Friday, August 18, 2017

Iowa State Fair Time

The Iowa State Fair is legendary. At least two (maybe three) movies have been made about it. There are many traditions, news items, and foibles. In most years the Fair attracts a million visitors, give or take a few, for its delightful mixture of friendship, conviviality, creativity, exceptional skills, and odd food on a stick. The attractions are also a delight: the famous butter cow (yes sculpted life-size from butter in a special refrigerated showcase), the Big Boar, the Big Bull (each having topped the scales in its show division), the Avenue of Breeds and all of that food.This year has been no different except that I've visited every day this week to observe and sketch. Here are some of the results.

There is a big barn-like structure on a hill overlooking the Fair called Pioneer Hall. Inside, during fair time there is a flea market where vendors sell all sorts of antique tchochkes and where old time crafts are demonstrated. There is a blacksmith who comes every year and fires up a forge built into the wall of the building. Next to him is a print shop that prints up handbills and the like. During the ten days of the Fair, the smith makes various kinds of wrought-iron items for sale and demonstrates how certain effects are achieved, while casually using red-hot metal. The second morning of the Fair I got to Pioneer Hall early because it's easier to sketch when there are fewer distractions, and the crowds can be dense later in the day. Luckily the blacksmith was already set up and the forge hot even before his aisle of the building was open. I managed a watercolor portrait, which he was kind enough to sign, across the bib. His glasses reflected the sun coming in from the left, and the fire lit the underside of his nose.

The fairgrounds have many permanent buildings--the Grandstand, the Show Arena, the Agriculture Building, and so on. This is a view of the Show Arena, next to a group of huge barns that house various kinds of farm animals--Cattle, Swine, Sheep, Horses. The day I was there, there was a show of dairy cattle in the ring by the 4H kids, solemnly leading Jersey heifers around the ring. After the show I wandered toward a lineup of pioneering buildings dating from the 19th and early 20th century, all moved here from their original communities. There is a General Store, a Pharmacy, Barber Shop, and a Telephone Building. Up the hill a bit farther is a one-room schoolhouse and a pioneer church. I spent an hour or so sitting under a shade tree sketching the Pharmacy and General Store. This is ink and watercolor, a full page in my 7x10 sketchbook.

One of the great things about the State Fair is how much is happening. There are silly events and fascinating ones. There are contests and exhibitions. Pioneer Hall, at the top of the hill, hosts all kinds of these, including everything from turkey calling to husband calling. And the Hall features free entertainment--often country music. It's a great spot for a cool drink and some country fiddlin'. I sat one morning and watched a duo of fellows play guitar and sing everything from Bob Dylan to Johnny Cash, with real style. It took about half an hour to sketch one of them. I didn't have a chance to draw his partner before they finished, and I ambled back down the hill to check out the next unusual event.

Perhaps the most enjoyable events for me are the competitions to be the biggest-the largest pumpkin, for
example, and the Big Bull and the Big Boar. The largest pumpkin this year weighed in at an astonishing 758 pounds. But the largest boar, known officially as the Big Boar was a giant at nearly 1200 pounds. But both the boar and the squash were overshadowed by the Big Bull who made almost 2600 pounds of beef on the hoof. Wow. I had a bit of time to sketch the Big Boar, who was miraculously standing up. Most of the time swine lie quietly, staying cool. But I caught the boar at feeding time. He was surprisingly gentle it seemed, and nuzzled up to his owner, who was just outside the enclosure.

It looks as if I'll make at least one more visit to the Fair before it closes this Sunday, so I'll probably post a few more sketches in the coming days....

Tuesday, August 15, 2017

Windowsill Works Once More

Over the past couple of years I've resurrected some old windowsill works that I'd forgotten about and I've painted a few more in casein. Here are some of them.

This is casein, 4x6 on panel. I did it over an old, failed metalpoint drawing. I think it's a small silver creamer or perhaps a vessel to pour chocolate. In any event, it's a very shiny thing with a yellow metal interior and a handle on one side. I posed it near my studio window on a wrinkled red cloth then did my best to capture the essence, not necessarily the exact reality of the silver. As often happens, I let this one set overnight and adjusted the next morning for the final image.

This is a very quick study of a bud vase painted with a limited casein palette. Like the rest of these, it's 4x6 and was painted in less than an hour. When I paint glass, I try to lay in the background, then the far glass (if it's transparent), then the near glass, then any sheen (as on the shoulder of this bud vase), and last any highlights. This was posed on the windowsill of the studio too, but I invented the dark pillar behind it, for better value contrast.

I think that in both of these I was simply more interested in the ellipses and the reflections than doing a painting of the entire object.

Here's an oil on panel. For this and a series of similar studies, I filled differently shaped
bottles with transparent colored water. The goal was to study the transparency of the bottles and the transmission of color, using oil paint. This looks a little bit like an overturned ink bottle, seems to me.

