A Bit of Paradise

Around the Bend in Paradise- 9x12 Oil by Greg Newbold

So, yesterday I posted about painting with Josh Clare and shared some of the insights I gleaned from him. I had all those ideas fresh in my head as I set out after the morning demo discussion to make a little painting. Josh was really excited about the lighting conditions being mostly overcast. I have to admit that flat diffused light has never been my first choice. I am always looking and hoping for more dramatic light and shadow situations to paint, so this was a bit of a challenge for me.

We all drove to a stretch of riverfront in Avon, the hamlet adjacent to Paradise owned by Josh's friend and I set out to find the perfect vista. I wanted something that would present a composition that had both a variety of values as well as some dynamic lines. I decided to give this particular bend in the river a try. The river turns and separates around a couple of gravel bars and there were some nice areas of contrast between the bleached out log jams and the shadowy underside of the willows and trees. I set up in the trees and got to work.

For the most part the light stayed remarkably consistent over the two and a half hours that I painted and I soon gained an appreciation for Josh's passionate endorsement of overcast light. I don't think I will have such an aversion to painting on cloudy days in the future. About halfway through my effort, Josh swung by and gave me a few pointers on the progress of my painting and even put down a few strokes to show me what he was talking about. I forged ahead and think the end result is pretty successful. I will be touching it up a bit in studio to pull it all together, but overall, it was a good day and a good effort. I learned a lot and made some mini breakthroughs regarding the process I have been using to lay down paint.

Painting with Josh Clare

Josh Clare explains his working method while demonstration in Paradise, Utah

I had the pleasure of painting the vistas of Beautiful Cache Valley, Utah last week with the very talented Josh Clare. He lives in Paradise, quite literally. His home town is Paradise,Utah. In case you are unfamiliar with Josh's work, here are a couple of examples of his outstanding paintings and you can see more at his website.

As an artist I am constantly looking for opportunities to improve my craft, and I think there is no better way to learn than painting with artists who are better than or have different skills than you do. Since I am a late comer to oil painting (just the last few years), I jumped at the opportunity to spend the day with Josh. I met him last fall on another painting excursion and was struck by his down to earth style of explaining the nuts and bolts of landscape painting and the oil medium in particular. Jost has a great sense of color and his application of paint is lush and inviting. Josh was very generous in sharing tips on how to compose a picture, the importance of value, color chroma and edges. A couple of tidbits he shared struck me and are good reminders to all of us as we try to learn the alchemy that is oil painting. 

None of the ideas he shared are new and I have heard them before, but sometimes they sink in a little further when you are better prepared to understand them. Here are a couple of things he shared that I will be incorporating into my process or at least keeping in the back of my head while I work. Josh said "the tonal arrangement is key and must have the most interesting arrangement of light and dark shapes. Good tonal arrangement covers a multitude of sins." Of course I have heard this before and have even pounded it into the heads of my own students when I teach, but it's always a good reminder that without appropriate value contrasts and patterns, a piece can fall apart in a hurry.

Josh also talked quite a bit about the balance between thick and thin paint. This aspect of paint application has been a bit of a mystery to me as I spent so many years of my illustration career laboriously layering thin washes of acrylic paint to arrive at my final result. Josh stressed the need to arrive at a balance between thick and thin paint and the concept of "reserving" as you paint. This, he explained is where you hold back on aspects of color, value and thick juicy paint strokes in order to use those areas of dark accent value (or highlights), high chroma color and thick strokes as accents to your overall statement. These areas should be places where you want your eye to focus.

Early paint application- blocking in the shape, value and color

Josh also reaffirmed my instinct to have at least one favorite "nasty" brush. You know, that brush that is so hammered that it can only be used to apply those random, accidental stokes of paint that look so spontaneous and honest when you lay them down. I was glad to hear he has a few of these that are missing half their bristles and splay out in crazy fashion. I was glad I brought my favorite "nasty" brush.

Josh Clare final demo result. Subject to tweaking in studio.

He also explained why his method of painting on a smooth surface allows so much flexibility in paint application. He prefers working on primed and gessoed masonite panels (as do I) but his starting surface is somewhat smoother than  mine which allows smoother early application of paint. The thinness of these first passages allow him to build up easily to the thicker more textural finishing strokes. 

The best part of the day was taking this renewed inspiration into the field in the afternoon and trying out some of the tips he shared. The day was overcast which allowed a longer than usual stretch of consistent light.  I'll post that painting next.

Hazy Grazing

Hazy Grazing- 9" x 12" Oil by Greg Newbold

Here's another small painting that I just delivered to David Ericson Fine Art. It will be on display along with a bunch of other great work by the gallery's artists for the upcoming Gallery Stroll on August 21st. This marks the first $100 dollar sale at Ericson and although this particular painting will not be included as a $100 option, there will be  Greg Newbold painting in that group. The hope is lure in some potential collectors that have not really considered original art as an option and get them excited about owning actual one of a kind art from talented and  accomplished  local and regional artists.

