photo on my way back to my cabin after a long day spent painting in the field. I was beat and couldn't have done another painting if my life depended on it. So I stopped the car and stood by the side of the road and just took it all in. Of course I took some pictures, but that only took a moment. The rest of the time I watched, I took mental notes on the color temp shifts and the values. So many artist's I talk to talk about doing the same thing all the time. They are constantly noticing the complexity in the colors of nature. About how she balances out the warms and the cools. How marvelous it is to really look at the way God has mixed it all up so that it all makes perfect sense when you are experiencing it, but how difficult it is to invent it out of your imagination back in the studio. There are subtleties there that seem to be insignificant, but if you leave them out, your work will always have an amateurish quality about it. That's why I paint on location. It's information you can gain no other way. It teaches me every time, how little I know, and how I understand even less.

Fishing the Llano River (field study), 6X8, oil/linen panel

I did this painting on location on the same trip. I did 10-12 paintings while there, but I only brought a few home with me as carry on. The rest I Fedexed home along with my easel and paints. I'm still waiting for that box to arrive. This was a beautiful spot along the South Llano river which runs through Junction, Tx. I started the painting without the figures, and about half way through, these fishermen came along and make a perfect focal point for this piece. I'm going to start putting more figures in my on location work. They add so much to a painting I think. I love that the main figure in this one is setting the hook. A little action in a painting can be such a good thing.

Morning Texas Pasture (field study), 6X12, oil/linen panel

This was also a plein air piece. There were cattle that dotted the far pasture, and I might add them to a larger studio painting of this. But this one's size made me a little hesitant to try to do that. I love back lit landscapes. That's why I do so many of them. This one was my first piece of the day and I couldn't have asked for a better subject. I was just off the highway, where no one goes slower than 70mph. It's good training for being able to block distractions out while you paint. If you can concentrate while Semi's blow by you, hell bent for leather, then you're ready for all the crowds you attract while painting on location. No doubt.

Thanks for looking, Steve

Joanna Van Gogh and the power of One

2008-05-23T09:22:00.004-05:00

Robert Genn is an artist who sends out a weekly blog/newsletter to which I subscribe. His recent post was about Joanna Van Gogh. Joanna was Theo's wife, who survived both of them. Now, most people in the arts are well familiar with Vincent's and Theo's story. Theo was not just Vincent's brother. He was also his link to the world, his confidant, his funding source, as well as his art dealer. It's impossible to put too much value on what Theo has done for the art world by preserving his genius brother's work. Not to mention the invaluable record of Vincent's inner thoughts, dreams and philosophy through the letters they exchanged over the years. However, a story that is almost unknown is the importance of Joanna's dogged determination to have Vincent's work recognized for the Genius that is was. We have Joanna to thank for single handedly championing Vincent's work after his death, and Theo's death a mere six months later. This story illuminates better than any I've heard about the importance of family, as well as the difference one determined person can make on the world. Enjoy...

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Joanna Van Gogh

Robert Genn's Twice Weekly Letter
Insight and inspiration for your artistic career.

Dear Artist,

Vincent van Gogh died in 1890. Theo van Gogh, art dealer and brother of Vincent, died six months later, in 1891. Johanna, Theo's wife, inherited all the shop remainders including virtually all of Vincent's work. She soon moved with her small son from Paris to Bussum near Amsterdam. Johanna, age 29, went into distribution mode.

Reading the brothers' correspondence, she became convinced of her brother-in-law's genius and set about to do the right thing by him. "I am living wholly with Theo and Vincent," she wrote in her diary, "Oh, the infinitely delicate, tender and loving quality of that relationship." Placing work in various commercial galleries in the Netherlands, she also arranged for the gifting of works to strategic museums. It was hard going at first--people laughed at Vincent's work. The critics were skeptical at best, but in the end her writings and her persistent, visionary advocacy fanned the Vincent flames. She typed and revised the Theo-Vincent letters, finally publishing many of them in Dutch in 1914. When she died in 1925, she was still working on letter 526. Johanna also assisted in publishing a handbook for detecting Vincent forgeries.

In the "all's well that ends well" story of artists' lives and successes, there are worthwhile prerequisites. Some artists try some of them so the fruits of their labour can be enjoyed while their creators are still walking around. Vincent, who never saw a guilder from his art, had benefit of all five of the prerequisites:

Distinctive, recognizable style
Limited supply (200, plus drawings)
Controlled distribution (one caring person in charge)
Story (failure, poverty, passion, health issues, ear-off)
Tragic, preferably early, end (shot himself, age 37)

A dose of nepotism helps too. The van Goghs and the Bongers (Johanna's maiden name) were educated, professional, well connected and upwardly mobile. Vincent was the black sheep. It was Vincent's publisher-uncle C. M. van Gogh who was first in print with Vincent's story. Another uncle designed the Stedelijk Museum in Amsterdam. Johanna was herself a sensitive, literate yet practical type who spoke and wrote beautifully in three languages. After thirty years of hard work, she finally and graciously consented to allow England's National Gallery to buy Vincent's "Sunflowers."

