Daily Painting and Observations on Art, Nature and Life, by Stefan Baumann

Oil Pain(ngs, Instruc(on,and Observa(ons about Art and Living

byStefan Baumann

Oil Pain(ngs, Instruc(on,and Observa(ons about Art and Living

byStefan Baumann

Let me introduce myself. My name is Stefan Baumann and I am an ar7st, an art instructor, and the host of a PBS television series called "The Grand View." This eBook is an accumula7on of 4 years of daily blog posts that share my insights and observa7ons about nature, art, and life. I hope to touch, move, and inspire ar7sts as well as non-‐ar7sts with my pain7ngs, and with some ideas about how to be more crea7ve in your own unique ways and live a passionate life. I sincerely hope you enjoy this book. Feel free to pass it on to friends and ar7sts. If you would like to contact me, you can email me at [email protected] or you can go to my website at thegrandview.org

for more informa7on.

Thank youMy grateful apprecia/on to Kris Baxter for her invaluable contribu/ons to the blog and this revised eBook, which I could not have wri>en without her crea/ve edi/ng and support. My thanks to Gita Hazra/ (gitahazra/@gmail.com) for all her help with my website and uploading changes through the years, and to Hannah West for beau/fully finalizing the design and format of this eBook([email protected])

I also want to thank, you, the readers, for all your gracious comments that warm my heart, make me smile, and inspire me to con/nue offering my experiences and views of the world of art through this blog and eBook.

Revised June 2012

mailto:[email protected]?subject=Your%20ebook

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http://thegrandview.org/

http://thegrandview.org/

mailto:[email protected]




TABLE OF CONTENTS

"First Snow" -‐ Introduc7on...........................................................................................1

"Morning Snow" -‐ Enjoy the Moment..........................................................................2

"The Crea7ve Path"......................................................................................................3

"Winter Orange" -‐ Touch, Move and Inspire................................................................4

"Mt. Shasta Nocturne, Opus 1" -‐ Rules........................................................................ 5

"Winter Dogwood" -‐ Als Ik Kan.................................................................................... 6

"The Grand View Ranch" -‐ Paint Every Day.................................................................. 7

"Principles of Design"...................................................................................................8

"Winter Color" -‐ S7ll Life Pain7ng................................................................................ 9

"A]er the Storm" -‐ Sharing Yourself through Art........................................................10

"Shasta Sunrise" -‐ Overcoming Obstacles...................................................................11

"Lady Shasta" -‐ Just Leap!...........................................................................................12

"Hammond Ranch Oak" -‐ Pain7ng Snow....................................................................13

"Begonias S7ll Life" -‐ Art is Crea7ng, Not Perfec7ng..................................................14

"Tulips S7ll Life" -‐ Pain7ng Tips.................................................................................. 15

"Brushstrokes"............................................................................................................16

"Shasta Sunset" -‐ Paint What You See........................................................................17

"Old Stage Road Barn" -‐ Successful Pain7ng on Loca7on.......................................... 18

"Mt. Shasta Barn, Opus 1" -‐ How Do I Paint That?.....................................................19

"Taking on Great Challenges".....................................................................................21

"Valen7ne's Flowers" -‐ Share Your View of Life......................................................... 22

"Mt. Shasta Barn, Opus 2" -‐ Crea7ng Your Own Magic..............................................23

"Road to the Foothills" -‐ Communicate Your Message Clearly...................................24

"A Single Rose" -‐ Learning to See...............................................................................25

"Greatness in Art"......................................................................................................26

"Spring Lit Meadow" -‐ Crea7ng the Effect of Light.................................................... 27

"Shasta Valley, Opus 1" -‐ A Sense of Space................................................................28

"The Old Bunkhouse" -‐ Crea7ng Mood......................................................................29

"Shasta Barn, Opus 3, Hoy Barn" -‐ Challenges of Pain7ng Outdoors.........................30

"Basalt Cliffs North of Mt. Shasta" -‐ Crea7ng Drama with Color................................31

"What ‘It’ Is".............................................................................................................. 32

TABLE OF CONTENTS

"Grand View Burn, Opus 1" -‐ Pain7ng Fire................................................................34

"Spring Runoff" -‐ Pain7ng Trees with Personality......................................................35

"Hedge Creek Falls, Opus 1" -‐ Tapping in to Our Inner Source..................................36

"Mossbrae Falls, Opus 1" -‐ Pain7ng with a Limited Palehe.......................................37

"The View from My Studio" -‐ Create and Excel.........................................................38

"Ar7st's Tools"...........................................................................................................39

"McCloud Middle Falls, Opus 1" -‐ The First Impression Counts................................40

"McCloud Middle Falls, Opus 2" -‐ Pain7ng an Effect.................................................41

"View from the Grand View, Opus 1" -‐ Self-‐Doubt and Cri7cism..............................43

"Faery Falls" -‐ Sfumato..............................................................................................44

"Shoshone Falls"........................................................................................................45

"The Fine Art of Seeing Color" -‐ Perfec7onism Leads to Paralysis............................46

"Mt. Shasta's Smoky Veil" -‐ What Colors Do I See?...................................................47

"Size Does Maher" -‐ Canvas Size...............................................................................48

"Grand View Buherfly" -‐ Rhythm and Movement....................................................50

"The Fallen Totem" -‐ Points of Interest.....................................................................51

"A Smoky Day in Mt. Shasta" -‐ Crea7ng Atmosphere...............................................52

"Another Smoky Day at the Ranch" -‐ Keying the Values...........................................54

"A Barn in Gazelle" -‐ Sky and Harmony.....................................................................57

"Farmhouse in Mt. Shasta" -‐ Ar7st Block..................................................................58

"Sunday Morning on the Cliffs" -‐ Drawing from Life.................................................60

"Moose, Opus 1" -‐ Finding your Ar7s7c Muse......................................................... 61

"Summering Buck" -‐ Ar7s7c Frustra7on...................................................................63

"Grand Buck of the Siskiyou" -‐ Art Marke7ng, Part 1...............................................64

"Trees of Castle Crag Lake" -‐ Ahributes of a Tree..................................................... 66

"Seven Steps for a Great Pain7ng"............................................................................68

"Last of the Herd" -‐ Inspira7on.................................................................................70

"Times Gone By" -‐ Adding Details.............................................................................72

"Crossroads in Weed" -‐ Finding Your Voice..............................................................73

"Winter Dogwood" -‐ Memory Exercise....................................................................74

"Birthday Orchid" -‐ Pain7ng in the Moment............................................................76

TABLE OF CONTENTS

"Last of the Spring Blooms" -‐ Lighten or Darken a Color?.........................................78

"View from Louie Road Bridge" -‐ Just as I See It........................................................79

"Last of the Rhododendron Bloom" -‐ Taking Art to Next Level..................................80

"Mt. Shasta A]ernoon" -‐ Atmospheric Perspec7ve.................................................. 81

"Shasta Sweet Peas" -‐ Crea7ng Great Art..................................................................83

"Silence at Siskiyou Lake" -‐ Persevering.....................................................................85

"View of Inspira7on Point" -‐ Imagina7on and Originality..........................................87

"Hall of the Mountain King".......................................................................................88

"Teton Splendor" -‐ Plein Air When Traveling.............................................................90

"Capturing Animals on Loca7on" -‐ Trials and Frustra7ons........................................91

"Placing Animals in Pain7ngs" -‐ Animals on Loca7on................................................92

"Curious Bear" -‐ Sketchbooks are Essen7al...............................................................94

"Shasta Winter Splendor" -‐ Mood.............................................................................96

"Winter Wonderland" -‐ Pain7ng Trees & Snow.........................................................97

"Hornbrook Barn, Opus 1" -‐ Pain7ng with Inten7on.................................................98

"Pansies" -‐ Taking Time to Paint................................................................................99

"Ashland Barn" -‐ Be Prepared.................................................................................100

"Grand Old Lady" -‐ Pleasing Composi7on...............................................................101

"Hornbrook Barn, Opus 2" -‐ Best Prac7ces for Ar7sts............................................103

"Hanley Farm House" -‐ 5 Key Ques7ons.................................................................104

"Winters Cutoff" -‐ Expressing Feelings....................................................................106

"Old Pump House" -‐ Significance of the Moment...................................................108

"Lilies and Pansies" -‐ Skep7cism.............................................................................109

"Mt. Shasta and Roman7c Luminism" -‐ American Art Style................................... 110

"Strawberry Valley Inn" -‐ Pain7ng from Life............................................................111

"Old Stage Cabin" -‐ Pain7ng from Inside Out......................................................... 112

"Tulip Tree Branch" -‐ Connec7ng with your Art......................................................113

"Mt. Shasta In Moonlight" -‐ Pain7ng at Night........................................................ 114

"Slushy Streets" -‐ Paint What You Love...................................................................115

"Ashland Orchard" -‐ Technique, Style, and Vision..................................................116

"The Sullaway House" -‐ Pathway to Excellence......................................................117

“First Snow” -‐ Introduc(on

I painted this view of Mt. Shasta today from my studio at The Grand View Ranch. The pain7ng tells the story of first snow of the season lightly gracing its summit. Mornings in Mt. Shasta are breathtaking. A]er spending the last week digging out of 5 feet of snow le] by a recent major storm, I finally have some 7me to paint. The vision of the new snow and the morning light on Mt Shasta created an intense desire in me to paint the brilliance of the mountain.

This is my first pain7ng to appear in my blog. Every pain7ng that I post will be a part of my personal journey as I discover the many places of beauty in Mount Shasta, located in Northern California. I have traveled to some of the most beau7ful places in America hos7ng The Grand View PBS show, but no place is quite like this. Every moment of the day and evening, light reveals a new vision of spectacular beauty. I hope you feel inspired to see the beauty that surrounds you wherever you live though my pain7ngs and wrihen blog entries. I invite you share this journey with me.

1

http://daily-painting.blogspot.com/

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“Morning Snow” -‐ Enjoy the Moment

I awoke to see a wondrous winter delight this morning. During the night, the wind began to howl, and by dawn, big, luscious snowflakes were falling quietly to the ground. The world seemed to move in slow mo7on. Everything was s7ll, and it was silent on our side of the mountain.

The morning sun created an amazing orange-‐gray glow as it broke through the clouds.

I knew this magic moment would not last long. I watched in wonder as the so], slow rhythm of nature unfolded and the brushes in my hands kept the gentle tempo as they captured the moment on canvas for you.

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The Crea(ve Path

So, you want to be an ar7st.What does that mean?

Pain7ng full-‐7me to earn a living as an ar7st requires discipline. Ar7sts are always on a quest to reinvent their art, and are always searching for ways to bring meaning to it. O]en this self-‐examina7on and reevalua7on is exhaus7ng, and ar7sts lose the fun and passion that they first had for crea7ng art. The excitement and thrill that we once had for our cra] can be lost, and the inspira7on and interest for new ideas can leave us when we are trying to make a career of it.

I suggest that the solu7on to renew enthusiasm is to visualize new and different possibili7es, and to create with a fresh and imagina7ve perspec7ve.

How can we do this? We can all learn from actors who are able to change their personali7es and “become” the characters that they wish to portray. I recently had a discussion with one of my students about a PBS series that she saw called The Impressionists. She was inspired by how Monet, Renoir, and Brazille were so exuberant about pain7ng scenes of light reflec7ng in nature that they rushed off the train when they reached their des7na7on in the country to paint. She envisioned herself with that power and enthusiasm at her finger7ps. As she painted in her studio, she imagined that she was pain7ng with Monet on loca7on in France. She saw herself dressed in a white sundress spor7ng a sun umbrella and paint box. As she painted, her brush moved with excitement and freedom, and colors flew off her brush. She had confidence and knowledge that whatever she needed to know to create, she knew. Voilà! She painted a stunning impression of light reflec7ng across the water on a pond. Awesome!

If you want to be an ar7st, act like one. Get a beret, a large wooden palehe, and pretend that you are an ar7st. Be eager to see the light as it sparkles and reflects off trees and mountains in the morning light. Be playful, and don’t try too hard to be original, because that will come with prac7ce. Imagine that you already know everything that you need to know about pain7ng, and that it is easy.

Here are some other ideas that can move you along the crea7ve path as an ar7st. Always have an ambi7ous or complicated work that you are pain7ng in your studio, and make at least one study or sketch of an idea for a new pain7ng every day. If you work in paint, get a lump of clay and sculpt your ideas, and if you are a sculptor, paint. Nothing will change your perspec7ve faster than experimen7ng with a different medium. Above all, be grateful that you have art in your life because gra7tude will inspire you to love whatever you are doing.

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“Winter Orange” -‐ Touch, Move and Inspire

My goal with this blog to touch, move, and inspire you, and other ar7sts and collectors, by wri7ng about and pain7ng the beauty that surrounds us every day. I also wish to offer daily insights and observa7ons about pain7ng that add value to you and the art world.

Today it was very cold outside and that made me yearn for the cozy comfort of pain7ng a s7ll life indoors. I no7ced a beau7ful orange tangerine on the counter and the warmth of the orange color, contras7ng with the freezing weather outside, made it a welcome subject to paint.

Whether pain7ng landscape or s7ll life, I always exercise PMII -‐ my acronym for “Put More In to It.” This means applying as much skill and ability as we can when we paint our pain7ngs. This includes prac7cing great technique, composi7on, skill with paint and brushstrokes, knowledge of color, highlights and shadows, as well as including our own feelings and personal style into the pain7ng. The world does not need another realis7c pain7ng of an orange. The world needs to experience the way you see an orange. Many ar7sts worry that they have nothing to contribute to the art world, but they do. It is the way that you see and paint your subject that makes your art original and valuable.

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“Mt. Shasta Nocturne, Opus 1” -‐ Rules Are Made to be Broken

Yesterday the weather was too dark and stormy to paint outdoors, so I painted an orange in my studio. At about ten o’clock in the evening, I went out to get some wood for my fireplace and realized the storm had ended. The sky was clear and the air was ice cold. The moon shone on the hillside with such an intense bright light that it looked like daylight. I could see details very clearly. Inspired by the moonlight, I quickly painted a sketch to capture this pain7ng called “Shasta in Moonlight, Opus 1.”

When we share our personal thoughts and the secrets of our heart in our artwork, we shine light on the shadows that exist in ourselves and in others. When our art honestly reflects our vulnerabili7es and experiences, the work we create is expressive and may even break some of the rules of “proper art.” Observers who feel uncomfortable about the “shadows” that they see in such pain7ngs may protect themselves by cri7cally judging the work saying, “it wasn't done correctly.” At these 7mes, we must trust our own authen7city and stay true to our message. Historically, we do not remember those ar7sts who followed the rules more diligently than anyone else did. We remember those who made art come alive when the “RULES” were not followed.

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“Winter Dogwood” -‐ Als Ik Kan

I woke up this morning to a foot of new snow. The dogwood tree outside my studio completely fascinated me as its branches bowed down from the weight of the frozen snow. I painted this beau7ful tree to share with you.

I began by sketching the tree using oil paint thinned with turpen7ne and then painted the tree as fast and spontaneously as possible. As I was pain7ng, I heard the phrase “Als ik Kan” repeat in my head. It comes from a quote by Flemish painter Jan Van Eyck and it means to inten7onally ahempt do everything “to the best of my ability.” Whether I paint a sketch for my blog or a pain7ng ready for a gallery, my inten7on is to do it to the best of my ability. The next 7me you work crea7vely, whether it is cooking, wri7ng or pain7ng, try to do it inten7onally, “Als ik Kan.”

I was delighted that I painted this sketch quickly because as I laid the final strokes down on my pain7ng, the snow turned to rain, the dogwood branches gave up its frozen gi], and all the snow from the night before became slush.

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“The Grand View Ranch” -‐ Paint Every Day

A]er a night of snow and rain, the morning air was s7ll, cold and misty. The beauty of our ranch house covered with snow was breath taking, and I painted it for you. Mt. Shasta is a wonderful place to live. I have included a systema7c demonstra7on of how I created this pain7ng.

Being an ar7st involves observing life, seeing the world through an ar7st's eyes, and taking the 7me to create artwork. The crea7ve process begins by being in the moment, enjoying your life, taking 7me to be with yourself, and spending 7me to see the world around you. Discover what moves and inspires you, what you truly understand about life, who you are, and what this great experience of being alive means to you. If you have problems crea7ng, find inspira7on in feeling gra7tude. Be grateful for the extraordinary privilege of being an ar7st, and paint that on your canvas.

Ar7sts some7mes feel that they are being selfish when they take 7me to paint. This is not true. Ar7sts who do not paint every day are in truth being selfish by not crea7ng artwork to share with others. Being an ar7st is a gi] that provides a way you can give to others.

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Principles of Design

The goal of an ar7st is to create a powerful composi7on that ahracts the viewer’s ahen7on. The use of ar7s7c elements of design helps the ar7st to communicate his message and to create a dynamic pain7ng. I used many of the following principles of design to create my vision and affect the viewer in “Sunday Morning on the Cliffs.”

1. Harmony: Harmony results when all elements come together in a unified whole, and each part of the composi7on works to express the idea behind the overall composi7on.

2. Balance: Balance has two forms, Sta7c and Dynamic. Sta7c balance occurs when similar elements are placed on either side of a pain7ng, and Dynamic balance may be achieved by contras7ng a large dark area on one side of a canvas with several brightly colored objects on the other side.

3. Repe77on: Repea7ng elements of lines and forms in a composi7on can create the feeling of peace and harmony in a pain7ng. An example of this would be repea7ng cloud forma7ons over a horizon line of trees.

4. Contrast: A few examples of contrasts which ar7sts have in their arsenal when crea7ng a pain7ng are Light and Dark, Bright and Dull, and Smooth and Rough. Too lihle contrast in a pain7ng can be boring, and too much can appear contrived and can overwhelm the message.

5. Dominance: Choosing one dominant element to emphasize your message in a pain7ng focuses the viewer’s ahen7on. Selec7ng one central idea that clearly communicates your objec7ve will create a powerful composi7on.

6. Unity: When every part of a pain7ng relates to all the elements in the composi7on, a sense of unity prevails. A pain7ng which “hangs together” will stand out from other pain7ngs which have freeform ideas that are composed haphazardly.

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“Winter Color” -‐ S(ll Life Pain(ng

Let me start by saying that I am overwhelmed and grateful by your response to this daily forum. I never thought that so many ar7sts would respond with so many compliments, support, and gra7tude. Thank you for this opportunity. Together we will explore and discover the secrets of crea7ng art. I am inspired!

Today I thought you might like to enjoy a lihle color. I painted this vase full of flowers, rich with color and light to brighten these winter days. Pain7ng living objects such as flowers, faces and figures requires some prepara7on. A prepared staging area that allows the ar7st to control the light is essen7al to create the best ligh7ng effects; these effects are necessary for producing adequate and interes7ng highlights and shadows on the subject.

My studio has many ahrac7ve objects which I can paint at a moments no7ce. I have a “s7ll life” stage that I made from a box that I cut in half. I painted the inside back of the box a dark color, and then placed a light that serves as the light source on a stand near the stage and the s7ll life. When I feel inspired to paint s7ll life in my studio, I am ready to go.

Crea7ng art is not difficult, but it can be frustra7ng. O]en the work we struggle to complete seems more real in our minds than the pieces we have painted successfully. Most ar7sts live with doubt and uncertainty, worrying if there will be an audience or posi7ve outcome. Ar7sts need to begin to create with a secure grounding. You must set aside your doubts and fears, push though your own nega7ve beliefs and then you will be able to create the art you want and nourish yourself within your art.

Great art is not the product of genius or produced by people with greater talent. It is what you see, and how you paint what you see and feel, that makes your art great.

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“AIer the Storm, Opus 1” -‐ Sharing Yourself through Art

A fresh veil of snow blanketed our side of the mountain last night. I was born in South Lake Tahoe and I always thought I had seen every kind of snow. However, the incredible new varie7es and forms of snow in the mountains in Mt. Shasta have amazed me. This pain7ng, “A]er the Storm, Opus 1,” shows a view from the back of the Grand View ranch house of the Eddys, a mountain range that seems dwarfed by the size and scale of Mt. Shasta. These magical mountains that are constantly changing with clouds, snow, and light. Cap7vated by the paherns of the sunlight on the foreground snow, I wanted to paint these effects for you.

Pain7ng involves learning teachable skills. They are not a magical gi]s bestowed by the gods to some people and not to others. It is true that Mozart had unique talents. However, talent is trumped by perseverance, tenacity, and hours of hard work. Even with all his talent, it would be a boring world if Mozart were the only person able to create human experiences and emo7ons through his music. Fortunately, others can help you nurture and develop the skills needed to paint successfully. Even Tiger Woods and Celine Dion have coaches who offer direc7on and encouragement. I recommend finding a good coach and listen to what they suggest.

When crea7ng art, you must learn to hear your own voice. Your voice is unique and this is what makes your art dis7nc7ve and your own. With the help of a good instructor or coach, you will be able to hear your voice within your heartbeat and paint it beau7fully.

The ears of the world are wai7ng to hear what you have to say.

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“Shasta Sunrise, Opus 1” -‐ Overcoming Obstacles

Last night, four feet of snow fell on our ranch house. This morning, just for a moment, the sky opened and I saw Mt. Shasta donning her new winter coat. She looked spectacular! I quickly captured Mt. Shasta in her glory just for you. As I painted the final strokes, the clouds reappeared and it started to snow again.

Being an ar7st teaches us how to overcome obstacles. Pain7ng constantly challenges us to set new heights and discover new ideas. It gives us a clear opportunity to strive for the best that we can do, and then challenges us to do more. This drive keeps us returning to the studio. Think about the 7mes that you have learned a cra] and once you achieved the skills of that cra], you felt bored. Pain7ng is more than a cra] because of the crea7ve interac7on that happens with the ar7st, the paint, and the canvas. Pain7ng has had this allure for human beings over the centuries

To the viewer, what mahers most is the finished pain7ng. For you, the ar7st, what mahers most is the process, the experience of shaping a pain7ng from your crea7ve self. The viewer does not o]en concern himself with the techniques. He wants the finished pain7ng to inspire and move him. However, you must feel moved and inspired before you can move or inspire others. The best way create a masterpiece is to care about the subject and paint from your heart.

Be moved and the viewer will be, too.

11

“Lady Shasta” -‐ Just Leap!

