BortzArt

Visual Editing at the Easel

2012-02-01T06:23:00.000-08:00

I’m often asked if I use photos for my work. Absolutely. I shoot thousands of photos every year studying my subjects and their environment. That being said, I find myself working beyond what is seen in most of my reference photos… pushing colors, simplifying shapes, adjusting contrast, and adding (or subtracting) elements to visually balance a scene. “American Remnant” (10x8) is a wonderful example of what can be done with a reference photo that is lacking a bit for quality. After studying both images, the first thing you may notice is the sky. In the photo, the sky is pretty washed out and uninteresting. I darkened the clouds to add a bit of drama and emphasize the “grayness” of the fall day. The barn was a little too well-kept for my liking, so I eliminated the windows in the loft and removed a few boards (I can only imagine the dismay of the barn’s owner after taking care of the structure for so many years, then I come along and push it to tattered abandonment with a few brush strokes!). The overall scene has been warmed considerably which seems to bring everything to life. I added the goldenrod in the foreground to help with this warmth and separate the brush and flowers from the middleground. I drew on my plein air experience to work the goldenrod blooms into the scene. Most notably, the flowers in the foreground are larger and brighter than in the photo, giving the composition some depth. Adding to this effect, the overgrown trail leading the viewer into the scene completes the illusion.

"Hooded Overture" 20x10 acrylic

2012-01-18T12:06:00.000-08:00

There were a few minor issues with this painting as I photographed it a few days ago. I knew they would need to be resolved before it went into a frame, so I set it aside to work on another piece and think about it for a while. I’ve included the image without the corrections below for comparison.

Most of the problem areas involved the placement and posture of the female warbler. The multiflora rose branch behind her was distracting and appeared to be very much on the same visual plain. The branch needed to be pushed back into the shadows and I extended it just a few leaves downward so it ended just below her tail. I also eliminated some leaves above her head. The edges of her yellow breast needed to be softened a touch to get rid of the “pasted on” look and help her fit into her surroundings. Lastly, I moved her leg and foot back making her appear ready to dart from her perch.

With these changes in place, “Hooded Overture” is ready for a frame J

"Indian Summer" 9x12 acrylic

2012-01-17T17:17:00.000-08:00

I played around with the composition on this piece for quite a while. Originally, there were 3 bucks working their way through the goldenrod. I never really got comfortable with the spacing between them, so I simplified. The clump of trees on the left were added as an afterthought to balance the composition and help direct the viewer back into the painting.

I purposely made the buck about a foot taller than he would be in reality. Quite often, even very large bucks walking in tall goldenrod may only show the top of their antlers. Of course this would have made for a silly looking painting, so I used my "artistic license" to make him larger than life.

"Tattered Perch" 12x18 acrylic on board

2012-01-02T15:08:00.000-08:00

This painting is a little different for me. Of course, the first thing most will notice are the warm colors and the strong use of cadmium orange. Also, that striking background was applied in a somewhat loose and abstract manner. After doing my preliminary drawings and working out composition details, this piece took on a life of its own. Originally, it was supposed to be a 12x24 composition (see image below), but the closer it got to completion, the more I began to feel like there was a lot of unnecessary space. After much deliberation, I elected to get out the circular saw and make some corrections. I removed a strip of the board from each end of the painting and I'm much happier.

"Rhythms of Reflection" 8x8 acrylic on board

2012-01-01T18:47:00.000-08:00

My first painting of 2012 is a study of a handsome mallard pair. I wanted the reflections on the water to be accurate without painting too much detail. My goal was to give the impression of the ducks pushing water in front of them as they paddled forward. I like the negative space at the bottom of this painting, broken only by the reflection of the hen's head. I knew it would be a challenge to depict the birds in bright midday sun. Subjects painted in this type of light typically end up looking flat, but the iridescence of the drake's head and the wonderful pose of the hen helped to mitigate this concern.

Something Better or More of the Same?

2012-01-01T06:53:00.000-08:00

A new year is upon us ripe with possibilities. I’ve never been one to make silly resolutions during the holiday season, but I do make a list of goals for the upcoming year (okay… maybe I make a lot of resolutions and just call them “goals”). I refer to The List often throughout the year to make sure I’m on track and nothing “important” is slipping through the cracks. The List also helps push me forward when I feel like I’m doing nothing but spinning my wheels. Picking an achievable goal and making it happen always gets my motor running again.

Here are a few highlights from The List for 2012:

30 finished paintings – In 2011 I managed 26 and it seemed like a lot. Still, with an expanding list of shows and a new gallery, my production level needs to stay high.

20 plein air attempts – Painting outdoors is an absolute treat. Of course, not all plein air paintings are successful and the bulk of my work is done in the studio. So I will push myself to just get out there and paint! No pressure… just time in the field.

Fill a sketch book – If you’ve been reading this blog regularly, you know how important drawing is to me. It keeps me fresh and motivated. Sometimes I need to set aside time to just fill a few pages. It’s fun and helps fine tune my eye… making me really look at my subjects and understand more about them.

Birds In Art – I’ve been a lucky man. Being part of this prestigious event for the past several years has produced many friendships and motivated me to become a better, more well-rounded artist. The weeks leading up to the April 15^th deadline are always focused on completing paintings to be submitted for this exhibit.

Alaska! – I’ve always wanted to explore a small piece of Alaska. Each year I try to spend a couple of weeks somewhere interesting shooting reference photos and developing ideas for new paintings. If the Alaska thing doesn’t work out, the Rocky Mountain West is always doable J

Those are just a few of the more than 30 goals to make The List for 2012. It’s going to be a busy year!

2011 Year in Review

2011-12-29T17:05:00.000-08:00

Looking back on another year, the chair in front of my easel is showing a lot of wear. It’s been a rollercoaster ride of ups and downs… from having the Woodson Museum add my Birds In Art painting “Shimmer” to their permanent collection, to a crippling mid-summer sales slump that had me looking for a “real” job (I know! It was really that bad). Not only was 2011 my most prolific year painting, it also ended as my best year for sales… which isn’t saying much, but it’s been a slow steady improvement from one year to the next… and that’s always encouraging.

The plein air workshop I attended in September taught by Jim Coe has been a springboard for my art. My color choices are more adventurous. I’m getting more comfortable working with oils. And of course, I’m loving painting outdoors! I’ll be doing more of that in 2012.

The fly fishing bug of my youth has bitten me once again. I’m finding the hours I spend on trout streams even more enjoyable than I did when I was a youngster. It’s also led me to some interesting and beautiful places I would have otherwise passed by.

Both the Southeastern Wildlife Expo and the Waterfowl Festival were sparkling successes for me. These shows give this old hermit a chance to make new friends, catch up with the old ones, and sell a painting or two. I really look forward to those events and hope to be a fixture there for the foreseeable future.

Many thanks to Phillepe at the Lord Nelson’s Gallery in Gettysburg for taking a chance on me. I hope this is the beginning of a long and prosperous partnership.

There were occasions when I found myself in out-of-the-way places with the most remarkable people. An extended road trip with master carver Larry Barth is high on that list. I also spent a morning waist-deep in a Maryland swamp, duck hunting with sculptors Paul Rhymer and Walter Matia. Nice J

And lastly, I’d like to thank all the folks that take a moment out of their day to occasionally read this blog. The popularity has been humbling. Hats off to you.

So as the book closes on yet another year, I file it away for happy reflection. At the same time, I scan an especially ambitious list of goals for 2012. It looks like the coming year will be a wild one! Stay tuned…

Barred Owl Project

2011-12-24T08:19:00.001-08:00

Here's a little tease of a fairly large painting I'm working on. The image above is a 6" square from a 12x24 composition. It's been one of those pieces that seems to have a mind of its own. I've never used this much cadmium orange in a painting before and it was a little scary to smear so much of it on the board. Still a long way to go, but I'm starting to like this one :)
Merry Christmas everyone!!!

"Edge of Autumn" 9x12 acrylic

2011-12-21T09:03:00.000-08:00

A couple of years ago, I was poking around along the edge of a local stream. It was one of those walks I take with no real purpose in mind. I mentally noted the critter tracks in the stream-side mud and turned over the occasional rock to see what might be living underneath. The morning air held onto the humidity of summer, but there was just a hint of coolness… perhaps a tease leading up to the pleasant weather of fall. With no place in particular to be for the rest of the day, I stopped to sit on a log for a few minutes and take in my surroundings. Somewhat lost in the reflections and slowly drifting leaves, I was snapped back to consciousness by the clatter of deliberate footfalls on the nearby streambed cobble. Much to my delight, a young whitetail buck appeared on the far bank. His polished antlers were nearly white, sporting 7 distinct points. He was quite close when he finally noticed me sitting there and studied me intently… ready to bolt if I moved a muscle. I stayed still and avoided eye contact as he stared me down from no more than 50 feet. After a few minutes, he apparently surmised I wasn’t much of a threat and with a flick of his tail, continued upstream. As he passed through a shaft of sunlight, he paused briefly as if to watch one of the many crimson leaves slowly floating by. I was taken by the brilliant shine on his antler tines. He looked back at me to make sure I hadn’t moved, then disappeared up the wooded stream bank and out of sight.

While the buck in this painting is much larger than the 7-point I saw that morning, this painting was inspired by that early October encounter.

"Quizzical" 6x4 acrylic

2011-12-11T08:27:00.000-08:00

I love the way this lady cardinal cocked her head to the side. She certainly has some personality. It's good to stay fresh doing these occasional minis while I'm pushing larger paintings forward.

Talent... or Skill?

2011-12-08T08:05:00.000-08:00

When someone tells me that I’m “talented,” I know it’s a term of admiration… though unknowingly misguided. Don’t admire my talent, for it is such a small part of what I do. Admire my dedication, skill, and sacrifice. Those are the qualities of which I’m most proud.

It starts out innocent enough. Someone at a show or exhibit will be gushing over my work, tossing complements about like rice at a wedding (no one throws rice anymore, do they?) and all but making me squirm with at having to say “thank you” so many times. Then the words come out that make my blood boil. “I wish I had your talent. This must come naturally to you.” Really? Like I eat a couple of tubes of paint for breakfast every morning and crap out finished 12x16 canvas later the same night (never mind how painful that might be. Or the fact that if it were physically possible to “shit out a painting”, the “important” galleries in London, LA, and New York would be fighting over my so-called “art.” But I digress). And I know they mean nothing hurtful by these words, so I just smile and nod hoping they don’t notice my white knuckles as I grind a fist into my leg. If they only knew the mind-boggling stack of past failures it took to get here and the paralyzing knowledge that there are many more failures to come... the years of study and frustration to achieve a level of competence where I wouldn’t throw up at the thought of showing my work in public... the amount of research and planning it takes before I ever dip a brush in paint.

I love what I do, but there is no “magic” in the process. It’s simply work. Not the kind of work you do with a wrench or shovel. I’ve done plenty of that in my time. And not unpleasant work, but a continual task of study, experimentation, evaluation, and then application of a learned knowledge. It’s a skill… not a talent. The magic happens when someone stands in front of a painting and says something like, “I’ve been there” or “I can almost smell that water.” Now that’s magic!

I don’t deny that it’s possible (maybe even necessary) talent may play a part in the stages of artistic development. For as long as I can remember, I’ve had an obsession with drawing. Still, I didn’t understand much about it until I started studying the work and teachings of others who were highly skilled at the craft. To dismiss what any skilled craftsman or woman does as some whimsical gift by a higher power is an insult (though it’s almost never intended that way).

