All posts by Ed Terpening

Artst, blogger

new coastal paintings

On the way to and back from my recent solo show in San Francisco I stopped at Pacific Grove (and other spots) to paint plein air, capturing natural light in what was a beautiful week. I hope you enjoy these new works. All available online unframed (reach out to me if you’d like a price quoted for framed works).

Pacific Grove Bluffs, Oil on board, 12x9
Pacific Grove Bluffs, Oil on board, 12×9

$325


Pacific Grove Color Study, Seascape, Oil on wood, 8x8
Pacific Grove Color Study, Seascape, Oil on wood, 8×8

$200


Pacific Grove Rocks & Surf, Seascape, Oil on board, 10x10
Pacific Grove Rocks & Surf, Oil on board, 10×10

$325

2037 Pacific Grove Light Study, Seascape, Oil on board, 8x8
Pacific Grove Light Study, Oil on board, 8×8

$200


Shell Beach,Seascape, Oil on board, 9x12
Shell Beach, Oil on board, 9×12

$325

Thank you!

To be honest, solo shows are a bit stressful (and a lot of work), but everything went so well! Thank you to all who were able to attend in person, and the messages from many on social media commenting on my work. Perhaps I’ll do this again next year, but in the meantime, Spark Arts in San Francisco continues to represent me, as well as the Buenaventura Art Association gallery in Ventura.  Also, a heads-up that I’ll be exhibiting portraits of local San Francisco Trans community members, opening May 11.  I’ll post about that soon.

Cheers!

-Ed

Spark Arts Opening Reception, 2019
Spark Arts Opening Reception, 2019. Ed Terpening.

Painting with Purpose: Color Spots

The problems most growing artists try to solve often boils down to a lack of singular purpose. For example, a common question plein air painters ask is, “how much time should I take seeking a location to paint?” I’ve been there, all too often taking longer to find a scene than painting—a frustrating experience I know many of us share.

Seemingly simple questions never have simple answers, but the solution depends on the goal for going out: are you out painting today to work on a particular technical skill, like color or drawing?  To prepare for a show?  To commune with fellow painters?  Do it all?  When I go out, even though like anyone I’d prefer to be inspired by a scene, I: choose a goal; quickly narrow my visual choices to achieve that goal; and then focus on it alone.

The most common goal for me is understanding natural light, and with that, accepting the constraints of plein air painting. Most of the time, we only have about 90 minutes to finish a picture before the natural light shifts to the point where the scene has changed enough to require a new start. The skills I’m most focused on is composition and color—and sometimes just one of the two. I try not to expect too much from one 90-minute painting: draftsmanship, color, selling, or winning a competition (or “likes” on social media).

Plein air painting is an essential tool for understanding natural light. When I judge a show, I can easily distinguish between a painting that captures natural light and one where the artist spent too much time and “followed the light” too far, for example, spending 3 hours on a scene where the light has moved far past the original light moment. To illustrate this, I’m sharing two plein air studies where I had the singular purpose of capturing the effect of light. Capturing light can be achieved by mixing small, exact color spots. I learned this from reading Charles Hawthorne.

Charles Hawthorne understood how to capture natural light through color spots. If you’re a plein air painter and haven’t read “Hawthorne on Painting,” by Charles Webster Hawthorne, you’re missing out!  Buy his wisdom immediately!  He describes an essential truth in painting in general, but especially true of plein air,

“Painting is the mechanics of putting one spot of color next to another. That’s the fundamental thing.”

This is a simple, essential truth often missed by painters who expect too much from a single painting session.

Here’s a color spot example. I was out on a beautifully clear day in San Francisco, a city where subjects to paint are endless. I ended up at a favorite, Crissy Field, where I could have painted architecture (including the Golden Gate Bridge), beachcombers, rocks and surf, long city views, hillsides, etc, but I was struck immediately by the dramatic color of this building. 

I started a color notes journey by painting small color spots for each element: the main structure walls in light and shadow; roof; lawn; sky and distant bay water behind the building (see below).  I didn’t fill in the broad shapes of color until each spot related first to each other.  And if one color note was off (I first painted the roof too dark), there’s a domino effect and adjacent colors notes change too. In this study, I repainted the sky color spot several times after all the other spots related correctly.

Color Spots Example, Crissy Field, San Francisco. This picture is a grey scale version with highlighted color spots used to seek the representation of natural light.
Color Spots Example, Crissy Field, San Francisco. This picture is a grey scale version with highlighted color spots used to seek the representation of natural light.
Finished color study of Crissy Field, San Francisco. Oil on wood, 8x10"
Finished color study of Crissy Field, San Francisco. Oil on wood, 8×10″

To keep focus, you’ll notice the building has no windows or doors.  Of course, it actually has, but painting that detail would have taken time away from my singular goal.  Having captured these key colors in this study I can later paint a larger studio work that includes this detail, but there was no need to do so in the 90 minutes I took to capture color notes here.

