Category Archives: Random Thoughts

Painting in a Series: San Francisco Moonrises

“Theme and variation is simply the combination into a single principle of the effects of contrast and repetition.  Once a theme is stated, it may then be given a series of restatements, each recognizably the same, though each work a variation on the theme”

John F.A. Taylor

What does it mean to paint a series?

Have you explored creating art by working a theme into a series?  Doing so can improve your skills and sales.

Over time, I’ve slowing grown to appreciate the value of painting in a series.  Perhaps a turning point was when my local art museum exhibited Monet’s series from his gardens, including his water lily pond, rose archway, gardens and iconic Japanese bridge.  It is telling that Monet focused more on serial painting after he had become successful and was rewarded with the flexibility to create whatever he wanted. He made a deliberate choice to paint this way later in life.

Unless you paint as a photo realist, you are making subjective choices in every painting.  Art is a subjective endeavor. Painting in a series that constricts the subject gives the artist the opportunity to explore subjective artistic choices to look at the subject in new ways. In this way, it builds creativity muscle.

Here are some examples of other art forms that use a serial format. You can see the value of this is pervasive.

  • Music. In jazz improvisation, a set of chord progressions is analogous to the subject in a series, and provide the context for experimentation.  Like a painting series, each improvisation performance is unique, but made consistent by a single chord progression.
  • Television. In a television series, a foundation of characters forms the basis for exploring different situations. 
  • Painting. One of my favorite series that I study often is Kevin Macphereson’s “Reflections on a Pond,” in which he paints 365 views of his pond. Jean Stern said of this book, “Kevin’s goal was for the subject to be secondary to the momentary conditions that affect it,” conditions such as weather, time of day and light.

Why paint a series?

  • Deepen Subject Understanding. There is tremendous value in reducing the complexity of making art.  Making fewer choices and focusing on decisions that matter (subtlety, color, etc.) allows the artist to explore the subject of a theme more deeply.  Series are paths to discovery, the essence of creation.
  • Foster the Eye. The challenge of discovering or inventing variations on a theme forces you to create differences within a context, such as the painting’s subject (e.g., for Monet, haystacks).  This helps the artist develop subtlety and train the eye to see new things.
  • Improving Sales. While I have no research to back this up, I think there’s a sales benefit. It’s interesting how a buyer’s thinking works.  Viewing a series, I believe they begin an internal process of judging which among the series they like best.  It simplifies their choice.  Rather than choosing between a seascape and a cityscape for example, they are given a narrowed path to make a purchase decision. Also, this kind of work demonstrates your depth as an artist, that you can see the same subject and represent it in a myriad of ways. This increases the buyer’s confidence that you have the breadth of skills to succeed long term, making you a good investment.
  • Studio Work. And finally, a series of smaller works can be a form of exploration for larger studio work.

How to paint in a series

  • Start with an Objective. There are typically two objectives: either to learn new skills (with no intention of showing the work); or developing a series with a sales objective.  For example, living in San Francisco, I’ve painted series’ around an iconic subject that I know will connect with collectors. At other times, I paint this way simply to learn the subject more fully.
  • Choose a Subject. Select a subject and create variables for exploration. For example, in this San Francisco moon rise series, the subject is the rising moon, and I’ve constrained the series by using the same aspect ration (9×12 here), same view (living room window), and proportion of sky to land.  The areas of exploration are color, weather conditions, the position of the moon in the sky and the moon’s size.
  • Rinse and Repeat. Create new variations on your theme until you’ve met your objective.

Painting in a series is a great way to explore any subject and grow as an artist. Share your own experience in comments. For a video of this series with music, click here to go to YouTube, or click the video below.

Seeking Balance in Plein Air Painting

“Isn’t it intensity of thought rather than calmness of touch that we are seeking?  And in impulsive working conditions such as these, out on site and of this nature, is a calm, well-ordered touch always possible? Dear Lord, it seems to me no more so than when on the attack in fencing.” 

Vincent VanGogh in a letter to fell artist John Russell

VanGogh captures perfectly the essence of a struggle plein air painters face: balancing the heart and head in the battle to create art on the spot.  When you’re painting, how do you balance the impulsiveness driven by the excitement of the moment, with a deliberative approach that substitutes intuitive painting for thoughtful—and some would say “tight”–painting?  Or is this a false choice and do both?

Painting and studying with some of the best in our field inform my opinion.  Of those teachers, the great Ken Auster comes to mind.  In short, his approach was that you start with the head (deciding what to paint and why, designing the picture, drawing…), move to the heart (reacting, for creating the kind of expressive brush strokes and sophisticated grays he’s known for) and end with the head to thoughtfully consider the painting from an objective standpoint, and ask yourself, “is it done?” Judge it.