There will always be folks that disagree with me on this subject (though very few of them are professional artists), and that’s okay. I’m not really hoping to change anyone’s mind. These merely the ramblings of my own tormented mind (discussed in an earlier post). It’s fine that there is some mystery to art. It adds an element of romantic notion to what I do. But I’d much rather that romance be directed toward the finished piece than any mistaken enchantment in its creation.

"Pine Run" 6x8 acrylic

2011-12-06T10:15:00.000-08:00

I've been on a bit of a roll lately. This little landscape study came together nicely and takes me back to that overcast afternoon of trout fishing. There's nothing quite like being on a stream in October when the leaves are changing. I'll be starting another new painting this afternoon. I need to keep working while things are going so well!

"James Creek Winter" 8x16 acrylic

2011-12-03T07:57:00.000-08:00

When I compose winter scenes, I'm always very aware of the abstract graphic elements created by the snow. In this piece, I like the way everything seems to flow from the upper left corner of the composition to the junco and beyond. The lighter reflections and the large mass of snow in the right side of the painting comfortably direct the viewer's eye back toward the subject.

Therapy for a Tormented Mind

2011-11-26T06:00:00.000-08:00

Not everyone's mind works this way. I'm sure of it. There are too many happy folks out there drifting along through life without a care. They can't all be putting on an act. My mind races almost constantly grinding through a seemingly random kaleidoscope of ideas and concerns. There are times, however, when I'm truly at peace. One of the reasons I love to paint is the relative calm it brings to my brain. I find that same relief on the days I spend afield... gathering reference photos, sketching field studies, or just fishing.

Early this spring, I decided to dust off my old fly tying bin and put together a few flies for the upcoming trout season. It had been 10 years or more since I last tied a fly, so I found it surprising when the skills came back so quickly. Feather and fur bound to and wrapped around a hook shank began to take on a "buggy" appearance while not really mimicking anything specific... and I was happy.

Several evenings passed as I leisurely created my tiny offerings, working on a dozen or so rather than sitting in front of the TV. I found myself looking forward to these nightly sessions and that's when I realized that it made me happy. There is a simple joy of carefully crafting something with my own hands... no matter how small or simple it may be... and those demons of daily life that swirl in my head are silent.

For now at least, my fly tying bin has gathered very little dust. As the weather turns toward winter's ice and snow, I can take comfort in knowing my tying vise will be there each evening... like an old friend.

Tall Grass

2011-11-17T12:10:00.000-08:00

I planned this blog post to be about the Waterfowl Festival in Easton, and while it was an exhilarating experience, some things happened during and since that I need to talk about.
As the show opened, the Festival’s featured artist Don Rambadt stopped by my display to chat. Don’s knowledge of art and the skill with which he plies his trade are truly remarkable. I respect his opinion and when he had such nice things to say about my work, he nearly left me speechless.
The two days following the Festival were spent with sculptor Paul Rhymer. It was the first occasion where I’ve spent much time with Paul and it turned out to be one of those experiences that changed the way I look at the world. When Paul originally invited me to spend a couple of days with him, our plan was to simply do some duck hunting. It sounded like fun and, truth be told, I really wanted to take the opportunity to pick Paul’s brain about his art. As it turned out, the duck hunting was less than stellar, but still a lot of fun… and Paul is like a brother I never knew. We spent a considerable amount of time driving from one place to the next and it gave us a chance to talk about a lot of things… from art and business to life in general. We discussed the Birds In Art exhibit we had both attended in September and Paul quizzed me about the plein air painting workshop held after the opening weekend. I told him how much I learned in those four days, but the best part of the entire experience was the privilege of spending time with James Coe and Larry Barth each evening.
The second morning of our hunt, celebrated sculptor Walter Matia joined us in the marsh looking for wood ducks. We never fired a shot, but after breakfast Walter invited us to drop by his studio that afternoon. So we did. What a treat! I’ve admired Walter and his work for years and it was an extraordinary experience to peruse his studio and talk with him about art. I tried my best to keep my mouth shut and just listen to every word.
By the end of that day, I’d watched Paul pour several bronze castings and spent several hours helping with a huge monument sculpture of a big horn sheep that will be unveiled in Tulsa in February 2012. That evening, exhausted and happy, I sat with Paul and his wife Carolyn having pizza and drinking beer. Paul smiled at me and said, “Jim Coe, Larry Barth, Don Rambadt, and Walter Matia… you’ve been walking in some tall grass lately.”
Tall grass indeed my friend. Tall grass indeed J

Waterfowl Festival 2011

2011-11-07T06:00:00.000-08:00

This will be my first adventure to the Easton, MD area and, of course, my first time exhibiting at the Waterfowl Festival. Most of the work is done, yet there are still some odds and ends that will cost me sleep over the next couple of days. I’m still waiting for title plates to come in that were apparently lost in transit, so those paintings have yet to be packed. Chances are slim they will get here before I leave. The inside of the truck needs cleaning… maybe tomorrow. Seven hours of driving (each way) during the peak of the whitetail rut will be a 70mph game of “dodge’em.” My state of arrival in Easton on Wednesday will likely be red-eyed-white-knuckle-teeth-grinding-coffee-induced-hyperexcitement… followed by crash-and-burn exhaustion. Nice that I’m so even-keeled, huh? J

I had planned to take 30 originals with me, but the severely limited display space (2 8x4 panels) means I can show less than half that amount. So I’ve trimmed my show inventory to 23 paintings. It’s still too many, but there are none that I really want to leave behind. The show should be great fun and there’s much to do between now and then. I better get busy!

"Cruising Deep" 8x10 acrylic

2011-11-05T13:08:00.001-07:00

It's been decades since I last attempted to paint a trout. I've been working with some new colors on my palette as of late and they really helped to pull this little painting together. Trout are such handsome and colorful subjects, I can't imagine not painting them more often.

"Mouser" 6x8 acrylic

2011-10-21T18:58:00.000-07:00

After spending some time painting with plein air master James Coe, I’ve been experimenting with some new techniques. The freedom to apply oil paint and manipulate it for an extended amount of time is something I really enjoyed about the plein air painting. Though I must admit, I found myself rushing to clean brushes, soften edges, etc. fearing the paint will dry… something I’m constantly aware of working with acrylics. Nonetheless, I’ve been pushing myself to work faster with my acrylics, smearing and blending edges before the paint has a chance to set. Not an easy task, but not without reward.

"Storm Patrol" 20x18 acrylic on masonite

2011-10-10T17:33:00.000-07:00

I've been working on this one for a few weeks now and it's finally finished. "Storm Patrol" will be part of my inventory for my first visit to the Waterfowl Festival in Easton, MD starting November 10. I will have at least 25 original paintings on hand (but only room to display a fraction) and will switch out the art in my display as my mood (and hopefully sales) dictates. It's still a full month away and I'm already having some anxiety about the show. Still... it should be a blast!

Fall Fly Fishing

2011-10-10T07:16:00.000-07:00

I decided to take a break from painting Sunday and spend the day exploring and fly fishing. Of course, it’s never really a day off. My mind is always grinding along in terms of brush and paint, but it’s not an unpleasant grind… especially on a spectacular fall day like yesterday.

The fish were plentiful, though not easy to fool. Still, I caught more than my share and found myself standing in the middle of the small stream grinning on several occasions. The day took on a leisurely pace as I wondered from one spot to the next. And when I wasn’t fishing, there was time to poke around along the stream banks and the edges of farm fields. My camera got quite a workout!By late afternoon, my mind was still fresh, but my legs had just about given up (I remember a time when my brain would give up first!). I stumbled back to the truck and managed not to fall and break anything. It was a great day afield. Now… back to the easel!

Weekend Plein Air

2011-10-08T17:05:00.000-07:00

There is something very satisfying about these plein air studies. Maybe it's just because the plein air process is so new to me. Maybe it's because it forces me to look at my subjects in a new way helping me see things I didn't notice before. Maybe it's because it so damned difficult! Whatever the reason, I'm having quite a good time with these studies. I've noticed since I started working like this, I look at the world in terms of paint and brushwork. I like the way trees meet the sky and the leaves and branches lose themselves in soft edges. It's fun to look at something and contemplate how I'd work the problem in paint. I can alos see that this will ultimately affect my acrylic work.

October... My Favorite Time of Year

2011-10-01T07:13:00.000-07:00

With the month of September now shrinking in the rearview mirror, my favorite month is here! There is so much to do and see in October, I wish it could last 120 days instead of just 31. Fall colors will be at their peak soon offering outstanding opportunities to paint and gather reference photos. Fishing is prime as some trout species are showing brilliant spawning colors and runs of fall steelhead are forging upstream. Fall mushrooms are popping up everywhere with my absolute favorite, the sheephead, topping my list of fungal treasures. And lastly, the bow hunting season opens today in Pennsylvania, which means I’ll be spending a considerable amount of time afield.

I love bow hunting for whitetails. It’s just that simple. The craft of true woodsmanship is quickly becoming a lost art. Keen observation, interpretation of deer sign, and anticipating the daytime movements of a creature that is active mostly at night is not easy. Doing it precisely enough to get within easy bow-range can be downright maddening. Then there is the challenge of keeping a year’s worth of nerves and anticipation under control as the moment of truth arrives… well… as I said before. I love it!

There are other benefits to sitting very still in the October deer woods. As the threat of winter snows come with the cooling night air, animal activity reaches a fevered pitch. Coyotes and foxes pass by on their daily patrols. Turkeys cluck and yelp and they scour the forest floor for abundant fall edibles. On the really cold days, tundra swans can be heard as the first squadrons begin to head south. And not a season goes by without an owl trying to land on my leg!

Yes, my October schedule is jammed full of time in the field. So if you don’t hear from me, it’s not because I’m ignoring you. To paraphrase the late Ned Smith, there’s a sign on the studio door that reads, “Gone for the Day.”

A Good Luck Charm

2011-09-25T18:56:00.000-07:00

The 9th Annual McKeever Nature Art Show wrapped up earlier today and it was quite a success. It was one of my better shows and I'm quite pleased with the results.
Of course, as I was setting up on Friday, the skies opened up and the rain thoroughly soaked everything outside. I feared this would keep people from attending this small show, but that was not to be. Opening night was pleasantly cool, reasonably dry, and as patrons began to browse the gallery, a barred owl lit in a small tree just outside the window. It seemed as curious about what was going on behind the panes of glass and watched us watching him.
I've heard owls can be good luck. Well, I'm inclined to agree. The owl stayed throughout the weekend and became quite a celebrity. I'm sure I won't be the only artist with an owl image in my display next year!

Returning from Birds In Art

2011-09-16T18:20:00.000-07:00

The past eight days have been a blur. So much has happened and there has been almost no time to digest it all. Finally, with my feet up and Otis the Wonder Dog snoring happily beside me, I can take a few minutes and browse the current Birds In Art (BIA) exhibit catalogue.

Of course, the first several pages are dedicated to this year’s Master Wildlife Artist, James Coe. Jim and I have been friends for a few years now and I could not have been more pleased with his selection for Master honors. Jim’s work is the definition of what true art should be. He is an artist in every sense of the word. I was also fortunate to be able to paint with Jim during a plein air workshop he conducted after the opening weekend festivities for BIA. It was my first attempt at plein air painting and I walked away with a firm foundation for my outdoor painting future. Oh… and I also ended up with a decent painting or two J

Moving past the last of the Coe paintings and into the body the catalogue, I’m reminded of the feeling I had walking into the exhibit for the first time. Right away, I was drawn to Paul Rhymer’s barred owl sculpture, then to Chris Bacon’s “Liquidity”. Each piece seemed to hold my attention for longer than it probably should have given the finite duration of my stay. I remember being awed by Matthew Hillier’s glistening brushwork in “Beach Party.” Terry Miller pulled off yet another extraordinary composition in graphite. Larry Barth’s cuckoo carving was so elegantly lifelike it seemed to move beneath the protective glass. It’s hard to imagine an exhibit of this size having such outstanding quality without seeing it in person. There are far too many highlights to mention them all and some of the art literally gave me goose bumps.

