Category Archives: Painting

Painting and music – a great analogy

Both art forms (music and painting) have effects on our subconscious!

Words like sensuous and passionate, or emotional, stimulating, mood altering, uplifting, depressing… can be applied to both music and painting!

An example would be to make a painting too busy. It is equal to listening to
music where someone plays solo without stopping. It is tiresome and ultimately not a pleasant experience. It is like looking at a painting that is filled with too much information
or no color harmony.

Emotional attributes are equally felt in the use of color in art. A painting has the highest impact when it captures some poetic mood of nature, an impression of strength and power, or an emotion in a portrait. Color sets mood. Just think of the beautiful works of the masters Corot, Whistler or Thayer.

Warm colors, by nature, are exciting and stimulating but can also be irritating. Imagine being in
room where all the walls have been painted scarlet red!
Cool colors have quiet the opposite effect. They are restful in the emotional sense. There is
a reason why most people use soft greyish tones when painting walls in their houses.

Going back to music, any music piece is only consecutively played notes between pauses which, when played without emotion, are just that: notes, scales. The actual music is in the interpretation. It is nowhere to be found in the notation.

Exactly like in painting: without an emotional connection a painting is just pigment on paper or canvas. It is certainly not found in the color mix. That’s why there is the term ‘artist’ and another one for ‘painter’. When does a painter become an artist?

When a painting is ‘technical’ we may be impressed (or not), but when a painting grabs you by your emotions it becomes art. That’s the painting you keep coming back to, whereas the technical one has your attention for 30 seconds and then you loose interest!

Instead of my paintings, this time I have uploaded some of the masters.

A good quote by Millet:
‘Technique should always hide itself modestly behind the thing expressed’

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Tribute to a Beauty!

This is a small oil painting of ‘Beholder’, a famous American race horse. She is retired now, but during her career she earned more than $6 Million.
The picture was taken at Santa Anita race track. She was warming up for her last race before retirement in 2016. Usually, I am not a big fan of horse racing but I am a big fan of horses! Over the years I visited Santa Anita race track multiple times to sketch, take the tour of the stables and just look at the magnificent horses. They are athletes and just amazing to look at.
Beholder had initially quite the reputation: she was known to be very temperamental and hard to control. That changed as she aged thanks to her trainer with whom she developed a bond and depth of communication that made all the difference.
Before races, her trainer would use ear plugs and a hood with ear coverings to help her calm down. She also didn’t like travel therefore she raced most of her career in home state of California.
When asked what it’s like to ride Beholder, her jockey Gary Stevens said: It’s like I’m driving a Mack truck with the speed of a Porsche and the brain of a rocket scientist.”
Definitely a horse that deserves to be painted!

As for process, I don’t do any sort of underpainting in oil. As I do with watercolor I do a pencil sketch and work ‘alla prima’, as far as I am able to. What that means is, I try to judge value and color, mix the appropriate paints and put it on. Done. No going back (if at all possible, doesn’t work all the time). While this may be a harder approach it is also more gratifying because the energy of the brush strokes is completely preserved. No fiddling, over blending etc. etc. Unlike in watercolor, the brush strokes in oil painting is everything… actually, it’s the same in watercolor..never mind!

The editing process: a pain in the…

I had the chance to visit Ellicott City on my trip to Maryland last June. While there was no time to actually paint en plein air, I was able to take pictures in this remarkable town.
(the name is a bit misleading, it is definitely a small town)

Ellicott City was founded in 1772, so it is quite old by American standards. It is nestled in a narrow valley and unfortunately, that contributed to a devastating flash flood a few years ago. But the people are resilient, have battled their way back and rebuild their dreams!

I was immediately attracted to all the odd views of old Architecture, hilly terrain, beautiful craftsmen and Victorian style buildings. Busy streets and storefronts and some nice galleries as well.

In fact, finding a paint-able scene was quite a challenge, because there seems to always be too much in the viewfinder. Too much and all stacked up! Arguably one of the hardest things to find is a scene that can actually be good painting material. I did find a few eventually but not without doing some pretty drastic editing first.
Side note:
On the day I was there it was actually cloudy. Fortunately, my painter friend Thomas Bucci was able to take pictures the day before when it was sunny. This picture was taken by him and he was kind enough to let me use it.

This is the reason why I wanted to write this blog post: How do we edit scenes with way too much information in them? As with everything else in art, there is no easy answer.

A good way to think is like this: First, what is essential to the scene, what elevates the painting? What has to go in so you can ‘say’ what you have to say?

Second, what does not help the scene? What can I change and still say the same thing?
In this case, the building on the left has a very long extension to the right that does not all have to be there. So I shortened it. Needless to say I didn’t want to paint the trash cans.

The right side is also too complicated: the truck takes up too much space. I added people instead which, in street scenes, always seems to help develop a focal point. I changed the format to vertical and made the scene more mysterious by adding clouds and the background hill which is really not visible from my viewpoint.
Color harmony was created by the repetition of the red and by playing with shadow angles throughout I think I was able to paint an interesting, engaging scene.

As a final thought: these design problems have to all be worked out in advance. As should be pretty obvious, once we start putting pigment and water on the page it would be too late to try to resolve all of this. Time well spent before painting!

Watercolor vs. Oil

This is a scene I have painted many times. It is near where I live and to me, represents our area to the dot. Rolling hills, pastures and a barn setting. Since I started more oil painting again I thought I’d give it a shot in that medium. The watercolor was painted two years ago.

