You can't see the forest for the trees.

Practical Application

Meaning you are focusing on details too much and can't see the "big picture."

With the rush of new growth, this time of year I believe is the hardest time to paint on location in the Midwest. Just so many small fractured and chopped up areas of foliage and sky holes.

It is a struggle to keep masses large and the details subordinated to them. The only answer is to squint at your subject. Squinting-down will simplify detail and value changes, making the big shapes more easily understood.

The only true way to learn this is to stand in nature and put paint on canvas.

“This making of paintings has little to do with instruction and a whole lot to do with sitting in front of a canvas and finding ones own way with paint and brush.”                                    

         Roger Bansemer

Explore - Question - Learn - - Enjoy, Jim

Brush Wallet – Simple methods to transport brushes in the field.

See if this sounds familiar, you just traverse the trail from hell, scrambled over rock and brush with paint box in hand, easel under arm looking for that perfect location. And after hiking to set up at your picturesque destination you find your favorite brush with its hairs mangled and twisted like some 70’s punk rock band or worse it is snapped in two.

Aaaaahahahaaaahahahaaaah

    


     “Aaaaah-ah-ah-aaaah-ah-ah-aaaah!!!!"

The infamous call of the ape man.  When Tarzan found trouble or was distressed, he would let out a blood curdling cry.  Listen Here.
Ok so how do we to stop the transition to a punk rock ape man.

Cut stir sticks to length and cut

notches to guide rubber bands

Here is a quick and simple method I picked up from a faux finisher for protecting a brush in transit, avoiding bristle damage and the dreaded handle “snap”. Grab a handful of stir sticks at your local paint store; the ones with a slight curve in them work best. (As side note that curve is intentional as it is use to help dip into and transfer paint.)

Simple Brush Carrier from rubber bands

 and paint stir sticks.

Anyway, I cut the sticks a few inches longer than the brushes I want to transport and still fit into my color box. Use a small rat tail file and notch the sides to keep the rubber bands in place and sandwich the brushes by doubling up the sticks. That's all there is to it, simple and quick.  

Custom Canvas Brush Wallet

The next method is an all around work horse for keeping brushes safe on trail or in the studio. The only requirement, you need a supportive, loving spouse with a sewing machine. Thank you Linda.

The canvas brush wallet is simple and quick to make, the nice thing about this one (compare to those you purchase) is you can make it any size you want. If you stretch your own canvases you can use left over cotton duck canvas. This one was made from probably 7 oz un-primed material, and was easy to work with.

I just figure out the width by how many slots I think I would like and modify them for larger handles so that I can carry a variety of brush sizes. Also make it long enough to have a flap to cover the brush ends and include one slot on the end that will receive a wood brace (yard stick) that acts like a shield on one end and adds a bit of support.

Wallet rolled with the brush tips safe and handles protected.  

Both methods are great answers for transporting, storing, and protecting your brushes in a backpack, tote bag or paint box. They both do well at keeping the brush tips safe and handles protected. This means you arrive on location with your favorite brushes safe and in good condition, and all you have to deal with is creating your masterpiece.

Explore - Question - Learn - - Enjoy, Jim

Link - 7 of the craziest, most dangerous, most dizzying hikes in the world (VIDEOS)
Tarzan and Edgar Rice Burroughs. 

Gallery Update

If this looks to you like a shameless self promotion, well it is. Sometimes the best way to promote yourself is to remind patrons that work is available for purchase.

Jim Serrett Gallery offers access to my portfolio of available original artworks.

You will find larger studio works in oil offered through this site directly, as well as small scale paintings and studies obtainable through my Etsy Store. Easy access to the gallery is through the above page tab or the “Gallery of Available Works” image in the side bar on the right.

Please visit the gallery and thank you for your support of the arts.

Jim

”An artist is not paid for his labor but for his vision.”

                                                                                           ---  James MacNeill Whistler 

Explore - Question - Learn - - Enjoy, Jim

Winter Landscapes

Snow and ice may not be your favorite image right now, but here in the Southern Midwest the snow brings an entire new drama to what can be a rather mundane landscape, showcasing aspects of the land often overlooked in other seasons.