Last, this is an oil study done in the same small format on a hardboard panel. It's an antique glass butter dish. This was enjoyable because of the limited palette and the need for accurate drawing. The blurring of the butter outlines made it even more fun.

Doing small works like these is useful because they can be completed fairly quickly. Further, because I don't have much time invested, if the image isn't useful I can always sand off the panel and re-use it.
Previous posts on this topic
Windowsill Works
Windowsill Works 2
Windowsill Works 3
Windowsill Works 4
Windowsill Works Too

Friday, August 11, 2017

Oil Painting Mediums

Medium in art parlance is a really slippery word. You can talk about various media (note the plural) and most commonly the discussion is about a kind of painting or drawing material--watercolor, charcoal, pastel, acrylic, oil, and so on. In the more general sense though medium could mean the method of communication, such as spoken or written words or film or tv broadcasts. But when most oil painters mention mediums they mean something added to their paint to alter it in some way.

Many beginning painters ask about mediums for oil painting. What are they, which should I use, and so on. Mediums in oil painting can be used to improve handling, allow thicker or thinner application of paint, add crispness to strokes, change appearance, and more. In the past a master would have imparted this information to an apprentice along with his recipes for making the materials needed. The apprentice spent years assimilating and practicing, most eventually passing the torch to a new generation. Today the best one can do, absent an atelier or school, is to scour the Internet for information. Unfortunately of course, that means finding a way to separate good information from less useful. This post is intended to give the reader my own thoughts and experience with oil painting mediums. Others may give a different viewpoint.

There is a myth that recipes and methods owned by the masters of the past were lost, but more likely their history is similar to nearly everything in life--that is information about oil painting has faded to near-obscurity (in certain cases) and is now being explored with more interest. During the latter part of the 20th century there seems to have been less discussion and use of mediums but now their usage may be on the upswing. Judicious use of mediums can help a painter-craftsman to add visual interest and intellectual luster to oil paintings. You can make your brushstrokes more or less obvious, for example. A medium that levels the paint strokes and dries slowly will look glossy when dry; a medium containing a thickener can give a soft, matte finish (wax medium) and preserve brush marks.

So do we need to use mediums in our paintings? The answer depends on the individual, so far as I can see. Many painters add nothing to their tube paint; others add only solvent or only linseed oil or linseed oil thinned with mineral spirits or turpentine. The results in such work are good and longevity seems likely. In effect the painter often varies the oil to thinner ratio so that top layers have a bit more oil (fat over lean). In contrast, some painters mix medium into tube paint before using; some dip the brush into medium first then into paint (or vice versa) before laying in each stroke. But mediums are certainly not required. When using a medium of any sort, probably the most important caution is to use the material sparingly. There was a hair product years ago with the slogan, "A little dab'll do ya," which is a great motto for the use of mediums too. The minimum amount needed to achieve the desired effect is all one should use; using too much guarantees problems. As a rule of thumb, the total medium added should be less than ten percent of the paint volume--and much less most of the time.

Advertisement for commercial medium
A general medium that's recommended quite often contains a mix of linseed oil of one kind or another, dammar resin (or another resin), and thinner. There are quite a few similar recipes, all of which result in a more or less thin liquid--there isn't much oil or resin in comparison to the amount of thinner used. In my own hands at least, this medium provides little advantage beyond a capacity to thin tube paint, so why the need for oil or resin.

Other mediums include various kinds of altered linseed oil, each of which some artists swear by. Basic linseed oil can be treated in various ways, including sun-thickening or sun-bleaching, washing the oil, and heating it, among others. A special kind of heated linseed oil is known as stand oil. Stand oil is linseed oil that has been super-heated to more than 300 degrees C in a vacuum, allowing the oil to polymerize somewhat; it becomes quite thick. Stand oil and solvent make a very pleasant general medium. Sun-thickened oils are similarly thick and are used in similar ways. Another drying oil could be substituted for linseed, notably walnut oil. So mediums come in all kinds of recipes. Many companies market "oil painting medium," most of which likely contain linseed oil, a small amount of a resin, and solvent.

Here are three recipes that use the same ingredients in different combinations and proportions (odorless mineral spirits can be substituted for turpentine):

Oil-Resin-Thinner Recipes
                          1. Fast drying, lean mix
                              6 parts gum spirits of turpentine
                              2 parts damar varnish (5# cut)
                              1 part sun-thickened linseed oil

                          2. Fast dry time, lean mix
                              5 parts gum spirits of turpentine
                              1 part damar varnish
                              1 part stand oil
                              1 drop per oz. of cobalt linoleate dryer

                          3. Fast dry time, medium mix
                              6 parts gum spirits of turpentine
                              2 parts linseed oil
                              1 part damar varnish

Note that the author has only tried the basic turpentine, dammar and linseed oil version. The addition of cobalt drier is completely unknown to me. This recipe in all of its incarnations can be made in the studio or purchased in various commercial forms.

