Art Center Information

A Graphite Drawing Discussion With Artist, R. D. Burton

R.D.Burton"Old Man Time" (Graphite Drawing) Private Collector

Regrettably, the photograph of this picture shows camera flash, but it is still good enough to show here. I’d asked the private collector to take a picture and e-mail it to me, so it is sort of washed down a bit but the light and dark values shows. This is all I wanted.

I do not know what I was using as a source. It was a long time ago (more than 40 years!). Did I copy it direct? or did I use my own musing to come up with an original? I have no idea. I was still in my trying to learn stage. I do however know the pencils and paper I was using because even then I had already settled on my use of graphite pencils and other materials.

In those days, when I copied another artists work, I always put that information on the back of my work. I did not ask the collector to take it out of the frame and look on the back.

Most of my graphite drawings are done with a 2H or 4H for the lighter areas. My favorite paper is a Strathmore 4-ply plate finish Bristol board. I sharpen my pencils with a single-edge razor blade, tapering the wood and leaving a little more than 1/4″ but less than 3/8″ of graphite exposed. Then I give the lead a conical shape using a sandpaper block. The graphite dust is removed from the point with a soft cloth (critical).

Much of the beard and robe was done with 2H hatching, HB and 2B strokes. The dark background was made with 4B strokes. I occasionally but seldom use as much as a 6B stroke in my graphite drawings.

Since it is very upsetting to stop and sharpen pencils while I am drawing, I usually have several dozens of pencils sharpened so I can continue without interrupting my work.

Since I am right handed, I began a drawing at the top left side and work to the bottom so I do not smudge the painting. Graphite tends to get on your hand no matter what you do so I also have Cling Wrap covering the part of the paper that is not being drawn upon. If something must be erased (from a smudge to a drawing mistake), I prefer to use a kneadable eraser.

When the drawing is finished, I spray fixative smoothly using a side by side motion. I am careful not to over spray the fixative to keep it from bleeding or blurring the pencil strokes.

Below I am posting one of James Frederick’s drawings (my daughter’s father-in-law) and one of Olivia’s drawings (my granddaughter). If you have been following my Blog, You have already seen them, if not I’m sure you will enjoy them.

James Frederick: "Original American" Graphite on Paper

Posted in drawing, Graphite Pencil | Tagged art, art information, drawing, graphite pencil, James Frederick, Olivia, R. D. Burton | Comments Off

I’m Musing Up My Next Masterpiece

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Did I say that I’m musing up my next masterpiece? What does that mean? If you are an artist, I think you know exactly what it means. Who was it that first said that if you can imagine it, you can paint an elephant on a sixty foot wall or the head of a pin?

The imagination of an artist is one of the most valuable assets they have. My situation is that I promised my daughter-in-law an Italian street scene. My problem is that I’m not in Italy so I have to rely on photographs, and, of course, I don’t want it to look like all the paintings I’ve seen at discount stores like Walmart and others. There is nothing wrong with these, I just want it to be a little more original and, hopefully, more valuable.

My daughter-in-law e-mailed me a couple of photographs she found on the internet. One was a restaurant with empty tables on an outside patio. The other was apartments and other buildings on each side of a disappearing cobblestone street. The problem is that there are no people. The scenes are vacant.

There goes the muse cranking up. I want people in the scene…at least, one person, probably more. I’m imagining putting the two pictures together. I’m thinking about the restaurant with the outside patio and tables as the lower floor of a two story building. The upper floor will be an apartment with a veranda with flowers in hanging baskets. At a table two tables back a couple is sitting. Their body language showing they may be lovers but at the moment they seem somewhat incompatible. At the next table to the viewer, a white haired man sits. He is obviously paying attention to the couple. What are they saying that is so interesting to the man? Down the cobblestone street and on the opposite side an elderly lady waters her flowers outside of her apartment with a red spouted water container.

Wow! There goes my muse. An elephant on a pinhead? Well, to create this painting (which will be an acrylic on canvas) I have to get out my 3×5 cards and making a hand full of thumbnail sketches to see which composition will work to make this a real masterpiece.

My daughter-in-law wants a large painting. When I was painting a 30″x40″ picture, she seemed to indicate that she wanted something larger. No elephant on a pinhead here. I’ve got to do some serious work. Muse! Muse! Muse!

I have only painted two street scenes. They are posted below.

R.D.Burton:practice painting copied from art book

R. D. Burton Painting: The Red Truck — R. D. Burton Painting: “The Red Truck”

Even though I painted the picture on the left, I do not include it in my gallery of work because it is my first painting in acrylics and painted from a how to acrylic paint art book.

