The California Art Club and American Watercolor Society

I’m pleased to announce that my work will be part of two major shows this spring!

Last Light on Middle Cathedral will be part of the 150th Annual Exhibition of the American Watercolor Society in New York City, April 3–22, at the Salmagundi Club, 5th Avenue, in Manhattan, New York. The paintings That’s My Luggage! and Moods of Stavanger were juried into the 106th Annual Exhibition of the California Art Club, April 9–30 at the Autry Museum of the West in Los Angeles, California.

If you’re in the area, please stop by and have a look-see! Thanks so much!

Color harmony

Happy New Year, Everyone!

Today I thought I will post about color. Using color in a painting is a very powerful way to make a statement, but it’s complex nature makes it hard to understand. Color, like value, only makes sense in context. A color by itself has no meaning. Now, there is this concept that all colors are inherently warm or cool but that only makes sense if we compare it to other colors of the color spectrum. Let’s say you’re only looking at cadmium yellow, cadmium orange and cadmium red. Which one is warmer? You see where I am getting at? If we compare it to Cobalt Blue, then those colors are much warmer.

Many painters rely on formulas, mixes they fall back on no matter what is being painted. While I agree that certain colors are used more than others (simply because they do mix well with others), using general formulas for every painting is not going to work if we are truly painting what’s in front of us. (Just to be clear, I am talking about the experience of painting from life here.)
Here’s why: Predetermined color schemes do not produce an authentic version of the harmony in a subject matter. You cannot predict the colors that will be needed in a painting. Your own perception is going to dictate what you will use. How will you know what you will be seeing before you see it?

Understanding the phenomenon of color temperature is key to painting well. Colors do appear either warmer or cooler than their adjacent colors (!) The temperature of any color changes when we lighten or darken it, when the adjacent color changes, or when another color is being mixed into it. As if that’s not enough, colors change when the light on them changes. I remember when I was maybe 10 years old and tried to paint the hair of a blond woman, painting an acrylic portrait. I tried and tried but I just didn’t get it right. What I neglected to see was that she was standing under and next to green palm trees. Her hair picked up the green sheen of the palm trees! Of course it would! It was very subtle, but I didn’t see it because I didn’t look right! Her hair, the way I painted it, looked out of place!
How could you ever paint this correctly if you come into the painting with a predetermined color mix for blond hair?

Only by painting many paintings will we learn about subtleties like this. There just isn’t a good substitute for the real thing. Go out and do it. Paint from life!

Plein Air Magazine Dec/Jan 2017

I am very pleased to be one of the featured artists in this month’ Plein Air Magazine! It is a four page article featuring an interview (done by phone) where I talk about my painting process and philosophy as well as some of my paintings. I want to thank the editor Steve Doherty, for including my work! The magazine is available at Barnes and Nobles book stores.

The cost of fine art and why there are no prices on my website

Every now and then I am getting an email from someone who is interest in buying a painting. While I think that’s very nice, I will have to explain a few things since most lay people do not know much about art or the art market.

Purchasing original fine art is not cheap. Most collectors constantly watch for up and coming artists and purchase their work early as it gets higher and higher once an artist is established and working with high end galleries. Original art means there’s only one unique painting and usually no reproductions unless otherwise noted. So why is art expensive?

Great question! The price of art is closely related to the reputation of an artist. The work of a nationally known artist will fetch a higher price than the work of someone in a local art association. Dead people’s work is much higher simply because they no longer produce new art. Unfortunately, the price of art has nothing to do with ‘how good’ the work is. There are artists who are great self marketers and despite being poor painters, they are selling at high prices. Anything can be art. The word ‘art’ is not protected or even well defined, just like the word ‘natural’ in the food industry. But I digress…

I thought it would be a good idea to break down costs so everybody can easily understand why paintings cost what they cost. On a side note, there are artists out there who overestimate their value, but also some that underestimate their worth. It can go both ways.

