Talking to Myself

A page from one of my sketchbooks.

Sketches--mine (yes I look 'em over often) and those of others--fascinate me. My favorite shows at art museums are the ones that exhibit sketches. Unfortunately, not many of those happen in Denver, so while I don't get to see sketches in person, the internet provides plenty of peeks and inspiration. The variety is amazing, and the use of sketchbooks has changed quite a bit recently, as they seem to be morphing into something more finished in look--art pieces in their own right.

Not mine though. My sketchbooks are still random and thoughtless--meaning I don't think about them as finished artworks to be viewed. I use my books and my sketching as exploration of technique, as problem solving, as practice, or as a repository for the imagery that needs releasing from my head.

 

And I use them for preliminaries.

Yes that internet is great--much of the time. It provides inspiration, but also tremendous opportunities for self-doubt/comparisons. 

I admit it, I look at some of the sketchbook pages of artists and I become troubled by the roughness and absence (of what--finish, class, artistry, pure magnetism?) in my own. Ugh.

 

So part of my life as an artist entails talking to myself. Being reasonable about what I do instead of engaging in the pointless--yet somehow seductive--act of comparison.

 

The most effective words to myself?  "Get to work!"

 

So I will. 

Thanks for reading!

 

 

Arthur L. Guptill's Books

Good old (available used for now) instruction books:

The book (this one's a reprint) is an overview in a way. Designed I guess for beginners, I still check it out for inspiration. If I'm being lazy about doing study sketches, cracking it open usually gets me in the mood.

Simple and straightforward.

 

There are also a few of these masterful drawings mixed in. Admittedly bearing little relation to a modern studio, it's a great drawing to study nonetheless--just look at it! I like the text, too. Guptill's words have been often quoted or re-mixed without credit. Lots of gems here if you take the time to read.

From Guptill's Rendering in Pen and Ink, still the all-time comprehensive pen and ink guide and overall drawing manual. This book is incredible--if you only owned one of the four listed here--this is the one!

I continue to learn new things from revisiting this book. Pretty much everything an artist needs to know about drawing and rendering (not just pen and ink) is included, from value to perspective to architecture to landscape.

In addition to instruction, there are sections containing pen and ink works by masters. Again, I recommend reading the text as well as looking at the pics--don't miss out.

Guptill manages to do it all for me with this volume--technique and inspiration!

 I also have his book, Rendering in Pencil. Not being much of a graphite renderer, I don't find it as enlightening as the book previously discussed, but that's just my bias. The next book though, is indispensable if you love watercolor:

From Watercolor Painting Step-by-Step by Arthur L. Guptill.

There are a ton of expensive, slick-but-empty "how-to-paint-watercolor" books out there. Do yourself a favor--ignore most of them, find this one, and read it. You'll save some money and you won't find a better overall textbook for learning and re-discovering what watercolor's all about.

Maybe the thing I love best about Guptill is his profound knowledge yet refusal to be absolute. His writing style contains specific instruction without being dismissive of the many approaches an artist can take to make pictures. Only one example; this book allowed me to discover the use of white at a time when all my instructors were condemning that use as "not true watercolor".

I don't think any of these books are still in print, but used copies are still available on the internet. I have trouble not buying more copies of Rendering in Pen and Ink or Watercolor Painting Step-by-Step when I see them in used bookstores--have to talk to myself in order to pass them by.

Hope you found this helpful. Thanks for reading.

Leaving Home

Detail of a recent painting.

An artist's life is pretty sedate (translate to "boring except to the artist").  At least that's this artist's life.

Having some coffee, getting the dreaded social-media/internet/business out of the way, and heading up to the sanctuary of the studio.  A quick review of the previous day's work, choosing the music, and finally disappearing into the little world currently on the drawing table for the next 8 hours.

The process for this painting follows:

The door painting idea had its inception with these study sketches of boots. As I was drawing them, the picture concept jumped into my head. 

Boots to walking to traveling to leaving home. 

I guess.