One medium that interest many has come in for enormous criticism is megilp (there are other spellings),or Maroger medium. There is a lot of confusing information and controversy available online about this particular concoction as well. "Discovered" and popularized by Jacques Maroger (1884–1962) an oil painter, teacher, and former director the laboratory at the Louvre, the medium is roundly derided by some and routinely used by others. Maroger medium has actually been known under various names since the heyday of Venetian and Dutch painting. Like other mediums recipes Maroger medium (or megilp) come in different proportions. But regardless, Maroger medium always contains leaded oil (also known as "black oil") and mastic varnish. The leaded oil may be cooked--heated--for various time periods, then combined with a highly-saturated mastic varnish (mastic resin and solvent). The result gels but liquifies when manipulated. This medium (and others too) is applied as a very thin layer (called a "couch") which makes the surface accept paint more smoothly. The colors appear brighter, too.  Another way painters use the medium is by dipping the tip of the brush into it before adding paint.

Advertisement for black oil, note the color of brushed-out oil
Those who praise Maroger medium say that it provides superior handling, rapid drying (a result of the lead component), and a nice gloss. Critics of Maroger medium often make absolutist statements such as "never use it" accompanied with accounts of cracking or darkening or both. Yet it seems to me that it's difficult to make blanket statements because Maroger medium isn't a single entity but a group of differing recipes that are assembled and "cooked" in differing ways. They were then used in differing amounts in paint, mixed in different ways. Some probably used a couch; many likely didn't. There is simply an enormous variability when discussing this or any other medium. For example, how much lead is dissolved in the oil and how long should you heat it and at what temperature? There are recipes but none is iron-clad. Incidentally, you can make your own or buy Maroger medium online that is anything but black; in fact it's a rather dark amber. The problem with evaluations of Maroger, then, is that historically at least it was made using different combinations and cooked in various ways. The comparison of paintings made using a medium made so many different ways may be inconclusive.

There are other mediums available, notably alkyd-based, but I've no experience with alkyd paint or mediums.

So in summary, here is my strategy in using mediums:
  • Mediums aren't required. Use them to improve handling and appearance.
  • Mediums must be used sparingly. Doing otherwise is courting disaster.
  • Simple is better: linseed oil alone, thinned, is quite serviceable.
  • Mix into the paint piles or use from a cup by dipping.
  • Consider using a very thin couch of linseed oil. It makes painting a pleasure.
Other posts regarding materials:
Paint Basics

Tuesday, August 08, 2017

Studio 405 Again

More on Studio 405. These past few days have been moving days, setting up work tables, easels, storage, desk and chair, drawing table and all the electrical and mechanical "stuff" that goes into an art studio. The studio is light-filled and spacious, the walls reflecting a lot of the northeast light. Here are a couple of pictures of the space, probably as neatly organized as it will ever be. 

The floor is smoothed concrete, the pattern probably represented where an elevated floor was placed, since the space was previously occupied by a telephone company's mainframe computers and other equipment. It looks a little like a kind of patterned effect, but it seems accidental. This image is from the windows toward the door. A couple of portable panels have the door blocked.

This image is from the doorway toward the windows, showing worktables and an old carpet put down to save my feet from standing on the hard floor constantly. My drawing setup is to the left. A careful look at the walls shows one of the winter paintings posted last week during a really sizzling few days.

As the studio evolves, there will be more to post, particularly when teaching starts.

Saturday, August 05, 2017

Media Madness

Someone commented to me not long ago about admiring an ability to work in several different mediums. As those who read here know, I've posted watercolor, casein, graphite, digital, oil and metalpoint images at different times. My primary medium is still oil, but experimenting with other media has been both interesting and useful.

In my opinion, drawing and painting can be accomplished with many different media and tools and if you study diligently, the overlap among the media can be very helpful. Watercolor's transparency gives spark and luminosity; oil paint when used in certain ways seems to glow; casein is quick and opaque and handles similar to oils; gouache is like casein in many ways; digital methods of drawing and painting can emulate all of the other media but depends significantly on the tools chosen and the ability of the artist (at least in my case).

Long ago online there was a series of posts wherein the artist tried making images of the same subject in as many different media as possible. It seemed an impossible task, but when one simply relaxes and realizes that the process and the learning are the purpose, rather than making pictures for sale, it becomes easier.

This week I decided to give the idea a try. Accordingly, made four images of coneflowers behind my home studio. The first was yesterday, a 4x6 watercolor done in an hour or so. This morning I did three more paintings, each the same size as the first, but this time in casein, oil, and pixels. Here they are:

The first is a digital sketch done on my iPad Pro using a free sketch program, Adobe Sketch and the Apple Pencil. Although the image is recognizable and the colors fairly accurate, one of the problems with doing this sort of work digitally is whether the program allows the kind of nuance of mark-making that you can get when using other tools. With paint, graphite, charcoal, etc. an artist can vary marks more easily, at least during the learning phase. In my eyes, this image is at least partially successful in evoking the summer garden.