I agree with much of what Ken taught me about this question, but I have a slightly different although complementary take: Painting en plein air is possible through building a solid foundational of skills that make automatic as much of the process as possible in the moment.  

Have you ever commuted home from work, realizing when you got there you were on complete auto-pilot, barely remembering the drive?  That’s what building a skill means to me: having the most complete toolbox of artistic skills so that I can be intuitive and responsive to nature without thinking about it. I want to use my heart completely in a picture.  This is my goal, but I’m not quite there yet.  I’ve worked in the corporate world too many years to escape a structured, self-critical mind. 

But like Ken, I do start and end deliberatively. Perhaps this is my failing, or an essential truth to live with.

This is a painting of mine that represents for me this principle. I started with a careful design—especially large shapes, light and shadow—and switched to a complete intuitive state (athletes call it “the zone”). I skipped the evaluation, self-judgment phase until the next day.  I’m glad I did.  I like it just as it is.

China Cove, Oil on panel, 8x6"
“China Cove”, oil on board, 8×6″, Click for availability.

Using Art to Balance Life

Duboce & Buena Vista Park, Gouache on Paper, 4x6"
Duboce & Buena Vista Park, Gouache on Paper, 4×6″

I’ve enjoyed a long, fulfilling career in Silicon Valley.  It’s an incredibly diverse, constantly changing place and state of mind. It’s easy to be consumed here in a world where creating disruption is your job. It see it everywhere as I walk the city (my favorite past-time). I notice the first-time tourists who see San Francisco through fresh eyes contrasted with the emerging technology class glued to their latest device. Watching them, I ask myself, do they miss the wonder in the eyes of newcomers around them?  Can we maintain curiosity, and see the world anew every day?

As an Industry Analyst at Altimeter Group, my job now is to understand and council others in technology disruption. But I need a constant: a foundation that puts these ceaseless changes in perspective. How can you understand change without understanding the starting point? For me that starts with family of course, but also, seeing and expressing the undeniable beauty around me every day. So, I paint and sketch. Every day. Maybe it’s a “left brain, right brain” thing, but for me, creating something of lasting beauty in a world of ephemeral apps, devices and marketing campaigns gives me the foundation I need to notice. And noticing—being aware—is the first step in understanding the world as it is and can be.

Sunrise or sunset?

Whether this is a sunrise or sunset depends upon your perspective, however, I think it’s a false choice.  It’s not one or the other–it’s both.  It’s sunset in San Miguel de Allende and sunrise in somewhere else. I find this same truth in life all the time, and I try to recognize it when it happens so I can see both sides of any situation.  Enjoy!

Sunset (San Miguel de Allende), Oil on canvas, 12x9"
Sunset (San Miguel de Allende), Oil on canvas, 12×9″

Big Sur Mountians

Our life is frittered away by detail… simplify, simplify.
Henry David Thoreau

One of the challenges I (and I know many other landscape painters face) is learning how to simplify.  Capturing the essence of your subject with as few marks or shapes as possible makes for a strong design (one you can read across the room) and in general makes a stronger statement.  I love this example of how Picasso evolved the drawing of a bull from a detailed representation to just a few lines.

To work on this skill, I selected a reference photo with as few shapes and color variations as possible.  This painting was done from a reference photo I took in Big Sur, CA.  Notice in this study how there are very few shapes and only about 7 main color mixtures.  I could have rendered this more fully and modeled the clouds or other shapes, but I think (at least for this composition and study) it would have detracted from the impression.  Of course, this is also somewhat a matter of personal taste.  It fits the bill for me, as I strive towards more abstraction in my work. Simplification is part of that path.

Big Sur Mountains, Oil on Linen, 12x9  (Big Sur, CA)
Big Sur Mountains, Oil on Linen, 12×9

 

Chase

This painting of Timberfield model Chase sat in my studio for a while, unfinished (I thought). I like to work “ala prima”, wet into wet. I wasn’t able to finish this one that way, so it sat a few weeks. But it grew on me as is, so here it is.

Chase

This painting is an exploration. Art is a viable pursuit for me as long as I have the opportunity to push myself through experimentation and growth. Having just finished Door County Plein Air, I was reminded that I need to avoid creating works that veer on “trite”. Yes, I like to capture beauty, but I want to create works that are more intellectually stimulating. That’s how music evolved from Bach to Portishead :-).

Pushing the viewer by capturing images that are beautiful (in an abstract way), yet have mystery–and maybe confusion–is a direction I’m exploring. This is one example. When you see this image, what do you think?

What you don’t see, is that Chase is jumping out of a tree, so his body is contorted in an unusual way, you don’t see the tree, but you probably get some sense of movement. This is similar to Robert Longo’s “Men in the city” series, who I recall used to photograph his models while throwing rubber balls or rocks at them.  Their contorted bodies made for an interesting subject, and without the balls for needed context, the viewer wonders what instigated the movement.  Mystery in art…it’s a good thing.