Painting snow presents a unique challenge compared to other subjects. Sketching a snowscape not only tests your comfort zone but low temperatures can have an adverse effect on your materials. The real challenge however, is that snow is never pure white, it is affected by the sky color and reflections of whatever local color is surrounding it.

There is a whole color spectrum in snow, shadow colors that range from blue to gray-violet and highlights that have subtle color shifts of yellow and even pink.

Combined with contrast of blues, reds and greens of foliage it truly is an entire subject of its own. A person just has to get out and spend time looking closely to see all the true subtleties. Both studies 5x7 in oil on panel.

“Sunshine is delicious, rain is refreshing, wind braces us up, snow is exhilarating; there is really no such thing as bad weather, only different kinds of good weather.”

                                                                                                                    ­              --- JohnRuskin 

Explore - Question - Learn - - Enjoy, Jim

Sycamore on Frozen Lake

With cabin fever setting in, and a small break in the weather, we needed a hike at Murphysboro Lake State Park. Even though most of the snow was gone many of the park roads were still closed, I am guessing until things thaw out from our big freeze.

“A lot of people like snow. 

I find it to be an unnecessary freezing of water.”

                                                                           - Carl Reiner

There are several large sycamores on the lake that are very unique in their appearance. With the variations of white, brown and gray on the bark and the enormous reach of the branches they are majestic trees towering along the shoreline. Against the cold winter sky and frozen lake this tree really was the perfect subject.

Hopefully I captured some of her majesty between shivers.

I frequently tramped eight or ten miles through the deepest snow to keep an appointment with a beech-tree, or a yellow birch, or an old acquaintance among the pines.

                                                                                  -  Henry David Thoreau 

Detail - Sycamore on Frozen lake - Oil on panel

Original full painting  9"x 12"

Explore - Question - Learn - - Enjoy, Jim

Thanks for Listening III

As another year closes I want to express, to all of you, my heart felt appreciation. Thank you for your support and encouragement, it's been a great year.

And to my loving wife, Linda there is no words that can express my appreciation and love for you. Happy Anniversary.

So, I'll finish this thought with these fine words...

To laugh often and much;

to win the respect of intelligent people

and the affection of children;

to earn the appreciation of honest critics

and endure the betrayal of false friends;

to appreciate beauty; to find the best in others;

to leave the world a bit better

whether by a healthy child, a garden patch,

or a redeemed social condition;

to know even one life has breathed easier because

you have lived.

This is to have succeeded.

                                         ----Ralph Waldo Emerson

Happy New Year !

Explore - Question - Learn - - Enjoy, Jim

Apocalyptic Sunset

Still here, a great sunset however

Oil on panel, 5x7 inches

Explore - Question - Learn - - Enjoy, Jim

On Location with William R. Leigh

William R. Leigh (1866-1955) Leigh created hundreds of paintings of the West. A highly trained and skilled artist, he earned the title of the Sagebrush Rembrandt for his meticulous attention to detail, painstaking draftsmanship, skillful rendering of dazzling light, and unorthodox use of vivid color. Painting from life, in some of the most formidable terrains Leigh wanted to capture the disappearing western landscape.

It's been noted that he never went anywhere with out a sketch box and would do numerous studies of any theme that interested him. His travels lead him to Africa to create plein air paintings of the Serengeti Plains that would serve as the basis of dioramas at the American Museum of Natural History in New York

Northern Waso Nyiro Waterhole  Oil on canvas panel, 12 x 16

Now I know I have dealt with bugs, gnats and other buzzing biting things. Even the unwanted interruptions of fellow humans, but never have felt the need for armed protection while I painted.

Leigh was an extraordinary artist who would fearlessly go anywhere for inspiration.
He lived an amazing adventurous life and was a true artist.

 Explore - Question - Learn - - Enjoy, Jim

The Outdoor Studies of William R. Leigh

by Stephen Gjertson

Hunt, David C., “W. R. Leigh: A Painter in Africa,” in William R. Leigh: African Landscapes

Gerald Peters Gallery, New York, 1998.