This pain7ng will introduce you to the “lady” of the ranch, our 8 month-‐old Border collie named Shasta. If you know anything about Border collies, you know they do not sit s7ll. Yesterday, however, when Shasta was playing outdoors, there was one moment that she sat s7ll, mesmerized, listening to a mouse moving under the snow, and I sketched her. She sat s7ll just long enough for me to capture her pose.

One of the most difficult moments of pain7ng is applying the first brushstroke. This week a student wanted to paint a landscape. I recommended that she paint it on a large canvas. She spent a significant amount of 7me looking at the canvas and then at the photo of the landscape. I could tell that she was stuck in “the hardest moment.” I took the photo from her and placed it upside down, and told her, “Paint from your imagina7on, not from the photo.” “Leap and the parachute will open,” I assured her.

The first few brushstrokes on a blank canvas are the most in7mida7ng. In the beginning, painters have endless possibili7es. As the imagined vision develops into an actual pain7ng, there is a progression of decreasing possibili7es which makes the final touches less difficult to paint. Her finished pain7ng was magnificent.

Ar7sts who have problems beginning their pain7ngs must learn how to take hold of the moment, trust themselves, and leap. With an idea or view in mind of something that has inspired you, let your imagina7on guide you as you begin. There is not much to lose if you begin this way, just an inexpensive canvas or paper and a few pennies of paint or ink. Allow yourself to schedule a block of 7me when you can create art, or you may never find 7me in the day to paint. Finally, worry less what people think or say about your efforts, because people will always have their opinions.

Remember, the things we regret most are the chances we did not take.

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“Hammond Ranch Oak in the Snow” -‐ Pain(ng Snow

What a treat. The snow is s7ll coming down and I am amazed at how our ranch changes from moment to moment. Along with the beau7ful scenery, the world becomes calm and quiet when the snow falls. Experiencing this peacefulness can truly change your life. This pain7ng is a view from The Grand View Ranch. I am very fortunate! There are hundreds of spectacular views like this one and the biggest problem I have is choosing which one to paint!

When pain7ng a snow scene, knowledge of values will determine how successful the painted snow will look, because pain7ng snow is an exercise in pain7ng light to dark values. The best way to see values is by par7ally closing your eyes or squin7ng. Squin7ng so]ens the specific details of the subject and allows the eyes to focus on the light and dark contrast found in the scene. Believe what you see when you squint as you look at the subject.

To place values in a pain7ng, iden7fy 4-‐5 areas in the landscape that have lighter and darker values. These areas are value planes or chunks, and each plane has the same value throughout the area. Paint the areas having similar values before pain7ng specific shapes. Dark values are essen7al in a great pain7ng (even more than highlights) because they provide contrast and depth.

Place highlights where you want the viewer to focus. Choose one highlight area that is brighter than all other areas. When you paint a highlight, especially on snow, never use white paint by itself. Look at the color within the white, remembering that in life, white contains 7nts of red, yellow, and blue combina7ons. To make sure your highlight color is similar to the one you see in nature, mix white paint with combina7ons of red, yellow, and blue, and see which combina7ons on your palehe are similar to what you see on the snow. Pain7ng values that seem too light or too dark happens when you ques7on yourself or guess instead of pain7ng what you see when you squint.

13

“Begonias SPll Life” -‐ Art is Crea(ng, Not Perfec(ng

Today the town of Mt Shasta is enjoying a winter warming. The snow is slowly mel7ng but Mt. Shasta is bright and white with her new winter coat. This morning I ventured into the local flower shop, and a]er seeing so much white for the past month, I was dazzled by all the colors of flowers. Inspired, I grabbed a 99-‐cent Begonia plant and raced home to paint it for you.

Ar7sts o]en find that the piece they imagined in their mind is more impressive than what they actually create. In fact, ar7sts spend 2 percent of their 7me developing the design and concept of their work of art and the remaining 98 percent of the 7me working to hold on to what they first imagined. The masterpiece in your head is always perfect. It always has great perspec7ve, great color, and composi7on. However, once you complete the actual artwork, you may step back and decide that you are not sa7sfied with the final piece. The truth is that ar7sts are never sa7sfied with what they create. At the same 7me ar7sts are working to complete a pain7ng, their knowledge of art grows; new insights, possibili7es, and ideas open up and a new vision appears. I recommend at this point that you move on and save the new idea for a new work.

The secret of learning to create art is not to work on one perfect piece every year, but to create 360 masterworks a year and then step back and ask yourself, “Am I sa7sfied?”

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“Tulips SPll Life” -‐ Pain(ng Tips

Yesterday I men7oned that I went into a flower shop and bought a Begonia to paint for you. What I failed to men7on is that I also bought tulips. Pain7ng flowers uses all the skills you possess as an ar7st. Since flowers are living things, they change every minute. If you want to hone your outdoor pain7ng skills, pain7ng fresh flowers is a great prac7ce. I recommend that when you paint flowers from life for the first 7me, avoid choosing flowers that are pure primary colors (red, yellow, and blue) and look for one with a so]er hue.

I would like to share some of my pain7ng 7ps with you. When I paint, I mix most of my paint directly on the canvas instead of on the palehe as this method achieves a fresh looking color effect. If you mix on a palehe, do not over mix your paint by using your brush rather than a palehe knife. Colors that are mixed too thoroughly lack the brilliance of paint that is just slightly mixed. Lightly mixed colors will appear broken within each stroke, which adds more variety and interest. Paint as though you are a millionaire, with big squirts of colored paint on your palehe. Keep your palehe clean, rinse your brushes in clean turpen7ne frequently, and thoroughly clean your brushes a]er every use.

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Brushstrokes

The first step in learning how to paint begins with understanding how to use a brush and how to apply brushstrokes effec7vely. Holding the brush and moving it correctly is very important to pain7ng successfully. It is not something that ar7sts can do willy-‐nilly and think that they are crea7ng great artwork. Although recrea7ng a subject is the inten7on of every ar7st, rendering or drawing with the brush is physically different from pain7ng with a brush. Rendering is done with the fingers and wrist; pain7ng is done from the shoulder with the whole arm moving as one unit. The fingers and wrist do not move when pain7ng. When pain7ng, hold the brush at the back of the brush, away from the hair. The brush rests on the side of the middle finger, held in place by the pressure of the thumb.

Each brushstroke has a beginning and an ending. Once the brush is applied to the canvas, the brush is not li]ed un7l the stroke is completed. Every swipe of the brush has meaning, purpose, and direc7on. Each stroke must have within it the correct value and color and be applied with a hard or so] edge. The pressure should be consistent throughout the pain7ng and every stroke sensi7vely caresses the paint to stay on top of the surface. In addi7on, the overall consistency of paint should be apparent from one edge of the canvas to the other. In pain7ng, the focus of the ar7st is to join with the brush and paint, placing each brushstroke one a]er the other on the canvas, crea7ng the ar7st’s interpreta7on of the subject with his personal signature within each brushstroke on the pain7ng.

The next 7me you want to paint, do more than render the subject with the brush. Paint it! Fall in love with the act of placing paint on your canvas, feeling the buhery consistency of the paint as it moves with your brush, and become aware of every brushstroke as you paint.

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“Shasta Sunset, Opus 2” -‐ Paint What You See

It is hard to imagine that we live so close to Mt Shasta. The summit is only 10 miles (as the crow flies) from my studio window. I marvel at the spectacular beauty surrounding us at The Grand View Ranch. The view of the mountain changes every second. At 7mes I wonder, if I painted the light on the mountain as I see it, would anyone believe that it looks that amazing?

One of the ar7sts who influenced me most when I was a young ar7st was a 95-‐year-‐old ar7st named Miss Gugolinsky. She painted magnificently. I admired her pain7ngs and wanted to learn her secrets of pain7ng. She told me that when she was young, she was one of the first women ar7sts to study in Paris at the Academy. She told me about the famous impressionist painters she knew personally. A]er several mee7ngs with her, she told me the secret of pain7ng is simply to “paint what you see.”

I share her secret of pain7ng in all of my workshops and classes. The answer to every ques7on about the subject of pain7ng is right in front of you: color, perspec7ve, value, shape, temperature, etc. The method of direct pain7ng asks the ar7st to depict faithfully what he sees, not to demonstrate his cleverness with a brush. The secret of pain7ng great works of art depends upon how well the ar7st cri7cally observes the subject and paints what is there.

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“Old Stage Road Barn” -‐ Successful Pain(ng on Loca(on

Weed is a small, old wood-‐milling town about two miles from The Grand View Ranch. The history of the area is rich and diverse, and the landscape is dohed with older, small farms. This barn is located off Old Stage Road. I have been pa7ently wai7ng for the snow to melt to paint some local landscapes like this one. I am cap7vated with the character of this old barn. When I was out pain7ng this loca7on, many residents of the area were curious to see a painter in the field and stopped to chat with me. Although I hear that there are many ar7sts in this area, I have not met many pain7ng on loca7on.

When you paint on loca7on, begin by choosing the central point of interest for the pain7ng. For this pain7ng I chose the barn. Carefully sketch the focal point or the area that you most want the viewer to no7ce first. Take your 7me. If you get this part accurate, you can leave the rest of the pain7ng to chance. Begin by pain7ng this center of interest first, then move on to paint the sky. When pain7ng the sky, apply the color with short ver7cal and cross strokes, and avoid using horizontal strokes. Then, apply the green and brown tones for the trees and foreground, and use as many different strokes as you can. No7ce that the sharp edges and strong colors are on the barn (the focal point), and the rest of the pain7ng is what I would call a “strong brush” pain7ng.

Each 7me you go out to paint, challenge yourself to paint something different, because crea7ng art is in the prac7ce, not the result. When a performer prac7ces his cra], he may make many mistakes, and the public generally does not see these mishaps. Great ar7sts have pain7ngs that did not work. Mozart and Beethoven both composed uninspiring music. Every one knows of Barry Bond's home run records, but few remember how many 7mes he struck out. When you begin your next pain7ng, focus on your poten7al success, op7mis7cally approach your subject and chances are that you will hit more home runs and have a great 7me pain7ng.

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“Mt. Shasta Barn, Opus 1” -‐ How Do I Paint That?

I spent another day pain7ng landscapes on Old Stage Road in Mt Shasta and I con7nue to feel inspired by the old barns in this area. This barn is a short distance from the one I painted yesterday. I am pain7ng it about the same 7me of day. I have included a systema7c study of this one so ar7sts can see how it was painted.

The ques7on that students ask most in my classes is “How do I paint that?” The individual way that any ar7st paints belongs to that ar7st alone. Though you may find it interes7ng to know exactly how I painted this pain7ng, you will not be able to create art in the same way. However, over 7me, you will develop your own way of seeing and pain7ng, and this is what makes crea7ng art so rewarding.

It helps to try other ar7st’s different approaches to pain7ng and to explore different ways of thinking and pain7ng by viewing other ar7st’s methods. It is a great way to grow as an ar7st because it may help you think differently. Try not to look for a “how-‐to” formula when you start a pain7ng. The joy of crea7ng art is discovering your own way of expressing what you see. So, jump right in and you will find that you have the answers to your own ques7ons as you go. You will come to understand that every ar7st has struggled with the same ques7on, “How do I paint that?” You are not alone!

My approach to crea7ng my artwork begins like this:

1. First, I lay in the overall concept of my pain7ng using a big brush. At this moment, I try to visualize the finished pain7ng. Many great pain7ngs are lost because the ar7st has no vision before he starts.

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2. Then I sketch the easy shapes and try to make every stroke correct. I make correc7ons as I go instead of wai7ng un7l the end to get it accurate. I start with the chosen center of interest and work out from there.

3. Next, I lay in the sky and I do not make it complicated. I use plenty of paint and apply the strokes in different paherns. Then I “chunk” in the values with no more than 4 to 5 value panes.

4. The completed pain7ng should have so] and hard edges, good values, and a strong focal point. I use the knife to scratch in many of the s7cks and branches. Many ar7sts also scratch in their name when they finish so that they can indicate to other ar7sts that they completed the pain7ng on loca7on.

Even though we are interested in learning from other ar7sts, it is interes7ng that crea7ng art is such a solitary process. Most ar7sts throughout the world spend endless hours in their studios crea7ng art by themselves. It is only in the moments when we are working on our own art that we experience the universal crea7ve inspira7on we share with all makers of art, and it helps to remember that there are other ar7sts connected by inspired hearts doing the same thing that we are doing.

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Taking on Great Challenges

When I was first doing research for my PBS Television Series -‐ “The Grand View, America’s Na7onal Parks through the Eyes of an Ar7st,” I remember reading a clip from an interview with Marty Stouffer, a filmmaker for Wild America, saying, “The secret of great photography is to create great moments from common things.” This is a great quote and one that I use when I teach. However, a]er years of teaching and presen7ng hours of lectures and workshops, I have refined it to say, “Paint the ordinary, extraordinarily.” Unfortunately, plein air painters are o]en busy trying to recreate the view that is in front of them. Some painters start a pain7ng without even thinking about crea7ng art. Remember that extraordinary art comes from personally expressing your experience of life, not just duplica7ng the landscape or subject (that’s what cameras are for).

Pain7ng a great pain7ng does not require an expensive trip to Europe. The fact is pain7ng in Europe is highly overrated. America has everything that a landscape painter would ever need to paint without using a passport. It has been my experience that some of the best landscape pain7ngs were painted right here. John Singer Sergeant thought pain7ng in America was inspiring. By pain7ng outdoors, you can observe how nature’s elements work together and enjoy fresh insights about pain7ng. You can learn and prac7ce drawing, composi7on, color, and values -‐ all vital skills if you want to excel in pain7ng. Once you have acquired these skills, you do not need to venture outdoors again. One of the best secrets that great ar7sts have kept to themselves is that a great pain7ng doesn’t have to be painted at a specific place at all. Thomas Moran, a famous American landscape ar7st, painted his greatest works at the end of his life in his studio from memory, communica7ng successfully and powerfully the sum of his experiences to the viewer through his pain7ngs.

If you want to experience this feeling of expressing yourself, do a series of pain7ngs and call it “Great Pain7ngs of Ordinary Things.” You might receive your inspira7on from many sources. If a photograph inspires you, evaluate its good and bad quali7es, and use the feelings that you experience from seeing the photo to guide you as you paint. You might create a roman7c, awe-‐inspiring mood-‐based pain7ng from a memory that has personal significance. For example, you might create a mood or sense of place by pain7ng a warm light looming over a cold fog bank crea7ng a dark atmosphere. You might imagine your pain7ng as if it were finished (as you might imagine a perfect dream house, with intricate details and thoughxul placement of design, structures, colors, and sa7sfying finishing touches) and then paint it from your imagina7on. You could imagine it being a large pain7ng, and then imagine it as an in7mate study. Visualize what the scene would look like in the most extraordinary moments. Go beyond your capabili7es and stray into the unknown. Ask yourself what would the scene look like if it were darker, and the source of light, lighter. What if you removed the sun altogether and saw what you are looking at in moonlight. Close your eyes and open your mind to the possibili7es. Remember that ordinary scenes are a dim dozen; but imagina7ve and emo7onally evoca7ve pain7ngs are rare and precious.

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“ValenPne’s Flowers” -‐ Share Your View of Life

Returning home from teaching my classes in San Jose, I did what many American men do on Valen7ne’s Day. I stopped by a Walmart store to buy some red roses for my sweetheart before going home. I guess I am a roman7c. Walking by all those beau7ful, colorful flowers inspired me. I picked out the most beau7ful rose and some carna7ons, and rushed home to give the flowers to my love. I dedicate this pain7ng, “Valen7ne Flowers,” to all the women who did not receive any flowers on Valen7ne’s Day.

When you create art (whether music, wri7ng or pain7ng), you are declaring what is deeply important to you. An ar7st shows the world what it takes for granted by invi7ng the viewer to have a new way of seeing the ar7st's percep7on. For example, when seeing Van Gogh’s “Sunflowers” for the first 7me, some people love them and some people do not. Some people do not have an opinion either way. However, once you have seen Van Gogh’s “Sunflowers,” you will never look at a sunflower the same way again. As an ar7st you possess this power as you share your view of the world with others.

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“Mt. Shasta Barn, Opus 2” -‐ Crea(ng Your Own Magic

"Mt. Shasta Barn, Opus 2" is the second barn in a series of six pain7ngs that depicts the unique barns near Mt. Shasta. As exci7ng as it might be for collectors to be able collect a series of pain7ngs, it can be very challenging for the ar7st to paint one. In my 7tle, I use the reference “Opus” as homage to my love of music. Composers indicate the sequence of works in a musical score by using the word Opus followed by a number. I use it to indicate the sequence of the works in a series of pain7ngs.

There is no magic when ar7sts create a pain7ng. What magic other ar7sts have in their work is something they create. Your challenge is to discover what you need to do in your own pain7ngs. Pain7ng is a process of lessons learned. Learning to paint happens systema7cally, pain7ng by pain7ng, by slowly avoiding the mistakes you made in your last pain7ng and repea7ng your triumphs on your next pain7ng. With 7me, you will start to develop a consistent pahern. This becomes your style, and that is your magic.

If you learn to paint by using someone else's method of pain7ng or their color recipes that generate a consistent outcome, you will find that you will be able to repeat the method, but your pain7ngs will lack magic and pain7ng them will become boring.

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“Road to the Foothills” -‐ Communicate Your Message Clearly

Mt. Shasta has many different sides to her beauty. To the South, thickly wooded forests and wonderful rivers flank her foothills. To the East, there is high mountain terrain. To the West, where we live, large meadows with willows, dogwood, and oak trees make the landscape interes7ng. To the North, an arid high desert spreads over miles of land where pinion and sagebrush find their home, and this is where I painted “Road to the Foothills.”

While scou7ng loca7ons for my upcoming workshop this spring, I traveled off-‐road to discover hidden vistas. I love to paint in the morning or in the evening when the ligh7ng is drama7c. When I arrived at my chosen loca7on early this morning, I set up my easel, umbrella, palehe, and other equipment. I reached for my brushes and realized that I le] them at home. I repacked everything, raced home, then drove back to the loca7on. The light had moved to midday, but the vista s7ll waited to be painted. Always make sure that you check your supply list before you leave home to make sure you have remembered to pack all your equipment.

The best art can challenge the ar7st and the viewer as well. To effec7vely move or inspire someone, an ar7st must have a clear message to communicate in the first place. Before you start a pain7ng, ask yourself two ques7ons:

“Is it worth doing?” Set out to push yourself beyond what you think you can do and strive to create artwork that is spectacularly yours. We remember those ar7sts who set a high standard of excellence for themselves as well as other ar7sts. Mediocrity is seldom rewarded because so many can achieve it.

“What do you want to say?” Remember, as human beings, we are alike in many ways. In order for us to communicate, we must have something to say that unifies our understanding. We enjoy seeing a sunset or a flower in part because of how it looks, but it is the emo7onal response we experience that makes us want to say, “Wow, look at that,” to someone else. When you paint, tune in to your emo7onal self and whisper to the viewer though your art, “Look at this.”

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“A Single Rose” -‐ Learning to See

This morning in my studio, I was thinking about today’s pain7ng when the rose that I painted for Valen7ne’s Day caught my eye. In contrast to the stormy white landscape outside my studio window, I marveled at the so] pinkish petals of the rose and the wonderful wil7ng, green leaves. I wanted to capture that sense of fragility on canvas for you.

The most important 7me spent on a pain7ng is in the first ten minutes, when you choose what you want to paint and what message you want to share with the viewer. When beginning a pain7ng, it is important that you have a clear vision of the completed piece before you start. Thinking through the finished details of the pain7ng, including how the piece is framed and how it will look hanging on the wall, will help you form a strong mental picture of what you wish to see on canvas. Once you have a vivid mental picture of the completed pain7ng, you will be able to capture the image more accurately.

One of the best ways to prac7ce is to paint from life as I did with “A Single Rose.” Choose one object in your studio, place it in your s7ll life stage, and create a pleasing composi7on using light and shadow, contrast and color. Take 10 minutes to imagine the pain7ng as a finished piece and then begin to paint. Once you have prac7ced your observa7on skills indoors, you will be more prepared to paint outdoors.

When you begin pain7ng on loca7on, carry your paints and canvases into the fields and woods. If you can, set up near a stream and see for yourself the kaleidoscope of color and light. Sit quietly for ten minutes before star7ng to paint. Study the scene as an ar7st would, no7cing the value and the color, the details in the shadows, and the warm and cool colors that make up the light. Look at nature with a painter’s eye and not merely as a tourist. A]er siyng s7ll, you are ready to begin pain7ng. Once you have completed your pain7ng, return to the studio with the completed piece for quiet study, and then you will begin to understand the things you used to look at and not see.

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Greatness in Art

Learning how to paint is invaluable but, by itself, knowing how to paint is nothing. An ar7st who has learned how to represent an object faithfully has only learned the language by which percep7ons are rendered.

An ar7st creates great art when he is able to infuse what he feels about what he sees into his work. Then the pain7ng becomes more than a detailed re-‐crea7on of a subject. To achieve this, an ar7st must explore the depths of emo7ons and experiences within himself to know what he feels. Great art reflects the ar7st’s inner portrait and view of the world; it is a manifesta7on of his understanding of the cra] combined with his sensibility about being human. Every factor, even the choice of a frame, is important to the successful communica7on between the ar7st, the canvas, and the viewer. An ar7st’s ability to express his feelings, coupled with a skilled interpreta7on of the subject maher, elicits responses in the viewer and effec7vely deepens their conversa7on.

Like a great piece of literature, great art is created with discipline and designed to have an impact on the viewer, offering an invita7on to see the very soul of the ar7st revealed in the pain7ng.

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“Spring Lit Meadow” -‐ Crea(ng the Effect of Light

From my studio in Mt. Shasta, winter is retrea7ng and the spring air is mel7ng the snow on our side of the mountain. The Grand View Ranch is awakening with ar7s7c subjects galore. Water from the snow melt seems to flow from everywhere, crea7ng creeks and waterfalls in places where there were none in the fall. A radia7ng and enveloping light now illuminates the landscape. The fresh clear atmosphere transforms our everyday world into a lively and beau7ful place. I feel the omnipresent light satura7ng everything, crea7ng a sense of unity. Now I understand the true meaning of “tonality.”

Light is an en7ty apart from color and form; it is the creator of both. In every light source, the complete spectrum of color with red, yellow, and blue is present. The quali7es of an object that either absorb or reflect color determine the color we see.