Best regards,

Robert

PS: "Everything is but a dream!" (Johanna van Gogh, 1891)

Esoterica: It may take bereavement, another generation, or a canny dealer to see preciousness and perhaps value in a body of work. The combination of hoarding and distribution is part of the art. Work should not be too readily released or made commonly available to just anyone. Stratospheric prices come after the groundwork is laid. After that, as in the National Gallery, "Sunflowers" are now made available on mugs, calendars, shirts and brassieres. Theo and Vincent now lie side by side in the cemetery at Auvers-sur-Oise. If those two idealists hear about those mugs, they'll be rotisserating in their graves.

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Incidentally, Bob Dylan's song "Visions of Joanna" found on the 1966 album Blonde on Blonde, was about Joanna Van Gogh and her single handed vision of what Vincent's work could mean to all of us.

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Two Western Landscapes

2008-05-13T09:00:00.001-05:00

Juniper Lake Study, 6X8, oil on linen panel

Mountain Snowmelt Runoff, 6x12, oil on linen panel

Hi Everyone,
I'm posting a couple of the smaller paintings I recently finished. Both are scenes in Wyoming, but are very different in their mood. The first is a lake near Yellowstone toward the end of the day. The second is early in the morning looking almost directly into the sun. That one is outside of Jackson Hole on the way to Yellowstone. I never get tired of the landscapes around the Jackson Hole area. I bet a person could spend several lifetimes painting it and still only scratch the surface.

Thanks for looking, Steve

Art Auction, May 9-10, 2008

2008-05-06T11:00:00.012-05:00

Update: "Sizing Up The New Hand" and "Morning Has Broken" were sold at the Auction this past weekend. It was a great event and I want to thank Texas Art Gallery for putting on an incredible weekend. It was great getting to meet so many of the gallery's reps, great artists and informed and enthusiastic collectors. I'm looking forward to the next one coming up in November.

Sizing Up the New Hand, 20X30, oil on linen

Since I'm going to be participating in my first art auction in less than a week, I thought it would be a good idea to post my entry here and talk about it a little. I called this painting, "Sizing Up The New Hand". I had the idea of wondering what it is like for a cowboy who shows up for his first day on the job. Cowboys, being like everyone else, would be curious about their new co-worker. But Cowboys, being like nobody else, wouldn't sneak a peek at him. They would just look. No Bull, no pretenses, and no fear. Even the dog gets in on the once over. I made sure that the new guy's jeans were clean (and still blue), and his shirt was pressed. The other cowboys clothes have long since given up the ghost when it comes to looking new. After all, this is a working ranch.

The Auction, which will take place on Saturday, May 10, 2008, will be hosted by Texas Art Gallery and held at the Inter-Continental Hotel in Dallas Texas. The preview starts at 6:00 pm and the auction itself will begin at 7:30.

In addition, there will be a fixed price draw at the Gallery on Friday, May 9th, 2008. Draw will be held at 8pm. I have three pieces in the draw. The first is:

Morning Has Broken, 11X14, oil on linen panel

Mixed Team Roping, 13X20, Charcoal on Strathmore

Two Seconds To Go, 21X14, Charcoal on Strathmore

Ann and I are excited to get to meet the Gallery staff and Collectors. It's a chance to meet some pretty wonderful people who all love Art just as much as we do. Everyone at TAG (Texas Art Gallery), has been so very good to us. This gives us a chance to put faces to names. Not to mention, having the opportunity to meet the people who collect art and give people like me the ability to live my passion every day. We've had a chance to look over the Set Price Draw and Auction catalog, and we're excited to get to see some pretty wonderful art. I'll check in after the event and let you know how things went.

I'll be doing a bit of painting in the Hill Country after the event, so I would appreciate any tips on where to visit!!

Till next time, Steve

Clouds Over Texas, new painting

2008-04-30T09:50:00.006-05:00

Clouds Over Texas, 9X12, oil on linen board
Texas Art Gallery, 800.783.4278

Hi Everyone,
I finished this painting recently. When I was in Texas last May, I was struck by the incredible cloud formations. When I moved to Minnesota from Ohio, I thought Minnesota had wonderful skies, and they do. But then I experienced Arizona Skies and thought they were the best. But nowhere have I seen such beautiful skies, day after day, as I did in Texas that weekend. Unfortunately I was in town for only a short time and I wasn't able to do any on location painting. So I took lots of photos. Back in the studio, six months later, and working from several photos, I came up with this scene along one of their many rivers. I decided to make it a late day scene and make the bottom half of the trees in shadow. Setting the painting at this time of the day allows me to play up the saturated colors that make these skies as interesting as they were. In the original photo of the river that I used, there were some uninteresting rock formations on the left hand side, which I replaced with the shrubs on the foreground shore.