Anyone who works with galleries (like myself) is not underselling their galleries. That would be very unwise but I know some people do it regardless. What that means is to sell a painting directly for much cheaper than what it would sell in the gallery. If the gallery gets wind of it, they won’t be happy and in all likelihood drop the artist.

Galleries do work for us. They promote us and give us space so we can properly showcase our art. Where else can you go see art? The only other place is a museum or sometimes when an artist has an open studio sale.

Social media or the internet in general is not a good place since you can’t trust what you’re seeing. How would you know what you’re getting unless you are personally familiar with the artists work? I’d be very careful as there are artists who ‘doctor’ their paintings in photoshop software to ‘enhance’ the look of it. Besides, most people would have to see what impact a painting has and that can only be done in real life.

Furthermore, reputable fine art galleries have mailing lists of collectors that many artists can just dream about. Most artists have mailing lists with other artists on them. (who want to paint like them)

The price of a painting has several factors included.

1.The percentage the gallery takes (between 40 and even 70% in San Francisco) Yes, they take that much! Nowadays, 50% is pretty common.

2.The time and years spent on art education, i.e. going to art academy or other schools, taking workshops or whatever other formal training there was where considerable money was spent as a long term investment. (Comparable to what a lawyer charges you just to see you and their rate is much higher)

3.Costs of materials. Not that much but it has to go in

4.Cost of framing. No, the gallery usually does not frame our pictures. We do.

5.Cost of shipping to gallery. Unless we can drop off our work, we have to factor in shipping costs. I work with a gallery in North Carolina and live in California. UPS has just raised their rates again by almost 20% for my type of shipping.

Lastly, at the end of the year we have to pay taxes. Every painting will be taxed with federal tax.

Here’s an example: Let’s say the painting costs $1800 in a gallery (not too high, not too low, pretty average price)

50% for the gallery: $900 = $900
Time spent for education: $100 = $800
Art materials: $40 to $50= $750
Framing costs: $150 to $200= $550
Shipping costs: $50= $500
Tax: $25= $475

So, on a painting priced $1800, the artist might get approx. $475. If the gallery percentage is higher, it’s of course less. (Note: these are approximations, some may be higher or lower)

So, why are there no prices on my website?

The reason I am not putting prices is simple and my personal choice: I don’t want anybody to know who just visits my site. If someone is really interested in buying, they will go through the ‘trouble’ of sending me an email. Some artists come to my blog and website basically just to get information. While there’s nothing wrong with that, I have control over what information about my art should be public and what shouldn’t be. Another good reason is as stated above, the artwork will become more valuable as the reputation of the artist grows. We sell lower when we are first starting out. It’s just like in any other professional field, i.e. musicians, athletes etc.

This should help clear some of the confusion. Many artists offer payment plans. We are well aware that not many people have money piled up at home. Life itself is expensive enough.

Would I ever sell directly? Yes, I would but only unframed works and with all the above considerations. For pricing, please email me at eberdotfrankatgmaildotcom

Design in painting

A painting starts in our heads. An idea or something we see that ignites our inspiration. Then the design part follows, which means placing shapes and objects in a way that makes sense. We need to consider how to divide the space, how the patterns and lines relate, what to leave in and what to leave out.
The editing process can be quite difficult since nature usually supplies too much information.
For me, the best way is to ask myself whether the object supports what I want to show or not. If I am not sure, I usually leave it out.

Developing a focal point is certainly important but we wary of rules of any kind: there are plenty of ‘don’t do this, do that’ rules out there that were, over the course of painting history, often ignored by successful painters. In fact, the rule breakers were often times trail blazers for something new. Andrew Wyeth’s work (again!) comes to mind. I remember one painting where he put the subject (the girl he painted) on the bottom edge of the painting and cropping her half off. Yet, his painting worked just fine.