We do not create light with oil paints; we ahempt to create the illusion or impression of light by using values and temperature. It is the contrast of values (the range of white to black) and the use of warm and cool colors that creates an effect of light. When pain7ng shadows, using darker values of either warm or cool colors adds a deep contrast to the highlights in a pain7ng. If a highlight is a reflec7on of light from a light source and light contains all colors in the spectrum (red, yellow, and blue), it makes sense that a highlight would have all three colors present to suggest the effect of light. Try this on your next winter pain7ng to highlight the snow; combine Titanium white with just a dash of Cadmium orange, Lemon yellow, and Cobalt blue to paint the highlights. Use gray violet and gray blue shades in the shadows. I used these color combina7ons when pain7ng “Spring Lit Meadow.”

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“Shasta Valley, Opus 1” -‐ A Sense of Space

While exploring some of the country roads that crisscross the landscape in Shasta Valley, I discovered thousands of landscapes wai7ng to be painted. Hay and alfalfa farmers along with their livestock made this fer7le valley their home. The grand landscapes and the ever-‐present shadow of Mt Shasta in the background dwarf the lihle farms and rancheros. The landscapes whispered to me “come here and paint me.” It is difficult to paint every subject that you see. There is a moment when you must just stop the car and say, “This is it.” I set up my supplies, stood with my brush poised, took a breath, and allowed my thoughts to focus on the result I wished to capture. Once the image was clear, I started pain7ng.

There are scien7fic principles that help to create a sense of space or the feeling of air on a two-‐dimensional canvas. One principle that governs color grada7ons is that all colors, except white, become cooler as they recede from the eye. Colors that recede into the distance have blue added to them. Likewise, objects in the foreground are warmer, with yellow or red added to the hue. Orange is the warmest color of all. Addi7onally, yellow fades as the landscape recedes, meaning that the green in the foreground will have lots of yellow present, but in the middle ground you will find the yellow gradually diminishes and becomes a greenish blue. In the background, the yellow will fade altogether, becoming a bluish color.

Another principle that helps to create aerial perspec7ve is that all things get lighter in value the further they recede into the distance. By adding white to a color that is receding, it becomes lighter in value and appears to be distant. Be sure to squint and observe the landscape before pain7ng any color because to create depth, the value must be correct. No7ce that the colors and values change and become cooler and lighter as they recede into the distance in the newest pain7ng, “Shasta Valley, Opus 1.”

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“The Old Bunkhouse” -‐ Crea(ng Mood in a Pain(ng

This a]ernoon I discovered a wonderful old ranch just outside the town of Edgewood at the foot of Mount Shasta that a family built in 1854. Jackson Ranch is a 2000-‐acre ranch that a prospector homesteaded a]er making a fortune gold mining in Yreka. As I began pain7ng, an old man came out of the forest with a rifle flung over his right shoulder. He had a kind and welcoming smile. He no7ced that I was pain7ng and wandered over to see what I was doing. He told me that the structure I was pain7ng was the old bunkhouse that his great-‐great grandfather built it in 1856.

The great thing about pain7ng on loca7on is that pain7ng invites conversa7on. It is not like jumping out of a car and snapping a photo. People stop to talk with you, and have nothing but praises to say about what you are doing. Most people admire the fact that you have the ability and interest to do what you are doing, and wish that they could do it, too. It is very intriguing to see a painter in a field with an easel and umbrella, and the old hunter’s curiosity led him to approach me when he saw me pain7ng “The Old Bunkhouse.”

O]en I “paint what I see” as an exercise in capturing the mood of a place in the moment. Today, the light was defused by clouds and offered lihle highlight, but the so] light intensified the feeling of history as I painted the old structure. The mood of a pain7ng conveys the ar7st’s emo7onal response to the place, object, or person that is being painted. Mood is the prime differen7a7ng quality between a pain7ng done on loca7on and one painted from a photo in the studio. The more you sketch on loca7on, the more you store feelings and observa7ons to use in future expressions on canvas. Great pain7ngs are mostly studio pain7ngs that originated from a personal experience, recalled later in the studio, and expressed through the ar7st’s brush from memory.

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“Shasta Barn, Opus 3, Hoy Ranch” -‐ Challenges of Pain(ng Outdoors

Pain7ng expands our intelligence and develops sensi7vity to all things in the world. It awakens our curiosity about everything. Pain7ng enhances every day experiences when we explore the world around us to share it with others on canvas. Pain7ng can also create a record of our life, similar to wri7ng a journal or diary, only with sketches.

Just down the road from the Grand View Ranch is the Hoy Ranch. This 2,000-‐acre farm has an extraordinary view of Mt. Shasta. I painted this fabulous barn on the Hoy ranch to add to my “The Barns of Mt. Shasta” series. This spring we will paint this awesome loca7on at my loca7on pain7ng workshops in Mt. Shasta.

The ar7st is a juggler trying to keep many balls in the air. This is especially true on loca7on when every moment is part of the experience and the pain7ng. There is a vast amount of informa7on about the subject maher to see and sense when you are pain7ng. One’s senses fill with smells, noise, wind, bugs, tourists, exhaust, warm sunrays, and cold feet. It is a wonder that we can keep our wits about us to accomplish the task at hand.

When you begin pain7ng on loca7on, focus on imaging the concept of what you want your message to convey before applying your first brush stroke on the canvas. Then, with eyes wide open, look at the subject before you, and see color, composi7on, light, shadows, form, dimension, atmosphere, prospec7ve, values, weight, movement, balance, rhythm, and the subject itself. Then, it is 7me to make important choices about what the pain7ng will include and exclude, the 7me of day, where the focal point will be, and so on. Choosing is a very powerful and essen7al part of successfully developing and portraying what you feel about the subject or place. This is where all great works of art begin.

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“Basalt Cliffs North of Shasta” -‐ Crea(ng Drama with Color

To the north of Mt. Shasta, the climate is dryer and the landscape is high desert. Throughout the region, there are dirt roads that lead explorers to amazing vistas that few people ever venture to see. This part of California resembles the way America appeared years ago when there was a limited popula7on, and had seemingly endless numbers of seldom-‐traveled roads.

The spot that I painted today is one of those places. The incoming storm provided drama7c ligh7ng, turning this rocky basalt range into a glorious ever-‐changing kaleidoscope of color. I will explore more of this mountain range in future blog pain7ngs, so stay tuned.

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What “It” Is

All people have the talent and ability to create. We are born with “it.” You need only to look at a young child siyng on the floor with a box of crayons busily drawing on sheets of white paper. Humans come into the world with an amazing desire to create. We o]en spend our life7me trying to reclaim the passion and freedom that we experienced as a child. Throughout my career as an ar7st and art instructor, I have searched for the answers to the ques7on, “Why do we lose the ability to express our inner selves, and how do we turn ‘it’ on again?”

I have been teaching people the art of pain7ng for over 35 years and offer workshops that help ar7sts learn how to paint and overcome barriers that stop them from crea7ng.

When I designed my workshop, I knew I did not want to present the standard weekend workshop where the instructor dazzles the par7cipants with a few fancy recipes. I wanted to offer some experiences that can help ar7sts paint freely, powerfully, and passionately. I hoped to explore the answers to ques7ons such as why do people stop crea7ng art? Why do some people dare to create and others do not? What is art and why is it important to human beings? How can ar7sts unleash their passion to create and enjoy making art again?

In my weekend workshop, we talk about these ques7ons and explore many of the secrets of pain7ng outdoors. During the three days, we take one evening to discuss what “It” is, and how to get “It.” This new approach is instrumental in taking each par7cipant’s art to the next level.

These ques7ons and ideas may help you break through the barriers that stop your crea7vity and help you to begin crea7ng art in exci7ng new ways.

1. What if you could paint fearlessly? Fear is a real emo7on, and many ar7sts paint what they think is acceptable. To break through this limi7ng belief, you must paint as if you have no fear.

2. What alternate medium would you create with if you used one different from your favorite medium? Many ar7sts stay with what they know. If you usually paint with oils, try pain7ng with watercolors or pastel. The world offers a grand buffet of possibili7es, so try something new.

3. Make a list and ask yourself “What would I do if I had unlimited amounts of 7me and money to devote to my crea7vity. What classes would I take? Where would I go? What would I want to learn?”

4. Make a list of 5 crea7ve ac7vi7es that you can begin this week: sign up for a class or workshop, or teach a class, or take a trip to a museum, call your local art group to volunteer, paint a pain7ng, or offer to donate your art to a cause or charity.

5. What kind of art do you desire? If money were no object, which ar7st’s work would you collect and hang in your studio to see every day? Ask yourself, “How did this ar7st see the world, and try to imagine seeing it as they did.”

6. Paint the first thing that you see right now: an egg, a lamp, a cup of coffee, a flower. Try not to analyze it or work too hard to get it right. Pain7ng whatever you see can result in a great work of art if the viewer is able to see it through your eyes. Ask yourself, “What if art is easier to do than I think it is?”

7. Keep a journal. Draw every day. Don’t look for the perfect thing to draw. Just sit and draw what is right in front of you.

8. Keep your camera at home. Too many ar7sts travel and rely more on photos, and less and less on memory. Memory is a skill that you can develop through prac7ce.

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9. Paint something from your past. Imagine a 7me when you felt inspired seeing a beau7ful sunset or a beam of light coming through a cloud. Get in touch with your emo7ons, and don't just look at the subject. See if you are able to remember the feelings that inspired you when you paint.

10. Paint bold and thick, and paint as if your supplies were free and endless. Try pain7ng with a knife or use your fingers. Give yourself permission to be free with your paint. Paint as though you were a child again and express yourself.

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“Grand View Burn, Opus 1” -‐ Pain(ng Fire

Recently we have been preparing The Grand View Ranch for upcoming workshops in April, May, and June, and have spent many days clearing dead trees and fallen limbs le] by the winter storms. Because the property is cluhered with 70 years of growth, we are clearing it branch by branch, and this takes many days of hauling and burning. One of my favorite ac7vi7es is “The Burn.” We drag 40 to 60 lbs of tree trunks lying over an acre of land to a burn pile, and then we hoist them onto the burning flame. "Grand View Burn, Opus 1" is a pain7ng that captures energy of this ac7vity.

When pain7ng fire or anything that would be an eye-‐catching subject, it is important to make good color choices. A pain7ng is most effec7ve when the color rela7onships and transi7ons are well synchronized so they themselves express the idea of the picture. Good color rela7onship is more than pain7ng "preyness," or splashing color all over a canvas. It is about using color to make a powerful statement by reserving it for the punch or climax on the central focal point. By turning the pain7ng upside down and viewing the pain7ng as an abstract, it is possible to see if the color rela7onships and transi7ons are effec7ve or if anything stands out and seems to be out of place.

Blog readers have asked about my goals for The Grand View Ranch. It is my dream to create an idyllic ar7st retreat, where ar7sts can par7cipate in loca7on pain7ng workshops that nurture the ar7st in a place of unparalleled beauty and inspira7on. I am interested in offering an experience that reflects the philosophy of one of my mentors, John Ruskin, author of “Modern Painters.” Ruskin rejected the dehumanizing effects of the Industrial Revolu7on, similar to what we are going through right now with mass produced imports from other countries and very few items made with ar7st’s hands, mind, and heart. I hope to work with other like-‐minded ar7sts to make a difference, and to provide a loca7on for human connec7on and ar7s7c expression to grow. This type of project takes a bahalion of helpful colleagues to make it work, and many ar7sts have contributed to this dream. I thank them with all my heart.

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“Spring Runoff” -‐ Pain(ng Trees with Personality

The spring melt has begun at The Grand View Ranch and the many of the creeks that surround our ranch are burs7ng with water. The oak trees that flank the creek banks are like islands surrounded by rushing water. They look like they are about to be swept away and are struggling to hold on 7ght and remain upright.

The forest is a place of peace, a sanctuary, a wonderfully balanced ecosystem.When I enter a forest, I am aware of an eloquent silence with a myriad of pleasant sounds that seem to float in the air. The mighty old oak trees with their rugged moss-‐laden trunks and twisted branches are the stalwart guardians of the forest. They welcome me into their home, with branches reaching high above mee7ng in a cathedral-‐style arch overhead. As the morning light shines down through the trees the leaves reflect the glow, causing millions of dancing shadows and golden-‐flecked spots of light to fall upon the thickly covered forest floor. Hundreds of 7ny eyes gleam 7midly from their refuges; they sit mo7onless, their small ears alert to determine the inten7on of an intruder.

Every tree has a personality, yet it is common for a painter to take them for granted. Beginning painters paint trees and the forest as a heterogeneous mul7tude of ver7cal s7cks with some horizontal green strokes to simulate branches. Trees and forests are more than objects to paint just to fill up a canvas, or to be painted in a flip, blasé manner that detracts from a viewer’s serious apprecia7on of their beauty. Pain7ng trees involves more than merely slap-‐s7cking a #2 fan brush across a ver7cal line and hoping that the viewer will get the message. Trees must be studied on loca7on, and the best way to do this is to take pencil to paper and draw them. One good pencil drawing detailing every branch of the tree will teach you everything that you need to know about pain7ng trees.

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“Hedge Creek Falls, Opus 1” -‐ Tapping into Our Inner Source

During the past week, we at The Grand View Ranch had our first on loca7on workshop. The par7cipants and I had an incredible weekend pain7ng the stunning vistas of Mt. Shasta and the surrounding countryside. Everyone was highly sa7sfied with the workshop experience. A]er the success of this weekend I can truly say, “You do not want to miss the opportunity to paint on loca7on in Mt. Shasta!”

One of the loca7ons that we painted on Saturday required a gentle hike deeper down into a canyon lined with moss-‐laden rocks and oak totems guarding the trail from intruders. We heard the loud sound of water but could not see where the noise was coming from. The sounds beckoned us to venture deeper down the trail and so, with our easels and pain7ng supplies in our arms, we con7nued our descent. The air was moist, the rocks became weher, and then we saw the majes7c source of the canyon's hidden secret, Hedge Creek Falls.

When we create, we draw from our inner source. If we do not take 7me to regularly revitalize and nourish ourselves, our source will become stagnant or blocked. One of the ways ar7sts replenish their ar7s7c selves is to paint real life, with sunlit and shadowed objects and scenes. When pain7ng from photos, it is easy to paint things instead of pain7ng feelings of what you see and are experiencing. Our brains require us to view real life images to aid the process of reconnec7ng with reality when we want to bring life and feeling to a pain7ng, especially when we are using a one-‐dimensional photograph as our source. The world is not wai7ng for another pain7ng of a thing or a photo; what it hungers for is your personal view of the subject. A mechanical device like a camera can never capture this personal conversa7on with nature.

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“Mossbrae Falls, Opus 1” -‐ Pain(ng with a Limited PaleWe

Following the railroad tracks, I trusted my internal compass as I searched for a waterfall that visitors to Mt. Shasta seldom see. Local residents told me about a breathtaking view of a wall of water that cascades into the Sacramento River. The arduous climb on the railroad tracks reminded me of the hard work men must have endured in 1901 when building this winding metal trail that flows like a river itself through the mighty Cascade Mountains. I con7nued following the Sacramento River far below me, at 7mes stopping and looking in awe at the canyon and the roaring waters that created it. Then, the unmistakable sound of water falling directed my eye and I saw for myself what only locals have experienced...Mossbrae Falls.

Mossbrae Falls is a unique waterfall. It is only about 50 feet high, but it is 150 feet wide. The water cascades from springs that flow down a moss-‐covered canyon wall into the Sacramento River, crea7ng a spectacular wall of water.

When you pack your supplies to paint on loca7on, keep your palehe simple, containing the fewest colors necessary for the way you paint. The less you travel with, the more produc7ve you will become. When pain7ng on loca7on, I prefer to use three colors, Cobalt Blue, Alizarin Crimson and Cadmium Yellow, as well as white, and an earth color such as Asphaltum or Burnt Sienna. These five colors work best for most effects. Any easel that works for you is the best one. The key to pain7ng and choosing your supplies on loca7on is to pack light and “Go for it!”

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“The View from My Studio Window” -‐ Desire to Create and Excel

Today I gazed out of my studio window watching Mt. Shasta and the seasons passing from winter to spring. We are preparing The Grand View Ranch for our second pain7ng workshop, and because I watch the constantly changing mood and light on this majes7c peak, it is hard for me to get any work done. It is challenging to capture the mood of the a]ernoon sun on Mt. Shasta. The mountain appears rela7vely flat and this is the least drama7c 7me of day to paint.

As I faced my own challenges with my pain7ng today, I thought about what causes some people to achieve excellence, while others sehle into a mediocre complacency. What would you have to do to take your art to the next level?

The most important quality you can bring to your pain7ng is desire. Desire has conquered na7ons, brought lovers together, and is the key for anyone one who wants to paint inspiring works. Many ar7sts do not trust their own voice that speaks about what is important and ahrac7ve to them. It is important to trust in your uniqueness because when you create art, it is a reflec7on of you. If the work pleases you, there is a good chance it will please others. It is important to excel in your effort every 7me you begin a new canvas.

A good way to step up a level in your art is to imagine yourself at your own one-‐person exhibi7on and see it as others might. Imagine yourself walking through the gallery and seeing your pain7ngs on the wall with the ligh7ng and framing just perfect. Ask yourself these two ques7ons: “Are these pain7ngs your visual response to the world?” and “Are the works on the wall an extension of yourself?” Try to listen to the conversa7ons that others are whispering about your pain7ngs and you. If you can imagine what others might feel and experience, then paint what you see and feel for them.

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Ar(st’s Tools

While shopping in a local art supply store, I became aware of the many different types of new products available to the ar7st. With all the new technology and convenience of paint and mediums, it would seem possible that ar7sts would have had more breakthroughs in the ar7s7c world. For example, there are new products that mix with water instead of turpen7ne that allow ar7sts to paint in a closed environment. Have these new products really changed the ways ar7sts create their artwork?

In the 1870s when manufacturers began sealing oil colors in collapsible metal-‐foil tubes, ar7sts who painted with oils were able to travel away from the studio and paint au plein air for the first 7me. Ar7sts like Corot, Monet, and Renoir were some of the pioneers who first used this new technology by bringing their paint in sealed tubes to the countryside to paint on loca7on. They began to capture their impressions of light and nature outdoors. This change in technology resulted in the ar7s7c movement referred to as Impressionism.

Every ar7st must repeatedly decide when to s7ck with familiar tools and materials and when to reach out and embrace those that offer new possibili7es. Some ar7sts experiment with new paints and mediums with the idea that they can enhance their style by using a product that will dis7nguish them from their contemporaries. Others are content to create art in familiar ways. The tools ar7sts use have lihle to do with the greatness of the art created with them. It is the 7me an ar7st spends in explora7on and prac7ce that develops his personal signature. When ar7sts convey their thoughts without words to the viewer by crea7ng ar7s7c works, they share their insights and inspira7on; how ar7sts accomplish this has lihle to do with trickery or products and everything to do with skill and dedica7on.

So, how do you create inspiring art? The most essen7al part of being a produc7ve ar7st is to live in such a way that your ar7s7c work has priority and importance in your daily life. By having regular and effec7ve work habits, and insuring that there is ample 7me to work on your projects, you increase the possibility that an assortment of finished pieces will con7nue to materialize. It is helpful to have a dedicated 7me of day to work on your art just like going to a job. Ahending weekly art classes insures that both the instructor and other students will s7mulate your ar7s7c focus. Classes are a great way to have a consistent block of 7me to create art as well as enjoying a suppor7ve network of like-‐minded friends who love art. If classes are not possible, working with an art coach who can review your goals and your work regularly is very important for mo7va7on, accountability, and ar7s7c improvement. Over 7me, your life as a produc7ve ar7st becomes powerful as you apply yourself to crea7ng, and you discover that the par7culars of any new products or tools that you use do not really maher very much at all.

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“McCloud Middle Falls, Opus 1” -‐ The First Impression Counts

In our weekend workshop at Mt. Shasta, we paint some of the most extraordinarily beau7ful landscapes in America. Most loca7ons are accessible by car. Par7cipants who have never painted on loca7on before find that plein air pain7ng is very rewarding. O]en the loca7ons where we paint are close to where we park and ar7sts can focus completely on the task and begin pain7ng from life without hiking.

On the East side of Mt. Shasta, deep in the woods, there is an amazing place to paint that is so awe-‐inspiring, breathtaking, and grand...and only accessible by hiking to it. The McCloud Middle falls are so beau7ful that I was inspired to add a “hike and paint” loca7on to our i7nerary for the workshop.

One key to successfully pain7ng on loca7on is to capture your first impression on canvas as fast as you can. The effects and feelings change every moment, and a skilled painter must be able to remember the scene that called out, "Paint me" in the first place. The act of pain7ng is a series of memory exercises that requires the development of your ability to see and remember your first impressions of the scene. Most ar7sts do not capture the feeling of a pain7ng simply because they are not able to remember what ini7ally grabbed their ahen7on. Instead of pain7ng the view they loved, they spend most of their 7me chasing the light and changing what they are pain7ng, moment by moment, as the light changes before them. When you find a subject that engages you, look at your subject and ask yourself, “Why do I want to paint this?” Then freeze that image in your mind and stay focused on the first impression you had of the subject.

Pain7ng from life will help you develop somewhat of a photographic memory, and your memory will support your ability to create landscapes that are more convincing and cap7va7ng, both on site and in the studio.

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“McCloud Middle Falls, Opus 2” -‐ Pain(ng a Powerful Effect

The Grand View Ranch is just a few miles from McCloud, a historic town on the East side of Mt. Shasta. In 1829, a party of Hudson Bay Company trappers and explorers led by Alexander Roderick McLeod were the first white men to travel through the valley where McCloud now stands. George W. Scoh and William Van Arsdale, founders of the McCloud River Railroad Company and the railroad made it economically feasible to transport lumber to more populated areas and began the lumber company town of McCloud.

Near the town of McCloud, the McCloud River runs swi]ly year round. Some people boast that this river has the best fishing in America. I think the McCloud River has the most beau7ful waterfalls, and I think the “Middle Falls” is the most spectacular waterfall of the three on the river.

When I went to the Middle Falls to paint today, I decided that I would paint the very first effect that caught my eye, and only paint that. I believe that pain7ng an effect is more powerful than pain7ng a thing. What caught my eye first was the brilliant mist of the waterfall in contrast to the so] backligh7ng on the green moss. It gave the feeling of being by a waterfall without pain7ng a waterfall. Pain7ng the mist hovering near the falls was a challenge, not because of the skill needed, but because of the concentra7on required. When you find a drama7c seyng like this, it is temp7ng to paint a postcard shot, including all the falls, part of the river, and the trees and rocks that make up the loca7on. I had to remind myself that my inten7on was to capture the effect of light so I would not be distracted by the other beau7ful objects of nature that begged to be included.

