It’s not often that I break out the pencil or charcoal and start to draw, but yesterday I was feeling inspired. The day before, I had set aside my paintbrushes to dry after cleaning them, knowing that I wouldn’t be able to use them anytime soon. I was feeling creative, though, so I thought, “Well! You haven’t drawn in a while.”
And that’s true! The most recent drawing I had done was some sort of a speedy drawing for Instagram. I hadn’t sat down for a good set period of time, with the intention of drawing with accuracy and artistry.
So, that day I decided to draw this sailboat that I took a picture of on my honeymoon. There are such great and fond memories I have of the time together on Orcas Island. The desire to record that memory through art really appeals to me. I went to work and soon found myself frustrated. I was rusty! The materials didn’t feel right in my hands and I had this haphazard approach to the project. It ended in shambles.
But there was still this little part of me that enjoyed getting back into using charcoal.
Yesterday, I decided to approach it again. This time, I had a plan. I was going to start with charcoal, but then dive into pencil, while also utilizing a soft brush to spread the charcoal around a bit more easily. I was already somewhat familiar with the subject, but this time I really focused in on making sure things looked right. For the ropes and lines, I used a ruler to ensure accuracy (my heart argued with my brain and was like, “That’s cheating!”)
So here it is! I’m really happy with it and hoping to ride the emotional momentum into some more inspired drawings. It’s just nice to change the pace a little bit. I’ve been so into oils lately that I want to mix it up.
Haystack Rock is a geological formation off the coast of Oregon state, near Cannon Beach. Tourists flock to visit the sea stack because of its size and how close it is to the shoreline. It’s humongous! When the tide goes out, you can walk much closer and even see starfish and other sea life on and around it. It’s just another example of the beauty of the Pacific Coast.
How I Chose My Composition
My wife, Amber, and I went to visit Haystack Rock a few years ago, which is when I snapped the pictures that would serve as my reference for this painting. The weather was clear with some high-altitude clouds masking the sun slightly, resulting in beautiful colors and lighting. I took as many pictures as possible from all sorts of different angles, hoping that at least one of them would strike me as inspired when I went back through them.
One idea was to do a painting where Haystack Rock was the primary emphasis, large and in charge, looming straight down the center of the canvas. While I didn’t go in that direction, I am still intrigued by the idea and it might see the light of day, eventually. However, it just wasn’t exactly calling to me as much as a different composition – one that felt pretty unusual.
The composition that appealed to me was one that emphasized the beach, with the rock formations sitting in the distance. First of all, I think the landscape surrounding the ocean is just as beautiful as the water itself and is often far more interesting to look at. Secondly, I thought it might lend a bit more mystery to the rocks if I placed them in the distance, a bit vaguer and more removed, but present. It gives the rocks the personality that I wanted to infuse them with.
Painting the Scene
I am about the most boring color-chooser in the world. For years, I have picked the same colors over and over again for my paintings. I think you can easily see it when you look at my paintings. Until more recently I have not been the most courageous or knowledgeable color-guy. It’s only now that I’ve been studying color and light so much more, resulting in bolder choices with my paints.
This painting was a bit different for me because I built the whole thing around one color and it’s a color that comes straight from the tube. It’s one of those oddball colors that I typically don’t go for, because I have some weird thing about being traditional with my materials. I used a color called Radiant Blue from Gamblin. I thought it was some unusual pigment that was specific in some way, but recently I found out that it is essentially a combination of Titanium White and Ultramarine Blue pigments. So, now I feel less adventurous.
In any case, by emphasizing Radiant Blue, I was able to build the entire painting around it and keep myself from using too much white everywhere (something I’m prone to do). It essentially became my highlight. The sky, of course, is lighter, but that’s how I wanted it – the land a certain range of values and the sky its own.
As usual, I roughed in the major shapes of color and built up the paint over time. It helps me get a grip on my composition and have a handle on the components that build it up and make it what it is.
