Painting the Grand Canyon

I recently completed a painting trip to the Grand Canyon.  Now I am working on converting my studies into final pieces of art work.

First a couple of plein air pieces or studies:

After reworking the composition, here is the final piece:

"On The Edge"

Oil on Belgian Linen

9" X 12"

$325

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Bruce@BruceStam.com

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A Month of Plein Air Painting & Travels

"A River Runs Through It'

Oil on Linen, 16" X 20" 

During the month of July I traveled and painted at the South Rim of the Grand Canyon and the North Rim.  Each day I did two plein air pieces and took many photographs.  After the Grand Canyon I was at Capital Reef National Park, and then painted in the rural farm lands of Utah and eventually ended up at Zion National Park.

I have collected a great deal of reference material for future paintings. But more importantly my study of the Southwest, the light, the textures, and the distances have increased my awareness of the greatness of this land.

The above painting is from Moran Point on the South Rim of the Grand Canyon looking north to Cape Royal.  The Colorado River is below.

Below is one of the farmland paintings that I have completed

"Lakeview Farm"

Oil on Linen, 12" X 16" $575

Cathedral Rock Reflections - Sedona

"Cathedral Rock Reflections"

Oil On Linen, 8" X 12" $275

There are many paintings of the red rock formations in Sedona, and it is a great place to paint, once you get away from the main tourist places.

Sometimes it is important to "paint" a scene that makes one wonder, and at times makes the artist wonder if they can paint the scene!  That happens all too often.

Painting reflections can be a challenge but I have learned that the reflection is just a bit darker and to paint the water put the paint on thick and pull some 'water' straight down towards the viewer.

Bruce

"When is a Painting Finished?"

Artists are often asked how do they know when a painting is finished.  Each artist asks himself or herself this question with each painting.  There are probably as many methods to knowing when a painting is finished as there are artists.

For me once I have a sense that the painting is nearing completion I take it out of the studio and place it in a spot in my home where I can easily see it from several vantage points and the light is completely natural but no direct sunlight.  I view the painting this way for a day.  I also check the painting in a mirror.  Usually I find small corrections using this process.  Such things as a hard edge that needs softening or a shape that needs a correction.

Now we all know that a frame improves a painting, but the true test of a finished and well-'crafted painting is when the frame neither adds or subtracts.  The painting can stand on its own.  This is exciting when this happens.

I am following the artistic work of another Arizona artist, Josi Callan.  Visit her web site by clicking here or her blog by clicking here.

For a link to my web site click:  www.BruceStam.com

Thanks,  Bruce

Designing a Painting

After doing a plein air piece in the Grand Canyon and taking numerous photos, I started a studio piece.  Here is the photo:

What caught my eye was the rock formation in the foreground.  I thought that would be a great focal point. So I proceeded to paint the piece with the full rock formation including the 'top note' as I was calling it.  Finally, I had the majority of the painting done, all except the small details that put the finishing touch to a painting.  This is when I start to study the painting regarding the next steps.  

After looking at the painting I realized that the 'top note rock' was just too odd and it got in the way of exploring the painting.  I removed it.

Here is the final piece:

With the ' top note' removed the eye can explore.  Also I painted the focal point brighter than the other rocks, and increased the shadow, and used hard edges, with the idea in mind that this brings the eye in and is the point fro which to explore.  Also, on the far canyon wall, where the focal point meets the far canyon wall, I increased the contrast just a bit, to bring the eye in, and the background cloud also is just a bit whiter.  There are all ways to help the eye explore the painting.  Notice the green bushes in the foreground, I grayed them a bit, but they also curve around to the focal point.

Happy Painting,  Bruce

Before & After - a ReDo!

I first painted this about a month ago and quite liked it, reviews from colleagues were positive.  However
I felt like it could do more, have more depth.  So I removed the far trees, which were too similar to each other, put in a small hillside in the background and re-did the trees, making them less similar.  In the first version the background was a barrier.  My intention in the second version was to create more depth in the background.  Also, Ia dded some more reflected light in the foreground shadows.

 

I think it has become a more interesting painting.

A useful tool!

When plein air painting or painting in the studio and I am struggling with, "what is that color?"  I use a 3" X 4" Index card that i have used my hole punch on.

AFter I mix some paint that I think might work, I put a small amount of paint next to one of the wholes and is using a photo I put the whole over the color I want.

And then I can adjust the color and or value.  This eliminates what I "think" the color should be!

Here is another example:

The card can be used several times and when one side is used up, let it dry, and use the other side.  This simple method is useful when plein air painting.  Instead one looks thru the hole to determine the color of the object that is being painted.