This is another example, a Pacific Grove scene of color notes I painted last week.

Give it a try, let me know how you do!  Also, to capture accurate color notes, refer back to this post on how I mix color outdoors.

January San Francisco Show

I will be showing the landscapel below at the Harvey Milk Photo Center January 8-February 7 with Art Saves Lives, curated by Thomasina DeMaio. The reception will be held January 18th, with live music featuring the incredible Tribal Baroque! It will be an amazing reception, hope to see you there.

  • What: Winter Exhibition
  • Where: Harvey Milk Photo Center, 50 Scott Street, San Francisco, CA
  • When:
    • Reception: January 18th, 6-9pm
    • Show runs January 8-February 7

Padre Place Color Study

Padre Place Color Study
12×9 inches
$575


Montana de Oro (Last Light)

Montana de Oro (Last Light)
9×12 inches 
$525


Ragged Point Sunset
9×12 inches 
$750


Show at Spark Arts

Spark Arts Gallery in San Francisco is a great arts community hub for shows, teaching and all kinds of events.  This community show sponsored by ArtSavesLives opens Thursday, December 6th as part of the Castro’s Art Walk. Curated by Thomasina DeMaio, the show includes a wide variety of local artists, including Anthony AnchundoAdam EisendrathAlexander PrestiaBilly DouglasCarl LinkhartCJ SchakeMichael LownieDavid ChristensenRené CaponeGregory ConoverHank StrohbeckJack Mattingly, John FarnsworthLiam PetersMatt PipesMike Pierce, and Steven Pomeroy.

You’ll see my paintings below, and can purchase at anytime here online. The show runs through December.

Where: Spark Arts, 4229 18th St, San Francisco, CA 94114
When: Reception Thursday, December 6th, 6:00-9:30PM, shows runs through December.


Bay View From Park Hill

Bay View From Park Hill
14×7 inches, Original Oil on Panel, Framed
$325

 


Castro Bag Lady
10×10 inches, Framed, Original Oil on Panel
$325

 


Park Meetup
The Conversation (GGP)

16×12 inches, Framed, Original Oil on Linen
$450

 


Riverbed #2
Riverbed #2

9×12 inches, Framed, Original Oil on Canvas, 9×12 inches
$175 

 


From my popular “Beach Men” series:

Ventura Beach Men 5 Asleep with Stripes
Ventura Beach Men #5 (Asleep with Stripes)

6×6 inches, Original Oil on Board, Unframed
$125  

 


 

Ventura Beach Men 4 Green Backpack
Ventura Beach Men 4 Green Backpack

6×6 inches, Original Oil on Panel, Unframed
$125 

 


 

Ventura Beach Men 3 T Shirt

Ventura Beach Men 3 T Shirt 
6×6″, Original Oil on Panel, Unframed
$125

 


 

Ventura Beach Men 2 Yellow Shorts
Ventura Beach Men 2 Yellow Shorts

6×6 inches, Original Oil on Panel, Unframed
$125 

Anchoring Abstraction

Impressionistic realism has been the foundation of my art for many years, but that’s starting to change as I explore mixing identifiable forms that are relatable to abstract forms that work on a different level. Abstract art has merit, but I hadn’t pursued it until now because I struggled with how to communicate with it.

Recent Abstract Experiment: Mission Dolore Park, Oil on board, 11x14
Recent Abstract Experiment: Mission Dolore Park, Oil on board, 11×14

For me, the human figure is the most relevant symbolic subject in art.  People are complex: outwardly transparent, but inwardly hidden.  We respond to the Mona Lisa because while her body is drawn to perfection, her veiled thoughts through her smile intrigues us and draws us to this painting.  So how can a painting be both approachable and mysterious?

Fast forward 450 years from Leonardo da Vinci’s Mona Lisa to the 1950’s Bay Area Figurative movement (lead by David Park), when an intriguing fusion of figurative art combined with Abstract Expressionism. Painters in this school ( David ParkRichard Diebenkorn, Elmer BischoffWayne Thiebaud…) had different reasons for mixing figurative representation and abstraction, but many found a dead end in Abstract Expressionism’s ability to communicate. They resisted being constrained by a formal “school”, but instead believed in taking freely from both figurative and abstract traditions.

I’m working on a series now that uses the figure as an anchor, like this movement.  In one of these paintings (“Green Shorts”, below), a solitary figure stares out at an abstracted plane, resembling the sea. (or, is it a clouded sky?).