There was a buzz in the crowd Saturday morning as some of the artists demonstrated their craft for the public. Debby Kaspari flaunted (though I don’t think that’s a word she would use) her amazing drawing skills to the delight of everyone watching. I never tire of watching her work.

Then there was “the news”. Wednesday evening, Jane Weinke and Shari Schroeder pulled me aside so they could speak to me alone. Jane informed me of the Museum’s decision to purchase my painting, “Shimmer”, for the permanent collection. Then she asked if that would be okay. I nearly fell on the floor! It was the best news I’ve heard in quite some time. It was the perfect end to a perfect trip. It will be weeks before my feet touch the ground again.

Birds in Art 2011

2011-09-02T17:05:00.000-07:00

With the Labor Day weekend upon us, my mind is occupied with the details of an upcoming adventure. Like the last four, my 2011 September is highlighted by a journey to Wausau, Wisconsin for the opening of the Birds In Art exhibit. Unlike previous years however, I’ll be sharing the ride with 1991 Master Artist Larry Barth. I’m truly looking forward to picking Larry’s brain during the 24 hour long roundtrip. It will be a pleasant departure from my usual solitary sojourns.

Birds In Art is without question the most prestigious exhibition in the wildlife/nature art world. The fine people at the Leigh Yawkey Woodson Art Museum and the generous Woodson family are gracious and accommodating hosts for this extraordinary event. I’m continually amazed at how smoothly this three-day visit always goes as there must be so many logistical nightmares. Yet 70-some artists along with their guests, hundreds of patrons, and visitors that must number in the thousands all leave the museum doors with wide enthusiastic smiles.

The art is always stunning. There are more than 130 paintings and sculptures from artists at every corner of the globe thoughtfully displayed within the intimate gallery spaces. As an artist, there is a humbling sense of self-analysis while browsing these works. I remember how overwhelmed I was by the whole experience on my first visit and just how incredibly fortunate I felt to have a painting of my own included. There was a moment of “warm and fuzzy” when I first saw my painting in the Museum. It was hard to stop smiling. I also remember exactly how insignificant I felt standing next to the likes of Robert Bateman, Lars Jonnson, Carl Brenders, and Dino Paravano. It was like the world was going to open up and swallow me and no one would notice. I feel a little more like I belong in the exhibit these days, but still get more than just a little starstruck around some of the big guns.

There is an energy to this event that makes it like no other. So many talented, adventurous, hardworking, and likeminded people in one place can’t help but wind you up like a toy store top. During a rare moment of downtime, it’s easy to find yourself wandering around your hotel room with your head spinning.

Of course this year’s Birds In Art excursion has a special meaning. My friend, painter James Coe will be awarded the coveted Master Artist medal during a ceremony held in front of hundreds of distinguished guests. I’ve admired Jim’s work for years and he’s one of the true “good guys” of the art world. I can think of no one more deserving.

Jim will be teaching a 4-day plein air painting workshop immediately following our Opening Weekend festivities. I’m wildly excited about this opportunity. I’ve always wanted to delve into this method of painting and Jim is a true master. Stay tuned for images and updates once I return to PA. The road awaits…. J

My First Love...

2011-08-22T11:56:00.000-07:00

I love to draw. Since I was a child (and way before I ever started chasing girls), I’ve always seen any scrap of paper as a potential surface to scratch out an image with a pencil. There’s something very intimate about drawing in graphite or charcoal. This intimacy is compounded when rendering the beauty of the female form. I’ve always admired the skill of those who are able to quickly and accurately capture the essence of a subject with a few well-placed lines. Over the years, I’ve been fortunate to sit in on several drawing sessions with some very skilled artists. The wide range of drawing styles among my peers fascinates me. Some are able to whip out truly elegant drawings in a matter of a few minutes, quickly taking down a visual spirit and refining from that rough idea. Others are more deliberate, treating the drawing more as a painting, carefully placing each stroke in the exact correct spot before moving on to the next. Regardless of the technique, it’s something I could watch for hours on end. Drawing after all, is the prerequisite skill needed to visually convey our thoughts. Isn’t that what art is all about? Highly developed drawing skills perpetuate a great deal of freedom in an artist’s work. No longer bound by the inadequacies of less than perfect reference material, the ability to move and manipulate objects to enhance a composition allows the artist to push the creative envelop.
So now that those scraps of paper have evolved into pages in sketch journals, I’m able to see the progress in my skill. By no means a “master” of drawing, each page turned is another step forward. Another journal atop the already considerable collection shows a remarkable growth. Comparing the first and last pages of each book, most don’t even appear to be rendered by the same person! It’s the best way I know to improve my work.

"Riverside Dames" 10x8 acrylic

2011-08-18T14:15:00.000-07:00

I knew when I stumbled upon this scene earlier in the summer, it would eventually end up being a painting. It's just one more good excuse to go fly fishing now and then... there always seems to be great opportunity to gather reference material for my art.

"Creekside" 8x6 acrylic

2011-08-13T04:55:00.000-07:00

The last few weeks have been a struggle and my productivity has suffered. It seems as though I've done nothing but spin my wheels. So it felt good to finish this small piece last night. Hopefully this is a sign of things to come. Actually, I tried to paint as many of the leaves as possible in this piece with a single brush stroke and thought it turned out pretty well.

It's Been a While!

2011-07-29T05:12:00.001-07:00

I'm not sure why I haven't felt like posting lately. Maybe the heat and humidity are combining to drag me down a bit. Seems I've been struggling to complete anything other than a handful of quick sketches. In any case, "Shallow Crossing" is 7x5 (acrylic) and hopefully marks the end of this stretch of limited productivity. It felt good to actually finish something and sign it!

"River Rock" 8x6 acrylic

2011-07-10T04:35:00.000-07:00

Slightly larger than the 7x5 format I've been working with recently, this is the first time I've worked with 8x6. I really like this size. Incidentally, this painting and the previous one posted on this blog are of the same stretch of Little Sandy Creek... viewed from opposite directions. Fun stuff!

"Standing in Dad's Boots" 7x5 acrylic

2011-07-06T09:50:00.000-07:00

I'm having a great time painting these small river-scapes. The title for this one is inspired by a friend whose dad spent a lot of time on this stream before he died a few years back.

Snatch the pebble from my hand, Dung Beetle

2011-06-28T05:29:00.000-07:00

I was having a pleasant conversation with a couple of clients at a small local show when a young couple approached and said hello. The clients excused themselves and moved on browsing my display while the youthful pair took their place and began chatting me up. I knew the young lady from one of my recent workshops. She had since enrolled in the Fine Arts program at a small university and was anxious to introduce me to her boyfriend, who’d been in the same program for… well… several years. He shook my hand with what I can only describe as disinterest and avoided eye contact with me. We all made small talk for a bit and I was ready to move on to some potential new clients who had just entered the gallery when he finally looked me in the eye and offered this little gem…

“Realism is so easy. It’s really not much of a challenge. That’s why I work in abstract.”

Huh wha? Did he really just say that? Okay, I’ve dealt with know-it-alls before. He’s just testing me, so I tried to remain diplomatic.

“It’s nice that realism comes so easily for you. That doesn’t happen to be the case for me, but it’s not rocket science either. The challenge is taking realism and making it fine art. Not many seem to be able to make that connection. Since I’m working with recognizable subjects, the challenge then becomes making the painting both believable and pleasing to the eye.”

Which is pretty much my artistic philosophy in a nutshell.

“Only someone with an advanced knowledge of art and the complexities of abstraction can do what I do.”

Now he was pushing his luck.

“I’m sure your art is very nice.”

Yes, that was probably a little condescending, but I was really trying to end this conversation.

“I’m sure you don’t understand the complexities of true fine art.”

Okay, now he was just being a little prick.

“So you’re saying it takes a degree to fine art to bullshit people? Maybe it just takes a degree in bullshit. I think I understand that just fine. Enjoy your career asking people if they’d like fries with that.”

Asshole J

"Little Sandy Creek" 5x7 acrylic

2011-06-23T09:26:00.000-07:00

I love painting river scenes. It's always nice when all the bushwhacking it takes to get to some of these places pays off with a painting like this... never mind the fly rod that always seems to make the trip ☺

Prep Work

2011-06-19T05:09:00.000-07:00

It's funny... when I was a kid, all I ever wanted to do was catch and draw fish... especially trout! I even did a few trout paintings way back then and sold every one of them without much effort. And honestly, they weren't very good. Hmmmm...

A renewed interest in fly fishing and all that goes with it has started the wheels turning and I'm considering a series of trout/fly fishing paintings over the next couple of years. There is a fair amount of good fishing art out there, but not a lot. One of my goals with this endeavor is to create a very genuine window into the fish's world... often attempted, but rarely with much success (including past efforts by yours truly). One of the most challenging aspects to this type of painting is realistic and lifelike fins. The fish's fins are propulsion and stabilizing devices, so they are constantly moving. They have a fluid and transparent look not easy to convey with pencil or paint. Many times fish paintings seem to have a flat lifeless look and I think most of that is due to poorly painted fins (and using taxidermy specimens as reference material). Several dozen "fin drawings" are likely in my immediate future. So the prep work begins. I've been very fortunate to have a close friend with a very nice underwater camera she takes scuba diving. After borrowing the camera and shooting a few hundred images, my view of how things actually look in the water has been fine tuned a bit. A lot of drawing will be a priority before any actual paintings begin to take shape. Sketch books will be bursting at the bindings with trout drawings as the composition process gets underway. I also need to shoot a few hundred more images to better understand the "aquatic" look I have in mind for these works. And that means I'm going to have to spend more time fly fishing. Well shoot!☺

A Cure for Cynical Asshole Syndrome

2011-06-12T08:31:00.000-07:00

I finally found out what is wrong with me. Last Wednesday night while watching South Park (yes… I watch South Park), the cartoon doctor on my TV diagnosed Stan with Cynical Asshole Syndrome (CAS). I laughed so hard I woke up the dog! I thought Hey… I’ve got that! And all this time I thought I was just a realist. Apparently, CAS gets worse with age and there is no known cure… until today.

I left the house a little before 6AM with a cup of coffee and navigated the short 15 minute drive through the early morning fog. The turnout by the stream was deserted, as it usually is this time of year and I sat on the back bumper of the truck to slip on my waders. The air was cool and damp and the mosquitoes began their attack immediately. A quick shot of bug spray would keep them from biting for a while. The black flies would be out later in the day, and while the spray keeps them from feeding on my flesh, it does nothing to prevent them from crawling under my glasses and leaping into my eyes. It’s just one of the hazards of a summer day afield.