Thanks for looking, Steve

New PA's for April 2008

2008-04-28T14:24:00.013-05:00

Hi Everyone,
It had been almost six months since I had been out painting on location. I've been painting every day in my studio/dungeon, but I had gallery commitments to fulfill, not to mention making the transition of illustrating full time to painting full time in February. Lord, I can't believe how much time is not spent painting, when you start painting full time, LOL. But the change is behind me and I got out of the studio this past month more than a few times. Needless to say, on location painting in April in Minnesota isn't always the most pleasant experience, but it beats working for a living!! I ain't complainin'

Here are a few of the paintings from the past sessions....

A Change in Direction, 6X8
This is the first painting I did after my self imposed extended break.

A Fresh Blanket of Snow, 8X10
Painted on April Fool's day. It had snowed heavily all night and there were paintings everywhere I looked. Every branch was bent with a thick layer of snow. It warmed up so quickly that there was so much less snow when I finished this study than when I started it.

Outstanding In His Field, 9X12
Painted on what I thought was the Minnesota Arboretum's property. That is, until the farmer that owned the field came out with his very upset dog and asked my why I was out standing in his field. Luckily, he was nice enough to let me stay and finish.

April's Melt, 9X12
This painting was done in the afternoon of the same day as "Fresh Blanket of Snow". This is how quickly the snow had melted off in just a few hours. I was standing in what must have been a direct flight path of Canada Geese, as there seemed to be an unending stream of them flying by all afternoon.

Late Winter Shoreline, 6X8
This was the final painting for the day. I wanted to do a quick study, so I did what I call a guerilla painting. I give myself 40-45 minutes to get down the essence of the scene. Quickly decide on the focal point (which in this case was the oak tree in the upper left third of the painting), winter came so quickly here, that this tree was still holding onto it's yellow leaves. Everything else is simplified and subordinated to it. I love starting the day doing these quick studies to loosen up. I'll also do them at the end of a day, if I feel that I was spending too much time concentrating on details which only hurt the painting in the long run.

Happy Painting, Steve

Walk Softly, finished version

2008-04-26T13:30:00.006-05:00

Update: "Walk Softly"was sold at the Bosque Conservatory Art Classic in Clifton, Tx. The collectors who bought the painting told me that they loved the painting and also loved being able to follow the creative progress, and was part of the reason they decided to purchase it. ---S.

Hi All,
I decided to put my painting, Walk Softly against the wall for a while and come back to it with a fresh eye. When I look at something for too long, my perception becomes stale and the problems with the painting are tough to see. Even if the problem is a glaring one, you can miss it. Taking a break allows me to see things much more clearly.
When I put the painting back on the easel, I knew what I had to address. The painting was too warm all over, even the greens. There was no difference between the temps in the clearing he was standing in, and the trees behind him. Also, the coloring made the painting too ominous. The subject matter of this weapon is adult enough without playing it up in the colors. Here is the version before I made any changes...

Previous Version

New Revised Version

As you can see, when you compare the new version to the old one, the changes are pretty significant. I made the colors more true to life and believable. I also repainted the blades on the warclub. They had grown pretty big as I had painted on them and were out of scale with the weapon. The other thing I was unhappy with was how I had applied the paint. It's now much more painterly and exciting to look at. Now I can say it's finished. It's a perfect example of not rushing a painting out of the studio. If there is ever anything that doesn't please you in your work, give it time to rest and come back to it with a fresh eye. Richard Schmid advises to never leave anything on your canvas that you know is wrong. Sage advice to be sure. I would add to that.... to give yourself a little time to live with a painting to find out what those things may be. Once you let the painting out of the studio, it's kind of like going to the top of a mountain and releasing a handful of feathers. You can't ever get them back again, no matter how hard you try.

Happy Painting, Steve

Horseback Along the Virgin River

2008-01-21T11:42:00.003-06:00

Hi Everyone,
I finally got around to posting. I've been busy on a large painting and it's taken up most of my painting time. But, thanks to my friend Jacquelyn, who lit a fire under me, I committed to doing a painting for the Zion National Park competition. This is my attempt to convey the grandeur of Zion Canyon. If you look very closely along the shadowed side of the river, you will see three dark figures. Two riders on horseback and their trusty dog. They were added to try to give extra impact to the scale. It was difficult to paint them small enough. I kept having to redo them because they always ended up too big. Everything I did, from the lighting and shadow of the cliff from the opposite canyon wall, to the river and trees are doing everything I can to point you to those tiny tiny figures in this vast landscape. That's also why I've given the painting the name that I have. It lets you know that there's something extra worth looking for.

Thanks for looking, Steve

The Warclub, a painting "work in progress" Day4

2007-12-18T12:30:00.001-06:00

Hi Everyone,
I apologize for taking so long to get this posted. I had it ready last week and didn't have the time to get it photographed and posted. I still don't feel that it's 100% finished, but it's close enough to post if framed on my website as finished. Also, I will be replacing this photo with a sharper version in the next couple of days. I've started using a Canon 40D DSLR and, at least for me, the learning curve has been steep. I long for the days of my old point and shoot Olympus Camedia C-5050!! But enough of that.