"Green Shorts", oil on board, 16x12"
“Green Shorts”, oil on board, 16×12″

The figure is used as an entrance into this world of sunshine and contemplation.  He stands on the picture plane as if an observer himself to the alternating bands of blues, violets and grays.  It’s designed in such a way that his surroundings are open to interpretation: he could be in a museum (barefoot—probably not allowed!) surrounded by a large painting himself.

I had a lot of fun with this one.  While the reference photo I used is in fact of a man at the beach, the viewer can have fun with this and imagine other scenarios. For example, he could be standing on flat land, looking out at distant snow-capped hills, sky, and clouds above.  If you were not told this was the sea, could you see alternative realities like this for his view?

This ambiguity is what interests me, because I believe strongly that the best art requires participation by the viewer. Just as decoding the Mona Lisa’s thoughts are the viewer’s creation, I seek to give the viewer the opportunity to find their own meaning. This makes the painting theirs through co-creation between viewer and artist.

So that’s what I’m working on.  It is fun creating these worlds, but not easy—art never is!

Postscript: This series will probably be shown in San Francisco at Spark Arts, in April, but specifics TBD.

Upcoming Color & Design Workshop

I will be leading a 2 hour color and design workshop in San Francisco on Saturday, May 19, 10am-Noon.  It is free.  No need to bring materials, this is a 2-hour slideshow discussion. In this donation-based class, you’ll learn and discuss with other artists:

How to design a picture space

Color & design technique

Resources for learning more

Elements of color design

Optional critique, bring your work

Over 100 inspirational examples

Join us at AHF / Art Saves Lives Gallery, 518 Castro St, Saturday, May 19, 10am-Noon, FREE.  Register here on Facebook.

San Luis Obispo Show: Painting on the Buchon Trail

“For a few weeks in August, 1976, Hollywood magic flipped the coasts of the United States and transformed the coast south of Moñtana de Oro State Park into Passamaquoddy, Maine. A lighthouse was built near Point Buchon as  part of Pete’s Dragon, the most expensive Walt Disney production to date.”  So reported local papers as Disney built a lighthouse on the Buchon Trail, the subject of a new show at the San Luis Obispo Museum of Art October 5-8.  I’m honored to be one of several invited artists invited to capture this landscape “en plein air” for a show of paintings fresh off the easel. The gallery above shows some of the paintings I plan to hang.

This incredible coastal area was only opened to the public a few years ago, and as far as I know, this is the first show dedicated to the unspoiled beauty of this land.  Being there last week, driven with my painting equipment in a 4-wheel drive on seldom used private dirt roads, I had a chance to see how the earliest Native Americans and their Spanish invaders witnessed an unspoiled California coast.

If you’re an artist or collector, chances are you’ve seen countless paintings of Laguna Beach, Point Lobos or Morro Bay–but you’re unlikely to  have seen this incredible landscape chosen by Disney studios to amaze movie goers.

And it is an amazing landscape.  Of particular interest (which I’m not posting here–come to the show and see it!) are the large rock stacks just off shore that are considered the “Stonehenge of the Pacific.”  They really are incredible, and I had a great time painting them to prepare for the show with fellow artists.  Several of us painted these icons, and they’re each unique.  Come see what each artist saw.

So, join us, by either viewing the show at the museum, and/or watching the artists (including me) paint the area live.  As a bonus, the proceeds from the show will help fund this local icon of Central Coast arts, the San Luis Obispo Museum of Art.  Click here for more detail, if you come, say hello!

Moss Beach

This is one of my favorite places to paint.  It’s nearby, and has many of the features of far away (well, 1.5 hours) Point Lobos.  I’ve been painting gouache studies recently for ease of travel, and they translate well to oil, being opaque.  I like this study and will–someday–paint a large studio version.  The ArtSavesLives gallery has offered me a solo show, so perhaps sometime in 2017.  For now, this is available on my Facebook Store here, framed for $300.

Moss Beach (late afternoon, plein air), gouache on paper, 8x8"
Moss Beach (late afternoon, plein air), gouache on paper, 8×8″

Palm Springs Plein Air

I had a great time painting plein air in Palm Springs last weekend!  I need to get back soon.  The combination of blazing, clear light; nature; and modern architecture make it a great destination for plein air painters.  Enjoy!

Indian Canyons (Palm Springs), Gouache on paper, 8x6"
Indian Canyons (Palm Springs), Gouache on paper, 8×6″

"Chilis Retreat, Palm Springs", gouache on paper, 8x6"
“Chilis Retreat, Palm Springs”, gouache on paper, 8×6″

"Chili's Retreat, by the pool (Palm Springs), Gouache on paper, 6x6"
“Chili’s Retreat, by the pool (Palm Springs), Gouache on paper, 6×6”