I walked alone (as sufferers of CAS often do) along the footpath toward the sound of rushing water. At the stream's edge, I stopped by a large pool to string up my fly rod. The sun was up enough for me to see a few trout feeding lazily in the current, but the fog kept any more light than that from filtering through the tall pines. Most of the pool was guarded by the hulk of a fallen tree, in the water for so long only the largest branches were still attached. It was all but unfishable as I’d so clumsily learned the week before. A trout slashed at a tiny mayfly along the far bank, taunting me from the absolute safety of its woody cover. Still, I waded slowly into the pool within a rod length of several fish. Rather than cast, I dipped a tiny nymph as far upstream as I could reach and let it drift back into the tangle of limbs. I small split-shot dragged the fly to the bottom and I watched a trout confidently swim over and eat it. I set the hook and tried to horse the fish (as much as possible with a 3-pound test leader tippet) away from the sunken tree limbs. The fish would have none of it and the hook pulled loose almost as quickly as the fight began. Not a big deal. I was happy to have actually hooked a fish in that spot and knew from the beginning the chances of landing one here were slim at best. I waded out of the pool with a smile and moved on.

The fishing wasn’t exactly easy, but it wasn’t tough either. Most of the morning was spent casting nymphs to visible fish in the deeper shaded pockets of the creek. An 18” rainbow took honors as “big fish” for the day and an even bigger fish shook off shortly after being hooked, but the smallest trout was the one that made me smile the most.

Western Pennsylvania isn’t exactly known for water quality and habitat management. Let’s face it… mining, logging, industry, and urbanization have all taken their toll on a landscape that 150 years ago would’ve made Aldo Leopold gasp with admiration. When I was a boy, many of these local streams still had a fair population wild brook trout and an occasional wild brown too. We’d crawl on our hands and knees through the underbrush and plop a minnow into the water anyplace we could find room. The fish were tiny, but made up for the lack of size with their shear colorful brilliance. The wild innocence with which these fish would fight over our offerings did not go unnoticed, so even in my bloodthirsty youth, I let all but a few of the fish go.

More than a quarter century has past since my days of minnow-plunking exuberance. Surely these tiny aquatic jewels have passed by the wayside. Ah, but not so fast my friend. This day, as I gently unhooked a perfect 5” wild brook trout, the world around me looked its absolute brightest… and so was the grin on my face.

The outing was full of similar personal highlights. A great-horned owl watched me intently from a streamside pine before silently winging off down the creek. A young whitetail buck sporting small velvet-covered antlers stepped into the shallows 30 yards below me and drank from the stream. Once he noticed me standing there, he cautiously made his way around the bend and out of sight. As I was unhooking a nice trout and slipping it back into the water, I was overcome with the sweet smell of Mojitos. Mojitos?! It must’ve been a sensory blast from my bartending past and I soon realized I was standing in a small patch of wild mint. A glorious day, indeed!

It dawned on my as I picked my way through the briars walking back to the truck… my CAS is triggered by American popular culture and those loud, outrageous, idiotic things most others (so I'm told) seem to find entertaining (excluding of course, South Park). The further removed I am from all that mind-numbing noise, the better I feel.

Now, take two Mojitos and call me in the morning J

More on Drawing

2011-06-10T09:06:00.000-07:00

There's something very intimate about drawing. It allows me to explore my subjects and models in a way I don't often experience with paint and brush. Before I begin a painting (especially a major piece), I often work out a dozen or more of these quick graphite studies. That way, I understand potential problems and can often mitigate them before painting myself into a proverbial corner.
That being said, I probably draw more for the shear joy of it than any other reason. It's just plain fun! I've always admired those who can accurately convey a thought, concept, or image with sure-handed strokes of a pencil. Even the most elegant graphite drawings still have an earthy, almost primal feel to them. Still, I find the quick studies found in artists' private sketchbooks most appealing. The drawings not meant to be a "finished product," but to serve as a visual note taking process... those are the ones I never tire of seeing.
All you young artists out there... NEVER STOP DRAWING! There is absolutely no substitute for good drawing skills and it's easy to spot those lacking in this department.

"Stubble and Snow" 6x4 acrylic

2011-06-08T17:20:00.001-07:00

On days like today when the air temperature is over 90°F, sometimes it helps to work on a snow scene. I can mentally put myself in that cold January day. It also helps to have a good air conditioner in the studio!

"Sunny Lucifer" 6x4 acrylic

2011-06-08T17:15:00.000-07:00

I really enjoy working on these small studies. I seem to learn a lot when I get to work so quickly. I wanted to capture the glow of the sun as it beams through the Lucifer blossoms. Reds are always a challenge for me when painting with acrylics.

A Trout Trifecta

2011-06-04T13:54:00.000-07:00

I don’t fish on weekends. I don’t like crowds that seem to find their way to western Pennsylvania’s outdoor recreation areas, so I usually stay at the studio and work… except for today.

There’s been so much rain and flooding this spring, the streams have rarely been near fishable levels. With almost no rain for the past few days, I just couldn’t stand it anymore. I was up with the sun and out the door with a cup of coffee and a new fly rod I’d been dying to give a workout. When I got to the stream, I took my time. It had been a while since I last fished for trout (other than steelhead) and I really wasn’t sure what to expect. I had my camera gear along, so if nothing else, I could shoot some reference photos for a painting or two.

The water was very clear, but there was still a decent amount of flow. I scanned the small creek looking for anything “fishy” and it wasn’t long before I spotted the give-away shadow of a trout close to the rock covered bottom. Then along the far bank, another sipped a fly from the surface film. So the fish were there. I just needed to figure out how I was going to catch one. This small run was protected on every side with low hanging tree limbs and a mesh washed in deadfalls. All great trout cover, but not so good for knocking the rust off your fly casting. After a few clumsy attempts with a small dry fly, I managed to keep from losing any flies, but still spooked every fish in the area. It was time to move upstream a bit and try my luck in a place where every cast wouldn’t be such a challenge.

Just around the next bend, a riffle cut in close to the far bank forming deep cut. Exposed roots protected the holding water like long fingers reaching down toward the bottom. The cast would be easy enough, but keeping the fly out of the roots during the drift would be a challenge. I clipped off the dry fly and selected a small bead-head nymph. This was a little more into my comfort zone and I felt a little better even as I tied it to my tippet. With all the snags, there was no way to get my fly into the prime holding water. My only hope was to get the fly close and hope to coax a trout from the cover. Of course, my first cast was woefully short as I chickened out and pulled back from the snarl of roots. My next was only slightly better, but before the fly got halfway down, a trout charged out of the roots and ate it. HA! As I played the trout away from its tangled lair, I caught myself laughing out loud and had to look over my shoulder to make sure no one was watching. As luck would have it, I never saw another fisherman all that morning. A rare Saturday indeed!

In most places, the trout were visible and site fishing was possible. In others, I had to watch my leader carefully to detect a strike. Numerous rainbows and brightly color browns fell victim to my tiny fly. The last trout I caught was a healthy brookie, completing my “Trout Trifecta” and capping a perfect morning. As I hiked back to the truck at noon, I wondered if I’d be able to quit grinning long enough to eat lunch J

James Coe Plein Air Workshop

2011-06-02T05:33:00.000-07:00

Last week I booked a spot in James Coe's September 11-14 workshop. If you're not familiar with Jim's work... you should be! Please check out this link http://jamescoe.com/ He will be awarded the Master Artist medal at the Woodson Art Museum this year during the Birds In Art opening weekend. Not only is Jim an outstanding painter (one of my absolute favorites!!!), but he's also a great person... one of the true "good guys" of the art world.

If you're an artist looking for a way to take your painting skill to the next level, I highly recommend participating in this workshop. The instruction will be based on "plein air" painting... a skill Jim is quite well known for... and will give participants a chance to experience some of central Wisconsin's outdoor charm. There will be time at the end of the workshop to browse the prestigious Birds In Art exhibit, as well. If you don't come away from this experience brimming with inspiration, well... there may be no hope for you!

For more information, download the workshop brochure here.

Susan Lyon Radio Interview

2011-05-30T05:05:00.000-07:00

I listened to this radio interview with artist Susan Lyon yesterday morning and found it quite useful. I've been following Susan's work for a couple of years and it was good to hear some of her insight. She and her husband, Scott Burdick are two of my favorite painters. Here's the link: A Conversation with Susan Lyon
It's worth a listen.

Bluejay Study 5x7 acrylic

2011-05-29T14:29:00.000-07:00

This is today's work. I'm happy :) I hope everyone is having a wonderful holiday weekend. It's time to get out the grille!

We're Back!!!

2011-05-28T05:13:00.000-07:00

It's been a while since my last blog post. Seems there have been some problems with the Blogspot site for the past several weeks. Let's hope everything has been resolved!

In the meantime, I've been able to work a new painting from start to finish. This is an exciting time in my career as an artist. As I constantly think of fresh approaches to my work, the task of breaking away from my comfort zone is not an easy one. The “loose and painterly” background in this painting is something I struggle with on a regular basis. By paying close attention to my oil painting colleagues, I’ve learned a few things about making this type of brushwork look more painterly and less sloppy (as were my early efforts). It’s also a challenge to pull this off with the quick drying quality of traditional acrylic paints, so working quickly is imperative. This is also my first falcon painting and I wanted to the title to reflect the high speed potential of the fastest animal on earth. "Latent Velocity" 12x9 acrylic on board.

"Winter Goldfinch" 4x6 acrylic

2011-05-20T04:37:00.000-07:00

The first of my minis for the year... I'll be posting more soon.

Rainforest in PA?

2011-05-17T19:25:00.000-07:00

There are times when the shack nasties get the best of me and I just have to go outside… rain or shine. The local woodlot where I find most of my morel mushrooms was seemed more like the rainforests of the Pacific Northwest than western Pennsylvania. I shrugged on my raingear, shouldered my camera bag, and headed for the door. As always, Otis beat me to the truck.

I never have to look far to find something interesting when I walk these trails. Today, warblers seemed to be in every tree and bush. Rose-breasted grosbeaks sang pleasantly from the upper canopy. Newts and frogs went about their business of amphibious life. If I happened to miss something, Otis the Wonder Dog was sure to point it out. I pushed the may apple aside with my walking stick hoping for a mushroom or two. I was not disappointed. Amid the jack-in-the-pulpits, trillium, and wild geraniums, morels were there for the taking. With such a short season (maybe two weeks for these larger specimens), I snatched up as many as I could find. Not bad for a couple of hours in the field. It sure would be easier if Otis didn’t need a bath every time we went for a hike J

"Osprey Bay" 10x8 acrylic on board

2011-05-15T13:21:00.000-07:00

Since my last several paintings have been fairly large, I need to spend some time focusing on smaller paintings. “Osprey Bay” is a good start to this upcoming series of smaller works. Now that I think about it, I’ll need to work a very large commissioned piece in too. Looks like I’ll be working both large and small well into the summer.

"Big Game Hunter" 16x20 oil

2011-05-12T05:16:00.000-07:00

Commissioned by Tony Spicker of the Big Game Tackle Company and featuring one of Tony's awesome lures, this piece presented some tall challenges. I wanted explosive movement in the background and after three attempts, I think I pulled it off. There also needed to be enough "freeze-frame" detail to showcase the lure and highlight the colors of the musky's head.
I'm happy with this one and I think Tony will be too. The image will be submitted to Musky Hunter Magazine for consideration to grace the cover of a future issue.

Birds in Art 2011

2011-05-06T08:54:00.001-07:00

It seems I’ve been on a bit of a roll lately… at least with my art. I’m very happy to announce that “Shimmer” has been selected from more than 950 entries for the 2011 Birds In Art exhibit. 583 artists from every corner of the globe applied for the honor of being included in this remarkable event. It’s impossible for me to suppress the smile on my face after receiving this news. I was especially hopeful this year as my friend, Jim Coe, will be honored with the Master Artist award and I wanted to be on hand for that!