To the right is a "real world" painting of the same subject, although a bit different grouping. This is casein on panel, 4x6. The image photographed well because of the matte finish of this kind of paint. The opacity and quick drying of casein allowed me to lay strokes over one another fairly quickly. If you're too picky in the beginning, you can use a full-bodied opaque stroke or two to cover the fuss and loosen the work.

The next is oil, 4x6 on panel, done alla prima with added Maroger medium. The advantage of that medium is that with care you can lay wet strokes over wet strokes without seriously disturbing the first ones, if you're gentle. Allowing the first strokes to set for a few minutes before overlaying helps that process a bit. Here I did the background first then let the paint layer set up a bit before fusing edges and softening things with a sable blender. I reserved the lighter parts of the panel and then placed the petal colors in varying chroma, value and hues, trying to make my strokes crisp and true without fussing. The edges of the central seed heads are soft and sharp depending on the passage. I like the luminous effect of oil.

Finally this is the watercolor that started the experiment. This was done on cold press 140 lb paper measuring 4x6. I laid the background greens in various chromas and values reserving white for the petals and central seeds. Watercolor is transparent, so the colors seem to glow. It was fun to overlay the pinks, making petal edges indistinct.

So what is the result of this media madness? Well, seems to me that the subject can be served by any of these four mediums. Watercolor is cheap, fast, simple and easy to carry. Casein can be just as easy, but the paint dries so fast a small covered palette with a soaked sponge or paper towel inside could facilitate portable sketching. Certainly casein is remarkably forgiving and allows thick and opaque passages that watercolor can't accommodate. If oil paint is a medium of choice, seems to me that using some kind of medium--even an alkyd resin like Liquin--would make portable painting a lot easier. The Maroger medium I used dries very fast (for oil). Last, I think digital images can be very useful as source material and for sketching but until the current tablets and pressure-sensitive styli were available, outdoor and portable digital sketching weren't so feasible. Now it seems to me that the sky may be the limit.

Friday, August 04, 2017

Ramon Casas i Carbo

Ramon Casas i Carbo, "Self Portrait," 1908
Not long ago I ran across a reference to Ramon Casas (1866-1932) online, which drew me into further wanderings in the labyrinth of the 'Net. Mr. Casas was a Catalan painter whose mature style is now considered the leading edge of the Modernist movement. He was famous in his own lifetime but has become more obscure in the past century or so. Last year was the 150th anniversary of his birth, which is being commemorated by an enormous retrospective which alas is only traveling in Spain. Mr. Casas was an exceptional painter whose work is not so well known as it should be.

Mr. Casas was born in Barcelona in 1866 to a wealthy family and by his teens was already an accomplished painter. His family wealth must have allowed him considerable freedom, so that he traveled to Paris while still in his teens to study art. He was able to travel to other locales during the warm months, particularly Madrid, always returning to Paris in fall. During his times in the city and yet in his teens, Mr. Casas studied at the Carolus Duran Academy. At age 18 he exhibited a self portrait dressed as a flamenco dancer in a Paris exhibition, and he continued to study, paint and exhibit there. By the early 1890s, he and his friend Santiago Rusinol (a Catalan artist as well) lived at the well-known Montmarte drinking establishment, Moulin de la Galette. He was involved in the bar Els Quatre Gats in partnership with several of his friends. The bar in Barcelona, patterned after Le Chat Noir in Paris, was the watering hole for modernistas and hosted art exhibitions as well. They also published a magazine for which Casas made substantial contributions. Later in the decade he settled mostly in Barcelona, returning to Paris for exhibitions. During that period, he became very successful and famous, exhibiting in numerous places in Europe, including Berlin, and in the United States. And although he was wealthy himself Mr. Casas attracted an American patron, Charles Deering (a strong amateur painter himself) who acquired a number of his works. Around this time he met a
Ramon Casas, "La Sargantain" (Julia Peraire) ca1907
much younger woman named Julia Peraire, who became his model and mistress; he would eventually marry her in 1922. During the early 20th century Mr. Casas was considered a leader in the new modern (and Modern) art. Yet somehow, in the last two decades of his life his fame lessened and his reputation began to fade. His work trended toward the academic, and although he is well-known in his home city he seems almost unknown in the rest of Europe or the United States.

Now, at the 150th anniversary of his birth, an extensive exhibition of his work is travelling in Spain, having been in Barcelona and Madrid and now in Palma. The catalog of the exhibition is available online, but there is no English translation. But the illustrations are lavish and in color. Mr. Casas knew and influenced (and was influenced in turn) by many of his contemporaries--John Singer Sargent, Henri de Toulouse-Lautrec, Sorolla, Zorn, and even Picasso (who was considerably younger). The exhibition catalog is in Spanish, so if you speak the language, you're set.