Some of you may recall the start of this painting from a previous post.

As I almost always do when taking a field study to finish in the studio. I fix things that weren't working and change things to suit the intent of the piece. Here I have adjust a lot of  the values to add drama, softened the sky and the mountain edges in the distance to give a hazier mood to the piece and added the cows which were just quick smudges at the study phase. I also exaggerated some of the color for contrast and visual appeal as well. There are always things I might do differently when I reach the final signature stage, but for the most part, I am satisfied with how it turned out. Each choice I make along the road of creation yields a certain result and collectively all my choices lead to the final product. I try not to second guess too much what might have been since I would have to make a different set of choices along the way to get a different outcome. That type of introspective thinking is better often better left for the next painting. Learn, evaluate and move on to the next one.

Autumn Dusting Sold at Springville Salon

Autumn Dusting (Mount Olympus)- 36" x 60" oil on canvas by Greg Newbold

Last week I got a lovely check for the sale of my painting "Autumn Dusting". I was part of the 90th Annual Springville Spring Salon, which is a distinct honor as well. At 36" x 60", this work is my largest oil painting to date meaning the sale was consequently the largest price netted for one one of my oil paintings. I am a little wistful to see the painting go, but I know the collector will enjoy it and I can afford to keep painting a little longer. It sets a nice precedent of value for my work in the gallery arena which is also good. Well, no time to rest on my laurels. Back to the easel!

Cloud Tower

Cloud Tower- 10" x 11" - Oil on panel by Greg Newbold

This painting will be available at the 300 Plates fundraiser show hosted by Art Access Gallery coming up next Thursday, May 15, 2014. This is the 12th year for this event and my first time participating. The show consists of 300 identically sized 10" x 11" "plates" which are painted or decorated by artists and then hung together by the pair of holed drilled at the top edge. The dimensions stem from the inception of the show when the works of art were actually painted on aluminum printing plates. The holes are a carry over from the registration holes that were actually in the plates. This year's event consists of masonite panels since the type of plates used in previous years are no longer available. I actually painted mine a few weeks ago in order to be included in the publicity materials. My painting will also be included in the silent blind auction portion of the sale with minimum bids beginning at $400. The rest of the works will be hung sequentially and sold starting from $85 and increasing in one dollar increments.

Anyone wanting to bid on my piece can attend the event by registering here.

Beginning Monday May 12, you can email your bid to sheryl@accessart.org. Bidding starts at $400 and it is a true blind auction meaning your bid will go in the box along with all the others and nobody will know what the high bid is, so BID HIGH! This is a the yearly fundraiser for Art Access and most of the proceeds stay with the gallery to help fund their programs which help people with disabilities experience and participate in art. Please be generous.

Roan

When I saw this beast, I knew he had to be a painting. I love the dappled color of his coat. This one is going up to Meyer Gallery in Park City later this week. Oil on board 12" x 12"

Recent Sales- Meyer Gallery

The Sentinels- 16" x 20" Oil by Greg Newbold

Twins- 16" x 20"; Oil by Greg Newbold

Young Angus- 9" x 12" oil by Greg Newbold

Bales- 8" x 8" ; Oil by Greg Newbold

I was pleased to receive the news that four of my recent paintings have sold at Meyer Gallery in Park City. I particularly excited with the news since I joined Meyer just three weeks ago. I have some serious painting ahead in the next few weeks to keep the gallery stocked, but it is a good problem to have, so I am excited for the prospect. I am also looking forward to a long and profitable gallery association. Thanks Meyer Gallery!

Studio Offering- This Weekend Only!

At Sunset- Springdale- 6" x 6" Oil on panel by Greg Newbold

Hi friends! Since it is the holidays and everyone is looking for great gifts at a nice price. I thought I would offer up this little piece to a lucky collector. I did this with a piece last Christmas and was amazed at how quickly it sold, so I figured I would try another. This piece is called "At Sunset- Springdale and is 6" x 6"  in oil on a cradled panel. The view was captured last year on a trip to Zion Canyon. You can frame it or enjoy it as is, or since panel cradle is 1.5" deep, you can sit on a piano, mantle or table without support. If you have ever wanted to own one of my pieces but have felt priced out, here is your chance. For the next few days, I am offering this little gem at the straight-from-the-studio steal price of $275. The offer is for this weekend only! Monday or Tuesday, I will be taking this piece to my gallery at a higher price, so don't wait if you are thinking about it!