The oil is from a slightly different vantage point and it is also a different time of the year. The watercolor was painted in mid winter, when it is ‘greenest’ around here. That’s right, in California, it gets green in the winter because most of our rainfall happens then!

The oil was just recently painted in the spring. The green on the hills has already changed, turning a red-ish brown. That happens pretty much as soon as the rains stop. This is, however, my favorite time to paint them. In the winter, it is sort of a carpet of intense green (think New Zealand) and is quite difficult to do in a painting. The painting can become overloaded with sameness. To me the watercolor was harder to do for that reason.

Both mediums convey their own mood and feel. This will be one of those places that I’ll paint
over and over. Different times of the day and in different seasons.

Painting plein air, I believe the goal should be to capture something of the scene and not ‘make up’ something different. It is true that sometimes we have to change things around a bit, because mother nature just put too much information there. However, to me there is no point in painting plein air if I don’t really paint what’s there. In this case, it was the study of the hills and sky that make the painting. The interaction of it all. How it’s all one! If I change everything, why go out at all? I can take a picture and do all that in the studio.

To get the color and value right it is essential to observe right. The hills have colors of the sky in it and if the clouds are low enough, they will have some of the hill color in it! Notice how the greens change. The shadows, the sunlit parts, the foreground field. All different! I am so blown away by little things like that! It really excites me, such a miracle…well, not really but I find it endlessly fascinating! I can almost feel the scene…

To say it in the simplest most straight forward way: to paint well, all you have to do is observe right, mix the right color with the right value and put it in the right place. Done!

Small on-site sketches…or….little paintings!

I know that Jeremy Lipking and Scott Christensen teach the importance of making small on-site sketches whenever possible. I even heard that in Scott’s plein air workshops, students only get 45 minutes to finish a painting on each location visited! When some of the best painters have great advice, it certainly is a good idea to consider it!

The advantages are obvious and multi-fold:

  • It may be less intimidating to start a small sketch than a bigger painting.
  • Despite the relatively small size (only 5″x6″ or so), the painting process is the same. You still  need to work out values, color, drawing and edge just like in a bigger piece!
  • You’re going home with 3–6 paintings instead of just one (that you may or may not like).
  • Last but not least, you have multiple on-site sketches from which you can do a bigger studio piece from!

Oh, and here’s another one: often there isn’t enough time to finish before the light changes too much, but it’s almost always possible to finish a 5″x6″ piece. These sketches should really take no longer than 30–45 minutes each, no matter what medium you’re painting in.

I don’t even bother with an underpainting when doing these in oils. Since I am a watercolor guy, I just jot down a few lines with pencil and paint ‘alla prima’ (direct painting). The basic principle for Alla Prima painting is to observe, mix and put down the right amount of paint in the right place with the right value. If possible with little or no adjusting, changing etc.

Easier said than done! Practice, practice, practice!

A Most Songful Stream!

The first picture was the reference photo used to paint ‘A Most Songful Stream’. The location is one of the most visited places in Yosemite National Park, so painting en plein air was out of the question at this spot. Too many people and to make matters worse, this view is from a busy bridge. I thought it would be interesting to see how it was edited and simplified to become more manageable and paint-able!

Notice how the (point-and-shoot) camera always overexposes whites. The water certainly has some whites especially where it cascades down, but it wasn’t nearly as bleached out as in the picture.

I have added mist from the main falls which are located behind the dark trees on the right. I have also added a few bigger boulders as a foreground. The trees on the left side were given less attention as they don’t add much to the painting. I simplified the rocks so as not to over-model them and lastly, I added some dappled lights in the darker sections.

By painting sections this seemingly complicated scene can be painted effectively. Still, it is not an easy painting. I always look for the light and dark patterns and exaggerate them, that way I maintain a clear light path and order in my paintings. With flowing water, I try to pick up on its energy and make use of that as well.

This painting will be part of the first Annual Waterworks Exhibition at Laguna Plein Air Painters Association, May 1 to June 5. Please visit if you’re in the area! Click for more information.

Click to see this as an animation and more of my work on Instagram.

Now that winter’s over, it’s time for all-day plein air! My students have asked what equipment I use, so here it is for you: I use Daniel Smith pigments and Arches watercolor blocks. I paint with DaVinci Casaneo brushes using a Holbein Metal Palette 500. My portable/travel set-up includes the Sienna Plein Air Artist Pochade Box Easel, size Medium and the Sienna Tripod Easel. If you have any questions, please feel free to ask.

#WorkshopWednesday

Just a short public service announcement today: Please join me (if you can, barring the weather) next week at Yosemite National Park for my annual workshop! With budget cuts and poor funding being a stark reality for our national parks, I am proud to support this beautiful California landmark and climbers’ paradise in whatever way possible. Proceeds from class fees, materials purchases from the Art Center, and sales from my paintings go to The Yosemite Conservancy. I hope to see you there!

Read my past entries on Yosemite here.

Elsewhere (click to read):

Frank Eber workshop in Yosemite National Park

Yosemite Conservancy Blog

Frank Eber workshop in Yosemite National Park

Yosemite Conservancy on Facebook

Frank Eber workshop in Yosemite National Park

Yosemite Conservancy on Twitter

Frank Eber on Instagram