Following painting rules too closely can inhibit one’s creativity. Am I saying there are no rules? Not really. When we look at a painting we certainly know whether the design works or not. It’s easy to see when it doesn’t work. However, sometimes paintings don’t have large simple patterns, strong and connecting lines or the lightest and darkest values right where the focal point is. Yet they look amazing!

The only right place to put a focal point is where ‘you’ like to see it, not where a teacher told you because some lines intersect. Again, that may work but if you find another solution I would recommend going with that. It’s your painting, not theirs..

Having ‘a path through the painting’ is another tricky thing that may or may not work. There’s absolutely no guarantee that a person looking at the work will see it the way you see it.
I think educating ourselves about design is important. We need to know what has been done and what works. It’s a good idea to analyze paintings you really like and try to figure out ‘why’ you like them.
Once you know you can add those aspects to your own painting!

A week in Yosemite!

Once again I supported the Yosemite conservancy art program by teaching free classes for almost a week. In return, I got to stay in this magical place for free. Still a good deal, considering that the lodge is still $250 per night even this late in the season! Even without it, I feel good about giving back a bit and sharing my art with people who might not be able to afford a workshop.
My classes were filled every day and, despite some rain storms we had a wonderful time! Archer liked it also, even though he looks a bit apprehensive when we stopped at Tunnel view!

During my week of outside teaching I noticed that many students don’t understand the concept of color harmony. Many paint a blue sky, green trees and yellow grass creating ‘sectional paintings’ where one area has no relationship with the other. The results often look amateurish or child-like.

The key is to limit the palette to mostly primaries and be aware that every color has a bit of the other colors in it too. If you have a red barn in a green field it sticks out like a sore thumb, but if you put a little bit of that red in the grass and a little bit of that green into the barn, it looks much more natural and beautiful.

Lastly, there is a so-called super color in every painting. The color that sets the mood of whatever it is you’re painting. It can be found throughout the picture and helps to make the work look more unified.

Breaking the rules!

We’ve all learned painting rules during our Academic training or in workshops when we started out.
I always remember Kevin McPherson’s famous line: ‘Black in sunlight is lighter than white in shadows’. The other famous one which I can’t remember right now who said it: ‘the darkest light in the light has to be lighter than the lightest dark in the shadow. Keep the light and dark tonal ranges separate to show realistic form.’

How come there are so many paintings out there where those rules are seemingly disregarded?

That’s what Andrew Wyeth called ‘going beyond the facts’. Looking at the images below it’s easy to see that the value range in these pictures must’ve been at least partly invented. The tall foreground grass is too dark even though it’s obviously in the sun and the back hill is way dark for a more dramatic effect.

wyeth

wyeth2

 

It’s even more obvious in the second image: why are the blanket and the flower patch on the lower right so dark even though they are obviously in the sunlight?

The best answer is simply that art should be about expression and that fact is often completely forgotten or missed by many painters. I think it has to do with the fact that the general public judges art by how realistic it is painted. You often hear the phrase: oh wow, that looks just like a photograph. Like that’s the best thing ever! To some that is more of an insult than a compliment (harshly spoken of course) because what is the ARTISTIC point of copying something verbatim, even if you achieve photo realism? What message is the painting carrying? Where’s your personality in it?

Having said that, most artists start out that way. We are obsessed with copying it the way it is and that’s ok. It is a process and we develop and grow as artists. Further along in our art endeavor we might ask ourselves ‘what am I trying to say’, ‘why do I paint this scene’ and ‘what would my message be’?

I continue to go through phases like that. Sometimes a painting I paint looks overly realistic to me and then I don’t really like it. Sometimes it has a painterly quality or feel to it and still looks real (but only if you step back) and I like that best!

Check out this image I found of Wyeth painting on top of his jeep. Super cool! I love how the watercolors drip down the hood and of course the puppy patiently waiting in the car! My dog would try to climb onto my lap making painting impossible!

andrew-wyeth-plein-air2