Waiting By The Emerald Gate

Waiting By The Emerald Gate- 36" x 24" oil on canvas by Greg Newbold

When I snapped the shot of this palomino horse on one of my outings, I did not think much of it. Mostly because there was another horse nose to tail standing right behind this one. The photo sat on my computer forgotten for a long time. While digging around for subjects, you never know what might strike you in those old files. I loved the lighting on the front horse as well as the swishing tail and figured I would just paint out the other horse. As I refined the composition, I realized that it reminded me a lot of one my favorite Andrew Wyeth compositions. Below is his "Young Bull" from 1960. I have always admired this piece and consider it a near perfect composition in which all the rules regarding tangents and lines are fabulously broken.

In retrospect, this may be one of the reasons why I was drawn to this particular scene. I only make the comparison to point out that as artists, we are all molded by our influences and many of those become so ingrained as to be rendered subconscious. My composition is divided differently and relies on repetition of pattern much more heavily than the Wyeth. I enjoy the series of parallel lines running through the corrugated siding as well as the gate and also the repetition of triangular shapes that repeat through the shadows and beams. The sunshine on the back of the horse also creates a a nice triangle of light. If I had created this composition intentionally as an homage to Wyeth, I think it would feel a lot more forced. I am glad I did not make the connection until after I was nearly finished with the painting.

The Days Are Long

The Days Are Long- 8" x 10" oil on board by Greg Newbold

I have been painting a lot the last few weeks creating new works for my galleries. That's right, I have added another gallery to my stable. This one in Park City, UT. I won't jump the gun just yet, but I will announce formally the new gallery next week when I deliver the first batch of paintings. In the meantime, I will be posting a few of the new pieces over the next week. Enjoy!

Nap Time

Nap Time- 8" x 6" oil by Greg Newbold

A week or so ago I went to paint on location at our local living history park, Wheeler Historic Farm. I happened upon the sweetest little scene I could imagine and knew I had found my subject.

The Farm had recently been blessed with a new little calf and she was asleep in the sunshine right at the doorway of the barn. As with any live subject, I knew she could move at any moment, so I set to work. I quickly blocked in the structure of my piece and tried to get as much of the little calf indicated as possible.

She kept moving and stretching, but did not get up and leave for nearly half an hour. I got a good indication of what I wanted before she finally heard the breakfast bell and slowly sauntered into the barn to eat.

As I worked a little more on the barn and foreground, I hoped she would come back out so I could get a few more photos, but alas, a fleeting moment was all I was blessed with. Luckily I got a few good photos and was able to finish it up in the studio.

Blocking In

Study for Autumn Dusting- 16" x 9.5"- Oil on board by Greg Newbold

Yesterday I dug in to a new canvas, yet another view of Mount Olympus, I shot the photo reference that was the inspiration for this view from the roof of my house. I felt like this view needed scale to convey the power and grandeur of the mountain, so, at 3' x 5',  I am once again tackling the largest canvas I have ever attempted. I did a small scale study to figure out the shapes and colors which has already helped immensely.

Even though I am only roughly halfway through this block in stage, I am glad I took the time to do the study. For the block in, I am using the same limited color palette I chose for the small version: Yellow Ochre, Napthol Red, Ultramarine Blue, Titanium White and Ivory Black. I wanted to see how tonal I could make this, consistent with the vibe the reference was giving me. I even started the study sans the blue in an attempt at doing landscape with the Zorn palette, but I felt it was just too limiting, so I added the blue. I may yet add a couple more colors as I bring this to finish, but I like the neutral tones and the overall consistency of the colors so far. We shall see. A painting always seems to take on a life of it's own and sometimes you have to follow your gut and listen to what the work tells you. Sometimes the road map only points you in the direction you think you want to go, not that spectacular place that you only get to see if you venture off a little.
Sorry for the inconsistent lighting on the left of the photo. In case you are wondering, the 36" x 60" gallery wrap canvas was prepared with four coats of acrylic gesso that I pounce on with a 2" beat up house painting brush, sanding in between coats, followed by burnt sienna acrylic applied with a kitchen sponge. Preliminary drawing is charcoal which was drawn with the help of 12" grid lines. Not as accurate as a projector, but it lets me get the feel for the scale of the canvas. I will update as the painting progresses.

Cottonwoods at Big Bend- Zion Canyon

Cottonwoods at Big Bend - Zion Canyon; Oil on panel- 9" x 12" by Greg Newbold

Here is another little painting I just delivered to my gallery Williams Fine Art. Once again, I took my field study into the studio and finished it up. Whenever I dig into these paintings, I notice tendencies that I want to correct in the field so that my plein air paintings end up more like finish paintings while on location. On thing I noticed with this one was that my sky was too dark. Not excessively, but enough that the correction made a difference. I really enjoy the silhouette of the back lit tree against the shadowy canyon wall. This one needed much less to finish it up than I anticipated. Once I had glazed over it to oil up the surface, everything popped and came back to life. The freshness of the field study was once again apparent and it came together pretty quickly from there.