Mr. Casas painted many different subjects, including portraits, landscape, history, and figures. Like Lautrec, he designed posters and magazine covers too.

Here are few more of his works, from the catalog.

"Baile en el Moulin de la Galette," 1891Add caption
An interior of the Moulin de la Galette, the famous drinking spot in Montmarte where Ramon Casas lived with his friend Rusinol. During these years Montmarte was still a village outside Paris, considered rural and picturesque. The village was particularly known for its windmills.

"Casas & Romeu on a Tandem," 1897
This is an oil illustration for the cover of the Quatre Gats magazine, showing Casas himself (with the pipe) and Romeu, one of his partners in the bar, on a tandem bicycle. Like other modernistas, he painted flat areas of color and simplified his image.

"Sombras" for Quatre Gats, chromolithograph, 1897
This is a graphic work by Mr. Casas for Quatre Gats. This chromolithograph is clearly in the mode as Lautrec and modernism, following the craze for Japanese prints that had gripped the art world in the previous decade.

"La Carga, or Barcelona 1902" oil on canvas, ca 1900
This enormous history painting (near life size) shows the Spanish Guardia Civil dispersing a crowd in Barcelona during a general strike that happened in 1902. Mr. Casas was awarded first prize for this work at the General Exposition in Madrid. It is now in the Reina Sofia Museum in Madrid.

"Despues del baile o Joven decadente," oil on canvas 1899

Mr. Casas was also an adept figurative artist. During the late 1890s he produced a series of full-length portrait drawings in a modernist style that were widely admired. But his oil paintings were equally prized. Here he paints his model as a decadent youth (Joven decadente in Spanish) who is exhausted by dancing. This painting is in the Museum of Montserrat, in Catalonia.

It's too bad that Ramon Casas has mostly faded from memory. Perhaps one day an exhibition of his work will make its way to the United States. The least we can hope for is an English language publication.

Tuesday, August 01, 2017

Wishing for Winter?

When the weather becomes oppressive--hot, humid days in summer or conversely dim and frigid winter afternoons--it can occasionally be helpful to remember the opposite season. Most of July has been unusually hot for Des Moines, with brutal, steamy humidity levels that can
"City Snow," oil on canvas, 20x26
fog your sunglasses. Walking outside in July was like walking into a wall. The heat kept a lot of people indoors, and it certainly made me long for the crisp days of fall and the briskness of early winter. So I began to think about that kind of weather as I looked through old image files. .

"Winter, Union Square," oil on panel, 9x12
Sorting images, I ran across a couple of streetscapes of winter. While I'm not a fan of driving snow, looking at "Winter, Union Square" was a welcome breath of cold air during the summer inferno. The painting sold a number of years ago, but the impact remains, for me.

The other, "City Snow," is in my studio collection and has been rarely shown. This is a snowy sidewalk in winter, the sun breaking through after the storm. This one makes me think of those brief, wet snows that melt and refreeze into icy sidewalks and streets. Hard to image with the daily temperature over ninety, but in our part of the world, snow is certain to come, but thinking of colder weather is mental air conditioning.

Friday, July 28, 2017

Quick Sketching in Casein

"Morning Joe," oil on hardboard, 6x4, 2010

Over the past several years (well, off and on) I've been doing quick sketches most mornings using oil paint on small hardboard panels. Those works have mostly been small still life paintings, often 4x6 or sometimes even smaller. They're great ways to study different aspects of painting--everything from values to composition to color palettes to varying light. That body of work I call Windowsill Works because the objects of the pictures were usually posed in the studio window. And I can finish one of these small pieces in less than an hour or so.

The picture to the right, Morning Joe, shows my morning coffee cup on a stainless steel table in the early morning light. I think I was most interested in the values and light plus how to just cool versus warm tones in a limited palette. Anyway that's how it looks now. Each of these Windowsill Works was a learning exercise.

But I haven't done any of those oil sketches lately. Instead I've continued to investigate casein.  One of the beauties of casein, it seems to me, is it's fast drying. That makes casein a great medium for quick sketching. During these summer mornings, I've been sketching sails and sailing vessels using magazine references. The grace and swoop of sails against sky and clouds, land and horizon, has long
"Racing," casein on hardboard, 6x4, 2017

"Trio of Racers," casein on hardboard, 4x6, 2017
fascinated me.

The beauty of casein is not only it's handling but also it's opacity. You can layer paint in quick succession yet still reactivate the paint briefly for a few minutes if you need to blend layers or edges. These are racing yachts in full sail.

Here are a couple of small casein sketches on hardboard, both 4x6. Each of these was painted on a previously toned surface. You can see it peeping through in various places. Although these were done in the studio as morning exercises, it's easy to see how one could use casein in the field to quickly capture a fleeting moment.