Here is the latest version of "Walk Softly" ( formerly "The Warclub"):

I decided to rename it to something a bit more creative and to make a play on an old saying. I feel that the name of a painting should be as creative as the work itself. It has to work as a whole. And if you find that you don't like a painting's name, you can always rename it ( as long as it hasn't sold yet).

Most of the work that's been done on it since my last post has been detailing. Tightening the features of the face. Painting in the hands. Working varied color temps into his buckskin shirt. I added rawhide decorations and feathers around the handle of the club itself. I noticed that the original shirt the model was wearing had puffy cuffs, which works for fabric shirts, but not for buckskin warshirts. So I had to rework the ends of the sleeves to be more like a jacket with fringe. As I painted him I tried to keep the edges softer to keep the painting from being too brutal. I especially worked on getting the blade to glint in the sunlight. Adding that glow is a great way to get your focus from the Mountain Man to the club. I kept the background subdued so that he really pops. I still need to flesh that background out a touch. But I wanted to wait until I had the figure just about done. That way I can add only as much as I need without having it compete with the figure.

Steve

The Warclub, a painting "work in progress" Day3

2007-12-03T12:29:00.002-06:00

Hi All,
Here is the progress I made during my second day of painting. I forgot to mention that this piece is 18X24.

As you can tell, I've done quite a bit to it since the last post, but the working process is always the same. Work the entire picture at once. I have rendered his face more and it doesn't look so blocked in. It is further along, but I still don't consider it finished. As I look at it, I realize the size of his nose has grown. It happens. I have a tendency to do that, so I will continue to perfect his face. To me, this is the most important part of any painting with a figure in it. the face has to be exactly right and painted tighter than the rest of the work. You just can't be sloppy with a face. I read somewhere once, and I've taken it as one of my mantras, "Don't accept something in your work that you wouldn't accept in someone else's work". If I look at a figurative painting or a character study and the face isn't right, I just assume that that was the best they could do. That they couldn't see the problem and couldn't paint it any better. I never want that to be the case on one of my paintings. As I work on it, I am continually looking at it in the reflection of a large mirror I have hung opposite my easel. This immediately lets me see any problems with drawing or perspective that my eyes have grown accustomed to. His Buckskin is also further along than it was, but I'm still working on it. I'm pretty happy with the front of his shirt, but his sleeves are still in process. I've barely begun to rough his right hand in, while his left hand is still a drawing. This part isn't concerning me right now, as I know what I want that to be like. The biggest change you are probably noticing is the background. As I let the painting sit for a couple of days last week, I became bothered by not having some kind of a background. I didn't want anything too distracting, but he needed to be in a setting. It came to me that many of the masters would paint in backgrounds that were not distracting by painting them in a more monochromatic technique. Something that was more than abstact and not as much as a full fledged distracting background. I liked what I had in the way of composition, so I worked with what I had as shapes, and just fleshed them out a bit. Adding trees and a field, always making sure the rhythm and balance was working. I was also very aware to keep the focus on the mountain man by keeping this the lightest/darkest area. This is where it ended up. It's a much more pleasing and satisfying painting with placing him in a wild setting. I will continue to fine tune it. I've hinted at the fringe on his shirt. Probably the only thing I consider finished on this is his beard, the wooden part of his warclub, his shirt front and his head wrap. Everything else is closer to completion than it was, and in a better place, but still very much a work in progress. Thanks for checking in.

Happy Painting, Steve

The Warclub, a painting "work in progress" Day 2

2007-11-27T08:36:00.001-06:00

Hi Everyone,
Here are the results of my first day of actual painting on "The Warclub". I thought long and hard about how to approach the finish on this painting. There were many ways I could have gone. One way I considered taking it was to put a full blown background in. But I ruled this out almost immediately since I felt that even a simple setting would have detracted from the strength of the focal point, which is the club wielding mountain man. Then I thought about putting him on a dark background of deep green or some other compliment that would pop him off the background. A better choice than the first, but I ruled this out in the end because it might have been too tranquil a background for this painting. The thing I kept coming back to in my mind is that this is a brutal, almost prehistoric kind of weapon and it required a background with some slashing life to it.

So I brushed on a transparent layer of raw umber and earth green near the figure, then used a brush to fleck and slash it with turpentine. The turp lifted the wet paint, dripped in places and created a wonderful effect of a stone like texture. Just the background that this painting needed to give it some life, but not overwhelm. Everything is loosely painted at this point and nothing is finished. the hands are still only drawings. The subject from which I am painting was wearing a bright blue fabric shirt. Way too blue to be period correct, so I changed it to a buckskin coat and will be adding fringe along his shoulders. Buckskin is thicker than fabric and the folds have to be painted in a more rounded softer manner than the fabric would be painted. I've also added a couple of beaded strips down the front of his coat. This lets you know this is indeed a western mountain man and that he possibly has a native wife somewhere. I will be letting the shadow part of his coat melt into the background colors. This gives it a more pleasing effect and doesn't draw unneeded attention. At this point, I'm just trying to get everything in so I can judge what it needs and can do without. I'm really trying to avoid putting in unneeded details and really orchestrating what I want you to see.