Choosing to become an ar7st is one of the hardest decisions one can make, in part because of the experiences in our past when we were young. I remember when I was younger and told people that I wanted to be an ar7st, they would laugh and say, “No, you need to have a real job.” However, to be an ar7st of any kind is the noblest

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decision that a person can make. If you choose to be an ar7st, you must have faith: faith in yourself, in your ideas, and in your abili7es. You must take leaps of faith; some as simple as choosing a medium, and some that require you to move to other communi7es so you can pursue your art. You must follow your own dreams, and conquer the fears that try to stop you. As each nega7ve thought says, “You can’t,” you must for7fy yourself by asser7ng the truths of “I can and I will,” and set a course for a crea7ve journey that results in the extraordinary experience of being an ar7st.

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“View from The Grand View, Opus 1” -‐ Self-‐Doubts and Cri(cism

Spring weather has arrived at The Grand View Ranch, and with spring's beauty there are incredible composi7ons to paint. I painted today's pain7ng of the beau7ful effect of the evening sunset. No7ce the seyng sun behind the trees in “View from The Grand View Opus 1” and how it provides an interes7ng effect as the light comes through the spaces in the tree. The secret to pain7ng trees is not to paint the sky first and lay a tree on top of it because the effect will look flat and not real. Instead, paint the trees first, and then paint the sky and the sky holes into the tree. Every sky hole can be a different color and value because the holes vary in value according to their size and the amount of light admiyng through them. The smaller holes are darker or grayer than the larger sky holes which are a lighter value, similar to the sky color and value around the trees. Pain7ng trees in this way helps them look realis7c and eye-‐catching.

With each workshop, I learn more about why ar7sts feel in7midated when they create art. Let us examine the enemy within ourselves that creates doubts and fears about our ability to be a successful ar7st.

Where does this self-‐doubt come from, and why do we have it? Most of our self-‐doubts and cri7cism originate from experiences that happened in our childhood, especially if we come to believe that it means something important about ourselves. For example, when you were five and you drew a horse, and your mom said, “That’s a funny drawing of a dog,” you might have believed that what you create won't be good enough and decided that you will never let that happen to you again. If we listen to the nega7ve internal story we created about the world and ourselves when we were five, we succumb to the self-‐doubts that are real, powerful, and that s7fle our crea7vity today. It is important to recognize where the story came from, evaluate if we are s7ll living the story, and strive to change it into a new one, told by the courageous, crea7ve person we are today.

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“Faery Falls” -‐ Sfumato

Just south of The Grand View Ranch is an isolated forest that contains an incredible tapestry of canyons and waterfalls. Many of these des7na7ons are unmarked and without visitors. When I heard there was place like this nearby, I knew I had to explore it. In the spring the water in Ney Springs Creek powerfully rushes to form a lovely 60-‐foot high, fan-‐shaped waterfall that crashes into a deep, clear blue-‐green pool of water below, and buherflies dance around the edges of the cascading waters like lihle fairies. Faery Falls is excep7onally beau7ful. Because of the huge amount of spray and mist at the base of the falls, the one difficulty I had was finding a dry spot to stand so that I could paint without geyng wet.

The key to unlocking the mystery of pain7ng waterfalls is to paint them as if they are dry. Start by pain7ng the rocks in cool, dark colors and sculpt them first. Novice painters usually paint the white of the waterfalls first, leaving the rocks flat without depth. To obtain the best water effects, use shadows and light, and paint the water with various shapes and forms. No7ce also that the highlight on the water is not white but a light, warm color by using Cad lemon yellow and Cad orange with white to paint the bright, shimmering sunlight that dances over the falls.

Successfully capturing the feeling of the water free falling to the earth below is what dis7nguishes the master ar7st from the Sunday painter. Leonardo da Vinci would call the ability to paint subtle feelings into a pain7ng “Sfumato.” This refers to a technique where translucent glaze overlays color to create percep7ons of depth, volume, and form which requires a delicate approach, as though one was trying to grasp at, and hold smoke (fume). Pain7ng is personal expression, and most ar7sts learn to paint objects. However, when an ar7st challenges himself to paint the elusive quali7es of his own response to objects in life, he becomes a great ar7st.

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“Shoshone Falls” -‐ 2003

May 15, 2003

On my road trip to Montana, I visited what is now the ghost of the Shoshone Falls. The falls were an impressive feature of the Snake River and were called the "Niagara Falls of the West," falling a drama7c 212 feet to the ground. Early explorers and landscape painters who discovered the falls during the late nineteenth century were awestruck by the view.

In 1905, plans were in place to preserve Shoshone Falls as a tourist des7na7on, but the need for water took precedence and regional farmers soon won the rights to the River. They built a dam to harness the water, and the vista changed forever. As soon as the gates of Milner Dam closed to hold the water, the Snake River and Shoshone Falls dried to a dribble. I always dreamed of experiencing the vista 100 years ago when Thomas Moran captured the intensity of the robust and roaring waterfall. On my last visit, I was disappointed to see the falls without water. On this trip, I felt obligated to see my fading friend again.

As I approached the falls that day, I could not believe my eyes. The recent warm rains caused flooding in Idaho (an event meteorologists call the "100 year flood") and Milner Dam had to be opened for the first 7me in 92 years. For a brief moment, the Snake River was a vibrant running river again, and I was able to witness what very few ar7sts have ever seen. The Falls roared with intensity, reclaiming their once phenomenal glory. I stored snapshot a]er snapshot of the falls in my mind, feeling the mist, absorbing the sound because I knew I would never be able to experience this vision again. I sketched furiously in watercolors and oil, knowing this moment would be brief.

It took me a long 7me to say goodbye; only darkness forced my departure. I knew that by dawn the mighty Shoshone Falls would dwindle to a mere trickle, and that seemed almost unbearable to imagine. I was comforted by the fact that for one majes7c moment, nature forced the hand of a modern world, and the falls roared once again. I did not go back the next morning. I feared the loss of my fading friend would have made me cry.

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“The Fine Art of Seeing Color” -‐ Perfec(on Leads to Paralysis

I have never lived in a place with so many amazing loca7ons to paint so close to each other. On the way from town to The Grand View Ranch there is a beau7ful, peaceful place called Shasta meadow. This is just one of hundreds of meadows that dot the countryside here at Mt. Shasta, and though it is called Shasta meadow, the view that I painted for you today highlights the meadow with the Eddys in the background.

There is no special way to mix color and no special way to apply it on the canvas. Just like a musician’s ear, frequent prac7ce sharpens the art of seeing color. Every ar7st sees and paints color differently, and a]er teaching thousands of ar7sts how to master pain7ng on loca7on, I can say that color is just so unique to the individual that choosing to mix your palehe your way is the beginning of developing your own style. I teach many secrets of mixing color in my workshops, and all of my students begin using iden7cal colors. However, each ar7st’s personal vision and use of color is so individual that by the end of the day, I can iden7fy the creator of each pain7ng by the dis7nct color palehe the ar7st used in his pain7ngs.

The nerves of the eye become more sensi7ve to color the more you use them. Pain7ng on loca7on rather than using photographs to paint from is the first step to mastering the art of seeing color. The second step is to paint in both the lightest and darkest values first, and then compare every color that you apply a]er that to these values. The third step is to choose a color scheme. Ask yourself, “What am I looking at? Are the colors that I see predominately blue, or red, or yellow, and are they warm or cool?” Just asking some of these ques7ons will start you on the right track to mastering the fine art of color before you even lay the first brush stroke on your canvas.

Remember, perfec7on leads to paralysis. You must begin crea7ng and taking risks with your pain7ng even if you think that you do not know something or you will not be successful as an ar7st. Ansel Adams stated, “If I waited for everything in a scene to be exactly right, I’d probably never take a photograph.” The secret in fine art, as in all of life, is “Just do it.”

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“Mt. Shasta’s Smoky Veil” -‐ What Colors Do I See?

California has over 1,400 forest fires that are burning throughout the central and southern parts of the state; however, the smoke from these fires significantly affects the air quality in Mt. Shasta. This morning I followed a road that connects the northern route of Mt. Shasta with the quaint town of McCloud and the eastern slopes of the foothills. I painted this northern view of Mt. Shasta with the visible haze that shrouds the mountain in a smoky veil.

When ar7sts see a mass such as a distant mountain like Mt. Shasta, they see values and know that these values are varia7ons of gray. Trained ar7sts not only see values, but also see colors that they can ahribute to the values. These colors are o]en subtle but are very important to include. To see the color of a value, it is useful to visualize a color wheel and ask, “What colors do I see?” Look for hints of red, yellow, or blue in the gray. If you cannot confirm a color, assign one. Just make it up. Ar7sts o]en paint beau7ful color harmonies and transi7ons by focusing on their feelings of being there -‐ with their eyes closed, using their imagina7on to guide their color choices.

Like a great mystery plot in a movie, these subtle colors are present, but the ar7st must collect the clues to solve the underlying puzzle, “How can I reflect the subtle changes in values and colors to enhance the expression of my experiences as I paint what inspires me?”

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“Size Does MaWer” -‐ Choosing Your Canvas Size

The fires in California are s7ll burning out of control, and for the past few days Mt. Shasta has been hiding behind a veil of smoke. Today the winds changed and revealed a glorious sunset. I painted this lihle view from my studio window on an 8x10 canvas.

Most sketches that I paint on loca7on are 8x12. I usually do not paint these lihle jewels of my observa7ons of nature on a standard size canvas. Some ar7sts have asked me why I do not paint on canvases standard size canvases like 6x8 or 8x10 that are cheaper to buy and less costly to frame. I prefer to paint on canvases with the tradi7onal two by three ra7os that fine ar7sts have used throughout history because the propor7ons are more pleasing to me, fit my tastes, and I enjoy pain7ng my personal impressions without the ar7ficial limits that standard size canvases impose. Why do ar7sts limit themselves to pain7ng on a standard size canvas, anyway? Art is a personal expression and the size of the pain7ng by which you wish to express this experience should not be limited by standard sizes that are convenient to buy or cheaper to frame.

Comple7ng a pain7ng on loca7on that recreates the experience of a 7me of day and the sense of place in nature usually takes a skilled ar7st about two hours of consistent work. It is important to paint small if you want to capture the moment and complete a pain7ng in under two hours. However, many ar7sts paint larger on loca7on by using bolder strokes and larger brushes. The reason you want to complete a pain7ng in a short amount of 7me is that a]er two hours, the light has changed so dras7cally that the scene you are pain7ng is no longer the same as when you began pain7ng.

The first painters credited with pain7ng en plein air were the ar7sts of the Bar7zan School, a small group of Parisian ar7sts of the 1830s who communed with nature and recorded their experiences by pain7ng outdoors on loca7on. Their mission was to capture the essence of the “true light” found in nature. Most of these ar7sts used these sketches of “light,” which were small and painted for convenience and portability, as examples for larger works that were finished in the studio and hung in salons.

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The next 7me you start a pain7ng, I invite you to ask yourself, “Should I paint on a standard size canvas, or could my experience be more accurately recreated by pain7ng on an 8x12 or 9x13.5 canvas?” You may be surprised how your composi7ons will thrive if you are open to using canvases that fit your ar7s7c expression instead of having your artwork fit the canvas.

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“Grand View BuWerfly, Opus 1” -‐ Rhythm and Movement

Today at The Grand View Ranch, we enjoyed the most beau7ful flurry of buherflies I have ever seen. At one 7me, the hillside felt alive with a mul7tude of fluhering bits of colored confey of the most brilliant kind. This buherfly caught my eye as it stopped to sip nectar from our Buddleia tree. The shapes and movement of the leaves of the plant, the purple flowers repea7ng colors, and the applica7on of textured paint (impasto) gives this pain7ng rhythm and movement and prevents it from being sta7c. Try to iden7fy the rhythmical invita7ons that lead your eyes to move from the buherfly to other areas of the pain7ng and back to the buherfly.

Rhythm is a composi7onal element that an ar7st employs to help the viewer’s eyes move around the canvas from the focal point to other objects, drawing ahen7on to repea7ng colors, and moving from foreground to background, then back to the focal point. Rhythm can give your pain7ngs a s7mula7ng visual flow and creates an overall sense of balance. Repe77on of brushstrokes, colors, objects, edges, dark and light values, direc7on, and forms create this movement in a pain7ng. Pain7ngs that display rhythm and movement stand out, vibrant with interes7ng and some7mes subliminal paherns that are rich and sa7sfying to the viewer experiencing the work. There is no formula for crea7ng rhythm in a pain7ng, just the ar7st’s keen awareness that rhythmical arrangement is a powerful element to include in every pain7ng.

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“The Fallen Totem” -‐ Choosing a Point of Interest

Many of the views at The Grand View Ranch are breathtaking and inspiring, however, we find many in7mate corners hidden in the woods. Although they are not as breathtaking, they are worthy of closer observa7on. As I traveled deep into the woods today, I discovered this fallen Totem, its ancient wood slowly decaying over decades as the forest reclaims it to make room for a new tree to grow in its place. The old moss on the tree cap7vated me and I wondered how old the giant tree was, what made it fall, and when did it happen? I chose this tree to be the point of interest for this newest pain7ng called “The Fallen Totem.”

An ar7st’s interests, beliefs, and personal connec7ons to life influence his choices of the point of interest in a pain7ng. It is a thoughxul and intui7ve process. The methods used for selec7ng the subject or object of the pain7ng will change with each pain7ng and every loca7on. Some7mes ar7sts invest too lihle 7me thinking about their connec7on to point of interest in a pain7ng before they start to paint. O]en painters fail to remember simple things like the fact that the viewer can see only a limited number of objects clearly at a glance, and that one object can catch the eye more quickly than two or more. Ar7sts must use all their skills and techniques to bring their main message or inten7on of the pain7ng to the viewer.

A]er choosing the point of interest, I recommend that ar7sts draw at least four small sketches of the subject in pencil. This allows the ar7st to experiment with composi7onal elements, and to make changes rapidly un7l you find a pleasing combina7on. Next, select your preferred sketch, and simply transfer the composi7on onto a small canvas with a brush and paints thinned with Odorless Turpen7ne. Voilà! The canvas is ready and pain7ng can begin.

Some techniques that ar7sts use to focus the ahen7on of the viewer on the point of interest are intensity of tone, contras7ng values, direc7onal focus, linear movement, and the size of the objects. Emphasizing the darkest or the lightest spot on the canvas and using direc7onal lines or eye magnets will lead the viewer to the point of interest in the composi7on as well. Crea7ng small field studies allows the ar7st to sample many of these techniques and to make changes efficiently and easily un7l discovering the desired effects that make the point of interest pop.

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“Smoky Day in Mt. Shasta” -‐ Crea(ng Atmosphere

California is experiencing a record number of forest fires, and the smoke from these fires affects Mt. Shasta. Although the devasta7on caused by the fires is heartbreaking, because of the smoke in the air, the effects of light are drama7c. Early this morning, I traveled deep into the woods behind The Grand View Ranch. As I descended into the brush, I discovered an old Indian path that led me to this secret place. Many early Na7ve Americans made their home near Mt. Shasta and their presence is s7ll felt everywhere. I’m sure that many of those early explorers were as impressed by the grand vistas of Mt. Shasta as I am. Inspired by the luminous glowing effects of the sun filtered by the smoky air, I quickly painted “Smoky Day in Mt Shasta” before the mood and the value changed.

A great landscape painter includes his own emo7onal experiences for the viewer to iden7fy with and relate to in a pain7ng. Many ar7sts use the subject maher to tell a story. However, when ar7sts paint a landscape, they essen7ally convey the personal experience of what they see and feel by pain7ng the wondrous effects of the light on objects, and communicate the mood of their story on canvas painted with beau7ful colors on their brushes. Ar7sts can express themselves by using 7me of day, sunlight, heat, humidity, par7cles in the air, and even weather to influence the feeling of their pain7ng to open a dialog with the viewer.

Successful ar7sts carefully choose their tools of expression before beginning the pain7ng. For example, you might include what kind of light (warm or cool) is present, and what 7me of day it is. Also, see if you can determine what angle or direc7on the light is coming from. Observe the light to see if it unifies or divides the values in the scene, and then choose the value and color key that enhances the mood of the pain7ng; a light and bright key for an upbeat mood, and a dark key for a more heavy or subdued mood.

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In this example, “Smoky Day in Mt. Shasta,” I chose to paint with a middle range of value or a middle color “key” that gives the pain7ng a tranquil effect. The smoke in the atmosphere affects all the colors and objects so the light is consistent throughout the pain7ng. The sun has the highest value and is the lightest color key in the pain7ng. If the overall tonality or key in this pain7ng were too light or too dark, the message of tranquility would be lost.

If you would like to experiment with these tools, begin by pain7ng using a few colors to create an atmospheric hue (cool blue-‐grey or warm orange-‐yellow) and paint the en7re pain7ng in that color. Then, use a varia7on of dark values and highlights in the same color key to form objects such as trees, rocks, and mountains, and see what develops.

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“Another Smoky Day at the Ranch” -‐ Keying the Values

We are gradually clearing out most of the old dead growth and are making trails behind The Grand View Ranch so that guests visi7ng the ranch can wander around and see the beau7ful vistas. I painted “Another Smoky Day at the Ranch” while viewing one of these vistas. I imagined this as an intensely lit scene to illustrate a High Key pain7ng with a value scheme having intense colors and values, crea7ng a pain7ng that will POP off the wall. Light is frequently the main ahrac7on in a pain7ng, and establishing the mood by using appropriate light and color is o]en the first decision an ar7st must make. I selected a High Key and I chose predominantly dark values that contrast with the faded appearance of the misty, smoky atmosphere, and then combined them with a strong, warm color theme to create a harmonious composi7on.

An ar7st’s job is to push his or her cra] to the limit without feeling trapped by experiencing “perfec7onism that leads to paralysis.” All ar7sts secretly desire freedom of expression, but the reality is that great ar7sts must know their cra] and subject maher first. Learning how to paint is just the beginning. Spending 7me pain7ng on loca7on is the ul7mate teacher for the landscape painter. When you learn to paint on loca7on, you will discover the freedom and ease of capturing nature on canvas, and you will be amazed at the effect this will have on your artwork.

As ar7sts, we are not ahemp7ng to reproduce nature. When we experience the amazing impact of the whole grand effect of nature’s beauty within ourselves, we yearn to paint our interpreta7on of what we see and feel to share with others. Ask yourself two important ques7ons before you paint. First, what do I want the viewer to feel? Second, is the value range consistent with the mood I want to portray?

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I used these steps to paint “Another Smoky Day at the Ranch”:

I painted this pain7ng on loca7on using a 12x8-‐canvas board that was primed with gesso. I quickly composed and sketched-‐in the view that I found cap7va7ng with Asphaltum and turpen7ne. I used a # 8 Flat bristle brush so that I could sketch my ideas quickly.

Next , I placed the darkest and lightest values on the canvas early on so that I could judge all my values against these original values.

Then, I painted the value and colors of the smoky sky, and covered my original sketch of the trees as I painted in the ground values of the forest. I worked with contrasts, and gauged every color and value against the light and dark values that I originally established in the pain7ng.

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I so]ened all the edges and blurred the values into the sky. I wanted to create a very mysterious seyng by using values to establish the shapes.

I painted the sun using very thick paint. Remember, the thicker you paint, the brighter it will appear on the canvas. This has to do with how the light reflects on the surface. I began pain7ng in the trees using dark brown and a lot of turpen7ne. If you want to paint wet into wet, it is necessary to mix more turpen7ne into the top layer so that it does not pull the paint away from the layer underneath. Finally, I painted the rocks and details in the foreground using pure, saturated colors to enhance the High Key effect of the pain7ng. I painted this vista in about 2 hours.

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“A Barn in Gazelle” -‐ Sky & Harmony

Just north of The Grand View Ranch is the small farming town of Gazelle. This lihle old town on Highway 99 was once a bustling town but it has shrunk in size, just like so many other rural communi7es in America that have disappeared because of commercialism and the popularity of box stores. I found this barn as I was searching for new loca7ons for my workshops in Mt. Shasta. The morning light was just breaking over the mountain, so I quickly set up my pochade box and sketched it before the light changed.

Sky and sunlight together harmonizes a landscape, because the color of the light source (sunlight) shining through the atmosphere fills the scene with harmonious colors. However, how do you harmonize your pain7ng? I have heard that some ar7sts mix a mother color (a color that is made of red, yellow, and blue) on their palehe, and once they have mixed a tone that is close to a color in the scene, they add it to all the colors. Other ar7sts have a blue or red glass that they look through to see the changing values and color temperatures. Other ar7sts tone their canvas purple or brown. Although these methods work for some ar7sts, I feel that if you paint all your pain7ngs with the same approach or method, your work will look the same and can become boring. I recommend that you paint what you see. Nature harmonizes everything and always provides the best example: so if you paint what is there, the colors will be harmonious. Whether you paint from s7ll-‐life setups, figure studies, by looking out your window or pain7ng outdoors, pain7ng from life provides the most realis7c, original, and true to life color, allowing you to create your own view of the world as it appears to you.

Pain7ng outdoors is not an easy task. You must have everything at your disposal for it to go smoothly. It requires even more discipline than pain7ng from s7ll life or a live model. If you learn to paint outdoors, you will acquire the ability to see color and analyze values in a very exci7ng manner that will inspire you forever. If you want to grasp the secret of pain7ng, just paint from life. With prac7ce and experience gained by pain7ng outdoors, you may not want to paint any other way, and in a very short 7me, you will have the power to paint anything that you desire.

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“Farmhouse in Mt. Shasta” -‐ Ar(st’s Block

My parents came to stay with us over the summer, and my father loved working on the ranch, clearing the property, and making trails for visitors to explore. A]er my father re7red, he took my advice and started pain7ng. Over the years, I have seen his focus and drive increase, and the quality of his work improve. Recently we painted together in Mt. Shasta, and although he is new to pain7ng outdoors, he is discovering the importance of being able to paint on loca7on. This lihle pain7ng is the result of a grand morning when I painted with my father.

Ar7sts o]en create with passion and drive, and some of the 7me are inspired and determined to express themselves with no limita7ons. Occasionally they find that they fall into what ar7sts call an "ar7st's block." This is very common among ar7sts, and this term is widely used by painters, writers, musicians, and poets. It is when the fear of not being able to create makes an ar7st ques7on what talents they have, and they worry that their passion and inspira7on might not return. Your ego, wan7ng to look good to others and having the fear of failing, will block your crea7vity. This state of mind can go on for years, and it is the reason that people stop crea7ng forever. That is why it is very important to do something about it.