 Then the concept of the door took shape and I threw out a rough page of sketches

after photographing this meticulously-devised prop.

I worked out another very rough sketch of the door character.

Then I painted the picture.

The Green Door Leaves Home. Oil on canvas, 6" x 18".

The idea of a door wrenching itself out of its frame and hitting the road pleased me quite a bit, probably because most days I really only leave my home in my head.

Thanks for reading!

 

The Good Triggers: Books for Kids

 Yeah, it's a cliche, but it's true nonetheless; books are good for kids. They were great for me. 

The above illustration is by Richard Doyle, from The King of the Golden River.

It scared me, blew me away (no pun intended), and planted the seed that was to grow into my life's work. I'd have never known about Doyle, but for the fact that a set of ten volumes of children's classics came with the encyclopedias my parents bought for my brother and me back in the 60s.

 Still have the complete set. They were a centerpiece of my life as a kid, no kidding! I'd warily approach them on the bookshelf, because, like everything that was alluring to me then, I was also very afraid of them. Many of the poems and stories terrified me.

(Check out Robert Southey's Poem, God's Judgement on a Wicked Bishop for a healthy dose of Victorian violence http://www.poemhunter.com/poem/god-s-judgment-on-a-wicked-bishop  Yep, it was included in this set, and it was one I couldn't help re-reading over and over, even though it made nighttime hell). 

The illustrations were the best part though (Tenniel's Jabberwock among 'em)! They confused my terrifically overstimulate-able brain and haunted me, but I couldn't leave them be either.

My favorite volumes.
The ones I hauled back and forth to school; the ones opened and examined so often they ended up a bit tattered. They are full of the illustrations I copied as a kid, and the ones of the set I still look at most.

 Marley's Ghost by John Leech (Still my all time favorite rendition.)

I suppose because they were aimed at children, the black and white drawings (by the original illustrators) were overlayed with color.

Illustration by John Dickson Batten

 And sometimes, kind of unfortunately, the editors made the decision to replace the black line with color. Still, the illustrators were credited, which allowed me to research them as I got older. This set of books led me to many of the greats who still influence my art now; among them, John D. Batten, W. Heath Robinson, Arthur Rackham, and L. Leslie Brooke.

He wrote, but who knew Gilbert drew little guys too?

 Those books also allowed me to fall in love with poetry--especially nonsense poetry--and reading in general.

Even the endpapers were cool, although this illustrator was uncredited.

I know lots of parents cringe at the thought of their children wanting to be artists. Luckily, mine didn't. And also fortunately, they knew the value of books--even if they didn't guess that the little, poorly reproduced drawings in this set would become one of the most exciting parts of my childhood.

First copyrighted in 1938, The Junior Classics can still be found at thrift stores.

Thanks for the visit!

Break out the Oil?

 The Green Door Leaves Home (detail of a work in progress). Oil on canvas.

Just added another love to my media list: Water soluble oil paint--in this case Winsor & Newton Water Mixable Oil Colour.

Watercolor will always be on the list, and while I love acrylics, and have indulged in them for years, they tend to frustrate me because they dry so fast on the palette.

When I began my quest for color control ( http://tomsarmo.blogspot.com/2013/01/focus-and-attention-fix-part-2-black.html )

my biggest issue became mixing up a big grey pile of acrylic for color strings, and then having it all dry while I looked for a resource, fed the dog, or rummaged in the fridge. Scooping the paint into (so-called) airtight cups and storing those in baggies with wet paper towel kind of put me over the edge.

I am sure that a quicker brain (and slow-dry medium) would have helped, but my need for smarts proved unnecessary when a friend gave me a set of water soluble oils.

 They can be used over acrylics, they dry slowly enough for me to experiment, and they don't stink up my little studio space with solvents. 

Still life in progress

 Detail of still life in progress Oil on canvas.

Maybe I will stick with these oils exclusively, maybe not. Ambivalence strikes again. 

I've pretty much accepted that as my lot, so I'll roll with being decisively uncertain. And enjoy the daily medium-of-choice, whatever it will be.