This marks the 5^th consecutive year I’ve been fortunate enough to make the cut for this prestigious event. I’m looking forward to the September Wausau journey and seeing my extended BIA family once again.

Is It Worth It? (a small rant)

2011-05-03T05:48:00.000-07:00

I received email notification this week that 2 of my paintings were juried into the Small Works exhibit at the Bennington Center for the Arts in Bennington, Vermont. Of course I was thrilled to get the news, but as I read the email, I was experiencing no small amount of regret. The Bennington Center requires the art be shipped in Air Float Strong Boxes, rather than my usual wood crate (thanks for springing that on me now!). The Strong Boxes are highly protective, relatively lightweight, and ridiculously expensive. So, instead of using one of the several more than adequate crates I already have constructed (and paid for!)… well… you get the point.

Don’t assume that your precious work will be handled by professionals once it reaches its destination. Nearly half the pieces I send to exhibits are returned with at least some noticeable damage. Scratches on the painting, chipped and cracked frames… I once had a painting returned to me with a frame corner smashed flat and the frame joints broken loose. It had obviously been dropped. It’s far more likely that your work is being handled by a couple of art students who are either bored or high or both, despite the $20 “crating fee” you had to pay!

A few years back, I had 2 paintings juried into the Kentucky National Wildlife Exhibit in Henderson. I happened to be in Henderson near the end of the show and stopped in to browse the art. Some of the art was very good, some not so much, but still… it was good to actually see the venue. The art was displayed in the lobby and hallways of a building at the local college campus. There was literally no security in the building. Anyone could lift a small sculpture or take a painting off the wall and walk out the door unnoticed. I don’t expect Fort Knox, but jeez.

Therein lies the conundrum. Is it really worth it to send work to some of these exhibits? Of course the exposure is nice and being included in an exhibition like this looks good on a resume (does anyone ever look at an artist’s resume?), but the cost of crating, shipping, and insurance (don’t expect FedEx or UPS to pay up if the lose or damage your art!) can be prohibitive. There is the chance for a sale, though it’s not usually as likely as the exhibit promoters would have you believe, but then the gallery takes its 40% cut off the top of your price. Again, it’s the same feeling of elation followed by a regretful knot in your stomach as you look at the check and mentally add up what it just cost you to get to this point. Entry fee, framing, crating, shipping, insurance… suddenly you realize you’re barely breaking even! Never mind the cost of actually attending the opening of the exhibit with travel, lodging, and meals… then you’re seriously in the hole!

Happy painting J

Morels and Leeks

2011-05-01T06:49:00.000-07:00

After a long winter of being stuck inside working, I’ll use just about any excuse to get out when the weather is decent. So yesterday, Otis the Wonder Dog and I spent a couple of hours combing the forest floor for the first tiny morels of the year. I’ve been told by some that these little mushrooms just aren’t worth the effort. Maybe. But it’s not really all about the harvest to effort ratio. The sun was warm on my shoulders and a Carolina wren was singing nearby. A wild turkey gobbled several times from across a large field of winter wheat and made me think about the shotgun hanging on the wall at home. Every bird in the county was consumed with the chores of nesting or tending eggs. The constant chatter from our avian entourage offered pleasant background noise to the outing. Of course all this bird noise has a bigger purpose than our entertainment. The business of attracting mates and warding off rivals requires a lot of whistling and chirping. Otis sat nearby, ears forward and head cocked, taking in all the action.
With all the distractions, it takes some time to find that first morel. You find yourself slowly walking along scanning last year’s fallen leaves for any sign of a mushroom, but this simply won’t work. Remember, these mushrooms are so tiny 8 or 10 will fit on my camera’s lens cap with no trouble. The only way I’ve been able to consistently find them is to stand in one spot and visually scour the ground around me… say within 6’ or so. It’s not easy. Every muscle in your body is prodding you to take another step and your mind is telling you there are probably more and bigger mushrooms over by that stump, or out by the edge of the field, or… well… anywhere but where you have your feet glued. Sometimes it helps to kneel down and the knees of my jeans are usually damp and covered with dirt. Once I’m convinced there are no mushrooms in that spot (or more likely I just can’t stand in that spot any longer), I’ll take 2 or 3 steps and do it again. Still, that first mushroom can be very elusive and I can’t search in futility for very long before I get distracted. There is a lot to going on in the forest this time of year and every bit of it distracts from the task at hand.
With any luck, I’ll find one in the first 15 minutes or so. It gets a little easier after that. Before I pluck that first mushroom from the duff, I’ll carefully look nearby for more. There’s a distinct texture to morel mushrooms, so once I’ve found one and have a visual reference point, it seems my eye can pick out that odd little pattern with some regularity. There is almost always more than one, so a few minutes of turning over leaves can pay off. It’s not uncommon to realize I’ve been standing on a couple the whole time.
Yesterday was a good day. We got some mushrooms, even pulled a handful of wild leeks (which were devoured on the spot), and shot a few wildflower photos. Lunch is going to be spectacular!

Quick Studies

2011-04-30T11:57:00.000-07:00

Finally! Western PA is having a beautiful sunny day, so I’m finding it very hard to concentrate on work. The morel mushrooms are starting to show, birds are singing, and my mind and spirit are longing to be out there with them. Since I don’t think I can stay indoors all day, I decided to work on a couple of quick oil studies. I typically work on acrylic, so these oil studies are a refreshing break. They force me to think in oil (and it’s very different from acrylic!) and focus less on fine detail. It’s all about getting the shapes and edges correct. Done!

Now I’m going out to look for mushrooms!

"Last Snowfall" 10x20 acrylic

2011-04-25T10:42:00.000-07:00

Wow. Has it really been 10 days since my last post? With spring sputtering forward only to fall back to near-winter conditions, a multitude of projects have been started and left in hopes of better weather. Many of my friends seem to be battling weather related depression of varying severity. I guess I’ve been doing okay, though I’ve been staying inside working more than I’d like.

On the plus side, I’ve managed to produce one of my more striking images. Special thanks are in order to Rodney Gallie for the outstanding reference photos. I don’t make a habit of using photos not taken by yours truly, but these were just too good to pass up.

Progress

2011-04-15T09:11:00.000-07:00

Here's the result of forcing myself to paint for the last 2 days. This is about 1/3 of a 10x20 board. I'm starting to feel good about this one.

Struggle

2011-04-13T04:57:00.000-07:00

It's been nearly impossible for me to pick up a paint brush lately. The stress of tax season and several other deadlines (some art related, some... not so much) have left me completely unmotivated. My production has level has never been an even steady flow. At times, I can work for months with barely a break. Others, I can't seem to complete a sketch without becoming distracted or discouraged. How true it is that state of mind plays such a major role in the creation of art. A positive attitude is fueled by accomplishments in the studio, which in turn feeds and perpetuates that positive energy. Similarly, a lack of production knocks my legs out for a while and makes it even harder to sit at the easel... the proverbial downward spiral. The goal today is to put some paint down... good or bad... and work my way out of this stagnant state.

More on Fly Fishing

2011-04-01T18:14:00.000-07:00

I’ve never been much for pretentiousness. I try to take a logical utilitarian approach to just about everything… especially fishing. I like tying flies, though my eyes aren’t as good as they used to be. Still, the simple patterns seem to work best for me. I’m no expert, but I get by. And there’s a satisfactory little tug at my ego every time I catch a fish on a fly I’ve made myself.

Casting a fly rod can be artfully beautiful, but I can’t remember ever needing to cast 90’ of fly line to a rising trout. Short accurate casts that seem ordinary if not downright dull get the job done with the most efficiency.

Trout rising to invisible dry flies seem to be what the “pros” talk about over their cognac and pâté at the end of the day, though few can back up their yap with fish in the net. Far more trout at caught drifting nymphs under a float (“float” is the fly fishing world’s term for the lowly bobber) or swinging wet flies downstream through a riffle. It’s so effective many so-called purists frown on those that would stoop to that level. Whatever. I like to catch fish and sometimes flies just work better than anything else. That’s why I fly fish and tie flies. It makes me smile and that’s good enough for me.

Now I think I need to get some glasses.

"Shimmer" 30x20 acrylic

2011-03-25T12:16:00.000-07:00

These larger paintings really seem to take a lot of wind out of my sail... especially when I work on one straight through to completion. I think it's time to work on a few smaller projects and recharge my batteries a bit.

A Good Day Out of the Studio

2011-03-22T20:14:00.000-07:00

Sitting here this evening with a glass of whiskey, the sting of today’s frosty air is still very noticeable in my fingers. As time passes (far too quickly anymore) and many things in my life begin to come full circle, I find myself gravitating back to my early days of fly fishing. I’m also thankful I didn’t give all that fly fishing gear away years ago.

I’ve been fishing for steelhead trout for almost as long as I can remember. I’ve caught literally thousands of them and I still smile every time one puts a bend in my rod. They’re big and powerful and live in fast water, so they can be a bit of a challenge to land. But after 25 years, it’s easy to forget the wide-eyed panic that sets in the first time you lift your rod to set the hook and a 25” trout bolts upstream like a greyhound at the dog track. Don’t get your fingers in the way of that whirring reel handle or you’ll end up with bloody knuckles!

I realized that experience once again taking a friend who’d never before stalked these over-sized rainbow trout. We damn near froze, but we encountered dozens of the big fish… hooked some… lost some… and landed a few. It was awesome!

Now it seem I'll have to drag out my old fly tying materials and see just how bad my eyes really are. Like I don't have enough to do...

Progress Update

2011-03-15T05:46:00.000-07:00

Since I've been posting small sections of this painting as they came together, I thought today I'd share the entire board. It will likely take the rest of the week to fill in the remaining "gray" areas, then another day of refining shapes, edges, and tones. Oh, and at some point there will be birds added to the scene. Maybe I'll do that today.

A Little Marketing Reality Check

2011-03-11T07:03:00.000-08:00

I recently happened upon another artist’s blog (a very successful artist who has shown in galleries and museums all over the world) and one of her posts got me thinking. Actually, it was more the reaction of one of her readers and then her reaction to them that puzzled me. Of course, I’d never heard of her, but that doesn’t mean anything. I don’t get out much.

The post itself was about being approached by another artist at one of her exhibits and the resulting dialogue concerning her marketing. I was intrigued. I can always use a pointer or two when it comes to promotion and marketing. Boiling the extensive post down to its main theme, she became frustrated with the other artist and his unwillingness to do the real work necessary to push his public exposure to the next level. When their banter turned to web presence and blogging, she chided “You should blog everyday or at least every other day!”

I though to myself Wow… she really does work hard. How does she find the time to be such a prolific blogger and still create her art?

She surmised he was looking for the easy answer to his marketing puzzle and the only easy answer to give is that marketing is tough. It’s long complex journey with very few shortcuts.

I couldn’t agree more.

She became very offended that her quizzical colleague somehow had developed the notion that her success was based on some marketing formula and had nothing to do with the fact that she creates great art (similar to how my blood boils when someone suggests my art is “talent” driven and has nothing to do with hard work!).

How rude!

She ended the conversation by telling the man to “Fuck off!” (which I may think at times, but would never say) The fact she actually said that to someone in public at an exhibit made me a little squeamish, but then I thought the guy probably got what he deserved. Besides, the photos she had of herself posted all over her blog (none of her art… hmmm) were quite attractive and a little tough looking, so she probably gets away with saying things some others (men) don’t. And judging by the attitude of her blog, she probably says stuff like this a lot! Still, I found myself in her corner silently cheering her on.