The Warclub, a painting "work in progress"

2007-11-26T13:38:00.000-06:00

Hi Everyone,
I've decided to do something a little different this time. I've had some inquiries about the process I use on my figurative pieces, so I thought it might be fun to do a post which follows along as I work on a piece. I will take a photo at the end of each sessionof my painting and explain what I've gotten accomplished in each session. I don't know if this piece will be successful, but that's the way it is with every piece that artist's do. There are no guarantees.

This painting will be called "The Warclub". This mountain man is holding a particularly nasty native american weapon called a warclub. We don't know how he came to have it. He may have won it on the field of battle, or just stumbled across it while traveling the wild country. This weapon was feared and was particularly effective in battle. I guess you can see why. It was made out a a plank of wood, two wicked blades stuck out of the side and it was decorated with brass studs, horsehair twine, beads, and at times, feathers.

This is the way I start most of my figurative paintings. I'm using Claessins #166 acrylic primed linen. I tone my canvas with yellow ocher acrylic paint. Not always, but usually. Then I begin to draw on the canvas with hard vine charcoal. I draw lightly at first, but because it's vine charcoal, it wipes away very easily, so corrections are easy to make. At this stage everything is very fluid. One thing I have learned is that a drawing can look just right when you draw it, but once it's framed it can feel off. And if it doesn't feel right, it's wrong. So, sometimes I will do my drawing while I have the frame around it, or sometimes I look at it framed after the drawing is fairly well along. Here is the drawing in the frame to check how it balances. I always try to use the frame it will be sold in. That way there are no surprises.

Everything is loose at this time, in fact I keep it loose for as long as I can.

Here is a close-up of the head. Here you can see that I've kept the drawing to major areas of lights and darks. Why put in all that detail, if you're just going to cover it up in the block in?

This is the end of my first session. The drawing took 1 1/2 - 2 hours and was done at the end of a full painting day, or I would have started the painting.

Steve

Sketchbooks, the key to painting better.

2007-11-06T12:54:00.002-06:00

Hi Everyone

Occasionally a beginning painter will ask me how to speed up the time it takes for them to paint better. I only know what works for me.... the basics. Everyday I try to set aside some time to draw. There isn't any magic potion for me. I'm a grinder. It doesn't come easy for me and I have to work at it everyday, and probably always will. I don't possess a photographic memory ( at least if I do, I don't remember that I do), so working on finding that shorthand to record what I see, or rather, how accurately I see, is a matter of practice. Of course drawing from life is best, and I do that whenever I can. This sketchbook page to the left was done sitting on a bench at the Lake Harriet Rose Garden, just minutes from my house. But often a hectic schedule keeps me from going out as much as I would like. In that case, I use anything I have at hand to draw from, magazines, books, catalogs, and photos I've taken. I even draw from some of my favorite websites. Since I'm not selling these sketches and am not profiting from them, I'm not infringing on anyone's copyrights.

There was a time, long ago, when I first started drawing that it wasn't much fun. But that doesn't last too long (only about a year I think). Before long, you will see yourself making progress, and the things that you couldn't do become second nature. I read somewhere that most people give up the new things they are trying to do, just before they would make a breakthrough, and so never succeed. But if you stick with it and are kind to yourself, soon you will look forward to your time with your pencil. I'm going to post some pages from my sketchbooks here to give you an idea as to the different things I draw and the goals I set for myself. Almost always these drawings are loose and don't take a lot of time. Some are looser than others. The goal of a sketchbook is to do quick little studies and train your eye to see size space relationships. The goal is not to create finished drawings to sell or hang on your wall. Oh, and remember, you can click on any image you see for a larger view.

The sketches to the left were done to work out the best composition on a painting idea. I do these all the time. 5-10 minutes on these kinds of sketches will save you a lot of false starts on your easel and wasted time. I also do these when I'm painting on location, and I would recommend if you paint outside too, that you give it a try. You will know immediately if your composition is strong enough to support a painting. Also, I do move things around to make a better painting, so this kind of drawing lets you work it out beforehand. I try different layouts and dimensions too. Sometimes your first idea isn't your best and this will force you to try out new looks and get away from your usual solutions.

Same with these quick sketches, just a compositional exercise. Sometimes I will fire off a sketch when I get an idea for a painting, just so I don't forget my idea. "Sunscreen" was one of these sketches. Two older folks getting ready to get into their canoe for a day on the water, take a moment to apply sunscreen to each other. Along the Treeline was another compositional sketch to work out getting the focal point clear in my mind.
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This photo had potential for a painting, but was too busy and lacked a place for your eye to rest.

so I did a sketch that added a field at the bottom of the canyon, which solved my problem. It isn't fancy or detailed, but that's not what I needed it for. Here is the finished painting. I used this sketch to refer to as I laid out the underpainting. I only used it as a shorthand drawing.