As always, thanks for the visit!

A Painting Sequence

 Silent Village (detail). Private collection.

 Continuing an exploration of greyed color in a limited range.

The old photo of Robin Hood's Bay

 Totally intrigued by the village (see post http://tomsarmo.blogspot.com/2013/02/english-village-smugglers-and-secret.html ), I enlarged it and found this great section of old houses.

 That led to this slightly exaggerated drawing on a board primed with cad red.

 I threw in an under-painting of grey--a bit of an experiment.

I scrubbed in very greyed-down color--thinly. I was going for a snaking back of the buildings, so I used the blues for that.  I wanted muted color and close values for a haunted sort of look. Still, there wasn't quite enough contrast.

Silent Village. Acrylic on cradled hardboard, 8" x 8", Private collection

The finished piece. No cheerfulness here I hope.

Thanks for the visit!

Tau Cross

Franciscan (Tau) Cross

 by Bro. Jason Moore, OFM Cap. 

Carved, stained, and painted oak wood with nails, approx. 11" x 13 x 2".

This past year, the Capuchin friars were asked to create crosses for auction at the Brown Robe Benefit http://www.brownrobe.com/. This dramatic and moving artwork--a rugged and raw beauty--caught my eye immediately.

The description of the cross in Bro. Jason's words follows:

"This cross is in the shape of the Tau, known by many as the Franciscan cross.
The cross is decorated with thorns representing the crown Jesus wore on the cross and the nails as the instruments to affix Him to the cross. The skull represents both the bones of Adam, used at the base of ancient crosses, and is a reminder of the Capuchin Saints who would preach or contemplate with a skull; reminding us of our own mortality. The cross is crafted from oak grown at San Lorenzo Novitiate, and carved with hand tools and a Dremel."

The cross viewed from below.

I contacted Bro. Jason for more information about his artwork and vocation, and he graciously
responded to my questions.

Regarding your artwork:
Have you received formal training or are you self taught?  

I had art classes from elementary through high school, and a sculpture class in college. Otherwise I am self-taught.

Is carving and sculpture your main outlet in art, or do you make two-dimensional work as well?

I think my best work is sculpture, but most of my work is in drawing. The Tau cross is my first experience with wood, and I was experimenting as I went.

Do you get much time to work on art in your present occupation?

As a Novice for the Capuchins, there is much quiet time for prayer and reflection. In that time, I find that art helps me to express myself in ways that words just can't. It is a prayer in itself.

By what kinds of art are you most influenced?

Visiting the Vatican was a powerful experience, seeing so many pieces of art devoted to the praise and worship of God. I was moved by the Pieta, and the drama of the Sistine Chapel, but  I'm also influenced by street art, where pieces are created in minutes. Finally, I draw some of the style in my art from stained glass windows.

Do you have a favorite artist or artists who most thrills and influences your own work?

That's a hard question. I think Dali and Michelangelo were the biggest influences, but recently I was able to work with Lynn Kirchner, a sculptor who did two commissions for a church in Evergreen, CO. At that time I was able to do some of the patina work on the first of the pieces, and my ears were the model for the second piece--a St. Francis.

Regarding your formation:
In what year of formation are you?
I am a Novice, so it is my second year. Next year I will take temporary vows.

What in particular drew you to the Capuchin Franciscans?
The Capuchins were brought to my attention by the life of St. Francis. Their work in and around Denver caused me to look closer. They are down-to-earth guys who love Jesus and act on that.

Which saint or saints are most influential in your life, and why?
St. Francis, since I am a Franciscan.  At 18, I took my first trip to Europe, which included a visit to Assisi. There I learned that Francis was a man who rejected that which the world said was important. He humbled himself to grow closer to Christ, letting go of wealth and position. St. Francis was able to bring so many to God even as he struggled with his own will vs. God's will.
Also, I was fourteen when Blessed Pope John Paul II visited Denver for World Youth Day, so he too is an influence. At that time, the experience of so many Catholics, from all over the world, coming together in one faith really moved me. I felt the Holy Spirit moving in a way I'd not experienced before. One of the four more World Youth Days in which I participated led me to my aforementioned experience in Assisi.