Sexist, right? I’m sure she would accuse me of the same thing, but it gets worse (or better, depending on your point of view).

As I skimmed the comments following her post, most were supportive in a “been there, done that” sort of way, but down the page a bit I found a comment by another (obviously sexist) fellow questioning her self-proclaimed “great art” and stating that her success was based more on her attractive physical appearance and the calculated controversial nature of both her art and personality than the actual quality of her work!

REALLY?! Did he just say that?

I instantly bristled at this statement, but backed off a bit as I thought about it. I found it odd that she had several photos of herself on her blog, but none of her art. That was true enough. I began to wonder why? She certainly was trying very hard to be edgy and controversial.

Maybe a little too hard?

Her response to this critical comment was more juvenile than I expected as she really ripped the guy a new one calling him petty and jealous.

The standard response I’ve heard many times when pointing out obvious flaws others are too timid/kind/PC/stupid to address. Why was she so defensive? Had someone really pointed out the emperor wore no clothes?

Slowly I began relating a bit more with the targets of her pointed words. Now I REALLY NEEDED TO SEE HER WORK!

I clicked the link to her website and what I found was astonishing. The “work” was a collection of mass produced poorly executed pornographic line drawings (“chicken scratching” would be more descriptive). Edgy and controversial indeed! Her art seemed every bit as juvenile as her response to critics, but it was just the kind of trash the galleries in NYC and LA pee all over themselves for.

I instantly understood why she had so much time to write in her blog everyday. If she had more than a couple of minutes tied up in these monstrous hunks of crap, I’d be shocked.

I guess what upset me most was her absolute denial that her physical appearance and carefully cultivated public image had anything to do with her success… since her art is such an unattractive and cliché joke! So does she really believe her own line of BS? Or has she manipulated the art buying public into a frenzy of uninformed garbage collecting… laughing herself to sleep at night? And all the way to the bank!

I guess the moral to the story is this: If you have a specific attribute that sets you (or your work) apart from the crowd, embrace it. Use it to your full advantage and don’t ever feel like you need to apologize for it… unless of course your work is a fraud/con to begin with. In that case… never vary from your lie!

Oh… and don’t ask me for the name of the above mentioned artist. She’s already received too much undeserved attention J

Rhythms of Water

2011-03-08T12:08:00.000-08:00

If you follow my work, you know I love to paint water. Lakes, rivers, streams, even puddles present a tremendous challenge for me. Even a small amount of water in a scene can make or break a composition. I welcome the task since it seems to add so much life to my art. Each little ripple and wave has its own character and it took me a lot of trial and error before I began to understand the play of light. One side of the wave may reflect the sky. The other may allow you to see below the water’s surface. In between there are a myriad of transitions showing the hues of the surrounding landscape. The entire scene is often punctuated by brilliant dashes of pure sunlight that dance upon the surface like twinkling Christmas lights. So… is it hard work painting “realistic” water? Very much so. Is it worth the effort? Absolutely.

Included with this post are two sections of the lower portion of my latest undertaking. Judging by these small samples, if the painting doesn’t work out as a whole, I’ll be able to cut it into several smaller paintings!

Something Bigger

2011-03-06T10:56:00.000-08:00

Last week I jumped head first into another large painting. I like the direction this piece is moving, though with these big ones, there always seems to be some turmoil and a substantial amount tweaking near the end. Moving this, eliminating that, even changing the visual temperature of large areas… no matter how much planning I do, there are always things I feel need to be improved once I start laying on the paint. And more often than not, I need to take a break at some point in the process and work on something else. It helps get my mind right if I don’t look at a big piece for a few days (or weeks). If something was bothering me (which is usually the reason I needed the break), it almost always becomes clear once I’ve spent some time working on another project.

Above is an image of the upper 1/3 of this 30x20 composition. I’ll periodically post progress photos of this one since it’ll likely take weeks to complete. This much water is going to be a huge challenge.

It's all about the Drawing!

2011-03-03T16:58:00.000-08:00

I’m often asked by young artists how they can be better painters. By contrast, it’s funny how few times I’m asked about the importance of better drawing skills. I guess I find it funny because the two are so inextricably connected. Good drawing is based on a fundamental understanding of the spatial relationship of one shape to the next. In other words, the ability to see what’s in front of us and accurately convey that information in two dimensions to canvas or paper. So better painting is (at least in one respect) a result of better drawing. Whether you’re drawing with a pencil or charcoal stick, a tiny number one sable brush or a 2” flat, its all about the drawing.

Thank You Cards

2011-03-01T04:31:00.000-08:00

Spending most of the last two weeks on the road, I had little time to draw and none to paint. Now that I'm getting settled back in the studio, I decided to do some pencil drawings before charging into another painting. These quick little drawings serve a couple of functions. First, they keep my eye sharp and observant to the relationships of shapes in my art. Second, they make wonderful "Thank you" cards for clients making recent purchases. I've always been humbled by people willing to buy my paintings and taking the time to say thank you again is just a small gesture expressing my gratitude.

SEWE 2011 - A Whirlwind Experience

2011-02-23T17:25:00.000-08:00

It's taken a couple of days to decompress from my trip to Charleston. I'd been looking forward to this show for months and it did not disappoint. First, I'd like to say thank you to all that stopped by to chat about art over the weekend... and especially those who plunked down their hard earned dollars to add my work to their collections. It's really quite humbling.

Next, I'd like to say how fortunate I was to receive the 2nd place ribbon for Best of Show with "Spring House." My painting was chosen over more than 3000 other works, with only my good friend, Dustin Van Wechel's "Watchtower" taking a higher place. John Seery-Lester (one of my painting heroes) served as one of the three judges, so it was really an honor to meet him and chat for a bit.

A special thanks goes out to my neighbors at the show, Paul Puckett and Tiffany Maser. Their company made the slow times bearable and I look forward to seeing them again soon.

So 2011 is off to a running start. Time to get back to work and make more art.

SEWE 2011

2011-02-14T12:42:00.000-08:00

It's finally here. I've been couped up in the studio for more than two months working on my inventory for the 2011 Southeastern Wildlife Exposition. Now that the truck is packed and I'm ready to head out the door, I can't wait to once again see my friends at the show. Sculptors Paul Rhymer and Don Rambadt will be among my first stops at the show. Sculptors think differently (and probably a little more) than painters do, so it's always fun to share ideas. It will also be interesting to browse the outstanding compositions of graphite artist Ray Brown and take in the bold buttery brushwork of painter Dustin Van Wechel. The entire show will be a feast for the mind and spirit (as well as the eye).

I'm also very anxious to get some feedback on my own work. I'm quite proud of my collection of paintings and I'm hoping the patrons are equally enthusiastic.

The temperature outside this morning read 13°F, so the Charleston forecast calling for days near 70° are sounding pretty fine. The only thing I'm not looking forward to is the 13 hour drive to Charleston, SC, but at least the weather outlook is waaaaaaaaaaay better than last year!

Progress

2011-02-12T05:55:00.000-08:00

As I gain confidence in my oil work, I'm looking forward to perhaps a landscape... or a still life... or... who knows? After some success painting the faces of pretty girls and achieving a reasonable amount of accuracy (one of the most challenging things I've ever done!), it feels like there may be nothing I can't tackle. Stay tuned...

Oil Studies

2011-02-09T16:38:00.000-08:00

Though quite a departure from my usual tightly rendered acrylic paintings, I've always admired those who paint with oils in a somewhat "loose" style. It took me years to realize the process behind this style of work is anything but "loose." There is a great deal of thought behind every brush stroke allowing the artist to convey his message with relatively few (but well placed) swatches of paint. This economy of brushwork is what gives the paintings their spontaneous feel. Sometimes called "quick studies," the only thing quick about them is the amount of time (usually less than a day, sometimes less than an hour) taken to complete them. The actual application of paint is quite deliberate, getting each brush stroke correct before moving on to the next. I've found the more I slow down, the faster these studies work themselves out. If I take my time and get it right the first time, there's no need to spend time figuring out why it doesn't look "right" and then going back to fix it.
It always feels good to step away from my comfort zone and work on proficiency in another medium and style. Working with larger brushes is always a challenge for me since my usual work is done on such a tiny scale. Studying other styles and expanding my artistic arsenal translates into my acrylic work, keeping me fresh and honest. I've still got a lot to learn as I move forward with my oils, but I'm enjoying both the progress and the process.

"Spring House" 15x23 acrylic

2011-01-31T15:52:00.000-08:00

With my focus on smaller works over the past few months, it feels good to complete something a little larger and more complex. I happened upon this scene while hunting mushrooms last spring and knew it would be the inspiration for a future painting. The old forgotten spring house carved into a steep hillside had so much character and mystery, I'll likely go back again this spring to investigate a bit more.
There's a lot going on in the composition, so it was a huge undertaking. I spent a lot of time strategically adding and subtracting leaves to help round out the structure of the painting and keep the viewer's eye pleasantly drifting from one element to the next. The stars of the show are a pair of golden-crowned kinglets. They're quite common throughout most of the eastern United State, but so small and secretive, most folks have never seen one.
This year's Southeastern Wildlife Exposition is just over two weeks away and this is the final addition to my show inventory. I'll have more than 20 new originals for my visit to Charleston, so stop in and say hello. There are dozens of skilled painters and sculptors on hand and the atmosphere is light and friendly. I'm really looking forward to it.

The History of Wausau, Wisconsin

2011-01-24T19:48:00.000-08:00

For the past few years, I've been fortunate to have my work selected for the Birds In Art exhibit at the Woodson Art Museum in Wausau. It's truly amazing just how competitive it is to secure a spot in this prestigious show. After my first visit to Wausau, I remarked to a fellow artist, "I could live in a city like this." What makes this charming Midwestern city so special? For the answer to that question, visit this video link and watch an outstanding PBS video production. If you really pay attention, you may even spot a brief appearance by yours truly! It's nearly an hour long, but worth every second.

Bigger Projects and Looming Deadlines

2011-01-22T06:31:00.000-08:00

With the temperature outside hovering near 0°F, the Southeastern Wildlife Exposition looms on the horizon and I'm working at a fevered pitch. My inventory of original paintings is swelling and I just need one or two more to round it out. Those additional pieces need to be completed soon, as there is framing to choose and title plates to order... each taking a couple of weeks. The deadline for Birds In Art is also just a couple of months away, so my current work is with that exhibit in mind as well. These are good days to stay indoors and paint, though my spirit (as well as Otis the Wonder Dog) craves some time outside. Winter got an early start this year and hasn't given us much of a break here in western Pennsylvania, so bouts with the shack nasties (a.k.a. cabin fever) may also be as rough as the weather.

Today, I have a painting ("Abandoned Spring House") on the easel I've been working on sporadically for several months. It's 15x23, fairly large relative to many of my recent projects. It's also very complicated. I'm making good progress and I hope to have it completed soon... but some paintings have a mind of their own. We shall see...

New Magazine Cover

2011-01-16T05:18:00.001-08:00

"Uninvited Guest" appears on the cover of Musky Hunter Magazine's February/March issue. When I was working on this painting, my mind kept wandering back to childhood fishing excursions. If you've ever had a bluegill stolen from your line by a bigger fish, it's not something you soon forget. The joy of a panfish tug soon turns to wide-eyed panic as you helplessly watch line peel from your reel. If you're lucky enough to get a look at the toothy marauder, the image of those evil eyes will stay with you for the rest of your fishing days.