Other posts about casein:
Milk Paint
More on Milk Paint
Casein Investigations
Landscape in Casein

Tuesday, July 25, 2017

Mr. Li

The email came out of nowhere, asking me if I would be able or interested in helping out at our local hospice. My connection to the hospice is beside the point; they simply asked if I could come to the inpatient care center and draw with a man who had been admitted there. He was from China, had been here in Des Moines but became too weak and ill to return home when his visa expired. The rest of his family (I was told) had returned home, but he could not go. Nor did he speak English. The staff had been resorting to Google Translate to communicate with him. He had told the staff that he would like to draw with a fellow artist.

I agreed and set the following day, Tuesday, to come to see Mr. Li. When I arrived I found Mr. Li emaciated, very weak, but sitting up in bed. Luckily, his daughter was there and helped us communicate a little. Mr. Li was indeed an artist, as was his father before him. He had trained in watercolor and pastel in college but had spent his entire working life as an animator--essentially a cartoonist--making cartoons for Chinese television. His father had been a fairly noted watercolor painter, according to his daughter. Alas, though I hoped to see something of Mr. Li's work, he said none had been exported.  I showed him a few examples of my paintings and drawings, using my smart phone, and he seemed to enjoy that.
I had along a sketchbook or two, some pencils and charcoal and so on. I asked him if he would like to draw but he said he would be happy to see me do some work as he was not feeling very well. Accordingly I drew Mr. Li and gave him the sketch. It's graphite on toned paper, about 5x8. He was surprisingly serene as we talked and I drew.

He and his wife had come to Des Moines from their home in Beijing to see his daughter and her new baby. Because of the one-child law in China, she was their only child, and this was their only grandchild. Knowing he had cancer (he had been under treatment for 4 or 5 years, it seems) they took the chance and came to Iowa. Unfortunately, his condition deteriorated enormously while they were here so that now he was too weak to travel. Clearly mortally ill, he was calm and accepting. Seldom have I known a person so desperately ill who was also so obviously at peace. Mr. Li was a Buddhist.

After finishing and signing the drawing, I gave it to him. He seemed pleased, and asked if I would return so I promised to come again on Friday. It was Tuesday. He smiled. He died the following evening.

Friday, July 21, 2017

Favorite Art Books 10

Recently, I had the opportunity to read a magnificent book on drawing. "Fundamentals of Drawing" by V.A. Mogilevtsev, is used in Russia as a text and is recommended as a reference standard by the St. Petersburg State University. The original was published a decade or so ago in Russian and quickly became the standard; the first English edition was printed in 2016.

This book is systematic clear, providing step by step instruction with progressive drawings and detailing the thinking behind each. This seems to be the defining process in much of the Russian realist tradition. One section is devoted to the head, the other to the figure. Although the book is relatively short, the large format and systematic organization provide considerably more content than one would expect in just over 70 pages.

Particularly attractive is the layout of the pages. Each step is illustrated by images of steps in the drawing on the right-hand page and commentary on the left. This provides full page (or nearly) images that are superbly reproduced.

Construction of the hand and arm (left-hand page)
Prof. Mogilevtsev emphasizes in the beginning that concept must rule every decision. You cannot begin a work without a clear idea to convey to the viewer. The approach reminds me very much of that advocated by illustrators of the 20th century: most of the work involved making the picture goes into creating an effective concept to convey what must be said.  Norman Rockwell was an exemplar of that approach, often going through dozens of thumbnail sketches while working on a problem. Furthermore, this author emphasizes that one cannot begin a work without recognizing that the medium itself is at least part of the message as well. The choice of materials should fit the concept and the solution of how to convey an emotion, idea, or thought. If concept is not sound, the artist can't (well, shouldn't) proceed.

Beyond concept there are four more steps in this system: 2) Rough drawing, 3) Construction based on rough drawing, 4) Defining Details, and 5) Final step. Further, the system divides each of these into sub-steps on the way to finish. It's clear that following the system and working on examples is likely to provide substantial growth to the dedicated student. Further, besides the two sections on the head and on the figure, a third section provides examples from classical and other eras for study and copying.
Full page spread showing progress drawing (r) and examples (l)

This is a wonderful and very clear way to move forward in learning to draw. Once one has developed fundamental drawing skills with various media--graphite, charcoal, ink, and probably digital--this system will provide a useful structure to hang them on. Highly recommended.

Previous Posts in this series:
Favorite Art Books Part 9
Favorite Art Books Part 8
Favorite Art Books Part 7
Favorite Art Books Part 6
Favorite Art Books Part 5
Favorite Art Books Part 4
Favorite Art Books Part 3
Favorite Art Books Part 2
Favorite Art Books Part 1

Tuesday, July 18, 2017

Drawing Trees

Even though landscape painting was relegated to the middle of the hierarchy of genres in painting, it isn't that easy. Really effective, believable landscape paintings can be difficult to achieve. Certainly landscape is a difficult discipline for me.