I wanted to learn how to paint with acrylics because I was musing about the painting on the right, The Red Truck, which was my second acrylic painting I’d ever done. The painting on the left falls into the category of the many copies of other peoples compositions from art instruction books. I don’t consider them my own…even if I did paint them. I do not choose to place them in my gallery. They are under the bed or somewhere in the attic or garage.

Posted in Art preparation, artist muse, painting | Tagged art, art information, artist, muse, painting, The Red Truck | Comments Off

Hurry! A Great Event to Consider

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One of my favorite art magazines is American Artist. I wait with anticipation to receive my new issue. I noticed in their July/August issue an invitation to be a part of the leading art-educational event in America!

How would you like to visit with some of the top representational painters of our time (some are my absolute favorite artists) where they will meet to exchange ideas, inspiration, and insight? It all happens September 5-8, 2012. Where? Rancho Bernardo Inn (near San Diego).

To view the full roster of this exciting and informative event, visit http://www.aamastersweekend.com

Note: The basic information for this information was taken from American Artist magazine…July/August issue. Regrettably I am unable to feature any of the paintings of the artists since I haven’t gotten copyright approval. You know how I like to show pictures in my blog so I’ll present some of my families paintings.

James Frederick: "Poppin' Johnie" — James Frederick: “Poppin’ Johnie”

Lynn Burton: Chief and Skull (oil on Canvas)

Arlen Burton: "Signal Peak" (Oil on Canvas) — Arlen Burton: “Signal Peak” (Oil on Canvas)

R. D. Burton: "Old Woodie" Acrylic on Board — R. D. Burton: “Old Woodie” Acrylic on Board

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Helpful Tips for a Still Life Composition

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When you are planning a still life, it is similar to doing a preliminary value sketch. In your composition, you will want the object of interest to be off-center and the light and dark values simplified and large. I am going to use one of James Frederick’s pastel still life to point out a few helpful tips for you.

(1) Pick a center of interest. In this case, the center of interest is the bronze tea pot painted off center.

(2) Balance the composition with other objects around the center of interest. In this case every object helps balance the painting. Notice the importance of the book at the extreme right. Without it, the painting would tilt to the left.

(3) Variety is very important to any still life. In this case James has eleven different objects (or shapes) in the painting. Please note the wise use of the grapes. He chose a variety of grapes of a different color to make the painting more interesting.

(4) Use a well composed area of light and dark to keep the focal point interesting. In this case, James painted a dark value background and a light value foreground. The interesting use of a plate behind the other objects not only helped the overall balance of the painting but directed the viewers eyes immediately to the area of interest.

Posted in art information, James Frederick, Still Life | Tagged art, art information, James Frederick, preparing art composition, Still Life | Comments Off

Tips on Being Your Own Art Critic

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As an artist, the first person to be excited and like your painting is yourself. Incidentally, this makes you an art critic. There is no need for you to wait for others to tell you where you went wrong. Since you are your own best art critic, find all the errors in your painting yourself and, if possible, fix them. It is important for you to be critical with your work and not let flattery make you smug. However, do not destroy your passion to be a good artist. Remember, all active artists are in a perpetual state of growth.

Knowing how to properly judge your work is as important as knowing how to paint. However, when you ask others what they think means you’re not sure where the faults are. Here is a suggestion: compare your latest painting alongside some previous ones and rate them. Ask yourself if you’re improving by directing the viewer to the focal point. How does the tone and color compare? How about the balance and composition? Be a good and fair judge. If your latest painting has the best number rating on it…hurrah! If not, simply say,”I am an active artist in a perpetual state of growth,” and go back to work.

Below is an example of how one of my pieces of art led to another. It was about thirty years ago and I was in the frame of mind to watercolor the style of painting where the foreground washed down where it seemed to be flushing away. I liked the look and decided to try it. The painting, “Hut in the Woods“, was my first attempt. I didn’t like it so I painted “Winter Farm“. I liked this one better because I felt the tonal value and the foreground and middle ground and background were more defined. Is it perfect? Not by a long shot, but I’m an active artist in a perpetual state of growth.

R.D.Burton: "Hut in the Woods" (watercolor on paper)

R.D.Burton: "Winter Farm" (watercolor on paper)

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Tips to Create Illusion and Depth in Your Artwork

Your eyes do not focus like a camera, but we can use the camera as an example of how we focus.

To give you an example of this, I am on the back deck holding my arm out and thumb up and concentrating on a wooden knob on my deck railing ten or twelve feet away. Directly out from me (approximately fifty-feet away) is a maple tree. I am aware of the maple tree but it is not in focus. However, the knob on the railing is in focus. Now I am holding my thumb up and concentrating on the maple tree. It now is in focus while the knob is not.

