Mount Baker, Washington
Alpine Trees (sketch)
Artist Point, Mount Shuksan,
Baker Mountain (detail)
Mount Shuksan Trail (detail)
INFLUENCES
For as long as I can remember, I have enjoyed drawing and painting. When I was about 17 I came across a couple of books, The Art of Andrew Wyeth, by Wanda Corn, and Andrew Wyeth, Dry Brush and Pencil Drawings, by Agnes Mongan, Philip Hofer and the Fogg Art Museum. Virtually every aspect of Wyeth’s work intrigued me; his subject material, composition, his preference for pencil, watercolor, dry brush, and tempera, to name just a few. I’ve been an admirer of his work ever since. In 2017 I went to an Andrew Wyeth retrospective celebrating his 100th birthday with 100 of his works. To see them hanging as originals instead of pages in a book was a moving experience for me.
Winslow Homer and John Singer Sargent would round out my three favorite artists. They’re known mainly for their oil paintings, but both loved painting with watercolor and were masters with it. They provide inspiration whenever I need it regardless of the medium they chose to use.
The Impressionists have influenced me; Cezanne, Degas, Monet and many others, not just for their work, but also for their attitude and their commitment.
I’ve never had formal training with art and so I suppose I could say I’m self-taught, which is not quite true. I own and have studied many, many books about art and art technique. I love to visit art galleries and art museums. There are many artists I’ve gotten to know along the way who have taught me so much and have provided so much inspiration. It takes a village, as they say. I think it was the famous businessman, Warren Buffett, who said ‘Have friends who are better than you.’ That is how I sometimes felt early on with many of the artists I’d met. But I never felt discouraged, only inspired, to learn as much as I could from them and to enjoy the journey of learning, which of course, never ends.
INSPIRATION
The natural world is my greatest inspiration when it comes to art. Drawing or painting a scene can draw me in deeply. The possibilities for creating art are limitless and for interpreting what you see in front of you.
A mountain scene can inspire me with all of its drama, but a simple winter farm field can be inspiring to me as well.
Luckily, I’ve never been intimidated by a blank sheet of watercolor paper or sketchbook sitting before me. I just think of the possibilities. Inspiration can be a contagious thing. On those days when it is hard to find, just putting pencil or paintbrush to paper with the smallest seed of an idea can often get the ball rolling.
Color, values of lightness and darkness, perspective, composition, and the story waiting to be told inspires me.
First Snow
MATERIALS
I enjoy seeking out new art supplies, but here are the materials I keep coming back to.
DRAWING
Pencils: either Staedtler/Mars or Faber/Castell graphite wood and mechanical in 6B, 4B, 2B, H, 2H and 4H.
Charcoal, carbon, carpenter’s flat, solid graphite pencils.
Paper: Aquabee bristol, plate & vellum finish, are my favorite papers for drawing. Also Strathmore Mixed Media paper.
PAINTING
Watercolor: Winsor/Newton, Grumbacher Professional ‘Finest’, and American Journey tube paint.
Colors: ivory black, sepia, burnt umber, burnt sienna, indian red, alizarin, vermillion, raw umber, yellow ochre, raw sienna, indian yellow, gamboge, hansa yellow, olive green, sap green, earthen green, hooker’s green, cerulean blue, cobalt blue, french ultramarine blue, prussian blue, paynes gray.
I rarely use more than 6-9 colors in any one painting, but it just depends on the scene and subject.
Brushes: I have a lot of brushes, but the ones I use the most are 1 1/2”, 1”, 1/2” and 1/4” flats and #2, #6, #12, and #36 rounds. I have some pure kolinsky hair brushes but have moved on to synthetic sable and synthetic squirrel. Their quality has improved greatly in recent years and I have no complaints. While I take good care of my brushes after a painting session I tend to be hard on them while painting, splaying bristles, etc.. It’s hard for me to treat a beautiful siberian kolinsky brush roughly because they are so expensive and a little more fragile than good synthetic..
Paper: French d’Arches 100% cotton fiber, 140 & 300lb weight, hot & cold press, and occasionally rough.
Italian Fabriano hot (smooth) press.
Italian mill, Kilimanjaro, 140 & 300lb, cold press.
Portable french easel for outdoor use. I like to work flat, but can work more vertically if sun glare and shadows are a problem.
Large flat 24 divided plastic studio palette. It comes with a cover and fits perfectly on the bottom of a nylon gym bag for outdoor use.
I also use a smaller fold-up palette for outdoor sketching.
Large 1 gal. plastic water bucket for studio.