Depicting the real world obviously means that concepts for painting almost anything tangible, whether it's a human face or an oak tree are critical. Ideally, the painter should have good artistic vision (seeing angles, shapes, values, etc), good skills with the chosen medium, plus a keen appreciation for the kind of the object being represented, and not least a willingness to correct the picture at any stage.

One fault in the drawings of new artists is the tendency to produce a picture of what they think the object looks like, rather than it's real appearance So too often new artists produce poor drawings. Tree branches are awkward, or the foliage looks stuck-on, or maybe the trunk doesn't look rounded. Whatever the fault, the failure to draw the actual rather than the mental image is a common vexation for all artists. The beginning artist most certainly needs to draw or paint objects from life, with utter concentration. Painting and drawing rigorously from life--nature--adds experience and helps to form a library of accurate visual memories. A non-artist can be satisfied with a general mental impression of trees; an artist can't. For the realist, it is critical to know what the actual tree species may be--elm, oak, ash, palm, pine, spruce, and so on--since the shapes, foliage, bark, branches and habitat differ significantly. The kind of tree matters; a live oak doesn't belong in a northern landscape any more than a palmetto does in a scene of the New England shore.

Ten Types of Trees, from "Painting Trees & Landscapes" by Ted Kautzky
A now-forgotten artist named Ted Kautzky published a book "Painting Trees & Landscapes in Watercolor," in the mid-twentieth century that even now remains a gem.  In his book, available now as a Dover reprint in soft and hardcover and for Kindle, Kautzky argues for detailed study of trees and other landscape features. Although the book is mostly monochromatic, the information provided is more about shapes and values and less about color. I'm not certain if the Dover reprint contains all material from the original. My own copy is a 1960 print edition, which can probably still be found in used book stores.

Kautzky did a wonderful job of showing the various shapes and foliage of what he called the ten types of trees. Each type (above) has a different look, different bark and trunk, different foliage colors and configurations, and so on.

He recommends practicing hard on all kinds of trees in your neighborhood and elsewhere, working to master each feature of each particular species. Of course, it may be difficult to find live oaks in Maine or Monterrey cypruses in Iowa. Still, sketching is the lifelong practice that builds the visual library.  Here are a few more of his drawings of trees, from the book.

Ted Kautzky was mentioned previously in Favorite Art Books Part 1.                          

Friday, July 14, 2017

Andrew Wyeth

Lately Andrew Wyeth has been on my mind. Mr. Wyeth died at age 95 in 2012, and although his birth centenary is this year, I didn't know that his actual birth date was July 12. A few days ago, by happenstance, I ran across Michael Palin's documentary about Wyeth on YouTube, and having always been a fan of Mr. Wyeth's work, I took the time to watch. Mr. Wyeth grew up in the area of Chadds Ford, Pennsylvania, but for much of his life spent his summers in Maine. His most famous painting,
"Christina's World," egg tempera, 1948
"Christina's World," which is now in the Museum of Modern Art in New York, depicts the Olson's farmhouse, which was occupied by the subject of the painting, and her brother. Today it's a museum, wholly a result of the enormous volume of influential works that Mr. Wyeth produced there.

"Braids," egg tempera, 1977
But if Christina's World is all one knows of Wyeth, then there is a great deal more. Mr. Palin mentions the Helga pictures, and even interviews Ms. Testorf, the title subject who still lives in the area. Mr. Wyeth's paintings and drawings of Helga surfaced in the mid-1980s and drew an enormous sum from a single collector. There were more than 200 separate pieces. According to the press at the time, Betsy Wyeth, who managed the business side and kept precise records of all of his works, was completely in the dark about these works for about 15 years. Whether true or not, given Ms. Wyeth's deep involvement in the business side, anyone who wants to study Mr. Wyeth's work should study these sublime paintings and studies.

"Happy Century, Andy,"
There was a closeup near the beginning of the video that I stopped while I sketched a closeup of the painter's seamed and expressive face. Somehow the icy blue of his eyes drew me so that I kept the edges sharp and value changes fairly crisp when drawing the left side eye and reduced crispness and detail and I progressed radially from there. I used my Wacom Cintiq tablet and Sketchbook to make the drawing. 

Tuesday, July 11, 2017

Studio 405

It is official. Remodeling is finished, the lease is signed, and my new studio space is ready for occupancy. The space is in Mainframe Studios here in Des Moines, a re-purposed telephone building that has been empty for 6 or 7 years since the company left. It originally housed telephone switching equipment on the top three floors and featured offices and meeting spaces on the ground floor. In this new incarnation the building will feature studios on the top three floors, probably an exhibition space (gallery) on the ground floor, perhaps a cafe or coffee shop, and other amenities.

The development group brought expertise from a similar project completed in Lowell, Massachusetts that was converted from an old brick mill into affordable studios. Like the Lowell studios, Mainframe hopes to institute programming that will include open studio events, a gallery, probably teaching, and other activities to heighten arts awareness and involvement in the community. The location just north of downtown Des Moines, not far from major businesses and offices is likely to add to the eventual importance of Mainframe. More than 60 artists from various disciplines will be moving in during this initial phase of development, with perhaps 250 artists eventually being involved.

