More on field studies

Scott Burdick is another painter that I enjoy keeping up with. Recently he did an interview for American Artist magazine speaking about using field studies to complete larger studio works and I found this quote really helpful in the way of encouragement to all of us.

“Painting en plein air is the fun part of being an artist,” Burdick says. “Going out and exploring, learning about the location—you see how the sun changes, how the light is different in a particular place. Even though those paintings aren’t the ones that get sent out and bought by the collectors, for artists, the studies are the real fun. But you are cheating yourself if all you do is studies. The great artists all did studies, but they are known for their big incredible masterpieces done in the studio, which were only possible because of their studies.”

Last Wednesday I had a class of 12 children who came to the Thomaston Upson Arts Council gallery to learn more about Monet and try their hand at creating art like Monet. During the lesson we talked about Monet and how much he enjoyed working outside and especially how much he enjoyed creating his garden with just the right flowers in just the right places so he could paint them in their happy places. Then we talked about Monet's water lily studio paintings which were certainly NOT small studies, but rather room size paintings that would fill almost any wall in my house. I didn't get photos of their finished construction paper paintings, but plan to do that tomorrow to share with you.



It's good to know that the plein air painters of today are not getting so hung up on the label "Plein Air" that they forget they can create wonderful studio works. To see more of Scott Burdick's paintings, go to http://www.scottburdick.com/

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Better paintings

How do you start a painting? I guess there are as many methods as there are people, but one sure thing is that all of us are faced with a blank canvas to start with. In reading a book called 60 Minutes to better painting by Craig Nelson he asks that we make quick studies to help boost our skills. Here are a few quick paraphrased thoughts from Nelson.

1. Painting quick studies will help you break inhibitions you face when faced with a blank canvas. 2. Get rid of that by learning not to be afraid of making mistakes. It's in making the mistakes that we learn the most.

3. Learn the differences between line and mass. From our earliest memories we have all drawn with pencil, crayon or pen. Generally, when we draw anything, we start with lines. This, however, s not how we see. We see mass and forum; therefore, mass and form is how we must paint. Lines are a shorthand for painting.

4. Your brushwork is often like handwriting - very distinctive. The way in which a painter uses his brush is much the beauty of a painting. 5. Learn how to see.

A painter must learn how to see in stages. They must not see the detail first, but see the larger more basic images before studying the smaller and often more interesting areas. It is important to train your eye to see in the proper order so your subject can be approached as if it were a painting.

6. Don't procrastinate... what is the sports slogan? Just Do It. If you concentrate on just creating a study rather than thinking you have to complete a painting or else, you will free your creative mind and then you can go on to a more refine painting if you like.



Photo: Spring at the Gardens Restaurant, Callaway Gardens. You are welcome to use this photo as a painting reference, Phyllis Franklin.

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Field Studies

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One of the values of painting from life is learning to observe more closely. When you get to the point in your painting career that you find you are actually learning from yourself it's a huge breakthru. What I mean by that is that you realize that it's your efforts that are the best teachers. Each time you go out to paint you learn something new either about painting or about yourself. Some how you file this new knowledge back in your memory to be used when you need it next. It's surprising how often something will jog your memory and you find it useful to have already gone down that path.

This is what we do when we go out to do field studies. A field study doesn't actually have to be any more than just that. It's a way of capturing what you see so you can use it again later maybe for a larger studio work. Plein air painters have found this act of doing field studies valuable because it takes the pressure off of doing a completed work. It's surprising how that label affords such freedom of expression and many times you end up with paintings that are completely sellable just as they are. Many collectors really enjoy collecting field studies and often times end up buying the companion studio work as well.

Today, if you have time, take a look at the field studies of Marc Hanson. http://www.marchansonart.com/ . Get inspired and if you want to go out and paint, call me and we'll go. I'll be in Pine Mountain this Wednesday, Thursday and Friday. I'd love to paint with someone and do some field studies.

Hope you have a great plein air day, Phyllis