Legacy
I hope you enjoy the Haystack Rock painting. It has become one of my more popular paintings. My mother-in-law really loves it and purchased it from me. While it is currently on display in a showing in Seattle, it usually hangs in her living area in her home, where it can remind her of the beach.
In the middle of a small glade, I saw this white blooming tree that stuck out like a sore thumb (but in a good way!). I decided I wanted to do a simple sketchy painting of it, hopefully capturing its prominence against the vibrant greens and ruddy browns of early Spring, before most trees have really started blooming. A painting like this is a nice reminder of the simplicity of painting and the small joys of being surprised by nature.
Paintings very rarely do justice to the subjects they represent, but they do serve as nice reminders that we can use to go back in our minds to a special time. My wife and I went to Anacortes last year for her birthday. We stayed in a small and relaxing Airbnb, ate at a fantastic Italian restaurant (complete with accordion player), and spent the morning searching the local park beach for shells and colorful rocks. This view was down at one end of the beach, prompting me to take a snap of it for an eventual painting. With a little bit of imagination, I can feel the breeze and smell the salt water, reliving the peaceful moment.
The local historic Shell gas station looked remarkably beautiful in the snow a few years ago. I knew I wanted to capture it as a painting someday. Here is a look at my process, with notes below.
The first layer of paint. I chose to use a cool tone, to infuse the entire painting with some cold unity. This layer of paint is thinned out by introducing some odorless mineral spirits and extra oil to my paint. At this stage, I’m only concerned with getting the general shapes of value in.
Some more layers go down, with an emphasis on basic tones and colors. I am using a limited palette here, with burnt sienna, Payne’s gray, and hansa yellow. I believe I did use some raw umber and yellow ochre for a few of the areas and the general tone of the building. Of course, titanium white was also used to help lighten colors where needed.
The finished piece. With the main shapes of color in, the real challenge at this point is to introduce more detail. As I move around the canvas, I am always moving back and forth, looking for areas to improve and change. It really is when the flow of painting happens and I’m following my instincts, trying to adjust everything until my heart and eye are satisfied.
Prints and greeting cards of Snowy Shell Station are available here and here, respectively.
Psst. Hey. All you workaholic artists out there, let me tell you about a time I had some easy artistic inspiration without burning myself out…
When was the last time you took a break from bending over your easel and decided to go outside? Believe it or not, there’s more to life than putting paint to canvas or pencil to paper and maybe it will just get you excited to share it -visually! – with the world.
A good friend invited me on his birthday trip to Suncadia, Washington a couple of years ago. We golfed (poorly) in the sun, played some fun games, and had all sorts of great conversations. Not only that, but we went down this enormous outdoor staircase that led us to a running stream where we spent too much time skipping rocks and challenging each other’s throwing accuracy.
On our way back up the hill, I saw a beautifully simple little sight. Sunlight was filtering through the branches of a small crop of trees sitting on a tiny hill. Something about it hit me in a way that I wasn’t expecting. It spoke of lazy outdoor days, enjoying the sun’s warmth when there’s still a little chill in the air. Being without paint and unprepared to set up for a painting, I snapped a quick picture for use later. Being that I had some artistic inspiration, I was determined to paint this piece.
The reference image.
Laying Down the Right Foundation
When I arrived home I decided to set to work on the painting. I selected a small canvas (10×10 inches) that would serve to display the setting with enough detail and impact, though not overwhelm the viewer in its size. I really felt the small canvas would help to serve the simple nature of the scene, not overcomplicating things with massive presence. I also just wanted to work small.
I had been working a lot with limited palettes at the time of this painting. A limited palette is an approach to painting that encourages the artist to choose as few paints as necessary for the project. Color is very relative and this creates a framework for the artist to work simply. I chose Yellow Ochre, Burnt Sienna, and Phthalo Blue, along with a White (can’t remember if it is Titanium or Zinc) and Raw Umber. This allowed me to get a good range of colors without getting overwhelmed by a huge selection of paint options. I often use Winsor & Newton oil paint (they have a wide range of qualities that can fit any person’s budget).