To break out of an ar7s7c block, it is important to encourage yourself to set new goals, change your thinking from "I can't" to "I can do this," and stop focusing nega7vely on yourself and your feelings of being a failure. Try to remember that you are not alone. Everybody has had a 7me when he has failed to meet his own expecta7ons. It is how we pick ourselves up and move on that is most important.

Other ways to help yourself with an ar7st block is to consider how you would feel if you completed a book or a pain7ng successfully, or if you could change the life of another person with one of your pain7ngs? These ques7ons are more than dreams. They are magnificent possibili7es about what your art can be. Art is a conversa7on that you have with another person, and others want to share a moment with you and experience your personal insights through your pain7ngs or wri7ngs. Think about what you have to share that could inspire another person, or let him or her know that he or she is not alone.

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Take a trip somewhere that you have never considered going before, even if it is only to another town you have never explored. Always take a sketchbook, a notebook, a journal, or a thumb box everywhere you go. Commit to write, draw, or paint your observa7ons every day, as grand or silly as they might be.

If this does not work, look for a coach or a class, or someone you can talk to because you might just need a mentor to give you a new perspec7ve or to change your view of something that you may take for granted. Remember, you are unique and significant in the world, and few people possess the talent that you have right now.

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“Sunday Morning on the Cliffs” -‐ The Importance of Drawing from Life

As I go through my sketchbook from my travels in the Na7onal Parks when I filmed my PBS Television series, The Grand View, I came upon several sketches that I made in Glacier Na7onal Park. This big boy, not at all startled by my presence, sat s7ll for hours leyng me draw him from many different angles. If you learn to draw and paint on loca7on, you will experience many exci7ng opportuni7es to capture the wonders of nature in your sketchbook or on your canvas.

Sketching on loca7on is one of the most important ac7vi7es one can do as an ar7st. The impulse to draw is as natural as the desire to talk. Learning to draw is a rewarding and important exercise that allows ar7sts to be capable and free to express themselves when they want to paint what they see flawlessly. I recommend that every ar7st take a figure drawing class and prac7ce drawing every day. Drawing is a skill that is learned, but drawing accurately requires prac7ce and tenacity. The best way to learn to draw is to use all of your senses to observe, then record the impressions of life that catch your ahen7on in the world around you in a sketchbook, and build your collec7on of “I’ve drawn that” images that is stored in your imagina7on for your use as you begin your pain7ng on loca7on.

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“Moose, Opus 1” -‐ Finding Your Ar(s(c Muse

Those who know me know that pain7ng landscapes on loca7on in nature is one of my greatest passions. The Grand View television show features my experiences on loca7on in the na7onal parks. What many people do not know about me is that I also have a deep passion for pain7ng wildlife. I have returned from 7me to 7me to visit my ar7s7c muse as I paint animals, and this week, sketches that I made when I hiked and painted in the Teton Na7onal Park inspired me. As I searched through my sketchbooks, my senses filled with the memories of that trip, and I recalled the feelings of awe that I felt when I personally encountered so many magnificent animals that exist in America. Those memories served as my source of inspira7on as I painted “Moose, Opus 1.”

Finding one’s muse refers to the uninten7onal and unplanned burst of inspira7on that beckons us to create. Many ar7sts say the experience of finding their muse moves through them like the “breath of god.” They do not feel in control the process, but they feel compelled to “go with it” while they are transported beyond their own abili7es to see and express their experience on canvas, paper, sound, or movement. The muse seems to be the connec7on between the inner soul and the unconscious mind of the ar7st who creates with paints, pens, musical instruments, or dance.

When you cannot find your muse, it feels like you cannot seem to get started with your work or that you just cannot get it right. You can work on a project for hours, then wipe it all off or toss it into a pile of pain7ngs in your garage. You know you want to create, but you cannot imagine what to paint. There can be a great sense of frustra7on and unhappiness as an ar7st struggles to find his way back to being inspired again. O]en ar7sts will look for inspira7on by searching outside of themselves and will look through pictures in books and magazines. Musicians spend hours exercising their connec7on with the keyboard hoping to hear a pahern, beat, or melody that inspires their crea7vity. The following ideas may help you to connect crea7vely within yourself in prepara7on for your muse’s return.

#1: Ask yourself, “Why did I want to be in ar7st in the first place?” When you create, youchoose many paths, and occasionally you may find yourself feeling lost. Being in touch withwhy you first began crea7ng art is the first step in finding the way to your ar7s7c muse.

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#2: Take a long and relaxing walk. Do something that is physically ac7ve to clear your mind.It will calm any frustra7ons, and give you 7me to have fresh ideas or new approaches thatmay come to mind when you are away from your studio.

#3: Do not do anything at all! Do not even look or think about your pain7ng, inspira7on willcome to you when the 7me is right. Instead watch TV, go out with friends, or go to bed. Justdo something to separate yourself from your art. Enjoy being crea7ve in other ways.

#4: Think of a book or movie that moves you to feel your emo7ons and paint a picture aboutsomething in the story that touches you. Every great work of art is inspired by connec7ng tolife in some way.

#5: Listen to some inspira7onal or unusual music. I prefer tribal music, Classical music or movie soundtracks. Few things are as ar7s7cally s7mula7ng as a great symphony by Beethoven. Letthe music guide your art. Allow yourself to let loose and go with the sounds. Leonardo da Vincifelt that he painted beher when he listened to music.

#6: And go outside of yourself for ideas and inspira7on. Browse through books to see andexperience other ar7sts’ work. Some7mes we are so concerned that all of our work has to beoriginal, and we forget that other ar7sts have had huge breakthroughs a]er losing their muses,too. Visit a museum or surf the internet to see what other ar7sts are crea7ng because it can be insighxul, inspiring, and can connect us with the difficul7es experienced by others in our specialgroup called ar(sts.

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“Summering Buck at The Grand View Ranch” -‐ Ar(s(c Frustra(on

Before we moved to The Grand View Ranch, a young buck made a home for himself beneath the elevated deck off the back of the house. He stayed there all summer un7l the fall when he had grown a magnificent rack of antlers. Every 7me we went onto the deck the startled buck would scurry out from beneath us with his antlers scraping the bohom of the cedar deck. He would sit nearby and observe us, the new tenants in his old domain. I could just imagine that he was thinking, “Well, there goes the neighborhood.” I created this pain7ng from sketches that I made last summer from the back deck at The Grand View Ranch.

As many new ar7sts begin to paint, they feel amazed by what unfolds beneath their brushes. Smoothly their ar7s7c focus emerges stroke by stroke on their canvases as the unsuspec7ng ar7sts passionately pursue their cra], loving every moment and savoring their experiences as they learn to create and find their place in the world of art. Then one day, they create a pain7ng they hate. “F*1@!” and “S@$%!” are some of the words used in these moments of ar7s7c frustra7on. It is an especially good idea to have a separate studio from the rest of the house, not because ar7sts need a quiet place to paint, but because of the outbursts ar7sts experience when they verbally express their annoyance and despair with the crea7ve process. When an ar7st is confronted by his disappoin7ng efforts, he somehow wants to disown his work. This experience is des7ned to occur to all ar7sts. When it happens to you, I recommend that you seek encouragement from other ar7sts who have gone through the same experience.

At these 7mes, I love to read the insights of John Ruskin who wrote a series of books at the turn of the nineteenth century called Modern Painters. He puts it all into perspec7ve when he said, “When we paint, let us think that we paint forever. Let it not be for present delight or for present use alone. Let it be such work as our descendants will thank us for; and let us think, as we lay stroke by stroke, that a 7me is to come when those pain7ngs will be held sacred because our hands have touched them, and that men will say as they look upon the labor and wrought substance of them, “See! This our father did for us.” – John Ruskin

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“Grand Buck of the Siskiyou” -‐ Breaking into the Art Market: Part One

Earlier this week I met an old 7mer who used to track wild life in the Mt. Shasta area who lives near The Grand View Ranch. He told me about a small herd of elk who live on the East side of the mountain in the summer, and that if I hurried, I might be able to find them and to sketch them. I hiked deep into the woods with my thumb box in my backpack and my camera ready to capture anything that moved in the bushes. A]er hours of wandering through the hillsides and rivers in this desolate area, I found them. It was a small herd with six cows and one buck. They were unaware of my presence and I quickly made some sketches. This sketch called “Grand Buck of the Siskiyou” is one of many sketches that I began on this “hun7ng trip.”

Every year 10,000 ar7sts graduate from art schools across the country. Most of these ar7sts will go into other occupa7ons within a few years. A lot of hard work and a lihle luck are important to becoming a successful professional ar7st. Some 7ps to accomplish this are:

Take ini7a7ve and network! Ar7sts must believe in their work and imagine that it has a place in the art world. It takes 7me to develop a recognizable name, and to do this, you must create a loyal customer base at a local level. Be willing to show your art in many different venues. Begin by placing your art in cafés and local restaurants. Contact your local art group to find out about opportuni7es for showing your art in their art shows. Have an open studio and paint while poten7al customers enjoy your finished, framed pieces. Start now to develop a name for yourself. Networking to promote your art is not a one or two year plan. It may take 5 to 10 years to become well known. We o]en look for the “one piece of the puzzle” that will open the doors to success, but this is not a realis7c approach to becoming successful in the art world. It takes many pieces and many ahempts to put the whole puzzle together and have your art in public view.

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Represent yourself! The only person that really cares about your art and your success is you. Few new ar7sts understand this when they are beginning to show their work. Galleries are most interested in keeping their doors open and will seldom spend any of their commissions to adver7se your work or sponsor a show. Few galleries have the integrity to share with you the names of clients who collect your work. However, they are the first to ask for your client list. Galleries and charity events are good exposure opportuni7es and should be part of your marke7ng plan; however, they are not the only ways to have your art be seen by the public.

Keep Crea7ng! It takes a life7me to be an overnight success as an ar7st. Keep pain7ng and perfec7ng your cra] and your message. Ar7sts have to be prolific and proac7ve in producing and promo7ng their work. Once a door opens to show your work, you must have some pain7ngs available for sale. Success may be a long 7me in coming, so keep in mind that pain7ng is a cra], and every pain7ng is a learning opportunity for the next pain7ng to be a masterpiece. Always be inten7onal about yourself as an ar7st and create your own success by pain7ng those moments in life that you want others to experience through your art.

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“The Trees of Castle Crag Lake” -‐ AWributes of a Tree

Because we are experiencing unusually mild weather here in Mt. Shasta, we have been able to venture into some of the most beau7ful landscapes in America. One of the jewels in the crown is Castle Crag Lake, a high mountain lake located just west of the town of Mt. Shasta. Students ahending my workshops especially enjoy pain7ng at this loca7on because of the excep7onal beauty of this alpine lake, and its convenient loca7on for ar7sts to drive and park near her shore, set up their easels, and begin pain7ng. On the day that we came to the lake, the midday sun backlit the trees, crea7ng an unusual effect against the cool wash of the background wall of rocks. This effect of light caught my eye and I knew that I wanted to capture it in this lihle pain7ng.

When pain7ng trees in nature it is more important to capture the essence of the trees than just the texture of the foliage. In many plein air pain7ngs, I no7ce that ar7sts place too much ahen7on on the amount of paint that they apply rather than how they apply their paint. It is more important in pain7ng landscapes is to capture credibly the nature of how trees and plants grow and appear in their environment.

For example, carefully examine the ahributes of a tree. When looking at a tree, no7ce its energy and how it shoots up out of the ground, how the branches reach outward to the sky, and how the limbs pull down to the earth as they flow away from the tree. No7ce how elas7c the limbs are, because elas7city in the limbs indicates the tree’s strength, its growth, and how it lives in its environment. Observe the tops of the trees and no7ce how the sprays stretch high towards the heavens; observe the mo7on and the energy of the wind and atmosphere that exists high in the trees.

These details tell the story of the tree, its history, and its place in a landscape. Pain7ng just the texture of a tree does not tell the viewer how it looks right now. It is like pain7ng a portrait of an old woman without wrinkles. It

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may be painted to look prehy, but the result may not be interes7ng or revealing. It is the lines and wrinkles in her face that tells the story of how she lived, laughed, and loved. I believe that these details are missing in many plein air pain7ngs today. In the background of my pain7ng, I have included subtle details embedded in the sheer cliffs, and you can see lines in the crags that mark its stra7fica7on. You can also see how it has been washed and rounded by glaciers and weather, and that it is not just a wall of rock. The main reason that ar7sts first moved from the studio into the wilderness was to be able to carefully observe and record nature with their own eyes, because without close observa7on and the use of details, pain7ng can become mechanical and oversimplified.

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Seven Steps to Crea(ng a Great Pain(ng

Step 1. The first 10 minutes is the most important part of any pain7ng. You must have a completed concept in your head before star7ng. Start with a neutral color and lay in your sketch.

Step 2. Establish your light source and lay in your value chunks (no more than 4 to 5 values). A large value area should have many grada7ons.

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Step 3. So]en your edges as you go. It is important that you keep your work loose and flowing.

Step 4. Begin pain7ng in the central focal point. In this pain7ng, it is the house. Keep it simple and avoid detail at this point.

Step 5. Start your light story. Remember, pain7ng the effect of light on the object that is more important than the thing itself.

Step 6. Bring in more light and complete more of the detail all over the picture, and not in just one place.

Step 7. Complete the pain7ng, making sure that it has a central focal point that is the lightest with sharp edges, and so]en other edges in the pain7ng.

Then sign the pain7ng.

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“The Last of the Herd” -‐ Inspira(on

The days at The Grand View Ranch are growing shorter now, and we have experienced the chill of the winter snows. Before the snow completely covers the landscape, we are taking advantage of the sunny, crisp days and are burning fallen oaks and shrubs. This is the last opportunity that we will have to prepare the ranch for winter’s frozen gi]s. The deer have migrated to lower pastures in Shasta Valley, and the bear have found their dens where they hibernate through the long winter nights. Except for a few squirrels, all the wildlife have disappeared from the ranch, and Shasta, our Border collie, is bored.

In today’s pain7ng “The Last of the Herd,” I have painted a deer from one of my sketchbooks. I focused on the expression of the deer’s head and the human quali7es found in the eyes. So many gardeners hate deer, but I like seeing deer in a field or forest because they make the landscape seem tranquil and peaceful.

Winter shadows and long, dark nights, the end of the holiday rush, and colds and flu with miserable symptoms affect our energy and mood and create a type of hiberna7on in our spirit. At 7mes like this, our passion is subdued and an interrup7on in the interest to create art can result. If you do not feel inspired to create, you must rely on your commitment to prac7ce ar7s7c skills by staying in7mately involved with your brushes, paints, and canvas. Act as though you are eager to express yourself through your pain7ng, even when you feel like you have nothing to say. An ar7st’s commitment to take ac7on can evoke and s7mulate passion, and passion can carry both the art and the ar7st to the next spurt of inspira7on.

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This cycle is similar to those found in nature; winter’s season rests the earth, so in spring the warming earth can bring forth new inspira7on and new life, allowing passion to create plen7ful summer fruits that are harvested in the fall as the earth prepares to share its bounty with thanksgiving. Humans share similar paherns of life: paherns of s7llness, inspira7on, rebirth, and crea7on which are vital in renewing and reinven7ng ourselves as ar7sts. Whether you are feeling s7ll and subdued, or you feel excited and love what you are pain7ng, the canvas reflects your emo7ons. Start pain7ng and keep pain7ng, and once you put your brush to canvas, your inspira7on just may follow.

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“Times Gone By” -‐ Adding Details

The weather in Mt. Shasta is amazing! Warm temperatures, clear weather, and very lihle snow on the ground makes it feel more like spring than the dead of winter. It is hard to pass up the opportunity to work outside clearing brush and burning the dead wood at the Grand View Ranch; but my ar7s7c muse calls me to capture the beauty that surrounds me on canvas.

Last year during our workshops, we visited eight loca7ons and of all the spectacular places that we painted, this is one of my favorites. It is at the end of Louis Road, just west of Yreka at the base of Mt. Shasta. Compared to the way it must have been over a hundred years ago, this place is quiet now, and except for a few eagles that screech, the earth is silent and s7ll. One can really concentrate on pain7ng the landscape.

I painted this pain7ng 7tled “Times Gone By” en7rely on loca7on. At first glance, the viewer’s eye sees the abandoned farmhouse in the background and vigorous, overgrown foliage along the bank of the river that is reminiscent of a 7me gone by. Then, a lightly traveled road comes into focus at the bohom of the pain7ng, drawing the viewer into the pain7ng, to the river where the viewer sees the reflec7ve colors of the sky on the water. The journey con7nues along the river, around the bend, and ends where it began at the distant, neglected farmhouse. The trunk of the old weathered cohonwood tree represents the end of the journey and sense of 7me passing.Oil pain7ngs are visually ahrac7ve because of the rich, textured details and brushstrokes. Students o]en create juicy, luxurious strokes especially with light colors. However, most beginning painters use too lihle paint when pain7ng dark colors. Be bold. Experiment with your paint by pain7ng thick and thin brushstrokes as you go.

Details are the final addi7ons when your pain7ng is nearly complete. Add details where you want the viewer’s eye to linger. All other lines in the composi7on should have so] edges. I use a squirrel-‐hair brush and lightly so]en all edges in the pain7ng and then, with precision, I take a detail brush and I place the final details within my central focal point. The key is not to add too many. If you have constructed your pain7ng successfully, you will need very lihle added detail to have an impact on the viewer. Make every brush stroke count, and remember that less is more.

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“Crossroads in Weed” -‐ Finding Your Voice

As I laid the final brushstroke on this pain7ng, “Crossroads in Weed,” the snow started to cover the countryside. This view is located in the heart of the lihle lumber town of Weed. It is at the crossroad of one of the main streets in town and the freeway. Although this is a charming seyng for a pain7ng, very few tourists would stop to admire this loca7on, yet I have found it interes7ng every 7me I drive by. I wanted to capture its charm on canvas. O]en we don’t choose the subject, the subject chooses us.

As an ar7st, I am aware of the beauty all around me, and I am always looking for composi7ons in the ordinary corners of life. As a plein air painter, I might find myself pain7ng in the heart of town, hanging over a bridge, or just off a freeway. The unique and individual reward an ar7st receives when pain7ng his impression of an inspiring place belongs to that ar7st alone; the joy experienced in the process of crea7on is non–transferable and of lihle use to others. The pain7ng is just the byproduct, and it is a bonus if the public gets to view it at all.

An ar7st recreates a personal experience and sings it for others. To do this, you must first learn that when you sing, the only voice you need is the voice you already have and everything that you need to create joyfully is already within you. As a coach, I don’t teach students how I paint. I help students iden7fy their unique voice and give them the tools to use it. The actual pain7ng process of applying a brush and paint to canvas is ordinary work, but it takes courage to embrace that work and wisdom to be good at it. Art does not arrive miraculously from the darkness to your hands; knowledge, skills, and prac7ce blend with the heart and soul of the ar7st and flow onto the canvas. You must learn to trust yourself and proceed with the belief that you will succeed, or you may miss the possibility of experiencing the ecstasy of crea7vity.

It becomes a choice between certainty and uncertainty, and curiously, uncertainty in the face of paralysis is a comfor7ng choice.

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“Winter Dogwood” -‐ Pain(ng is a Memory Exercise

As a steady snowfall covers The Grand View ranch, winter, though late in arriving, is finally here. Dogwood boughs, heavily laden with snow, bend downwards towards the earth. Oak trees struggle to stand upright against the howling, gusty winds. Between the storms, the forest is silent as the deep snow deadens all sounds in the woods. As the season’s storms cross in waves over the great Cascade Range, Mt. Shasta appears in her majes7c winter coat beaming through the dark clouds like a glistening jewel in a royal crown. I am inside, pain7ng what is outside my studio window, but really I am wai7ng for a moment between storms to put my paintbrush down and hurry outside to shovel snow and free us from the frozen hillside.

This pain7ng, “Winter Dogwood,” is of a view from my studio that I have painted many 7mes in all seasons; but winter is one of my favorites. Earlier today, the storm broke and the morning light beamed across the freshly fallen snow. I painted quickly before the warmth of the light melted the winter’s frozen coat.

Most pain7ngs are in some way created from our memory, and if we paint on loca7on, what we are really doing is pain7ng what we remember. If we could control the environment, we would have lihle problem recrea7ng our experiences; but the subject is con7nually changing every moment while we are applying paint to canvas. Light and shadows change, and the subjects reveal new and different insights and appearances as the minutes pass by.

We must observe what is transforming before our eyes without ahaching too firmly to each changing aspect of what we see. An ar7st must rely on their memory of what the loca7on looked like in the moment that he or she started pain7ng it, rather than paint what it becomes. For example, when I started “Winter Dogwood,” the storm had just li]ed. For an instant, a ray of sun light beamed through the clouds crossing the forest and

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catching the edges of the freshly fallen snow. Most of the branches were hidden from view by the snow itself and the background trees were black against the white snow. This pain7ng took about two hours to paint and during that 7me, the snow melted off the branches and the dogwood trunks bounced back to their ver7cal posi7on. I wanted to capture the moment when winter had just blanketed the forest, and I had to rely on my memory to recall what it looked like at that moment when I started pain7ng. I painted the layout of the landscape during the original moments of inspira7on, as well as the color references that I noted and commihed to memory. As I went along crea7ng this work of art, the overall impression came from the memory of what it first looked and felt like to me.

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“Birthday Orchid” -‐ Pain(ng in the Moment

Every year on my birthday one of my students brings me an orchid. I love to paint orchids because they are so delicate and pa7ent. Unlike most flowers, orchids will pose for days, where roses will change their pose minute to minute. These flowers bloomed in my studio today, and although I had other things to do, I stopped everything to paint them. It always surprises me that I can somehow find 7me to complete everything that I think I must do right now, even when I take the 7me to paint! If you feel you just do not have 7me to paint, I encourage you to priori7ze your crea7ve self, and paint something amazing. It is the most important thing that you can do for yourself today. The trash and laundry can wait un7l later.

Orchid Pain(ng One: Pain(ng Alla Prima, a step-‐by-‐step demonstra(on

Alla Prima pain7ng is a pain7ng that is finished in one siyng, painted wet on wet, and from one central point out to the edges un7l the pain7ng is complete.

