Horses!

Drawing and painting horses is a challenge. Horse anatomy is quite difficult. One of the mistakes I always did was to make the neck too short and the body, or the flank, too long. Most important is to get the curves of the rear, the back and the belly right. Often, in landscape painting, the horses we paint are quite small so as long as it looks right, we’re good. It does not actually have to be right. There is a difference! I should trademark that..

As Richard Schmid rightly says, you don’t actually have to know anything about the thing you’re painting. But it is imperative to spend time observing and drawing it! In the end, the only way to fully understand an object, whether it be a horse or a car, is to draw it many, many times.
Only then will we ‘get it’ and I am not talking about intellectually getting what a horse is all about, just referring to drawing skills here. Horses are more challenging to draw than cows, don’t you think?

I recommend charcoal drawing for the simple reason that you can take it anywhere you go. It doesn’t weigh much and it’s a great way to improve drawing skills. I use Faber-Castell Charcoal Pencils and General Pencil Co. Vine Charcoal. These come in different hardnesses, from the super hard to super soft.

Here are a few good links:
~ Think Like A Horse is a great website covering horse anatomy
~ A Horse for Elinor has good pictures of dressage training
~ Equitherapy has horses galore

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Watercolor portraits

Almost like formal portraiture? Not really. While painted somewhat formally, I am mainly experimenting with expressions.

These come from photos I have taken of people on the street. Some look lost in thought, sad, haunted, sometimes expressionless. Commuter robots (comm u-bots). When walking around downtown or places like NY you’ll see them everywhere…

I don’t like photographs of people posing. Especially in portraits you see people pose a lot. They are too aware of the camera. It looks staged. I like the candid photos, where people look more natural, unaware that someone is taking a picture. These portraits are not very big. The face of the girl with the long blond hair is only 3 inches long. The other one is bigger.

As for technique, these take multiple glazes to get the right color and value. Direct painting (alla prima) is, unfortunately, not really possible in watercolor so I normally prefer to do work like this in oil. As in oil painting I only used black, white, cad red, raw sienna and ultramarine blue. That’s it.

It is a nice challenge and these can certainly be improved. Always something to learn! As artists I think it is very important to keep evolving, keep pushing. I am considered a landscape painter in watercolor but I refuse to be put in some drawer. Never be static and predictable. Or known for one thing. It’s too easy to burn out!

The art world is becoming increasingly homogenized. The only way to stand out is to do your own thing, not copy other painters’ styles and subjects. Workshops can help only if you get the guidance to find yourself (your own voice) or at least be helped in that direction. Pick workshops carefully! Ask the venue about the instructor and their teaching style. Don’t fall for reputation. There are some with big names out there but they don’t know how to teach you a thing!

Social media – not what it once was!

Some sold paintings with water. East coast, West coast.

A timely post after discovering this article online. People should know what’s going on and
spread the word about it! I hope you all re-post this!

When I first signed up for Facebook in 2009 (and reluctantly too) I quickly realized that it
could be a great tool as an artist to get my name and work out there. Several of my peers where already on before me and it did good things for them. That was when all of your posts were actually seen by all of your ‘friends’ and their ‘friends’ as well. With time, you could build an ever-growing audience.

That changed a while ago, around the time when the ‘fan pages’ became ‘business pages’
and the advent of paid ads. Facebook made insidious changes to the way posts are seen
on the feed. They switched to an algorithm-based feed, where certain posts are prioritized. In a nutshell: if you pay them money, you’ll have better reach.

It is the same on Instagram now which is, unfortunately, owned by the same people!
You can very well see what this creates: it becomes a numbers game. A world of fake ‘likes’
and ‘followers’ where quality will be sacrificed for quantity. People and companies will do anything to bring their numbers up. It is no longer about the art! People are looking at your social media numbers before they even look at your art!

Another interesting site is here: This page lets you check Facebook pages to find out, by country, where the ‘likes’ / ‘followers’ are based. If a page has a high percentage of likes from India, those are usually bought and most likely not ‘real’ followers.

Interesting times! I am not saying it’s all bad. As artists we absolutely have to be on there and maintain a certain presence. But it is now a far cry from what an app like Instagram was initially created for: A place for art and artists to support each other.

One thing is for sure: they’re not getting any of my money! I’d rather connect to people in the real art world. When it comes to advertising, I think there are better avenues to spend your money than on social media.

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