Natural History, African Number, Journal of the American Museum of Natural History, November-December 1927.

Tillenius, Clarence, “African Scenes by William R. Leigh: The Explorers Journal, Volume 65 Number 2, June 1987.

Garden Study - Japanese Anemone

Anemone hupehensis var. japonica

Painting directly from nature has a transcendent effect on a person. The physical act of sketching outdoors and dealing with all of nature’s elements forces you to truly engage with her. You are in the elements; you feel the sun, hear the wind and smell the subject. It all assists in your attempt to capture the essence or spirit of a place. You see it and feel it, it is like painting a portrait of a hug.

The season is starting to change and all around me nature is transforming into her fall colors, the normal subject of my outdoor work this time of year. However I could not pass up these Japanese Anemones, blooming conveniently in the garden just out my studio door. To make sense of all of the visual confusion I really had to choose what was essential. My brushwork is more gestural and laid down fairly quickly and simply. I wanted to capture that experience not just a moment in time.

We have to teach our eyes to look at nature, and there are many of us who have never seen it and never will.

                                                                                    — Jean-Baptiste-Siméon Chardin

Explore - Question - Learn - - Enjoy, Jim

Japanese Anemone http://en.wikipedia.org/wiki/Japanese_anemone

Gray Scale – Value finder – Color Isolator

Make a quick and easy Gray Scale, Value Finder, Color Isolator for painting en plein air.

A gray scale is a must have tool for any paint box. You can put one in each of your paint kits and have several around the studio like I do. Determining value is the first step in both composition and color mixing. So, as you look at a potential scene it is best to start your design by thinking about the tonal pattern and that it is the organization of light and dark which creates the illusion of space and depth

These scales are simply made from color charts found at the local paint store. The higher end stores have a better selection; charts shown here from Sherwin-Williams. I prefer the warm gray scale which is closer to the gray mix I actually use, made from ivory black and umber.

I use a simple single hole paper punch and create a viewing aperture. Holding the value scale up to your subject, you can isolate the local color and get a more accurate reading.

You can see more precisely the color bias of a hue, the direction it leans on the color wheel either towards warm or cool. And by moving the finder back and forth locates its value and intensity.

I like these charts because they really are disposable, the value scales I made with oil colors I am a little more protective of and keep in the studio. On these Gray Scales I can place dabs of color and do physical comparisons. I use the single color chips which are a mid gray (around a value five on the Munsell scale) also, to really target a color and isolate a color note. Punch a few holes in the isolator and you can relate and compare several color notes in your composition at once. I once made these color isolators out of peoples business cards but I don’t seem to get them anymore plus it was always hard to contact someone after punched with holes and dabbed with paint.

Just a couple notes; a value scale from 0 to 10 is preferred and more common, but you can use anything from an 8 to even a 12. It really doesn't matter because in the aperture, you are looking for the least amount of contrast, you may never actually match the exact value in the isolator but it will give you direction to tweak your color mixture. These charts are missing pure white and pure black; well, you can judge that with out literally having that in your hand. Once you locate the darkest dark and lightest light in your painting you have established your tonal range. Then use this as a tool to help you judge those value relationships and analyze by comparison, degrees of contrast. I have learn so much by using grey scales in the field and observing value in nature. With a sketchbook thumbnail, some color chips and this field study I have more than enough resources and information to re-create the inspiration onto a later larger studio work.

Sunset Study, oil on panel, 5x7 

It is in the contrast of light and dark that design happens.

                                                                                                                      Helen Van Wyk

In an observed color, value can be very hard to see. And although the two are inseparable in painting you can be way off with a hue but not with a value when painting form.

It is finding the pattern of light and dark that creates interest and strong design and it is in the tonal structure of lights, halftones and shadows that we create depth and describe form. So when it comes down to the components of color, that being hue, value and chroma, collectively referred to as a color note, value is the most difficult and is the most critical.

I recommend that you go for the proper value first, even if it is at the expense of your color. Once you have the proper value you can "inject" the color. 

Stapleton Kearns

Links:
Munsell Color System  Here’s How Munsell Color Theory Works…
Stapleton Kearns Blog