"Sundown"... Revised

2011-01-14T05:33:00.000-08:00

Shortly after my last post, I realized something wasn't quite right about the painting. I had been very careful in manipulating the rhythms of the waves to gently guide the viewer's eye to the loon. The stark left to right direction of the loon's path just wasn't working along with these patterns, so a quick fix was in order.
The loon swimming off into the sunset relieves some of the tension created by the left to right movement in the first attempt. This also creates a bit of interaction between these two points of interest, whereas before, there was none.
Finally, I felt the loon needed to be slightly larger. It just seemed smallish. Loons are very large birds and the previous version seemed a bit delicate for my liking. In any case, problems have been corrected and this one is ready for a frame.

"Sundown" 9x12 acrylic

2011-01-12T10:04:00.000-08:00

This was certainly one of the more challenging pieces I've worked on lately. Accurately replicating the colors of the sky made my head hurt! The complementary blues and oranges seem to work quite well together. I truly hope the next painting I work on of this size comes together with a little less resistance.

Fullfilment in a Day's Work

2011-01-02T14:25:00.000-08:00

To take paint, brush, and canvas and make something beautiful... in a sense, creating something from nothing. That's what I do. And it fills me with a quiet sense of pride and satisfaction like nothing else. In that way, I guess there is a bit of magic in my art (there's certainly no "magic" in the process of creating it). The feeling is addictive and at the end of the day, when I step back from the easel to assess what I've accomplished, it's that beaming sensation of fulfilment I'm hoping for... and it doesn't happen every time.

I know I'm not alone. Many people who work with their hands realize similar sensations. There is a moment during critical self-appraisal when an involuntary smile can't be suppressed and one realizes they've met or surpasses all expectations. The quest for that happiness each day soon turns into weeks and then months of work to be proud of. A lifetime of such realizing such self-imposed high standards leaves behind a legacy forged on the achievement's of one's own determination.

I had one of those moments today. It was a good way to start the new year. "Blackwater Marsh" is 10x8 (acrylic).

2010 in Review: That's a Wrap!

2010-12-30T18:27:00.000-08:00

On this final day of 2010, it's time to once again bring up my yearly list of goals for a final tally... and it's been quite a year! I refer to this list often throughout the year to keep me focused and moving forward. Some of the goals are steep and would take a fair amount of good fortune to achieve. Others are more attainable and serve as way-points on my path of progress for the year. Some highlights:

Birds In Art exhibit in Wausau, WI
Winning the Working Together For Wildlife print with the Pennsylvania Game Commission

Publishing my first book "The Long Way Home"

Completing 40 painting (far above my previous benchmarks)

Successful initial participation in the Southeastern Wildlife Exposition in Charleston, SC

That's just a few points that come to mind as I look back... and I'm happy. I've also learned a lot. It's possible I've learned more in the past 12 months than during any other similar time frame of my life. My art is moving forward with improvements in my understanding of drawing, composition, and the actual application of paint. It's learning process I'm sure will continue until the day I set my final brush aside.

2011 promises to be every bit as amazing and my list of goals reflects some lofty expectations. Good luck to you all in the coming year and thank you for continuing the read this blog.

Print Signing for PAGC

2010-12-30T05:17:00.000-08:00

From the time I was notified of my selection for the Pennsylvania Game Commission's Working Together For Wildlife print, I've wondered how I'd hold up during the process of signing all those prints. Well, on Tuesday I found out. It may not sound like a big deal, but if you've never written your name 600 times in one sitting... well... it made me a little daffy. I was seated alone at a table in a room at the Game Commission Headquarters in Harrisburg, given a box of pencils, and pointed at a stack of boxed prints (100/box). I started just before noon and really had to hustle to finish by 4:30PM. Thankfully I had my MP3 player along, so there was at least a little music to keep me company. I found it funny that during the course of all that writing, my signature changed a bit from one hour to the next. Most looked like my typical signature, some even looked a little better, and a few seemed like they had been signed by an alien in a different language. None the less, I got the job done.

Artist proofs of "Middle of Nowhere" are now available by contacting me at jimbortz@windstream.net. The print is 22.5 x 15 on high quality heavy stock paper.

Sometimes Less is More

2010-12-25T05:17:00.000-08:00

Lately, the task at hand has been filling out my inventory for the Southeastern Wildlife Exposition in Charleston. The show isn't until mid-February, so I'm not quite in the frenzied panic of last minute painting, but there is definitely a singular focus here in the studio. Last week I spent a few days working on some smaller pieces and one in particular was giving me fits... especially as it neared completion.

I finally thought this little 7x5 was complete when I photographed the image on the left. But as I color corrected and re-sized it on my computer, I became increasingly annoyed with the presence of that damn heron. I was determined to have something in that archway created by the surrounding leaves, yet it just didn't look right. So I pushed the bird back with a couple of thin cool washes. Still, it was distracting. I even move it to the left a bit so it wouldn't appear so centered in the frame of foliage. No good. Finally, almost in a fit of frustration, I chased the heron from the scene and suddenly felt better about it. Just for good measure, I darkened the archway to bring the leaves on the right side of the painting forward. Much better! I've posted both images so you can judge for yourself.

"Little Sandy Creek" is a 7x5 acrylic.

Merry Christmas!

2010-12-25T05:09:00.000-08:00

Just a quick note to all you blog readers out there wishing you a very Merry Christmas. We're definitely having a "white" Christmas here in western Pennsylvania. More art talk tomorrow!

The Mistake of Printing Too Soon

2010-12-24T06:04:00.000-08:00

In my travels to shows, galleries, and museums, I have the opportunity to speak with many artists... some established and successful (this is when I usually try keep my mouth shut and take careful mental notes)... and some just starting, but eager to learn. From those just getting into the business of being an artist and all that goes with it, I'm often quizzed on how to go about getting a print published. In reality, the more relevant question would be, "Should I get a print published?" And the answer (no one every wants to hear) is, "Probably not."
With the advances in digital technology, giclee printing is easier and more affordable than ever. This presents a tempting option for the budding artist to produce work affordable to everyone and potentially keep a few bucks coming in. I made this short-sighted mistake early in my career and it comes back to bite me every so often. Let me explain.
In the struggle to become "established" in the world of wildlife art, I was always looking at what other artists were doing (at least what the appeared to be doing) in an attempt to mimic their success. Seeing that others had several good selling prints on the market, it seemed a logical step to publish a print or two of my own. So, not understanding the all the necessary preparation and planning, I did... without ever thinking of the consequences years down the road.
I was fortunate enough (or so I thought) to sell a fair amount of these early prints, so there are quite a few of them out there. I still have some of those early collectors beaming proudly about having my early work and I'm happy that they are happy, but I always cringe a little when I talk about those prints. Back then, I had no idea how limited my skill level really was. With years of study and hard work, I've become a better all-around artist and the glaring problems (and there are a lot!) with those earlier works are like a sharp stick in my eye. One is so poorly rendered that the subject is often misidentified! Yikes! And there they are... out there for the whole world to see.
What I didn't understand at the time was just how much progress I would make as an artist in the years to follow. Of course, I hope to continue to grow as an artist and strive to make each painting better than the last. In that sense, there will always be a little twist in my gut when I look back on my past work knowing it's not of the quality of my current efforts. That's just part of the deal you have to live with when you continue to improve. Keep in mind that once a print is out there, you can't get it back. In a sense, your name will always be associated with that work. In the end, always put your very best effort into every piece and never knowingly let anything out of the studio you might regret later.

"Scarlet Foothills" 9x12 acrylic

2010-12-21T11:27:00.000-08:00

I knew when I shot the reference photos for this landscape it was going to be a challenge to paint. Reds and greens slapped together haphazardly tend to look like a cartoon or a really bad Christmas card, so the main obstacle was to keep the hues muted except for a few slashes of brilliant red. Now that I've completed it, I wish I'd have started on a larger support. None-the-less, I'm pleased with the result. Originally, I wasn't sure if there was going to be a grizzly or a small herd of elk in the painting... or maybe nothing at all. At the last minute, I opted for a bull moose. He looks at home.

Full Circle

2010-12-19T05:24:00.000-08:00

When I was a youngster, I loved to browse the pages of Pennsylvania Game News. I had little if any interest in the stories or photos, but the art of Ned Smith always absolutely mesmerised me. At that time, Ned's paintings graced the cover of every issue. I'd spend hours studying the elegant ink drawings included in his monthly journal column "Gone for the Day," then, with varying degrees of success, try to copy them with a sharp pencil.

It was at that early age when I had my first thoughts of becoming a wildlife artist. Nearly 40 years have passed since those early dreams and finally, my painting "Middle of Nowhere" (winner of the Pennsylvania Game Commission's 2010 Working Together For Wildlife print) is on the cover of Game News. So as I sit here this morning finishing the last of my coffee, it occurs to me that I've achieve one of those childhood dreams most of us forget with the passage of so many years. It all seems to fit together quite nicely and I'm proud of the accomplishment.

"Graceful Exit" 5x7 acrylic

2010-12-15T12:47:00.000-08:00

Just for a little change of pace, I decided to work on something with a little more spring/summer feel to it. I'm sure I'll be painting more snow soon!

I'm a bit torn between wanting to work on bigger, more "important" paintings and the production/affordability level of these smaller studies. One thing has become very clear while working on the small paintings - I'm learning so much more than I do while spending weeks on a larger piece. There is a conscious willingness to take chances and experiment with these minis. If I happen to screw one up and can't fix it, I've only got a day or two in the piece. I can easily set it aside and move on to the next. It's a painful experience indeed to spend several weeks on a large painting only to realize too late that it's a clumsy effort at best. So if I learn more working on the small paintings, are the larger ones really more "important?"

"Winter Blue" 5x7 acrylic

2010-12-14T12:14:00.000-08:00

After being socked in with snow for the last few days, it only seems appropriate to paint something like this. The branches from the old apple tree near our feeders make perfect perches for the birds in my winter paintings. The birds seem happy as long as the feeders are full. I, on the other hand, am happy as long as Otis the Wonder Dog keeps my feet warm sleeping on them while I work.

Focusing on the Future (and SEWE)

2010-12-07T06:45:00.000-08:00

With my Christmas Show fading in the rear view mirror, it's time to start working toward SEWE (Southeastern Wildlife Exposition). The success of the Christmas Show has put a dent in my painting inventory (a pleasant problem indeed!), so the next two months will be firmly dedicated to producing enough quality new work to make the February trek to South Carolina a worthwhile adventure. I will post my new works here as they are completed, so stay tuned. Now... it's time to get to work!

Christmas Art Show 2010

2010-12-05T05:46:00.000-08:00

What a nice turnout for my Christmas Art Show... even with the snowy roads and cold weather! Quite a few folks picked up a copy of my new book, so it looks like I'll need to order more. The persistent snow showers provided the perfect backdrop and I had to refill the hot cider pot more than once. More snow today and a roaring fire in the big stone fireplace will make things feel even more like Christmas. I hope folks aren't afraid to venture out.

Christmas Show 2010

2010-11-27T05:18:00.001-08:00

There's only one week left before my 2010 Christmas Show. If you're in the area, please stop in and say hello.

Drawing

2010-11-26T13:21:00.001-08:00

I've been doing a lot of drawing the last few days. From time to time, I just need to go back to my sketch books and start filling some pages. I should draw every day, but in reality, I'm happy to get the 2B in action a couple of times a week. It's good practice and keeps me honest about interpreting the information my eyes are giving me. I'm never quite as happy as I am wearing down the point on a pencil.