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These drawings, on the other hand, are purely about sketching and training your eye and brain to see size and space relationships. For me this is so very important in my painting. To paint well, you have to be able to see well. If something in your painting seems wrong but you don't quite know what the problem is, you probably have a drawing problem. It doesn't matter how well something is painted, if you aren't accurate in your relationships, you will not be successful. Sorry, but that's just how it is. Being able to draw gives me that ability to see. For me, I make the most progress in training my eye, by doing lots of quick sketches rather than one long labored drawing. I keep a small handheld mirror close by to view my sketch in reverse and make sure I'm on target. Using one of these babies will give you a fresh eye when you've been looking at your drawing for too long and your eye has grown used to your mistakes. Looking at your sketch in the mirror will quickly show you where you've gone wrong so you can correct it. I tend to draw a lot of nudes in these drawings since I find human anatomy to be the most unforgiving subject. If you've gotten it wrong, even just a little, you will usually know it. But don't feel that you have to draw nudes. I draw anything and everything. Whatever I'm interested in, or feel I need to work on is fair game, as you will see.

I'm constantly drawing horses and horse anatomy. I like to paint them and must be familiar with their anatomy enough to get it right. In so many ways horse anatomy is every bit as challenging as human anatomy. Even more so for me, because I'm not as familiar with it, so sometimes the mistakes aren't as easy for me to see.

In my sketches of the stray dog that my parents adopted, I was only concerned with getting his gesture and expression. These were quick and not labored.

I love doing the quick character studies of some of the reenactors I meet at the rendezvous I attend. This carpet bagger had a great look. Again, this is quick and I don't labor to get everything exactly right. I'm much more interested in getting something down quickly and getting my eye and brain to intuitively see relationships, angles, and to simplify values.

More quick drawings, though longer than a pure gesture drawing. Don't get distracted by unimportant detail. Also, start out drawing light enough so that you can make adjustments as you need to. I'm constantly making corrections as I go. Same with painting. Martin Greele says something to the effect that painting is a series of corrections. The same is definitely true of drawing.

This is about as long a pose as I will do in my sketchbooks, probably about 1-1 1/2 hours.

I also like to put multiple images on each page. And I work at trying to make it pleasing to look at as a whole, I guess it's the Designer/Illustrator in me.
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Well, that's all for now, I hope this gives you some inspiration to pick up your sketchbook and pencil and dive right in. You won't regret it and your paintings will be much easier for you to do.

Happy painting, Steve

Use RSS feed to be first and informed

2007-10-30T16:08:00.000-05:00

Let's say you have a favorite artist (or ten) who's website or blog you like to visit. But who has time every day to jump to their artist's site to check if any new work has been posted. Well now RSS feeds can put you in control. Before I get to the why you should care, let's take a moment to talk about the what question first. What on earth is RSS? (Also known as Subscribe To: Posts (Atom) at the bottom of this page. It's the same thing to you and I.)

What are RSS feeds? Perhaps you've seen text or image buttons on various websites inviting you to "subscribe via RSS." Well, what does that mean exactly? What is RSS, what are RSS feeds, and how do you get them to work for you?

Answer
What is RSS? Short for Really Simple Syndication or Rich Site Summary, this handy service is revolutionizing the way we search for content. There's nothing complicated about RSS; just think of it as a way that websites come to you, the reader, with content, instead of you having to check up on them. Every time content is updated by your chosen website, a "feed" is activated, and then you can view these "feeds" (it's just a fancy way of saying content) in a feed reader. It's kind of like subscribing to a newspaper. Website feeds get delivered to you in your RSS reader, and you get to read them (We'll get to feed readers in just a minute!).

RSS feeds benefit artists like me too, since I can get my new work and new blogs to subscribers, like you, fast, by submitting feeds to various RSS directories (such as Google Reader).

What does this mean for you? Sure, that sounds interesting, but why is it for me?

Answer
Simply put, it means that you are in control and informed about any new artwork that's loaded. Also, if you RSS subscribe to my blog (musings) you will know as soon as I put up an new post of my ramblings. When I post it, you'll know it. Simple as that. OK, says you, I'm an artformation junkie and that sounds like it's for me. What do I do next? Luckily that's simple too. Step on is to Let's talk about RSS readers.

What Are RSS Readers? What are RSS readers and do I need one?

Answer
Basically, RSS readers are the programs used to view your RSS feed subscriptions. In other words, it's a way to clump all your RSS feeds from various websites, like all your favorite artists, into one handy dandy little interface. For example, the web browser I use is Firefox and when I subscribe to a RSS feed, it automatically shows up in my bookmark menu. Most people however, use another browser, so to make this really simple I'll use Google reader as an example, though there are many readers available. I like Google Reader, because there is nothing to download and best of all, it's FREE!

To use Google Reader, you'll need a Google account. Once you've signed in, you can access all the other nifty Google services such as Froogle, GMail. Here is a quick and easy link you can use to sign up at Google to begin using your Google Reader.
Google Account sign up.