First: Paint the canvas using Asphaltum with a large brush and applying direct brush strokes with lots of energy. At this point, it is important to imagine where to place the center of interest on the canvas. Begin forming the shapes of the flowers with the brush and Asphaltum, and indica7ng the areas of dark and light.

Second: Using a white and grey mixture, paint the founda7on of the flowers where the center of interest is located. Paint the shapes and forms of the orchid by following the contour of the flowers, and con7nue indica7ng dominant areas of shadows and highlights to create a sense of mass.

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Third: Add more details, more highlights, and dark shadows to the flowers, orchid plant, and in the areas surrounding the plant.

Fourth: Paint the leaves, and complete the background. When pain7ng alla prima, 7me is of the essence. Complete the main focal point first, and then work on the background with the remainder of the 7me allowed for the piece. Remember, you do not have to paint every square inch, just the main subject.

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“The Last of the Spring Blooms” -‐ To Lighten or To Darken a Color

The Grand View Ranch is located on a hillside that locals refer to as Dogwood Hill. The ranch is home to hundreds of trees that have beau7ful white blossoms in the spring. Dogwood blossoms have always been my mother’s favorite flower, and she talked about visi7ng The Grand View Ranch this spring to see the splendid dogwood bloom. This year we had the most amazing bloom ever. The blooms were the size of saucers and the en7re hillside was burs7ng with bright, white blooms. Sadly, my mother passed away this spring before she could see this breathtaking sight. Today, I gathered the last of the blooms and brought them back to my studio to paint them. I am dedica7ng this pain7ng to her.

For oil painters, there are a number of ways to lighten or darken a color. One way to darken a color is to add a complementary color. The complement of a color is the color that is directly opposite that color on the color wheel: the complement of yellow is purple, the complement of red is green, and the complementary color of blue is orange. Either of the two colors may be the focal color with the complementary color added into it. For example, when red is added in small amounts to green (the focal color), the green will become cooler and darker, and when green is added in small amounts to red, the red will become cooler and darker.

I seldom recommend using black from a tube to darken a pain7ng. Instead, I suggest making a neutral black by using a dark brown like Asphaltum and Cobalt Blue, which is what I mixed to paint the background in today's pain7ng, “The Last of the Spring Blooms.” Two other op7ons for making a good neutral dark color are Cobalt Blue, Alizarin Red and Cad Yellow, or Pthalo Green with Alizarin Crimson to make a very dark black.

I added white to lighten the colors that I used to paint the dogwood flowers. When pain7ng something white, especially highlights, I never use white out of the tube. White, by itself, is not a good highlight color because it has a cool tone, and highlights, because they originate from the sun or light, are essen7ally warm in tone. My secret to making the highlights in my pain7ngs glow is to add a 7ny amount of yellow or red to the white so that the natural effect of light reflects brilliantly, as it does on the dogwood blossoms.

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“View from Louie Road Bridge” -‐ Just As I See It

When I paint outdoors, in the 10 minutes before I choose a subject, I ask myself, “What about this landscape interests me? Why am I pain7ng this and what do I want to paint that will convey my feelings about what I see?" During the first 10 minutes, I stop and think as I keep my focus, both visual and mental, on what first ahracted me to the subject. Then I include only elements in the sketch that enhance the subject and leave out anything what will detract from the message I want to send to the viewer. The pain7ng should contain one idea. In this pain7ng, it is about the amazing endurance of the old cohonwood tree in the “View from Louie Road Bridge.” The creek in the foreground serves as an eye magnet to draw the viewer to the focal point, and the strongest darks and lights are on the tree.

Many people spend much of their lives walking around in a trance of retrospec7on, regret, and distrac7on, idling their days away with a wide range of addic7ons from TV to drugs that keep them from seeing the beauty in the world around them. What is the secret that can bridge the chasm of living a life that is empty and meaningless to one that is worth living? For many people, the path to feeling fully alive is ar7s7c crea7vity, and through art, we can discover and live a sa7sfying, fulfilling, and meaningful life. These enlightened people seem to deal with life in posi7ve and powerful manner.

Auguste Renoir was crippled by arthri7s most of his life. One of his students asked him, “How do you paint with your hands so crippled?” He replied, “Pain passes, but the beauty remains forever.” Our twenty-‐first century lives are filled with fast food, fast entertainment, fast cars, and fast pleasure. We seldom witness other people crea7ng and doing what we try to do as ar7sts. You are an ar7st among us whose life stands as proof of this transforma7onal power. Your strength and talent is precious, and this power is available to anyone willing to learn.

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“Last of the Rhododendron Bloom” -‐ Taking Your Art to the Next Level

Working and maintaining a ranch is 7me consuming and hard work. As I am doing my daily chores, I see hundreds of ideas for pain7ngs, like the wildflowers that call to me wan7ng to be painted, along with those commissions that are due to collectors. I o]en have to just stop and take note of the fantas7c abundance that I have at The Grand View Ranch. Today was the last of the Rhododendron bloom, and with this in mind, I put aside the tasks at the ranch to paint these magnificent blossoms.

For some people, art has been a part of their life since an early age and these ar7sts are lucky, because for them, art is a way of life. Many people gravitate toward becoming an ar7st later in their lives because they are looking for an ac7vity to bring relaxa7on and meaning into their hec7c lives. Others are looking for something to do during re7rement. Most people become ar7sts because they enjoy the crea7ve freedom to paint what inspires them, and find that they are encouraged to express their deepest ideas, visions, and desires as well. Some ar7sts want to create something from their own experience to share with others, with their family, and with the world. They may have a moment when they see an amazing, morning sunrise and say, “Look at that! It’s beau7ful. I wish someone could see how breathtaking it is.” If they take their 7me to paint what they see and feel, and share it with others, they discover the magical ingredient that compels ar7sts to create art -‐ the connec7on of sharing one’s self with others -‐ which becomes the power that can take your art to the next level.

I painted this pain7ng of the Rhododendrons for you because I wanted to share the moment when I discovered these beau7ful and delicately colored flowers as they gave their best in the last days of their blooming season.

If you wish to accomplish anything extraordinary in art, you must do everything necessary to paint effec7vely by including some simple elements such as a central focal point, subtle values, and accurate drawing in the pain7ng. To be successful, you must grab the viewer’s ahen7on and be able to hold it. An ar7st is like a great conductor or director who knows how to focus the ahen7on of his or her audience on the art at hand. By contras7ng light and dark colors, the ar7st captures the viewers’ eyes and leads them around the canvas from hard to so] edges, from detailed to loose brushstrokes, and with the addi7on of counterbalanced values, gives the finale that wows them with a crescendo of light. Crea7ng great art is no accident; it is as deliberate as an Agatha Chris7e mystery novel. It takes knowledge, hard work, concentra7on, and dedica7on to create a masterpiece that looks free and feels expressive. When choosing your subject, let the subject come from within you and let your pain7ng be a simple act of sharing. It does not have to be complicated or heroic, or have some great meaning or message. Great art touches us deeply in a way we cannot forget.

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“Mt. Shasta AIernoon” -‐ Atmospheric Perspec(ve

As summer days lengthen, we have many hot days and warm nights at The Grand View Ranch in Mt. Shasta, and my focus turns to the stunning effects of light on the mountain. Mt. Shasta is one of the seven most spiritual places in the world, and her volcanic peak is visible hundreds of miles away in many direc7ons in Northern California. Every year, thousands of people and ar7sts visit Mt Shasta to heal, be inspired, to camp, and to paint.

Just pain7ng her majes7c slopes and grand cliffs is difficult for any ar7st, but capturing the effect of sunlight on the mountain that creates a sense of the 7me of day is almost an overwhelming challenge. By using a few ar7s7c principles such as color mixing to make warm, bright light to contrast with cool, dark shadows, and by including atmospheric perspec7ve (which results when the moisture and par7culate maher in the atmosphere makes distant objects look so]er, cooler, and lighter), success can be just a pain7ng away!In this pain7ng, "Mt. Shasta A]ernoon," I wanted to create the late a]ernoon light just as the sun disappears on the horizon. Because light changes quickly, I took several minutes to memorize the scene so that I could remember where the areas of light and dark, warm and cool, and the brightest focal points are located. Then I quickly painted in the basic shapes and values with contras7ng light and dark areas.

To create a sense of warm light on the mountain, I painted the areas illuminated by sunlight with warmer colors and lighter tonal values. Using warm colors like yellow and red gives the effect of warmth to any pain7ng, and by lightening up the value by adding white to the yellow or red, the effect of light will appear even brighter. I made the effect to be greater in the center of the pain7ng (the central focal point) by emphasizing the middle rock in the foreground. I did this by making the contrast even stronger and warmer by applying almost pure white with a lihle yellow added in to paint the atmosphere silhoueyng the rock.

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Next, I wanted to add even more contrast in the foreground by using darkened values of brown, green, and cooler colors for a more drama7c statement against the lighted areas. No7ce how the warm light comes from the upper le] and is consistent on the background hillsides and the mid-‐ground trees. The areas that are not in light are cooler, darker, and less intense.

If you want to create a strong sense of the 7me of day in your pain7ng, be consistent with your treatment of the contrast between the light and shadow areas throughout your pain7ng. In addi7on, by contras7ng the foreground areas (with their sharp detail, strong value, and temperature differences) with the distant objects (which have less detail, cooler colors, and so]er contrast) you can successfully intensify the sense of depth and realism in your landscape pain7ngs.

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“Shasta Sweet Peas” -‐ Crea(ng Great Art

Mt. Shasta is renowned for the splendid displays of wildflowers that cover the foothills every summer. Because of the high al7tude and mild climate, abundant varie7es of flowers, including some that grow only around Mt. Shasta, burst with color all summer and well into the fall. The wildflowers that are best known and loved are the wild sweet peas that blanket the meadows of the Mt. Shasta region. Today's pain7ng captures some of the magnificent lihle blooms that I found growing on the Grand View Ranch.

When I coach painters in my outdoor workshops in Mt. Shasta, a recurring ques7on that ar7sts frequently ask as they struggle with their experience is, “How do I create great art?”

First, it is essen7al for you as an ar7st to be true to yourself, to create art that reflects what you care about and how you see the world as you develop your individual style. One of the reasons I created The Grand View Ranch in Mt. Shasta is that the landscape speaks to me. I am con7nually inspired to paint the infinite number of vistas, animals, and flowers that call to me. I am never at a loss to come up with original ideas for a pain7ng. I believe that art is integral to your sense of who you are, and it is best if life and art intertwine.

Second, most ar7sts, including myself, are driven by their desire to make art beau7ful and meaningful for themselves and their audience by consistently probing and expanding their boundaries and seyng new goals. To do this, ar7sts must learn that great art results from doing your cra] frequently, diligently, and passionately. If you only think about crea7ng something, very lihle is accomplished. The fact is that you must ac7vely create art to feel inspired.

Finally, the desire to enjoy art begins at a very early age. Give a young child paper and crayons and you will see that they ins7nc7vely create original art that has a message. Their works of art not only display passion for color but also includes stories about their world, family, and pets. If you ask them what their work is about, they will tell you a story that goes on and on.

Why do so many people lose the ability to share themselves openly through their artwork as they get older? I believe that everyone has crea7vity and talent, and the only thing that stands in the way of experiencing their crea7ve self is fear. Ar7sts o]en fear their art looks awful or that they will fail to reach expecta7ons (of others

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or their own) to appear competent and have their art look masterful, perfect, or beau7ful from the beginning. The “ego” is the part of our selves that censors our ac7ons and limits our impulses so that we fit into society and behave in acceptable ways. However, the ego can limit our crea7vity by demanding that we do things that are ordinary so we will blend in, instead of being unique and extraordinary when expressing ourselves. The fear of not being good enough can discourage ar7sts so profoundly that they put down their brushes and never paint again. Just think of the beauty that would be lost if the flowering sweet peas that I painted worried if they were good enough to be in the meadows, or prehy enough to be painted by ar7sts, and hid from view so that no one ever saw them at all.

At our workshops, we explore and disarm many of the limi7ng and judgmental ideas that people have believed to be true since childhood and introduce new possibili7es for crea7vity and ar7s7c expression through the excitement of outdoor pain7ng.

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“Silence at Siskiyou Lake” -‐ Persevering

I painted “Silence at Siskiyou Lake” on loca7on during the May pain7ng workshop at The Grand View Ranch. This roman7c scene captures the essence of Mt. Shasta and the ethereal quality that surrounds her majes7c slopes. The low angle of the light and the colors from the cool haze lightly covering Mt. Shasta, with the foothills contrasted with the warm highlights of the morning sun just breaching over the high alpine tree line, give this pain7ng a “sense of place.” Crea7ng a sense of place requires an understanding of nature that one acquires by close observa7on and sketching what you see, combined with the good sense of design and composi7on that one learns with prac7ce and effec7ve instruc7on by a competent instructor. When I was learning these skills, I read the works of early poets and scholars to understand the old methods of depic7ng a sense of place, a roman7c vision that seems lost in pain7ng lately.

One such poet and observer of nature that I found par7cularly fascina7ng was John Ruskin. Ruskin was a formidable voice during the 1850s and 1860s when early ar7sts like Albert Bierstadt and Thomas Moran established the direc7on and instruc7ve influence of art. Ruskin promoted “direct imita7on of nature’s vital facts” as the path to “truth.” He advised students to begin by studying a single leaf, and expanding their range of vision gradually, while avoiding any view that would make a “prehy” picture. He recommended that in prepara7on for study in the field, the serious art student should select one photograph of a natural place like a riverbank or a corner of a park, then hold the image up to a window and trace the outline on paper as accurately as possible. He wrote that by doing this, it might improve the ar7st's ability to simulate nature more accurately. I recommend it as an exercise for beginning students who want to create a realis7c portrayal of nature in their pain7ngs.

Ar7sts who make a career in art share one quality that makes them successful. This quality separates great ar7sts from the meek. All successful ar7sts are able to persevere and they do not quit. Quiyng is contagious. In our twenty-‐first century, kids are encouraged to quit when the going gets tough or when they are bored with a hobby or interest. We have dreams of becoming a great a pianist, a writer, a soccer player, a singer, or an ar7st. You will never become great at anything if you quit. Students come to my studio with stories about how they dreamed of becoming something but quit because it was too difficult, too risky, or not ahainable. All ar7sts have thoughts of failure, and frequently have nega7ve conversa7ons in their heads about why their art does not sell, or even worse, why it is not liked. Ar7sts quit when they are convinced that their next work is doomed to fail.

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Those who con7nue to create art have learned how to persevere. What would you do if I could guarantee that you would not fail, and that the next piece of art that you create will be the masterpiece the world is wai7ng for? What if you already have all that you need to complete an extraordinary pain7ng, and that all you need to do is to pick up a brush and paint it?

Unfortunately, I can only guarantee that if you do not create art, your dream of pain7ng a masterpiece will never happen. If you wish to become an ar7st, step up, find a subject that you feel excited about sharing, and paint it. The world is wai7ng to see what you have to offer.

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“View of InspiraPon Point” -‐ Imagina(on and Originality

Shasta, from Sus7'ka, is the name of a well-‐known Indian tribe who lived in the Mt. Shasta area in the 1840s. These na7ve people lived in three major groups in Shasta Valley, Scoh Valley, and near the Klamath River. A small tribe of the Shasta clan called the Okwanuchu occupied the territory southwest of Mt. Shasta where the headwaters of mighty Sacramento and McCloud rivers converge. Very few people of the Okwanuchu clan remain, but I had the good fortune to meet one of their ancestors. He told me about a path above the Ney falls that would take me to a breathtaking vista of Mt. Shasta that they called Inspira7on Point. I wanted to capture and share the experience that I had when I visited this magical place at sunset when pain7ng "View from Inspira7on Point" for you.

Imagina7on is the key that unlocks originality. The ques7on today is how do ar7sts develop their ability to create something from their imagina7on that they have not seen before. Before anyone can be original intheir crea7vity, they must begin with the elemental aspects of their art, and that means studying, prac7cing and applying all the skills needed for that ar7s7c endeavor. If your goal is to paint a scene from nature that you originate without being in nature or using a photograph, you must study nature to learn her lines and shapes, every nuance of lights and shadows, 7mes of day, weather condi7ons, atmosphere, and the seasonal 7mes of year. Next, ar7sts must repeatedly prac7ce drawing and pain7ng what they observe and feel when they paint in nature. Accurate sketching, along with skillful color choices, and prac7ced, inten7onal brush strokes assist the ar7st's representa7on when pain7ng the scene first hand.

The addi7onal lesson that you as an ar7st must learn is to take 7me to memorize what you see, feel, hear, and smell at the scene, and to be able to recall accurately what you have experienced later. Then you are set free to imagine everything that you have stored in your memory and use it when you create pain7ngs in the studio without using photographs. Using your imagina7on is like using any muscle in your body. By using your memory frequently and consistently, you will see improvement quickly. Pain7ng from your imagina7on is a skill that is essen7al for an ar7st to reach the next level of originality and crea7vity.

Your growth as an ar7st will take a life7me. It is a con7nuous path of frustra7on and joyful insight. You will never know everything, and most ar7sts quit before they discover who they really are as an ar7st. When your imagina7on employs the rich sensory memory of all that you have experienced, the artwork you create comes to life, and this is what the world is wai7ng to see in your pain7ngs.

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“Hall of the Mountain King”

Recently I found a sketch that I painted of a mountain goat that I followed up a canyon path in Glacier Na7onal Park a few years ago. It was one of my pain7ng trips where I was not burdened with a produc7on crew for the television show, and I could spend my 7me pain7ng and exploring the park by myself.

During that visit, I met a park ranger who was very interested in my ability to paint wildlife. With a big grin, he winked, mo7oned with his hands, and said, “Come, I’ll show you something, a secret.” We walked a short distance over some boulders and up to a creek. He stopped by the foot of a tree and we both knelt down. Just a few yards away was a huge male mountain goat grazing along the sides of the cliffs, his white coat glistening like fresh snow, his eyes soulful and inquisi7ve, keeping one eye on us and the other on the edge of the cliff as he ate the fresh grass. “He is my secret. He is always here. He is never bothered by humans. Well, at least not yet,” the ranger whispered. “We always play this lihle game,” the ranger turned to me and said. “Slowly, I go up to him. He will walk away, and then I follow him to a secret place.” The ranger pointed, and I did just as he suggested. The game had a child’s simplicity, but for some reason the adventure seemed exci7ng.

I stepped out from under the tree and the goat slowly turned and walked away, always keeping an eye on me. He led me upward towards the waterfall in the canyon. The canyon was small and did not even have a formal name. I was grateful for that, since it seemed to keep the tourists from this place.

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I remember that this par7cular goat seemed to challenge me to go higher up the cliffs with the churning waterfalls below. I con7nued to walk for what seemed like a mile, making my way over boulders and along paths made by goats traveling these walls over the years. The very spirit of this place was magic. He followed the creek up into the mountains. Suddenly, he stopped and bobbed his head up and down a few 7mes as if to tell me to con7nue following him. As I came nearer, he leaped over to another rock. I hiked around the boulders and soon the sloped banks became steep rocky walls. The goat kept going ahead, some7mes taking long breaths and blowing them out of his nose, seemingly frustrated at my slow pace. The current of the river below was swi]er now. We came to a turn in the canyon where we saw a waterfall spilling from the rock walls. The sound of water crashing against the rocks echoed in the canyon. It was unforgehable to come so close to the falls, to feel the spray on my face and the cool dra] of the wind, and to press my hand against so] cushions of green moss that grow because of the misty waterfalls. This was the secret of the canyon.

Finally, I could go no further. I stopped, and the goat turned as if to show his dominance over the terrain. He seemed to gloat that he was the victor of this game of cat and mouse, that I was turning around and returning to the place this lihle game began. Before I le] him, I sat quietly and sketched him as he watched me un7l, with a burst of energy, he leaped to another rock and disappeared around the ledge.

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“Teton Splendor” -‐ Plein Air When Traveling

It has been many years since I began pain7ng twenty of America’s Na7onal Parks for the PBS series “The Grand View, America's Na7onal Parks through the Eyes of an Ar7st.” Lately, I have been yearning to return to the wilderness near Yellowstone and paint along the way. Earlier this year we bought a 1970 Silver Streak Trailer and, a]er much prepara7on, we hooked it onto my truck and began our exci7ng journey. The next few blogs come from observa7ons I wrote in my daily journal and pain7ngs I sketched of loca7ons that captured my eye along the way. So, come along with us as we travel through the northwestern corner of Wyoming on our road trip to the Tetons and Yellowstone Na7onal Park.

September 18, 2009

As we approached Jackson, Wyoming, we traveled off the main road onto an old prospector’s trail. The ruts were deep and it was hard to move forward with the trailer. A]er about a mile, the truck could not go any further on this dirt road, so I collected my paint supplies and hiked up the pass on foot. Cool breezes and a few light showers signaled that the seasons were changing and winter was on the way. The aspen trees were also changing, their green summer tops turning to a more suitable coat of yellows, oranges, magentas, and browns. Thick layers of clouds covered the Teton Mountains. From 7me to 7me the clouds cleared, revealing majes7c crags and peaks above the foothills, so beau7fully sprinkled with aspen trees, with a thousand gorgeous autumn colors and hues.

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“Yellowstone Bison” -‐ Capturing Animals on Loca(on

Pain7ng animals on loca7on can be tricky. Animals are usually very poor models because they are unwilling to hold s7ll for extended lengths of 7me. If you paint animals that linger as cows, horses, or bison do, it is possible to compose and sketch your ini7al pain7ng and capture their basic outline and essence on loca7on. The finer details of the animal will come into focus once you begin pain7ng. Look very carefully as you are pain7ng your sketch and you will find that all the detail informa7on that you need is right in front of your eyes even though the animal’s pose may change. Start by pain7ng the animal’s eyes first, and paint outwards to the head and then the body. If you enjoy pain7ng animals and want to paint extraordinary animal studies, it is important to learn how to paint them accurately by drawing them frequently. Great portrait painters draw the human face and figure every day to hone their skill. The painters of domes7c or wild animals must do the same if they want to excel. However, if you only want to paint an occasional cow, you can be successful by just drawing what you see.

September 20, 2009

Our journey con7nued north into Yellowstone as we followed an old logging route. We carefully towed our trailer through the forest, knowing that we risked the chance of breaking down in a very remote part of the country. The standing trees were so thick that it seemed impossible to find a space wide enough for the trailer to squeeze through. We finally reached the southern point of Yellowstone Lake, and found the West thumb of the Geyser Basin where we discovered a herd of American bison that were grazing nearby, lingering as if they wanted me to paint them during our stay. In my pain7ng, I captured the oldest male in the herd on my canvas.