Here is what the painting looked like after the field session

Gray Morning - Provo Bay

Gray Morning - Provo Bay 8" x 6" oil by Greg Newbold

I generally have a stack of plein air studies sitting around the studio. Some I never finish, but most of them will see a few more strokes and a finish varnish at some point. A few get a serious rework before I let them out the door. I am still trying to reach the point where the effort I make in the field is the result I am happy wit and feel no need to improve. This one was a particularly successful field study and it didn't need too much more to make it sparkle. It is now hanging at my gallery Williams Fine Art. At a cozy 6" x 8" I think this one is particularly affordable if you are wanting to own one of my works. Check out my other paintings being offered by Williams.

See the progression of this painting in the field session here.

Mount Olympus- Rough Stage

Mt. Olympus (work in progress) 24" x 20" oil on canvas by Greg Newbold

I get basically this view out my front door every morning with the exception of the foreground elements. Mount Olympus rises from the valley floor to a height of 9,026 feet and is one of the most recognizable and picturesque peaks in the Wasatch range. I love seeing it every day and I figured it was about time I painted it. One evening a few weeks back, just after a spring snow, I took my camera in search of an angle that would eliminate most of the houses that pack the base of the mountain. I wanted an uncluttered vista that would focus on the geometry of the peak. It was just minutes before the sun would set as I hopped on the belt route to look for a high bench spot in which to capture the last light of the day. Lucky for me, I found a commercial building on top of a rise on the east bench of Salt lake City that backed onto a sage and tree filled empty lot. The clouds parted just enough for me to capture the setting light as it illuminated the peaks and the foreground trees and sage. This is the first pass and I will probably put in at least two more painting sessions before it is done, but I like to get the initial statement down as quickly as I can. This is probably about 3-4 hours of painting time including the drawing.

Storm Over Kolob - Progress

Storm Over Kolob - Work In Progress; Oil by Greg Newbold; 30" x 40"

I now have the entire canvas blocked in. Even though the entire canvas is covered, some areas feel much closer to finish than others so I still have a lot of work to do. Now comes the process of laying in a second pass or "skin" as some artists call it. I will concentrate on adjusting values where needed by pushing things darker or bringing up the highlights. I will also focus on adjusting hue and saturation. In areas where colors are a bit intense, I will neutralize things. I also want to make sure the temperature shift from the warm sunset light to the cool shadows is consistent. Right now I think some areas are still a bit too warm or too cool. Concentrating on having a nice consistent surface with texture where it should be and interesting brushstrokes will also be in the working mix. Should be fun finishing this up.

Previous progress on Storm Over Kolob

Near Grafton - Morning - SOLD!

Near Grafton - Morning 8" x 10" oil by Greg Newbold

Thanks to Williams Fine Art for another sale. This one certainly didn't hang around the gallery for too long. It is interesting to watch and learn as things sell (or don't sell quickly enough). I am trying to decipher what the common denominators are in those quick sales other than good painting. Whatever it is, this one had it. I even had a disappointed collector contact me when he missed out on this one. Hopefully I can make him happy with something else.

See my other available paintings at Williams Fine Art

SOLD! Mouth of Parley's Canyon

Mouth of Parley's Canyon- oil by Greg Newbold

Just got a check yesterday for my Mouth of Parley's Canyon painting. I gave a little peek into the creation of it here. It was painted on location and then touched up a bit in studio before sending it out the door. Check it out if you missed it. See other paintings I currently have hanging at Williams Fine Art here.

Near Grafton Finished

Near Grafton- 8" x 10" oil by Greg Newbold

I just finished up another of the paintings I began on location in and around Zion National Park. This one, painted on the road to Grafton (the ghost town used in the film Butch Cassidy and the Sundance Kid) shows a morning view toward Zion. Though I risk losing a bit of the spontaneity of brushwork when I go back into pieces after the fact, I think the trade off in clarity is usually worth it. I like this one better now that I have worked it a little more. i focused primarily on atmospheric value adjustments, edges and added a bit of missing detail. Some folks can capture all that in the field, but I am not there yet. See the field process in a previous post here. This piece will be sent to my gallery Williams Fine Art as soon as it is dry.

Wendell Berry Sketch

THE PEACE OF WILD THINGS 

When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children's lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free. 

— Wendell Berry

Wendell Berry is considered by many to be one of America's greatest living poets. I was approached a few weeks back to create artwork for an interesting project that sets Berry's poems to music in a double CD package. The challenge was to come up with a scene that combines the best of portrait and regionalist landscape and throw in a couple of nuggets for Berry fans. The painting will be used on two different discs as well as a biographical and lyric booklet, so I needed to come up with a composition that allows for three separate crops. The plan also includes making collector prints of the painting as well which I am painting in oil. I will post more as the project moves along.