Once you have your account, you can begin using your Reader to access all those websites that have feeds which sound interesting to you. By the way, RSS feeds are great for your favorite news sites. Now you can be the one to announce to the rest of the office that Paris was arrested again, or that there's a rumor that Britney was seen coming out of Chuck E Cheese in Boca Raton. Imagine the possiblilities! While you're at it, don't forget to add your favorite artist's sites.

So if you're interested, take a moment to subscribe to my feed by clicking the Subscribe to: Posts (Atom) link at the bottom of this page and you won't miss another post.

...what do you mean Britney's lawyers are on the phone? I didn't start that rumor.

Bosque Conservatory 2007 Art Show

2007-10-25T11:29:00.002-05:00

Hi Everyone,
In September the Bosque Conservatory in Clifton, Texas, held it's 22nd annual Art Classic Competition. Out of more than 1200 entries, 200 works of art were chosen to be included in this years show. The Juror of Awards for this show was nationally renowned artist George Hallmark.

Before I get too far into talking about the show, I should tell you a little about the art scene in Clifton, Texas and Bosque County. In the middle of a sparsely populated area of Texas at the north edge of the Hill Country is historic Clifton Texas. Considered one of the “100 Best Small Art Towns in America,” Clifton has attracted such renowned artists as the late James Boren, the late Melvin Warren, Bruce Greene, Martin Grelle, George Hallmark, Tony Eubanks and George Boutwell. Many of those artists have exhibited or taught at the Bosque Conservatory. In this unlikely hard workin' no nonsense town, is the crown jewel of the Arts that is the Bosque Conservatory.

I learned about the show from my good friend Scott Myers who himself was the purchase award winner in years past. He told about the high quality of the entries in the show. The great prize money that is awarded. But mostly he told me about the people who run the Conservatory and their dedication to promoting high quality representational art. He wasn't stretching the truth.

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After I had entered seven pieces in the show and had gotten the phone call after the judging that I had won the Jones Purchase Award, one of the hardest things I had to do was to keep the good news to myself for the next two months until it was announced on opening night. Well, I kept it mostly to myself. Four entries are required to be eligible to win the John Steven Jones Purchase Award. This award is given to one piece of art in the show each year, along with a $5,000.00 check. In return, the painting is added to the Conservatory's permanent collection of paintings and sculpture. The award is in memory of Roland and Joyce Jones' son who died in a traffic accident. Their intent is to make the monetary award large enough that high quality artists are attracted to enter the show. And the reason that a minimum of 4 entries are required to be eligible, is to ensure that the painting entered wasn't a one time piece of luck. It ensures that the artist is competent in their chosen medium. You are only allowed to win this award once, and then you become ineligible to win again. Five of my entries were accepted into the show. The two that were rejected were the two that I thought had the best chance of getting in and maybe even winning the Jones Award. It just goes to show that you never can tell what the judge is looking for. Thank goodness for the requirement of the extra pieces. Here are the pieces that were accepted in the show along with the awards they were given.

Promise of Another Summer, John Steve Jones Purchase Award. 20X16, Oil on Linen.

Come Back to Bed, 2nd place, Oil painting. 8X10, oil on Gessoed Panel.

Mending, 1st Place, Pastel/Color Pencil. 16X12,Pastel on Archival Sanded Board.

Spring on Partridge Creek, 20X16, oil on linen

Autumn in Buffalo Valley, 12X16, Oil on Linen Panel.

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Ann and I flew into DFW and drove down to Clifton, where we were invited to stay with Art Collectors and Patrons Joyce and Roland Jones, who's hospitality knew no limits. We accepted their invitation greatfully and boy were we glad we did. They opened their home to us as though we were long lost relatives. They fed and housed us. And they showed us their beautiful collection of original art, which would make any museum drool. I had a hard time going to bed, cause I just wanted to drink in all those wonderful paintings and sculptures. The mornings were wonderfully cool with mist hanging over the ranch. Here are the angus cattle slowly making their way across the mist shrouded distant fields.

Our days were filled with sightseeing and lots of picture taking for reference. Here are two of the paintings I did from our time at the ranch.

Bosque Canyon Vista, 11X14 oil on linen panel.

Hill Country Moonlight, 12X16 oil on linen

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This show was every artist's dream come true. From the moment we arrived, everyone treated us so special. The show was spectacular, and I was proud just to be included with so many other wonderful artists. There was plenty of time to get aquainted with everyone and to make lots of new friends. Unfortunately, I was so intent on talking, I forgot to take many pictures of the show space and people mingling. Most of the photos I got that night, were given to me by friends. Here are some of the photos I have.

Joyce and Roland's grandkids and their significant others came down for the show.

...now where is that business card........

...oh, here it is!! Here I am networking and getting to know some of the guests.