Getting at it quickly was pretty important for me. I wanted to really make sure that the painting had a good amount of life to it and I truly believe that the more free a painter’s strokes are, the easier it becomes to imbue visual interest. The way we use our paintbrushes can absolutely communicate how we are feeling, in subconscious ways that even unaware viewers can perceive. It’s like talking on the phone in a good mood versus a bad mood. It can be heard in the voice, despite any of the word choice.
Using a stiff brush allowed me to get some nice textured and lively strokes on the canvas. Having that right amount of tension from the hand to the brush to the spring of the canvas imbues the painting with a personality that may not come through in just the colors and composition. I ended up being very happy with the way the preliminary layers were coming together.
Overall, I wanted to make sure that my enjoyment of the outdoors on that trip to Suncadia would come through in the painting. I always seem to work more enthusiastically when I experience the artistic inspiration that quiet and peaceful moments can provide – it would be very satisfying to communicate and share that expression with others.
Before I added more details. Maybe I could have stopped here!
Things that Did Not Work
Despite all of the early artistic successes with the piece, I didn’t know when to stop. That’s a huge learning curve for painters. Maybe it’s weird to hear an artist question their judgment on their own blog that’s part of their website where they run their business. I think it’s more important to be honest about how I was feeling regarding my work. I just didn’t know how to maintain the freshness of the painting, as I added more detail and more layers of paint.
Let this be a lesson to you! And me. I don’t think my painting is bad, by any means, but I do wonder if it could have been better if I had left it alone or been more selective with my “improvements”.
The colors were also a learning experience for me. While I am fond of the painting, I do think that some of the colors were really challenging. The thing about direct sunlight is that it can reflect off of surfaces, such as grass, and become very bright. However, in doing so, it loses a lot of the intensity of color that we hope to find in paintings. So, there’s a choice that the artist has to make, which is between adherence to realism and adherence to visual interest. I’m not sure there is a right answer, but I do wonder if I chose the correct path.
One technical thing that can add to the difficulty in painting with enough color intensity is the photo reference. Great photos are the result of a good photographer and a great edit. Cameras don’t work exactly like our eyes do, so there can often be a big difference between the way we see something in person and the way it comes to us through a photo capture. Contrast, brightness, intensity, and even perspective can be altered in a way that is just not as satisfying as what we are seeing in person.
If you are experiencing any issues like these that are getting in the way of communicating your artistic inspiration, I would recommend trying to find ways to introduce saturated and intense colors. Just try it in a few places and you might find yourself thinking entirely different about your painting. You may even be encouraged to increase the vibrancy of all your colors.
The Big Finale
The artistic inspiration came to fruition, eventually, when I put down my paint and brushes and called it. Happily, I walked away from the painting feeling like I had accomplished something decent and learned a lot along the way. That really is what I hope for most when I paint, that I will learn something. And most times, I do.
So, I added texture, color, balance, harmony, and eventually my stamp of approval. I do not think it is my greatest painting, by any means, but I do look at it occasionally and find myself studying aspects of it, with a grateful heart and a happy smile.
Here is a short series of three phases of the process. You can see how I started, began to adjust my colors, and then did some final adjustments to bring some more interest back in. Scroll back to the reference to see the changes I made, the things I de-emphasized, and the creative choices I made in a journey to simplify and economize my colors. You might also notice how my limited palette did in replicating the original colors.
While the first image in the process has a nice earthy quality to it and a good balance in the values, I do recognize the polish of the final image and how it conveys the textures and features with more crispness. I think I could balance my strokes a bit more, in hopes to keep that casual feel that is happening in the first image. I also could stand to control my use of white a bit.
So, there’s another Art Story from me, giving you a little background on one of my paintings. I’ve always enjoyed getting some behind the scenes looks at how people work and what they think of what they’ve created (warts and all). I hope you enjoyed this post and will find yourself in the midst of artistic inspiration sometimes soon.