This drawing was done from a series of photos I shot a couple of summers ago. The plan was to execute an oil portrait, but after browsing the images, decided they were not exactly what I was looking for. I may need to reconsider.

I really don't like the texture of the paper I used for this, so I need to find something with a finer tooth. Other than that, I'm pleased with this effort.

"Buffs on the Deck" 5x7 acrylic

2010-11-26T05:09:00.000-08:00

The day I shot the reference photos for the background of this painting, the fall colors were so brilliant, they almost didn't look real. I knew right away there would be buffleheads in the painting. The high contrast of their beautiful black and white markings pop against the kaleidoscope of autumn foliage.

"Autumn Sentinels" 10x12 acrylic

2010-11-16T10:46:00.000-08:00

White-tailed deer and fall colors... does it get any better? Being a bow hunter, I get to see a lot of deer and study their habits and tendencies... sometimes at very close range. In the edge of a slash of late afternoon sunlight, two skittish does have spotted a likely intruder and are on verge of bolting. Back in the shadows, a buck is alerted by the does, but holds tight hoping not to be discovered. The does serve as a kind of alarm system and their nervous nature keeps them highly alert. The old buck hasn't lived this long by making dumb mistakes. This tactic has worked for him before. Like a rabbit in a brush pile, someone would practically have to step on him to make him run.
The buck represents an element of "secondary discovery." I like using this concept on occasion, but only if it's something that occurs naturally. As in the real world, our eyes are drawn immediately to the exposed does and their upward stretched necks. To the casual observer, the buck may go unnoticed... even though he's in plain site.

My New Book, "The Long Way Home"

2010-11-15T13:49:00.000-08:00

It is with great pleasure that with my 100th post, I am announcing my first book. This has really been a long time coming. I've been threatening to publish a book for years and now it's done. With a forward written by my good friend, Debby Kaspari, this small edition features more than recent 40 paintings and drawings. To see a preview of several pages and to order, visit the Blurb link on the right of this page. Enjoy!

The Wilds of Kentucky

2010-11-04T05:23:00.000-07:00

My road trip this fall has taken me once again to the farm country of western Kentucky. The tremendous expanse of cultivated fields has pushed the woodland creatures into a relatively small patchwork of scattered woodlots. Yet the abundance and diversity of wildlife is astounding! Of course my purpose for the trip is bow hunting a large white-tail buck, but that doesn't mean I'm so single-minded as not to appreciate my surroundings. Each evening, coyotes serenade the sunset as they venture out for nighttime hunting of their own. Barred owls often join in the chorus for a gloriously eerie auditory treat. Northern harrier hawks scour the grasslands for a dinner of mourning dove (and there are plenty of those!). Clouds of red-winged blackbirds fill the skies over picked bean fields filling the air with an almost deafening racket. And a dozen or more great blue herons stand silently in the middle of a mile-wide stretch of cultivated Ohio River flood plain. I can only guess they are searching for crayfish, as their holes in the mud seem to be everywhere.
After taking a morning off, I'll be back in the deer stand later today. It's hard to imagine just what those countless hours have in store.

"Jokers" 7x5 acrylic on board

2010-10-19T11:08:00.000-07:00

I've noticed the popularity of ravens over the last couple of years. Quite a few collectors seem to snatch them up almost as soon as they are unveiled. I really like the way their "black" feathers reflect blues and purples. They also seem to have quite a bit of personality. These highly intelligent birds are graceful in flight and comical on the ground. They adapt and learn quickly... especially when food is involved.

This painting is a bit of a departure from my usual style. The background is laid in with relatively loose brush strokes. This seems to enhance the detail in the ravens themselves.

October Encounters

2010-10-08T08:53:00.000-07:00

The forest was alive with the sounds of predawn bustle. Chipmunks and squirrels were getting an early start on a day full of collecting acorns. Heavy crunching footfalls of a single large deer moved down the trail closer and closer to my stand. Not quite pitch black, the forest interior was still too dark to make out the well camouflaged form of the deer, now only several yards from the base of my tree. The cool fall air moved very little, yet I felt the chill on the back of my neck as the air currents swirled. The deer stopped and stood still for several minutes while the darkness slowly began to recede to the west. Calmly, the deer turned and walked back up the trail leaving me with only a glimpse of its white rump in the still very dark woods.

I was a bit dejected at my misfortune, but swirling winds are a fact of life in this part of the world and I've long since learned not to get too upset about it. Besides, the deer would have passed by my location and through my shooting lanes long before it was light enough to take advantage of the opportunity. So I sat there as the sky slowly lightened above the treetops staring at the dark forest floor below.

Above the sporadic forest noise, a familiar call rose softly in the distance. Then again a bit closer. The high-pitched tremolo was unmistakable and it made me smile like a letter from an old friend. A pair of screech owls called back and forth to each other across the ravine to the east and as they moved closer, I hoped for a quick sighting of one of the shy night hunters. It was not to be, but my spirits remained high from the auditory encounter.

Finally, the darkness gave way to a cloudless sunrise and I could clearly see all the frantic activity below. A groundhog munched away on something, then gathered a mouthful of leaves and disappeared down one of its many holes. Chipmunks chased each other in wild bursts of energy and sent leaves flying in their wake. Squirrels "chalked" all around serving notice to others of their presence. One curious fox squirrel climbed a wild grapevine and stopped at my eye level less than 10 feet away. It took a few seconds to carefully look me over before letting out a couple of muffled barks around the hickory nut in its mouth. Seemingly satisfied, it descended back to the forest floor and scurried away to hide its prize.

I spent the next hour scanning the forest for unusual movement... the flick of a tail... the turn of a head... anything to give away the approach of a deer. In the thick tangle of grapevines to the west, I saw movement. Nothing I could define, but too large for a squirrel or something of that size. Slowly raising my binoculars, I trained them on the area and slowly scanned for anything out of place. It took a minute, but there she was, almost invisible behind the wall of foliage. A few minutes later the young doe worked her way to the trail that lead to my stand. With an "antlerless" tag in my pocket, the thought of some tender flavorful venison flashed into my consciousness and I took my bow from its hanger. As most trails do, this one offered the deer a choice... to take the direction that would lead under my stand and eventually to my freezer or the one that would take it harmlessly away to the relative safety of the deep forest.

I came home with a full quiver of arrows and no venison for the grille, but spirits high. It was a great morning in the field and I'll be back out there again soon.

"Around the Bend" 4x6 acrylic

2010-10-02T10:07:00.000-07:00

After a few days away from the easel, it felt good to get back to work. I really enjoy these tiny landscapes. In fact, the time is here to start adding a bit of fall color to some upcoming works!

"Nuthatch and Crab Apple" selected for national tour!

2010-09-21T05:14:00.000-07:00

I'm proud to announce that the Woodson Art Museum has selected this piece for the Birds In Art national tour. "Nuthatch and Crab Apple" will appear along with 59 other select works at the following venues next year:

Museum of the Gulf Coast, Port Arthur, Texas (January 16 - March 13, 2011)
Newingtion Cropsey Foundation, Hastings-on-Hudson, New York (April 4 - June 9, 2011)
Wendell Gilley Museum, Southwest Harbor, Maine (July 1 - October 9, 2011)
Michelson Art Museum, Marshall, Texas (October 29, 2011 - January 9, 2012)

This year marks the 35th Anniversary of Birds In Art. That's an amazing run! It's an honor to be a part of such an outstanding tradition. I couldn't be happier, so here's to another 35 years!

"Bear Country" 12x18 acrylic on board

2010-09-20T09:19:00.000-07:00

This one took me a while for all the bigger it is. Did you notice the magpie?

McKeever's 8th Annual Nature Art Show

2010-09-17T06:03:00.000-07:00

As the end of September approaches, it is time once again for the McKeever Nature Art Show. 10 area artists will display and sell their work, so there's bound to be something for everyone. Artists will be on hand all 3 days to answer questions and chat about... well... just about anything. Opening night is Friday, September 24 with hours from 6 to 9 PM. The show continues Saturday from 10 AM to 6 PM and Sunday from Noon to 4 PM.
I will have most of my new originals at this show and may have my easel along to give working demonstrations. If you're in the area, be sure to stop in and say hi. The address is:
McKeever Environmental Center
55 McKeever Lane
Sandy Lake, PA 16145
You can also call the Center for more information at 724-376-1000.

Birds In Art... a very special weekend

2010-09-13T04:25:00.000-07:00

As I sit here with my coffee this cool September morning, Otis the Wonder Dog is happily snoozing with his head on my leg. He stays very close after I've been gone for a few days hoping not to get left behind again any time soon.

As for myself, I find my mind wandering as I try to process the happenings of the past 4 days. The Birds In Art exhibit at the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin is the pinnacle of wildlife and nature art and being included in this event is both humbling and uplifting. There are always highlights and this year was no different. Carl Brenders and I shared a table at breakfast and talked about painting styles and some light art philosophy. I made some new friends and got to know some old friends a little better. And I finally got to meet Bob Bateman and discuss my painting with him... a life-long dream.

I also noticed a trend this year I had not been aware of before. A class of "young guns" is emerging. There have always been (at least in my experience) a group of established older artists, many of which have received the Master Artist Award, that are always the core of the exhibit... as it should be. But this year, more than any other, I noticed a quiet confident energy in the exhibit's underclassmen... and I'm happy to be a part of it.

One thing that never changes is the attention to detail by the museum staff and the warm-hearted generosity of Alice Smith and her family. As the foundation upon which this event is constructed, these are the people that make it so special... all the while making sure the spotlight is firmly focused on the artists. They treat us like beloved members of their family and it does not go unnoticed.

So as the last of my coffee grows cold and Otis continues to blissfully snore, my thoughts turn to next year's exhibit... and just how on earth will I managed to get back there again!

A Work In Progress

2010-09-04T05:28:00.000-07:00

I've taken a break from my mini series to work on a larger piece and this one is going quite well. During my stay in Wyoming last September, I spent a good deal of time alone in the bush. I experienced a sensation I've heard described as "bearanoia" and it stayed with me for a large portion of the trip. It's hard to describe to someone who hasn't experienced it, but there is a constant nagging feeling of being someplace you don't belong... and the consequences could be both gruesome and severe. I'm sure the folks that live in that part of the world and spend a good deal of time outdoors get used to it. That was not the case for this tenderfoot easterner. The sensation was so intense, found myself having trouble straying too far from my vehicle. Since that trip, I've been wanting to execute a painting that portrays that sensation of being alone in "bear country."

The image included here is about half of the entire composition. I'll post more as the painting nears completion.

Thinking Fall... and Bow Hunting

2010-08-29T17:39:00.000-07:00

The last few cool nights have really got me thinking about early fall archery season (like I need an excuse). Of course, today was the day I picked for a long walk in the deer woods... and it was nearly 90 degrees out. I spent about 2 hours out in the heat tromping the bush. I ended up tired and soaked with sweat. I even stumbled upon about 20 well-tended pot plants in a little clearing. That's a first!
I bought myself a new toy this year... a digital scouting camera. It's been kind of exciting thinking about locations to set up the camera for some pre-season deer surveillance. Since this is my first experience with a digital scouting camera, I wasn't really sure what to expect. Much to my delight, this sleek 8-point paused long enough for a pre-dawn photo.
I thought it was interesting that the deer was looking directly at the camera. I suppose in the darkness, the tiny red light that indicates the motion sensor had been activated is readily visible. It sure got this bucks attention, but he was comfortable enough to hang in front of the camera for more than a minute. In any case, it sure is a pretty buck!