How are your faith and creative life linked most strongly?
Our creativity leads us to be more fully who we are, being created in the image of God.  God created the beauty of the world, and we take part in that by creating something new.  I express myself in a different dimension that words or formulas can't.  This draws me closer to God--even more so as I see that Jesus humbled himself to become our creation in the bread and wine of the Eucharist.

Bro. Jason's Franciscan Cross has brought my studio space art, creative spirit, and a valued reminder of my mortality.

Many thanks to Bro. Jason for his work and contribution to this blog!

English Village, Smugglers, and Secret Passages

The Sawmill. Acrylic on cradled hardboard, 5" x 5".

(Continuing my exploration of grey.)

Years ago, in a junk store, I found a sheaf of small papers obviously cut from an old book. 

Among the papers was the inscription:

June-15-44

Sgt. Vernon J. _ _ _ _

Hdqs. 401st Bomb Group (H)

A.P.O. 557 c/o Postmaster

New York, N.Y.

Also among the papers were a few photographs of places in England, one marked Robin Hood's Bay;

an intriguing place that I will visit someday, especially after finding this link:

http://www.robin-hoods-bay.co.uk/index.htm

This little painting is my interpretation of the old photo. Best I could tell, the main building was once a sawmill. Hence my title.

Thanks for reading!

Art Resources: Books vs the Internet

Yes, still hacking away at new color stuff, but gave in this morning and took a book break.

The studio at 8 am.

  

I like books best for resources and inspiration--they fill more than four bookcases around the house--three of which are stuffed into the small studio where I paint. That collection might seem excessive to some, but I turn to it every day. Yeah, I have a computer downstairs; definitely use it for an instant resource or answer, and have thought hard about a laptop for the studio, just as a convenience. But nothing seems to replace the information from my books.

Best of all, when my head is crazy with art/internet/business, or is overwhelmed by a new experiment in painting, grabbing a book, my chair, and a cup of coffee guarantees total peace. I never get that from a screen.

I suppose my reliance on (and love of) books dates me fairly, but does anyone else prefer books 

over the web for art resources?

Happy Holidays with the Little Guys

A Little Guy by W. Heath Robinson.

The musician above is from an old sheet music illustration. In it, he's following a lovely, dancing wood sprite. Within the illustration, he's only about 1/2" tall--but what personality and expression!

There are few things I like better than the elf-like, faery-like, Hobbit-like people of legend who are full of character and life.  Include in that the Little Guys, my own label for all the goofy humans drawn over the centuries by artist/illustrators. You can find them everywhere, sometimes greatly caricatured, sometimes with gently exaggerated features, always packed with vitality and infused with some mystery. Hunting for and collecting new Little Guys is a favorite pastime of mine--here are a few of the best.

The Wild Man. A.B. Frost. 

Arthur Burdett Frost (http://en.wikipedia.org/wiki/A._B._Frost) illustrated many books full of regular humans, and he's probably best known for his pictures of Brer Rabbit. But his versions of little guys are pretty matchless. The sinister Wild Man above is an illustration from the Lewis Carroll poem, Poeta Fit Non Nascitur (which, according to google translate, means: "The Poet is Not Born"). I love his face and that broken symbol of  bad luck sticking out of his hat.

Snow, Real Snow. Honore Daumier.

Probably my favorite lithograph--or image--of all time. Maybe. It is perfection though, not only in the stance and wonder-filled expression of the fellow, but in the absolutely spot-on light and atmosphere of an early, snow-filled morning.  Am I crazy, or is this not the peerless evocation of a universal feeling? Perfect verisimilitude!

And if you do think I'm looney, please just accept this picture as my 

Happy Holiday Peace-Wish 

(via the genius of Daumier) 

for you.

Thanks, as always, for reading!