A camera does not work quite like this. There would be more detail on objects in front of and behind the object you are focusing upon with a photograph. When we draw or paint, as artists we must remember that we are in control with special licenses to imitate life as we wish. But it helps if we use our license intentionally and seldom.

Sometimes as artists we need to alter reality to seem more realistic. For example, when we paint a landscape with trees along an edge and behind each other, we often intentionally paint the tree behind the closer tree more vague and the other one behind that tree even more vague. In reality, the trees may not be that far away from each other. As artists, we do this to create the illusion of depth. If a photograph was taken of this scene, the behind trees would show more detail than we draw or paint into the picture.

In James Frederick’s painting to the left, it is obvious that he wisely used his artist’s license to create the illusion of depth by what he kept vague and what he detailed. It naturally kept our focus on the point of interest.

Tip: To create the illusion of depth, intentionally alter what you are seeing to have the viewer focus on the point of interest.

When you are painting, you can guide your viewers focus with the way you handle the foreground. If the foreground is not the point of interest and is heavy in detail and emphasized, then the point of interest will be understated. However, if the foreground is painted or drawn loose without so much detail then the focus will be on the point of interest.

Of course, I intentionally tried to direct the viewers eyes in this watercolor, Winter Farm. I mostly was experimenting with a loose foreground and directional emphasis. Obviously, I used my artist license to paint this picture.

Tip: To create focus on the point of interest in the middle ground or background, do not use strong detail in the foreground.

Proper use of sharp edges and details will determine what an artist wants their painting to be, what they want their viewers to concentrate upon. We, as artists, must do all the homework it takes to paint a picture. A really good painting will do everything we wish for it to do as far as the viewer is concerned. Overall, it must entertain.

Tip: When drawing or painting, concentrate on the foreground, the middle ground and the background. Make them do what you intend. Define them. Experiment with them.

Challenge: Take a photograph of a scene you think would make a good painting. Print out several black and white copies. Take a graphite pencil and lightly cover segments of the foreground and background around the point of interest. Do not cover over the details completely. Just leave it where the details are more vague. Try it differently with another copy…less or more vague. Keep experimenting while you are emphasizing the point of interest. Enjoy and have fun.

Posted in Artist, Illusion and depth, Uncategorized | Tagged art information, artist, Illusion and depth, James Frederick, R. D. Burton | Comments Off

Tips for Foreshortening~Present an Illusion of Depth

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I recall when I was about thirteen years old that I painted a picture of a horse. I did this with no reference, simply from memories in my mind, and I thought I’d done a pretty good job of it. Proudly, I taped it to the wall of my bedroom, hoping my father, artist, Arlen Burton, would notice it. He did. The conversation went something like this: “Who painted the picture of the horse, son? Did you do that?”

“Yes I did,” I said, proudly.

My father stared at it for a time, and then he said, “You need to study foreshortening.” And then he went on his way.

Foreshortening! I thought. What is foreshortening? Obviously, I was deflated. However, I began to study foreshortening. What seemed at the time to be a devastating criticism became a great motivator.

The best example of foreshortening is the poster where Uncle Sam points his finger at you. Foreshortening flattens out and shortens the length of an object to stimulate perspective. Anything you see at an angle, not straight on, is foreshortening.

Artist: James Frederick (Graphite on paper)

In James Frederick’s drawing at the right, foreshortening is prevalent in the hands and the paper pad. It is easy for us to think of foreshortening when considering round objects such as fingers, arms, legs, and even tree limbs, but rectangular objects are foreshortened as well–their sides are seen as shorter than they are. Everything has to be kept in perspective.

R.D.Burton: "Woman In The Field" (watercolor)

In my watercolor study to the left, I am not entirely pleased with the foreshortening on the left arm. When I paint it in acrylic, I intend to dip her head a bit more while tilting the hat and show more foreshortening of the upper arm. I’ll sketch it with a model to see if I’m right. Whatever, foreshortening can be very deceiving.

Remember when considering foreshortening to keep in mind it is perspective. Paint or draw receding lines shorter than they are. You must present an illusion of depth.

Posted in art information | Tagged art information, artist, Foreshortening, James Frederick, perspective, R. D. Burton | Comments Off

Tips to Create Moods With Color and Composition

Sometimes, creating mood in your painting is in the composition, and sometimes it is in the use of color. Sometimes, it works best when it is both. You can’t help but appreciate the alone and helpless feeling one senses in Andrew Wyeth’s famous painting, Christina’s World.