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“WapiP Study, Opus 1” -‐ Capturing Animals on Loca(on, Part 2

Fall colors of the trees blanketed the hillside with a palehe of green, crimson, and amber foliage, signaling the changing seasons. Bursts of air blew through the groves of aspen trees 7ckling the golden yellow leaves making them quiver. Light breezes started from the foothills and briskly floated upwards to the mountain peaks. In the distance, I could hear the faint whisper of streams of air moving through these beau7ful trees. The leaves trembled, making quaking, rustling sounds, and all at once they serenaded me with a grand symphony of song. Millions of leaves let go of the safety of their summer res7ng spot in the trees high above the forest floor and rained down upon me in a turbulent whirlwind. Millions of leaves fell spontaneously like the confey at the finale of a poli7cal conven7on, covering the forest floor with a thick carpet of yellow. Against the background of blue spruce, massive Douglas fir, and the white bark pine, these bright leaves shone like golden diamonds on a dark green velvet backdrop. I was aware that I was just an observer of a moment of the symphony of seasons that has existed for thousands of years. In the distance I heard the call of the Wapi7 (Elk) echoing throughout the canyon as the males gathered their mates and began their rut.

When I was pain7ng this pain7ng, “Wapi7 Study, Opus 1,” I was in a meadow capturing the fall colors when all at once, a massive elk came out of the aspen trees to check out what I was doing. We locked eyes for what seemed like minutes but probably was only several seconds, and a]er he was sa7sfied that I was not another bull elk that might be interested in invading his territory he retreated into the woods. When composing a pain7ng in nature, ar7sts imagine and hope to have living creatures included in their composi7on. Occasionally, an animal will comply and grant a brief but most appreciated opportunity to see and paint them. Ar7sts who are interested in adding wildlife in their pain7ngs spend hours prac7cing, drawing, and pain7ng studies of animals to use in future composi7ons. These studies (small renderings in pen and ink, pencil, and paint) become invaluable tools and a vital resource for adding animals to their pain7ngs in the future. I recommend that ar7sts start by drawing people because ar7sts can prac7ce all the techniques needed to draw anything when drawing the human form. Next, prac7ce drawing a dog or cat. Many quadrupeds have similar characteris7cs to their counterparts in the wild.

“The wonder of the world, the beauty and the power, the shapes of things, their colors, lights, and shades; these I saw. Look ye also while life lasts.” This verse is on a plaque hanging at the Moose Visitor Center at Teton

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Na7onal Park in Wyoming. The original message was etched on a gravestone in Cumberland, England. This humble and unselfish message describes my dreams and efforts at The Grand View, in my art classes and workshops, along with the na7onal PBS television show over the past 25 years. I have devoted my life to touch, move, and inspire others to see and appreciate the beauty of art and its rela7onship to nature. As we travel through this great land with our 1970 Silver Streak trailer following behind our truck, I passionately desire to share the power and beauty of nature and art with others.

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“Curious Bear” -‐ Sketchbooks are Essen(al

A]er successfully pain7ng all day on the bank of the Snake River, we returned to camp. Squirrels chaher in the trees as they jump from branch to branch, from tree to tree, as if today is the last day to gather pinion and cedar nuts to hoard inside old hollow trees for quick snacks during the cold winter months. In the woods not far from us, we can hear the unmistakable bugling sounds of Wapi7 (elk) as they establish their territory and breeding herd. Bears, too, eat con7nuously to store fat for their long winter’s nap.

At our camp near Coulter Bay, on the boundary of the Teton Na7onal Park, lives a bear whose name is Number 399. The Na7onal Park Service gives bears numbers to iden7fy each bear, keep track of their ac7vity, and to monitor if any bears are interac7ng with park tourists in an unpleasant manner. Every bear has its own personality and interacts differently with members of the human race. Number 399 is a popular bear at the campground. Rangers and park visitors like him because of his natural curiosity about people, and as a result, many park tourists enjoy seeing this beau7ful four year old, honey-‐colored grizzly. He likes the ahen7on and poses for pictures, and he has never been cited for unruly bear behavior, although his natural curiosity makes a few campers a lihle uncomfortable as he wanders from campsite to campsite.

I captured my first glimpse of Number 399 as I enjoyed a cup of tea just outside of our Silver Streak trailer. I grabbed my sketchbook to make a quick sketch on paper knowing that I could later transfer it to canvas. The bear stood for a few moments among several fallen tree trunks before lo]ing away to another campsite. While he stood there, a burst of wind made his fur ripple like waves on water, back blowing his thick winter coat. The following day, I learned that a hunter, who had just killed an elk, shot Number 399 three 7mes and killed him. The hunter apparently was worried that he might have to share his kill with the bear. This was a poignant reminder of the value of sketching in the moment as the opportunity presents itself.

Ar7sts have not always carried their paints and canvas with them on their travels. The prac7ce of pain7ng on loca7on en plein air is a rela7vely new concept in the history of pain7ng. Many ar7sts prefer the tradi7onal method of sketching their experiences in a sketchbook. Ar7sts can draw models or objects of interest, jot down notes and observa7ons about a subject’s shapes, colors and unique features, or work on ideas for upcoming pain7ngs in their sketchbooks. In this pain7ng, “Curious Bear,” I worked from a sketch that I drew of the bear that visited our campsite. Having only seconds to jot down ideas, I worked on an idea for a pain7ng from my

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sketchbook and notes the following day a]er I learned that this bear had been shot and killed. This is an example of why it is essen7al that an ar7st always have a sketchbook and a pencil or pen ready to sketch and write notes and observa7ons.

I recommend using a book that has about 50 sheets of plain paper with a spiral spine, and urge ar7sts to carry it with them everywhere. Make a point to draw at least three drawings a day in it. It is not necessary to invest in expensive journals with upgraded paper and leather binding displaying the ar7st’s name in gold leaf. Although these can be impressive, the fancy journals are in7mida7ng and rarely, if ever, used. Don’t think of your sketchbook as a holy relic. It is just a book with pieces of paper. The real value is not the book itself; it is using its pages to prac7ce your sketching and to journal what you are thinking and feeling daily about the world around you, with the possibility of capturing a precious moment that later can become your next great pain7ng.

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“Mt. Shasta's Winter Splendor” -‐ Season and Mood

The past few days have been very windy, a sign that the landscape in Mt. Shasta is about to go through a transforma7on from fall to winter. As the days grow shorter this 7me of year, things seem to move more slowly. I have to consolidate my 7me at the easel because the natural daylight is limited, and pain7ng under electric lights is less desirable. A]er pain7ng all morning in my studio, I gathered my paints to visit the lihle village of Mt. Shasta. When I came outside, a blanket of new snow covered The Grand View landscape. Many of the colorful leaves had not yet fallen off the trees and the fresh snow sparkled and glistened like millions of white diamonds, contras7ng brightly against orange and yellow oak trees and the dark, cool green pine trees.

The City of Mt. Shasta is located at the base of Mt. Shasta, a dormant volcano that ascends 14,165 feet upward into the sky. When traveling from Sacramento, the snow on top of Mt. Shasta is visible from hundreds of miles away. John Muir thought the mountain was so spectacular that he campaigned to make Mt. Shasta a Na7onal Park. As I drove into town, I could see the late a]ernoon shadow which Mt. Eddy casts over the town as the sun disappears behind the mountains. Mt. Shasta herself radiated with a wonderful tangerine glow. As I walked through town, I no7ced that the trees along the streets twinkled with blue holiday lights. All the shops were s7ll open and their colorful lights of green and red shone from the windows onto snow covered sidewalks. The town seems a lihle empty with the summer tourists and campers gone, and the early snows kept travelers on the main highways and local residents at home cuddling with a book close to the fire to keep warm. I feel grateful to be able to live and paint in this very special place with Mt. Shasta’s glorious display of colors, clouds, and weather, magnificently presented for everyone to enjoy.

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“Winter Wonderland” -‐ Snow Covered Dogwood

It feels luxurious to be nestled in our cozy ranch house enjoying a cup of rich black mocha java while siyng next to our fireplace glowing with warm orange and red flames. The latest winter storm has arrived at our mountain home. The wind is howling through the trees like a locomo7ve as it steams into the train sta7on. Gusts of wind are blowing the snow-‐laden branches of the oak and dogwood trees at 50 miles per hour, freeing them of the heavy snow that entombs them. Snow is dropping off these branches and falling to the ground, adding to the 6 feet of snow that has already fallen over the past 3 days at the Grand View Ranch. More of this fantas7c and needed gi] from nature is sure to come. Power lines burdened with heavy ice and snow lie along the road; several of the poles snapped in two from the weight of the snow, and the electricity has been off for days. We spend our nights reading by candlelight and wai7ng for the snow to stop so we can plow our way out. The search and rescue helicopters hover over our hill searching for homeowners in trouble. I feel frustrated when we are snowbound and unable to get out of the house. However, I am a lover of landscapes and painter of nature, and I am present to the opportuni7es of the moment. The assets of this wonderful spectacle inspire me, so I take the opportunity to paint the snow-‐covered dogwood tree from my studio window.

Secrets of Pain(ng Snow

Pain7ng winter snow can be tricky because an ar7st has so many values of white to work with. The key is not to think about the color of the snow. Instead, think about the temperature of the color (warm or cool) and the values in the snowy landscape (from light to dark). Temperature and value are always important when pain7ng. Snow scenes have whites with cool colors added, like blue green and violet, that contrast with whites with warm colors added, such as yellow-‐orange and red. When pain7ng the highlights or brightest areas of snow, always add a lihle orange to your lightest value. This will give the viewer the feeling of sunlight. The shadow colors of snow are always darker and cooler than you think, especially when contrasted with lighter highlights. I always mix a neutral grey using blue, red, and yellow. This mixture added to white will make many different values to paint the shadows. It is important when pain7ng snow to use a lot of paint to sculpt and create texture in both the highlights and shadows. Paint as if you are a millionaire; if you do, you may become one.

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“Hornbrook Barn, Opus 1” -‐ Pain(ng with Inten(on

Just north of The Grand View Ranch and Mt. Shasta, the quaint and picturesque farming community of Hornbrook has become the inspira7onal loca7on for many of the new pain7ngs I plan to paint this year. This amazing red barn, just off the freeway near Hornbrook, catches my eye every 7me I drive to Medford, Oregon to teach pain7ng classes. In my pain7ng of the Hornbrook barn, I wanted to capture the change of seasons by contras7ng the fallen dead oaks in the background with the fresh green spring grass in the foreground. I find the ever-‐changing theme of rebirth and renewal in nature fascina7ng. In my composi7on of this pain7ng, I posi7oned the main focal point just to the right of the barn, and then added the fence that darts along the foreground to bring the viewer’s eye to the focal point. Before I begin a pain7ng, I think about why I am ahracted to the subject that I am choosing to paint, what the message or personal observa7on is that I want to share with the viewer, and what composi7on will make my message clear and moving to anyone who sees my pain7ng.

Pain(ng with Inten(on

A great pain7ng grabs the viewer’s ahen7on immediately, and then holds it so the ar7st can communicate his message on the canvas. Yes, a message. Many pain7ngs have lihle to say because the ar7st did not take 7me to ask the most important ques7on, “Why am I pain7ng this pain7ng?” Pain7ng is powerful. It is the most expressive ar7s7c medium that there is. Leonardo da Vinci said, "Pain7ng is supreme of all the arts because one does not have to read, watch, or listen for a long 7me to understand the ar7st’s inten7on. With one careful placement of a brush stroke, an ar7st can create all kinds of messages and meanings." However, it is all for naught if the ar7st has nothing to say.

The next 7me you go on loca7on to paint, try doing this before you begin. Ask yourself, “Why do I want to paint this pain7ng?” and “What is the message I want to communicate?” Then, begin your conversa7on with the future viewers and reveal your point of view by pain7ng it for them.

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“Pansies” -‐ Taking Time to Paint

During this 7me of year as winter ends and spring begins to awaken with new possibili7es and gi]s, we at The Grand View Ranch have to wait for spring to visit us because we are located in the mountains at a higher al7tude. A]er months inside the house smothered by snow as the trees stand naked, their leaves stripped by the winter cold, I find myself lingering at the Home Depot nursery allowing the bright colors of the spring flowers to saturate my eyes. Pansies always make me smile. Their brilliant colors and delicate leaves make them fun to paint. I enjoy studying their colorful faces for hours, especially when the world is gray outside my studio window. When I was at the nursery last week, I scooped up these colorful posies to paint in my studio.

Pain7ng flowers from life is a very challenging thing to do. No maher how fast you paint, flowers change constantly either by following the sun that is beaming through the studio window or wil7ng from the heat of the light bulb. To paint beau7ful flowers, an ar7st needs to have an agile hand for accuracy of brush strokes, an educated eye that sees the nuances of color and light, and confidence that the hours of pain7ng day a]er day will produce a pain7ng that sparkles with life.

Whether your desired art form is music, wri7ng, pain7ng, or even cooking, it is the most important thing you can do every day. Most of the excuses seem silly when you look back over the week and ask yourself why you did not paint this week. Imagine how you would feel if you had painted five pain7ngs this week. What insights would you have had? What discoveries would you have made? Pain7ng is not just something that you do when it is convenient. If you wait un7l you feel like it or wait un7l you are inspired, you will never excel in the discipline of pain7ng. Choose to paint first and then find the 7me to get the other stuff done. Believe me, the other stuff will s7ll be wai7ng.

The next 7me you walk past a flat of pansies or a bunch of roses and think, “Wow! I would love to paint those flowers," stop immediately and buy them, then go home, turn your phone off, and paint, paint, paint!

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“Ashland Barn” -‐ Be Prepared to Paint

Last week I was traveling in Medford, Oregon with my brushes, paints, and canvases in my truck ready to go when I took an unexpected turn off the freeway onto a quiet country road. It had been raining and a magnificent cloud forma7on with impressive effects of light covered the sky. I drove by an old pear orchard, and no7ced a beau7ful pear tree covered with blossoms that had an old barn as a backdrop. As I came closer to the tree, the sky opened and a beam of sunlight lit up the metal roof on the barn crea7ng a drama7c moment of contras7ng lights and darks. I pulled over quickly, gathered my pain7ng supplies, and began mixing my founda7on color. An ar7st must always be ready to create when inspira7on strikes. A writer has sharp pencils and paper in a shirt pocket to jot down notes. A cook always has a collec7on of spices in his kitchen ready to create the next extravaganza. The ar7st must have supplies at hand to be able to catch the moment of inspira7on and transfer it to canvas. A travel bag ouxihed with these basic essen7als will serve you well whenever you want to create: red, yellow, and blue paint, a palehe, canvas, brushes, turpen7ne, and paper towels. Like a good scout, it pays to be prepared for anything.

Being prepared with our supplies does not take the work and discomfort out of pain7ng on loca7on. If we remembered all the obstacles we may encounter outdoors, such as the weather, changing light, difficul7es with sketching and composi7on, inhospitable insects, and changing temperatures, we would probably talk ourselves out of it and never do it again. If you boldly go where so many would never go, be kind to yourself. Have reasonable expecta7ons of what you can accomplish. Give yourself applause for venturing outdoors to try your best to paint what you see and love. You can always wipe it off a]er you give your best effort or you can remember that pain7ng, as in any art, requires learning how to do it. Without the struggle, successes would not be as valuable and exci7ng.

What stops you from pain7ng? Some7mes ar7sts worry about not pain7ng "well enough," nega7vely compare themselves with others and feel inferior, or are embarrassed or ashamed because they cannot paint the masterpiece that they dream of crea7ng. Knowledge comes from prac7cing and making mistakes, as awkward and frustra7ng as it is, and ar7sts must be willing to make 100 mistakes on their canvases before they can begin to know how to paint well. Try not to judge your success by the finished piece. The experience that happens in your imagina7on as you paint is what counts. As you inten7onally prac7ce the discipline of pain7ng, remember also to enjoy the pleasure of pain7ng by exploring the possibili7es of what you can do with color, shapes, composi7on, and light. At the end of the day, sharing your imagina7on, feelings, and experiences through art is worthy and important as a way of communica7ng and connec7ng person to person.

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“Grand Old Lady” -‐ Pleasing Composi(on

At the end of April, we had a sudden winter snowstorm. The late snow offered two more opportuni7es to paint the effects of mel7ng snow on the ground. This pain7ng of the Mount Shasta Inn is one of those pain7ngs. On my way to the art class that I teach in Mount Shasta, a warm light on an old farmhouse contrasted with the coldness of the mel7ng snow caught my eye and I could not wait to paint it. A]er class, I returned to the house and painted this “Grand Old Lady” as my last winter pain7ng of the season.

The underlying goal of crea7ng a good composi7on when you paint is to ahract the viewer’s ahen7on. Everything is placed in the pain7ng to direct the viewer deeper into the pain7ng and draw his ahen7on to the focal point, where the desire to linger is encouraged by the brightest light or darkest values.

Since art is essen7ally self-‐expression, personal preference is fundamental. Many of the elements of composi7on rely on the simple maher of personal taste and interpreta7on, making art a spontaneous crea7ve process that begs to happen without rules. However, many ar7sts want to have a predictable approach to create ahrac7ve pain7ngs and o]en hope to find a step-‐by-‐step method that they can use (similar to recipes that help with cooking or kniyng). Having some guidelines in mind before beginning to paint helps the ar7st develop an eye-‐catching composi7on that increases the possibility of success.

Here are some sugges7ons for composing a good pain7ng:First, ask yourself, “What about this subject inspires me so much that I want to paint it?” Answering this ques7on will help you compose a pain7ng that includes elements that interest you and captures your ahen7on to share with the viewer.

Second -‐ Keep it simple. When in doubt, simplify it. Ask yourself, “What can I leave out” instead of “what can I put into the pain7ng?” A pain7ng that is simple and directs the viewer to the center of interest will transfer the excitement you felt when you chose the subject. It is especially important to keep it simple when you paint the side por7ons of your canvas so the focal point is clearly visible.

Third -‐ Create Harmony. View the subject and ask yourself “What overall unifying device unites the pain7ng?” It can be a single light source, or the mood of the atmosphere, or colors that work together that create great

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unifying effects. When using color, look for color-‐related areas such as trees, grass, water and sky and no7ce how they all work together to create a sense of harmony. Nature is always harmonious if you learn to paint what you see. Pain7ng the way we think things are frequently leads to complica7ons.

Remember, a good composi7on is one where the viewer is unaware the ar7st has purposely composed the pain7ng. There is no limit to the possible arrangements of composi7onal objects within a pain7ng. I highly recommend that you take risks. Always look for a different way of seeing a subject. Try something new. A]er all, no one ever got a gold medal for a perfect swan dive off a low diving board. It is exci7ng to paint from your own sense of what is desirable and appealing. I have to say that my most successful composi7ons were ones that I painted intui7vely from my gut and had the most fun pain7ng.

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“Hornbrook Barn, Opus 2” -‐ Facts are Facts

Great art challenges not only the viewer but also the ar7sts who create it. Most ar7sts paint what they know and do it to the best of their ability. A few ar7sts take on crea7ve work which challenges their knowledge and reveals their inabili7es. However, when they do overcome this kind of challenge, they realize that the rewards are huge. Ar7sts who need ongoing reassurance that they are on the right track may miss the opportunity to reach past their comfort zone to experience the thrill of pleasing themselves with a pain7ng that shares the truth of their view of the world.

Remember, what we do is not easy. A plumber learns his cra] and does it. Teachers learn dates and events, and recall them o]en by looking at notes. Lawyers learn the facts of the law and put those facts to work. Ar7sts are required to turn their insides out and express their thoughts and feelings for the world to see, and then the world judges whether it is good or not. In addi7on, a pain7ng (o]en displaying the ar7st’s name) can be around forever, either hanging in a museum or siyng in someone’s garage, and everyone who sees it will have an opinion about it. It can be in7mida7ng, but here are some pointers.

1. Create a mission statement. Every successful business creates a mission statement. Why would your art business be any different? Make sure that your mission statement inspires you and share it with everyone who you know. You can even email your mission statement to me.

2. Find a teacher or a coach. A truly great ar7st does not work in a vacuum. A good coach will request projects and keep you on schedule, and having their ongoing input will keep you on track. Stay in touch with your coach and let him know about your successes as well as the difficul7es you may be having with your projects.

3. Find a community of ar7sts. Most towns have nonprofit art guilds or a group that connects ar7sts with other ar7sts to share common interests, as well as promo7ng art shows, educa7on, and ar7s7c community events.

Finally, we do not remember those ar7sts who followed the rules more diligently than everyone else did, we remember those who created art by trus7ng themselves, o]en becoming the creators of “rules we inevitably follow.” In his day, Van Gogh was not popular or viewed as a great ar7st, but because his ar7s7c expression was honest and reflected what he saw, today we think of him as an ar7s7c genius. The reality is that he was no more a genius that you are. He just painted what he saw and he painted every day.

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“Hanley Farm House” -‐ Five Key Ques(ons

The pain7ng I am sharing with you today is of the family home on the Hanley Farm located outside of Medford, Oregon. It is a place I recently discovered when I was looking for a loca7on for a plein air workshop. When I saw the Hanley family home, it spoke to me about the feeling of being le] alone a]er years of love. Pain7ng a "feeling" is the highest form of expression because it reveals the heart of the ar7st. Most pain7ngs are of things such as trees, rocks, a vase, a river, or buildings. An ar7st can change the effect of light or the composi7on in a pain7ng to make it more compelling and interes7ng, but a "feeling" is what the great masters were trying to capture.

A student recently asked me, "How do I cri7que my own pain7ng? What should I look for, and what do you see when you cri7que pain7ngs?" Cri7ques are difficult to receive and endure for most ar7sts. Ar7sts generally do not like to hear what works and what is missing in their pain7ngs. However, like all disciplines, we must learn from others. What others think is important if you want to create powerful pain7ngs that speak to the viewing public.

In my 12-‐week Power to Create course, I spend 3 hours each week cri7quing the students' artwork painted as assigned homework for the week. A]er a several weeks of par7cipa7ng in the cri7ques, students in the class begin to understand how to look objec7vely at their pain7ngs and the pain7ngs of others. Here are the top five elements that I look for when I cri7que a pain7ng. As you read the informa7on below, look at one of your pain7ngs and follow along, asking yourself these ques7ons.