Boy on Dock

Yes, I took another day off today while painting the Big Sur area (the “game” was called off due to rain), but I did find this recent figure study to entertain you.

On second look, it’s a bit dark, but I did want to use saturated colors in light, which does force the darks down a bit. Anyway, I hope you enjoy it. My goal with this one was to capture late afternon light on skin, and to play with thick paint near abstraction. Enjoy!

Boy on Dock, Oil on Linen, 6x8

Turbulent Times

It’s been a turbulent few weeks, so I’ve not painted much.

Spoiler alert: this story does have a happy ending. Some of you may know I was diagnosed with cancer in July. I had a rare malignant tumor in my ear canal. After 2 painful operations–one that completely reconstructed my canal–I was told I still wasn’t in the clear. If you’ve gone through something like this, you know how it can make you re-assess life and your priorities. In fact, a similar health scare in 2000 is what propelled me into art. Without a clear end, I decided to get a third opinion, Dr. Jack Resneck at UCSF. In our first meeting I formed an opinion of him as a careful, thoughtful doctor. He believed the diagnosis was rare enough that a re-test of all my biopsies and tumor were in order. I got the good news the week before Thanksgiving: I didn’t have cancer! The growth was benign. I was relieved and pissed off at the same time, but thankful in the end that the treatment could end and I don’t have to worry about it. I’ve lost a bit of hearing in that ear, and have some scars, but I’ll take that over the alternative.

An hour after I got the good news (while at work) that my tumor was benign, I got a call from my husband, Mike: his mother was dying. Talk about a roller-coaster. We both left work right away, and we made it to her bedside less than 24 hours before she passed. It was very sad, but she’d been suffering for some time, and was ready. She was really terrific. We’ll miss her.

Amy Estrada, 1929-2009
Amy Estrada, 1929-2009

And yes, there is finally a painting. I’m trying to get life back to normal.

This was done from a reference photo of Avila Beach, while I was there painting for San Luis Obispo Plein Air this year. The “golden hour” light was striking the rocks like fire. It was quite a site. Enjoy!

Cliffs at Avila Beach (Golden Hour), Oil on Canvas, 8x10
Cliffs at Avila Beach (Golden Hour), Oil on Canvas, 8x10

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Painting the Sky

Painting the sky is so much fun!  There’s a natural synergy between that subject and the tools of the painter, especially the brush.  The right-shaped brush can render the sky naturally, and the fluidity of paint adds to this perfect fit between subject and materials.  They’re also among the best subjects to create compelling compositions, because there are so few rules of structure that dictate them.  You can use clouds and openings in the sky as compositional devices. (BTW, I even found a “Cloud Appreciation Society”, with a section dedicated to painters!)

Some of my own favorite sky paintings include Casa Cosmos Sunet #3, San Luis Obispo Marsh, Colorado Drama, and Cloud Burst (Lake Tahoe).  Some of my favorite painters of the sky include Deborah Paris, Kevin Macpherson, Marc Hanson, Mark Kerckhoff, Terry DeLapp, and William Wray.

With my series of “high key” paintings, I’m painting subtle color/temperature transitions, which I think shows in this piece.

Sunset Calm, Oil on Linen, 12×16″

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Our Wedding Day!

No art, today: after almost 20 years together, Mike and I decided to make it official.  Surrounded by friends and family (and CBS News, yikes!) we were married in a civil ceremony at San Francisco City Hall, where the same-sex marriage in California began.

Ed & Mike, Wedding Day, San Francisco City Hall

I hope you’ll join us in opposing Proposition 8, the California ballot measure that would deny marriage rights to same-sex couples.  We were interviewed by CBS News after (and they filmed the ceremony), so who knows, we could become the “Joe the Plumber” of same-sex married couples!
You’ll find our online wedding album here.  Enjoy!

Update: our wedding kiss is part of this CBS Evening News segment on Proposition 8.

Playing with abstraction

One of my top few observations from being a painter is the importance of abstraction. Although I’m primarily a representational painter, a painting ultimately succeeds or fails based on abstract qualities, especially design.

I painted this study in a loose abstract manner, without my eye glasses. This helps me accurately record color and value, as our mind has a way of convincing me of things that aren’t always true (eg, that grass is green, the sky is blue). Towards the end of the painting, I pull it back in to a representational state bty adding a details/lines that “pull it together”. I didn’t do that here. I paused at this point, and thought, why not, it works as it is now: a pleasing combination of color and shapes.

Hmmm….I may fast becoming an abstract painter. Oh well, it’s what’s selling 🙂

Beach Canyon Abstract – Oil on Linen – 8×10