Andrew Wyeth, "Christina's World" (1948)

Is it the contrasting colors of Christina’s dress and the field that attracts us? Or is it the depicted distance between her and the buildings on the Olson farm? As a viewer, we know somehow she alone must reach the farmhouse and this creates an emotion of quiet desperation as we feel her plight.

Another artist famous for his use of a lone individual searching something we know not what but capable of creating an emotion from the viewer was Edward Harper, a realist painter.

But it doesn’t take a lone individual staring at something or concentrating upon something the viewer isn’t privy to that might concern the viewer that creates an emotion such as seen in Edward Hopper’s paintings, Automat and Office in a Small City, and R. D. Burton’s, Old Woodie.

Some artist have created tremendous emotions or moods with the absence of an individual as is shown in James Frederick’s painting, The Empty Chair. Does someone belong in the empty chair? Have they passed away? or they just no longer there? Will they be coming back?

Posted in art information, Creating Mood | Tagged Andrew Wyeth, art information, artist, Christina's World, James Frederick, Old Woodie, R. D. Burton, The Empty Chair | Comments Off

Artist, James Frederick~The Value Range in His Drawings

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“Make your lights light and your darks dark when they are placed next to each other.”~Howard Pyle

I feel every artist will agree that understanding value and the relationship between light and dark is very important; you might even say it is crucial. As artists, we are always aware of ever present shadows gently massaging light as it defines form. Observing directions and angles of light along with the directions and angles of cast shadows helps us draw or paint objects more accurately.

We have to determine a value range before drawing or painting a picture with any sense of reality. When we make or buy a value scale, the lightest white is given a value of 10 and the darkest black is given a value of 1. You may elect to do your drawing or painting in any of these value ranges. For example, you may select to have your darkest value a 4 and your lightest value an 8.

When I recently went on vacation to visit my daughter and talked with her father-in-law, artist, James Frederick, I couldn’t help but be very attracted to his graphite drawings. I told him I was naturally attracted to his value range to keep his lights against his darks so crisp and conflicting yet subtle in areas they should be, while showing forms with such detail using shadows against light.

James is rather modest when it comes to his artwork, never totally accepting the fact that his talent is unusual or different from any other persons. I said person not artist. I think James feels anybody can do what he does.

When I talked with him about his natural understanding and use of value I could tell he didn’t see anything special about it. I didn’t belabor the discussion, nor did he try to add to or take away from it. I did, however, notice a twinkle in his eye that told me that he understood that I knew the great labor he’d gone through to create the work.

detail segment of "Poppin' Johnnie" — detail segment of “Poppin’ Johnnie”

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The Best of the Best From the Gallery

In my short blogs while on vacation I’ve decided to blog my favorites from the paintings and drawings of all the artists that have shared their work on this blog.

This painting of the long overhanging porch and sense of emptyness with the lack of people but the reminder of them with the chair leaning against the wall and directing our eyes to the far somewhere is one of my personal favorites of James Frederick’s featured works of art.

Yet, there are too many good works of Mr. Frederick for me to say it is my overall favorite. I love crisp work of his graphite drawings. Two selected works are below.

“Poppin Johnie” is one of James Frederick’s most popular and famous works of art. Without a doubt, it is one of my favorites. However, I would be remiss in my art duties as a critic not to absolutely be enamored by the drawing to the right.

Moving along, my favorite works of artist, Olivia, is the graphite drawing below.

The delicate work of the girls dress is not as evident in this photograph as it is in reality. Also, one is in amazement at the reality of the hair. However, the real art is the presence of creating a solace. One senses the unknown, wondering what is inside the child’s head…what is she thinking? Is she in a moment of anticipation? Is she simply waiting her moment to shine?

Lynn Burton: Study for Mural (oil on board)

Lynn Burton’s art is hard to decide which is my favorite because he’s painted so many different paintings and different styles and different composition and genres. However, when I study the large painting (72″X96″) to the right which is an oil painting study for a huge wall mural, I feel connected to it from the massive work that went into it. So, if it’s not my overall favorite, it is definitely right on up in there.

R. D. Burton: "The Old Woodie" (Acrylic on Board~2012)

The old black and white 3″X5″photograph of the 1948 wood panelled Ford in front of a Mobilgas filling station out in mid-20th century New Mexico was the inspiration for this 24″X36″ acrylic on panel board painting.

All paintings I do become my favorite when I first finish them, so, for the moment, this is the favorite of my works…plus, it’s one of the hardest I ever did, since the person filling up the tank is my father, artist, Arlen Burton. My favorite of his paintings is below.

Posted in art, art information | Tagged Arlen Burton, art, art information, artist, John Frederick, Lynn Burton, Olivia, R. D. Burton | Comments Off