Gregory Beck, Me and Jeff Gottfried. These guys both won awards in the Sculpture Category. Gregory took Second while Jeff got First Place and the Cap Award. Their work was so very different, but both are incredibly gifted. I hate saying gifted, cause it sounds like there is no work involved and it just comes naturally. Gifted artists tell me, there is very little good work that comes easily.

Here are some of the award winners:

Mike Evans, Watercolor First Place.

The very talented painter Mike Irvin, accepting the Peoples Choice Award.

Cindy Long accepting her award for her Drawing category First Place winner.
She is a magician with the pencil.

I can't remember the last time I smiled so much.

A nice surprise....

....I had no idea that I had received awards other than the purchase award. Everyone involved with the show decided to keep that to themselves. I didn't have a clue and almost passed out as I walked around. Joyce had a great time watching as I made the award discoveries.

The reason this whole dream night was possible for me are all standing next to me. Scott and Kathi Myers are on the far left. Scott is a great painter and a Jones winner himself. I would never ever have heard about this show, if it hadn't been for him. Thank you for being so open and supportive, not to mention taking the time to drive all the way down from Granbury to attend the show. And, next to me, the woman who means the world to me, my wife Ann.

Our friends, hosts, and very generous patrons, Roland and Joyce Jones.

Two of my very favorite things in the world, relaxing and talking art. The morning after a very hectic show opening.

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Thanks for indulging me in this chance to relive a very important night in my life. My sincerest thanks go out to Joyce and Roland Jones, George Hallmark, the talented artists and patrons who showed up and were so supportive of the work. And of course, thanks to everyone who volunteers their time and opens their pocketbooks to make the Bosque Conservatory a reality. Because of your support of representational art, you help to make the world a better and more beautiful place to live in.

Happy Painting, Steve

Up and Running

2007-09-22T09:13:00.002-05:00

Hi All,
This is my first of many blogs that will enable us to get to know each other. I have felt the need for this blog as a compliment to my website www.steveatkinsonstudio.com which is my painting website where I post all my latest paintings that are for sale, as well as other information, such as my resume and bio. Not to mention, links to galleries and my links page where you can find some truly great painters, framers and professional organizations.

Thanks for looking, Steve

Steve Atkinson painting blog

"Hare Trigger" step by step 5

"Hare Trigger" step by step 4

"Hare Trigger" step by step 3

"Hare Trigger" step by step 2

New Step by Step of painting "Hare Trigger"

NEW PAINTINGS FOR UPCOMING EVENTS...

Cowboy Reading Light

Skull Valley and Beyond

Painted the Grand Canyon yesterday

Canyon Glow

Arizona Cowboy Poets Gathering 2011 poster announced!

Steve's painting given as AWEE's Spirit of Volunteerism Award

Bullets and Water Tanks Don't Mix

Monument Valley *UPDATE*

Quickie from Labor Day Camping Trip

THREE NEW PLEIN AIR PAINTINGS...

Buffalo Heart Studio

The Rancher

"Paint the Parks" Show Awards Announced

PORTRAIT OF A MOUNTAIN MAN

Racing the Wind

View of Yellowstone Falls

Dawn at Tsegi Overlook

First String, finished version

DUST AND THUNDER

MARIAH

First String Daily Demo, Day 5

First String Daily Demo, Day 4

First String Daily Painting Demo, Day 2+3

'FIRST STRING" DAILY PAINTING DEMO

Blogger confessional...

New direction for a study

There's One in Every Bunch

Hell for Leather

Mexican Silver

Canyon de Chelly paintout post #2

Canyon de Chelly plein air post #1

Prescott Arizona plein airs

Spending some quality time in the field

Canyon Morning Light

Buckskinner portrait

Wildflower Hill, plein aire

New Painting, "King of the Hill Country"

Simple Beauty...to be featured in Southwest Art's Art View, Feb 2010

Cowboys and Miniatures are like peas and carrots...

New painting for upcoming one man show

Last One Back

New Landscape

Ojibwe dancer's portrait

Front Row Seat

Earnin' Your Keep

Cowboys and Indians magazine highlights Steve's Art

Late Day Light Display

study for future painting "King of the Hill"

Big Dreams

Holiday MIniature Show opens soon...

My First time being tagged...

New painting for Texas Art Gallery's Fixed Price Draw event on November 7th

Cowboy Payday

New Painting: "Distant Promise of Rain"

September Song

New Painting: "Lunch Line"

Who's Your Daddy

Native Dancer 1, new series has started

Three plein airs from trip to Rocky Mountain National Park trip

New Painting, "Rocky Mountain Fall"

Recent painting trip to Texas Hill Country

Joanna Van Gogh and the power of One

Two Western Landscapes

Art Auction, May 9-10, 2008

Clouds Over Texas, new painting

New PA's for April 2008

Walk Softly, finished version

Horseback Along the Virgin River

The Warclub, a painting "work in progress" Day4

The Warclub, a painting "work in progress" Day3

The Warclub, a painting "work in progress" Day 2

The Warclub, a painting "work in progress"

Sketchbooks, the key to painting better.

Monument Valley UPDATE