Category Archives: Technique

The power of subltey

I’ve just finished Kevin MacPherson’s new book, “Reflections on a Pond“, and like all great art books it will be re-read many times until dog-eared and worn.  That’s a complement!  The book contains one painting for every day of the year of the view of a pond outside his home in New Mexico.  Imagine, trying to come up with 365 paintings of the same scene!  He pulls it off, and in so teaches a lesson about observation. 

You can look at the same site, day after day, and see something different.  Of course light changes, weather, and so on–and those changes are obvious.  But the series of images demonstrate how the artist really brings the subject to life, by conveing a point of view, or an emotional response.  I also found the book a good lesson in subtlety.  You can see how incredibly sensitve the artist as by the careful observation and emotion in every paitning.  I’ve been thinking of painting a similar series because I can see there are some real lessons to be learned here.  There’s a good spot off 280/Edgewood Road that I’m considering, although it’s a rest stop, so not open 24×7.  We’ll see.  In the meantime, in the coming weeks, I’ll post some of my own paintings that hopefully show I’ve learend something from this great American master.

Work in Progress


Bean Hollow Painting Animation

I’m often asked about demonstration my process, in order to see how paintings progress. The painting on the left is an example of the progression I can go through. The animation starts with the original painting, then shows the changes I made, in part based no a crtitique by Ted Georschner. In the final painting (which will be in my show opening January 3rd! Plug, plug), I did the following

  1. I darkened significantly the bottom of the painting. This allowed the viewer’s eye to focus where I wanted them to focus, on the golden light lit ice plans on the hillside. Darkening the bottom of a painting like this was also a technique used by Edgar Payne.
  2. I added some trees atop the bluff. This pushed back further the background trees, and it gave me a nice dark to help the ice plants look even more illuminated. An artist will often surround a light with darks to help punch it up. The range of our pigments is a small fraction of that found in light, so we rely on techniques like that to strengthen light.