1. Message: The first thing I ask is "what were you trying to say with the pain7ng?" to confirm whether I got the idea or not. If the message is not clear to the ar7st, how will the viewer be able to understand what the ar7st is trying to communicate? In addi7on, is the focal point clearly iden7fiable, does it support the message, and does it draw the viewer into the pain7ng?

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2. Composi7on: I look to see if the composi7on in the pain7ng ahracts the viewer's ahen7on, directs the viewer's eye to the important areas of the pain7ng, and keeps the viewer's interest involved in the pain7ng. The composi7on must be simple regardless of the size of pain7ng. Composi7on is merely an element of the total effort, and must remain subordinate to the representa7on of the subject and message.

3. Value: I determine whether there is an adequate variety of value intensi7es. The value is the degree of the darkness in contrast to the lightness of a color on a scale from white to black. By squin7ng, I make sure that the pain7ng has clear and iden7fiable value changes.

4. Edges: Are there a variety of brush strokes and edges defining the distance of objects and content in the pain7ng? So] edges are found on the sides and in the background of the pain7ng, while crisp and sharp edges are seen near the focal point and on objects as they get closer to the foreground of a pain7ng.

5. Light Source: I am surprised that many pain7ngs are missing a defined light source that indicates the direc7on the light is coming from. When pain7ng outdoors, an ar7st must choose a source of light and keep it in place, to prevent the mistake of "chasing the light" as it changes with 7me, causing the pain7ng to become flat.

Of course, there are many more key elements, but these will help you to look more objec7vely at your pain7ngs. We will discuss these topics and many more during our Fall Workshops. I invite you to ahend a weekend in Mt. Shasta that will inspire you and change the way you paint forever.

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“Winters Cutoff” -‐ Expressing Feeling in your Pain(ngs

I painted today’s pain7ng, “Winters Cutoff,” in a different way than usual. I painted it en7rely from memory in my studio in two hours. I pass this place on the freeway every 7me I drive to San Jose to teach my classes. Each 7me I see this scene, I think to myself, "How would I paint that?" This pain7ng is the outcome of prac7cing lots of memory exercises.

In this day of instant gra7fica7on with TVs, videos, computer games and digital photography, we look less to the natural world for visual pleasure. Many cannot see the beauty that is in front of their eyes, feel absorbed by an awesome view, or even have an opinion of it. Since so much s7mula7on comes at us so fast, we learn to filter out and edit everything, making us neutral to so much. These filters also keep us from feeling our emo7ons.

When ar7sts first learn to paint, they are concerned with placing paint on the canvas, mixing colors, and crea7ng a good composi7on. Later, the rela7onship between the ar7st and his work becomes more personal, and the purpose of pain7ng becomes more about adding what the ar7st feels about the subject into the pain7ngs.

No one can teach another person how to feel. However, it seems to me that if an ar7st feels nothing at all -‐ not magic or romance, not awe or wonder -‐ then he or she is missing the best of what art can be. The ar7s7cally sensi7ve individual finds meaning and purpose in everything. To these people, a simple seed represents life and a sunbeam can be the touch of god. Ar7sts who bring their experiences, interpreta7ons, and feelings into their art elevate themselves, their cra], and ul7mately the viewer to a higher level of being.

When I paint a pain7ng, I am in tune with my feelings about the subject. How do I accomplish that? I look at my subject as if I was young child, seeing the subject for the first 7me. If you do this, you might see the world with awe and wonder, and feel the connec7on you have with everything around you. Feelings come from seeing what is in front of you, not just looking. Witness the texture, see the color, look for the light and shadow; enjoy these simple pleasures of sight that are o]en forgohen and ignored nowadays. Look at your subject with wonder, see the curves, no7ce the light -‐ is it warm or cool? Feel the subject. Close your eyes, interpret it in your mind, enhance it, turn up the volume to increase the brightness, so]en the edges, and add atmosphere. See it with your soul, then paint exactly what you see and feel.

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Imagine if this were the last 7me you ever would be able to see a subject again -‐ an apple, a sunset, your mother’s eyes. Choose a subject, and a]er studying it, close your eyes for a long while and see it in your mind. Now, without looking at the subject again, paint it. Express! Do not copy it. You will be surprised what you did not see. The mind is a muscle just like your abs. If you do not use it, you will lose it. One has to work out a long 7me to get stronger. If you do this memory exercise at least once a week, you will see that your ability to paint what you remember seeing and feeling will improve.

Now, imagine seeing a subject, person, place or thing you remember from your past, like your first house, pet, or flowers in a garden. In your mind, change the light effects, your perspec7ve, your mood, and you will find that there are endless possibili7es. Look at the vision in your mind with awe and wonder, and see it as if you are seeing it for the first 7me. Call a friend, a rela7ve, or a neighbor, and describe it to them. Write it down on a piece of paper, or draw it. Be inspired by new sensa7ons, new possibili7es, and always look for new ways of expressing yourself.

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“The Old Pump House” -‐ Significance of the Moment

Successful ar7sts endeavor to master techniques such as the applica7on of paint with brushes and knife. They must also have access to the tools stored on the inside of the ar7st’s heart: his feelings, emo7ons, memories, and values. It is essen7al to maintain both areas with care and ahen7on or the result can be a muddy mess and a sense of boredom in the individual. To enjoy the art of crea7ng quality work, it is necessary to interweave the heart, be present to the significance of the moment, and engage in frequent prac7ce to bring a sense of richness and clarity to your art.

People who invest the depths of their inner selves to their work are ar7sts. Things that ar7sts create share a common element: whether the product is made of silver, glass, clay, paint, cloth or wood, a closer look will show that it also contains the spirit of the individual. The significant difference between something that is created by the hand of man and a produc7on-‐line item is the presence of that human spirit. Computers and assembly lines can create with abundance, but only men and women working with their hands, tools, and love can create with feeling.

The key to being successful is sensi7vity. The rela7onship that is established between the ar7st and his work is personal. Inspira7on is not always present but once in a while there is a special awareness that comes to the ar7st. All of a sudden, something falls into place. When you are crea7ng with inspira7on, reality leaves you, you are unaware of 7me, you do not have 7me to eat, and every thing is present now! Great art is created from this flow. Somehow, the ar7st and the art transforms. Both the art and the ar7st become more dignified because of the percep7on of the significance of the moment. When you open up to your work, allow it to move you and change you, you will begin to no7ce that boredom is something that happens to other people.

Here is an exercise to increase your awareness of the moment. Paint something right in front of you, right now. Be present. Feel the paint. See the color. Don’t worry about the outcome. Set the 7mer in the other room and remove all distrac7ons. Paint for two hours and see what happens.

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“Lilies and Pansies” -‐ Skep(cism

When I go through my studio, I o]en find lihle treasures I have painted that have been lost for a few months, and then found with much delight. When I am stuck on a pain7ng or I am not sure that a pain7ng is complete,I turn it away from my view and set it in a corner for a few days or weeks. When I rediscover the forgohen work, I can see the pain7ng with new eyes and will no7ce if anything is missing. This pain7ng called “Lilies and Pansies” is one I painted on my back porch early last spring. Finding this jewel refreshes my memory of spring as I get ready for fall.

Ar7sts constantly ques7on themselves: Do I have talent? Am I original? Does my art have any feeling? Does my art have meaning? These conversa7ons create barriers between who we are and what we create. These skep7cal conversa7ons are deeply rooted in messages taught to us at home and in school that ques7oned our own essence of being human and doubted our capabili7es of what we could achieve. We can usually mask these doubts about our genius in our day-‐to-‐day life, but the doubts intensify and become real issues when we crea7vely express ourselves. When we tap into the core inside ourselves and present it to the world in our pain7ngs, we cannot hide. Why are we so afraid? It is possible that the source of our genius and crea7vity comes from the same “undefended child” within us that was corrected, doubted, and challenged to do it beher, instead of being celebrated for making the effort to create, to learn, to risk being imperfect, and do new things anyway!

Our insights and feelings are what make us human, and to share this understanding with others is the founda7on of art. Art is communica7ng to others without words, expressing our thoughts, experiences, and emo7ons to others so they can understand our point of view. Everyone has something to say, and what you have to say has as much value as anyone else who has ever picked up a paintbrush or wrihen a note of music. I invite you to come to the canvas with a courageous and joyful heart, knowing that you have made it to this age willing to create, express, and share yourself ar7s7cally. Those who are cri7cs cannot stop you, for they are not able to see, feel, or communicate at your level of understanding, and those who are ar7sts will love you for your bold and fearless spirit.

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“Mt. Shasta and RomanPc Luminism” -‐ An American Art Style

Art collectors and galleries have classified my work as Roman7c Luminism. This pain7ng style is a good example of American Roman7c Luminism because it features the effect of light in a landscape using aerial perspec7ve (how atmospheric condi7ons influence our percep7on of objects in the distance). They have said that I focus light in my pain7ngs in ways that captures the mood and splendor of the landscape and draws the viewer into the essence of the pain7ng. I have used this method in my pain7ng for years. I include a center of interest using the luminosity of sunlight blended with the so]ness of tone, concealing some of my brush strokes to allow the subtle effects of light to infuse the local color of the subject.

Modern painters ahempt to create pain7ngs that impress the viewers with clever uses of the brush. Most of these pain7ngs look the same, with one stroke here and a stroke there, with palehe colors that define the pain7ng rather than effec7vely using the power of light in their work. These ar7sts produce boring work that lacks inspira7on and the feeling of life. Remember, it is not what you do but how well you do it. Spend some 7me every day learning more ways to bring your pain7ngs to life.

If you want to create a luminous effect in your pain7ng, key the pain7ng to cool colors and darker values. The area of light is best posi7oned within the middle third por7on of your canvas; it can be anywhere in your pain7ng as long as the viewer clearly focuses on the that spot of light. This spot should be warm and bright with paint applied thickly but not overworked. Direct all the detail and contrast close to the light but try not to highlight anything other than your focal point.

This exercise will help you to “see” differently. When you go for a walk or drive, look for the light around you, not the objects. Try not to see forms but focus only on the intensity of the infusion of light around you. Isolate the light that is the central focal point, and dull all other light by at least five values. This understanding of “seeing” will increase your ability to bring an infusion of light into your pain7ngs. It may take some 7me to learn, but it will make a drama7c difference in your work.

"Unless you try to do something beyond what you have already mastered, you will never grow."– Ralph Waldo Emerson

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“Strawberry Valley Inn” -‐ Ar(s(c Philosophy

We are just digging out of 8 feet of snow that fell over the last 4 days at The Grand View ranch. Wow! What an ordeal! I respect the power of nature and am amazed at how one big storm can totally change my world.

Mt. Shasta may be a small community but the town’s people have great respect for their home and community. This lihle inn in the heart of Mt. Shasta is a perfect example of one of the treasured landmarks of the community. These historic stone homes were built in early 1900. I painted this for you so you could enjoy seeing the charm and uniqueness of these early homes.

In my classes and workshops, along with teaching the technical aspects of pain7ng, I have been introducing ar7s7c philosophy. Some believe that art is only about pain7ng the view that is in front of them. When I teach the concepts of ar7s7c philosophy, I pa7ently appreciate my students' struggle to understand how to create art consistent with that philosophy. Most students begin with preconcep7ons about what art is. Some think it is self-‐expression, re-‐crea7on, or just decora7on. My first task is to encourage the student to shed those limi7ng beliefs.

Part of my philosophy is that art is a personal expression of careful observa7on of the subject and the ar7st's visceral and emo7onal response to what he sees and experiences. For example, when we observe the subject live, we see the air and light around the subject and in the landscape crea7ng the feeling of being there. This does not make sense to students if they have never painted from life. Successful ar7sts think visually which means seeing the pain7ng in their minds before they paint it. Take a moment to imagine a finished pain7ng in a clear, simple, and beau7ful way. Intensify the light; play with the shadows, see the colors, then add contrast from warm to cool and dark to light. See the pain7ng clearly in your mind before you ever lay your brush to canvas.

I believe that pain7ng enhances intelligence and develops sensi7vity; sensi7vity to the way we see and relate to people, to values in nature, sensi7vity to seeing color and the rela7onships of light and shadow. All this is found in nature. Pain7ng our rela7onship to nature and sharing that with the community and then the world is what makes us ar7sts.

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“Old Stage Cabin” -‐ Pain(ng from the Inside Out

This is a pain7ng of the Steward ranch, located in a beau7ful meadow just outside of the town of Mt. Shasta.

When pain7ng outdoors it is important to capture the subject first by drawing it accurately with details. Many students hurry this process, but I believe that this step is essen7al because a good drawing provides a founda7on for the pain7ng, and provides you with a preview of how the pain7ng will fill the space on the canvas.

Begin by mixing your paints using an earth color and cobalt blue to make a dark neutral and begin drawing with your brush. Include shapes and shadows, adding more blue for cool tones and more earth color for warm tones. Place footnotes where the light is the brightest by wiping off paint with a paper towel where you see highlights. By doing this, you create a reference of the original tones and values of the pain7ng so when the light changes throughout the day, you can remember the scene as you first saw it.

Once the drawing is complete, begin pain7ng the central focal point on the canvas. This means pain7ng from the inside out. Since the central focal point is usually located in the middle third of the pain7ng, pain7ng proceeds from the middle of the pain7ng outward to the edges.

Use a flat #6 brush to paint with opaque paint, choosing correct colors by paying ahen7on to the temperature and value of your subject. Work slowly and make sure that you place every stroke carefully, one by one, un7l the pain7ng is complete. Paint what you see, do not add anything but what is there, and stroke by stroke you will see the pain7ng come to life.

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“Tulip Tree Branch” -‐ Connec(ng with Your Art

With all the rain we have had in Mt. Shasta, I wanted to paint something with a bit more color. A good friend found this tulip tree branch. I really enjoyed pain7ng it.

There is a difference between pain7ng with inten7on (to do something with an agenda) and pain7ng by connec7ng with your inspira7on. Ar7sts paint with an agenda when they try to re-‐create a pain7ng that looks like a photograph or a subject from life. Connec7ng with your pain7ng involves pain7ng what you know: your reality, your inspira7on, and how you see the world daily.

Ar7sts paint by placing strokes of color on their canvas to recreate the subject they have chosen to paint. Then, there comes a moment when the focus shi]s and the image becomes three-‐dimensional. This is when we are connec7ng with our art. It only happens when the right side of the brain relies on what it knows, rather than the process of how to do to it.

Try an experiment. Paint an image of one of your toys that you had growing up. Paint it from your memory. Try looking at the pain7ng while you are pain7ng as if you are seeing the toy again, but then look at if as if you have never seen it before. Do not ask how, just do it as if you know how. Keep looking at the pain7ng and making changes; see the light on it, see the shadows. Before long, you will see it as real as if you are looking at the real object or a photo of it.

The human brain is very complex and coopera7ve. It will think of what you tell it to think about, such as your experiences, feelings and images, as long as you have them stored in your memory already. If you want to paint landscapes, you must spend lots of 7me pain7ng from nature, storing many images and experiences for the brain to access. Pain7ng outdoors allows you to become observant of what only you can see through your eyes. The reason we paint outdoors is not to come home with a completed pain7ng, but to educate the mind to see what nature looks like so that when you are in the studio, your auto-‐recall can go into high gear, connec7ng with your pain7ng like never before. This is a type of “being in the zone” that changes the goal of pain7ng "something" to simply pain7ng entranced and connected.

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“Mt. Shasta in Moonlight” -‐ Pain(ng at Night

Pain7ng on loca7on is difficult enough, but pain7ng on loca7on at night offers a new set of issues that challenge even the most skilled plein air ar7st. First, seeing your pain7ng and palehe in the dark can be difficult, but with the new LED light that straps on your head, you can see whatever you look at, your pain7ng, your palehe, and your brush strokes. You can actually see what you are doing. Second, many animals rustle in the bushes (including bear) who are hungry, and they feed at night. Be careful that you are not on their menu. It is best to paint with a friend when you paint outside at night.

Whether at night or during the day, begin each pain7ng with the idea that the act of pain7ng can be effortless and enjoyable. If you overwork a pain7ng, it can appear labored and lack spontaneity. First, cover your canvas with an Asphaltum or a warm brown stain using odorless turpen7ne and paint. Then, simply sketch your composi7on with a brush using Asphaltum to indicate the areas of the greatest dark, and wipe off the stain with a paper towel in the areas of greatest light. Pay ahen7on to include the most important element, the effect of light. Add Alizarin and Cobalt blue to the Asphaltum to indicate an underlying color. Paint the details only a]er the sketch is complete. The viewer loves to see effects, par7cularly the effect of light dancing on objects of beauty.

Pain7ng on loca7on takes prac7ce and tenacity, but the rewards are endless. If you have never paintedoutdoors, go outside and paint something. You will be surprised to see that everything you need to paint is rightin front of your eyes; all the subjects, colors, values, shapes, and inspira7on.

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Slushy Streets” -‐ Paint What You Love

Even though it is winter at The Grand View Ranch, it has been very dry and everyone is wai7ng with great an7cipa7on for it to snow. There is something about winter that makes me want to put on my warm coat, boots, pack a flask of rum in my pain7ng box (just to take the chill off of Old Jack Frost), and step outside where it's 32 degrees to paint.

I painted this sketch in the beginning of December when we had a brief and wet snowstorm. I love to paint wet slushy streets where 7re marks can be seen in the snow. It tells a story of something that has happened in a very brief moment, and then disappears. It is important to learn how to paint what you love. When I paint wet streets, I first apply my paint in a ver7cal manner using Cobalt blue and Asphaltum in a thin transparent manner altering the blue and brown colors to create the interes7ng paherns in the wet street. Then I place in the dabs of snow by star7ng with the darker spots and adding lighter values as I sculpt the effect of the 7re ruts. The color of the snow is painted with the same colors that I used to create the wet pavement. The effect of light behind the fence creates a beau7ful contrast to what could have been an overall gloomy day.

Many students ask what they should paint and I ask them, “What do you LOVE?” It is surprising how many ar7sts paint by looking at things and paint what they see. Few ar7sts really ask themselves, "What do I see that I love about this scene?" Do I love the summer light on an early morning city street or the warm feeling of a balmy a]ernoon sun reflec7ng on a lake? Connec7ng personally and emo7onally with your subject is the first step to crea7ng pain7ngs that communicate your message to the viewer.

When you paint what you love, thoughxully consider what you think and feel about the subject that you want to share with someone as you create your pain7ng. Do you love the light, the colors, the paherns that are created, the shadows, or how cool or warm it feels? Is it the mood of the scene, or the story that is told? By focusing on your response to what you love, you will connect with your inner ar7st and develop a style of your own. The next 7me you are out on loca7on, take 7me to evaluate what inspires you or what touches your heart about the subject, and then communicate that idea or feeling to the viewer as you paint. Pain7ng from life is an act of connec7ng within yourself to your own sense of wonder and beauty so that you can have something extraordinary to say to others through your pain7ngs.

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“Ashland Orchard” -‐ Style, Technique or Vision

Technique and style are the tools of crea7ve expression for an ar7st. They support his ability to communicate his ar7s7c vision. Technique includes the ar7st's ability to use brushes and paint to create a unique appearance using interes7ng brushstrokes, choices of color, the use of thick or thin paint, and the effect of light. Techniques punctuate a pain7ng with personal ar7s7c choices.

Style includes broader ar7s7c choices such as the content, composi7on, mood, and the placement of focal points as well as the ar7st's approach: impressionis7c, realis7c, or abstract. An ar7st's style contributes to his ability to be recognizable and memorable.

Having both technique and style are essen7al for an ar7st to manifest his vision, a vision that is so personally important that it must shared with others to be realized. This includes pain7ng subjects that reflect the ar7st's experiences and beliefs about the world. This vision comes from the heart of the ar7st's experience growing up and finding his way in life; what made sense, what felt good, what or who sustained him in the darkest 7mes, and what or who raised his spirits in the best 7mes. These memories and connec7ons create a deep founda7on of subject maher that reminds the ar7st of what in life is worth sharing with others by crea7ng "a pain7ng of personal importance." In order to express a great message in a pain7ng, an ar7st must have a clear vision of what he wishes to say to the viewer about his unique way of seeing the world.

Fellow ar7sts, galleries, and collectors admire ar7sts who successfully express their vision through their artwork and have the power to change the viewer's experience of the world. For example, Van Gogh showed us how to see sunflowers the way he saw them, and if you have seen his pain7ng, you probably look at sunflowers in a whole, new way. The clarity of vision separates one ar7st from another, and expressing a sensi7ve message to a viewer that communicates heart-‐to-‐heart requires great skill and focus.

Learning the discipline and prac7ce of good technique, developing a good sense of style, and having a focused personal vision will make your pursuit of art more passionate, your journey more enjoyable, and create a legacy that can go on forever.

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“Sullaway House in Mt. Shasta” -‐ A Pathway to Excellence

It has been snowing for the past few days and when it stopped I grabbed my paints and searched for a loca7on in town to paint. It was a beau7ful day. This pain7ng is of a home located in Mt. Shasta call the Sullaway House. I have included some pictures of the pain7ng in several stages so you can see how I painted it.

It is impossible for ar7sts to have all the answers, or to paint without making mistakes. The very nature of mixing paint itself is a trial and error process. When you are mixing colors and crea7ng various tones and values, you will some7mes discover “by accident” combina7ons of color nuances and brushstrokes that are spectacular. However, what seems to be pure chance is really the accumula7on of many previous efforts.

It goes like this. The more you paint, the more mistakes you make, and the more mistakes, the more you learn how to avoid and correct those mistakes, crea7ng more knowledge and fewer mistakes. Despite what you see in DVDs and pain7ng shows on TV, none of the ar7sts have the ability to paint what they intend to paint without experimen7ng. In fact, the nature of pain7ng is one of constantly correc7ng the stroke you just placed on the canvas by deciding what the next stroke will be. How you repair your mistakes becomes your technique and style, and this process takes making many mistakes, many HUGE MISTAKES.

We ar7sts enjoy the experience of crea7ng art, not just producing a marketable product. The truth is that most pain7ngs are not masterpieces. If it were easy, the value of pain7ngs would decrease because the supply of great art would be plen7ful. With 7me and prac7ce, your pain7ngs will improve to your own level of excellence, uniqueness, and greatness.

"The most important things in the world have been accomplished by people who have kept on trying when there seemed to be no hope at all." – Dale Carnegie

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Daily Painting and Observations on Art, Nature and Life, by Stefan Baumann

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