Common space
My own space is Studio 405, next to the floor's large common area. The windows face northeast and look over part of the Des Moines complex of exhibition and performance spaces that are anchored by Wells Fargo Arena.
The far wall beyond the column is the outside wall of Studio 405.

Farther along, a hallway opens to individual studios. Mine is the first door to the left. The poster taped to the wall was put up for a fund raising event that took place a couple of weeks before these photos. You can make out the wide open floor before partitions were built. The partitions extend quite high 
but aren't floor to ceiling. The floors themselves are smoothed concrete.

The final two photos are door and interior of the new studio space. The total floor space is about 500 square feet (about 45.5 sq m), which will be ample since my main purpose is to have space for larger painting projects and to teach small groups or individuals.

The coming weeks will mean the usual--moving, rearranging, removing and rearranging and so on.

Studio 405
At some point in the fall of this year, I have promised to open the studio to a sketch group from the local medical school, as well.

Heartland Studio will continue to be the official studio name and Studio 405 will be the name of the teaching studio as it evolves.
From windows toward the door

Friday, July 07, 2017

Thinking of Lincoln

These days my mind has been on the 16th President, Abraham Lincoln. It's hard now to imagine what it must have been like for him and the people of this country, so severely were they separated by region, ideology and emotion. Our first Republican President was the man who once said, "...with malice toward none, with charity for all..." We are so far from his vision today.

These studies of Mr. Lincoln are done in charcoal or sanguine (a natural red chalk). I was thinking of expression as a reflection of inner life, and so drew him as somewhat disheveled and sad, although also having a deep inner well of humor and good will.

One can only hope that his trials and success will continue to be an example.

Tuesday, July 04, 2017

Independence Day

Today is the celebration of Independence Day, commemorating the Declaration of Independence from Great Britain. The vote was actually on July 2 which prompted John Adams to (wrongly) predict that day would be celebrated in the future. In any event, we celebrate every year with fireworks, barbecues, patriotic flag displays and parades. And every July 4 Jame Montgomery Flagg's famous "I Want You" image of Uncle Sam shows up almost everywhere. Originally intended as a way to recruit for World War I, Sam looks deeply angry and determined. It was used in the second world war as well, when the United States again felt aggrieved and angry. According to at least some sources Sam is actually a self portrait of the artist himself.

Sparked by Flagg's Sam, I did my own digital version a few days ago, using my Wacom tablet. I based my Sam on his but cropped closer and detailed in the central face more. I wanted my Sam to look angry, concerned, and confused. I tried to make him look older than the Flagg Sam, and perhaps more battered and worn, consonant with the times.

 Happy Fourth of July.

Friday, June 30, 2017

The Life and Art of Bernie Fuchs

Illustrators from what has been termed the Golden Age will likely always be remembered. Titans like Rockwell, Flagg, and Leyendecker are shoo-ins for that group of course and there are quite a few others who deserve inclusion. Many lived and worked from the end of World War II into the late 20th century. Arguably, the best of them was Bernie Fuchs.

Mr. Fuchs, who died in 2009, had an amazing drawing talent and a keen eye, but it was his painterly handling that always attracted me. He made pictures of everything from automobiles to sports stars to presidential portraits. He even did a series of U.S. postage stamps depicting folk singers. During his lifetime he was revered by his fellows and received virtually every award given for illustration. Now David Apatoff, whose blog Illustration Art is a particular favorite, has published a big beautiful book about Mr. Fuchs, available only from Illustrated Press. (You can buy the book through Amazon, but the order will be fulfilled by Illustrated Press.) It is well worth the price of $44.95.

The Life and Art of Bernie Fuchs is a gorgeous 240 page book, lavishly illustrated with the enormous output of an illustrator's entire career. The images are all in color and many are full pages or even spread across the fold. Mr. Apatoff provides a biographical introduction, outlining how Mr. Fuchs became an artist instead of a trumpet player--he lost three fingers of his right hand--and eventually reached several career peaks, including being named “Artist of the Year” by the Artists Guild of New York at age 30 and the youngest ever inducted into the Illustrators Hall of Fame in 1975.

Mr. Fuchs had a gimlet eye for drawing and a gift with line that has rarely been matched. But it was his painterly approach that always attracted me. The cover of Mr. Apatoff's book is a perfect example of the shimmering style of Mr. Fuchs' paintings. As a working artist, I wish some preparatory works and progressive images were included, but that's a minor wish.

Herewith, a few of my personal favorites by Mr. Fuchs. Many of my favorites are sports images, but he was equally adept at portraiture and landscape. In effect, a lot of his golf illustrations were golfers against a landscape. His handling of light and color were informed, no doubt, by photography and so continue to have resonance for this century's viewers.

This is a book to buy, examine, savor, and keep.