In Progress

I was hoping to be done with this by now, but then again, a work in progress is better than not working at all.

I often use the Macbook Pro to show my reference photos...I'd rather do it this way than print the images. Alternatively, I would much rather work from life, but that is for another post.

When you paint, how do you work? Do you include technology, work from photos, only work from life, drink Monster Energy? I would love to know how you work.

- Cheers

Before the Rain

Getting out of the studio and painting is one of my favorite things to do. Monday was a frustrating, and quite unproductive day creatively. Therefore, when the sun popped out Tuesday I grabbed the plein air backpack and hit the road in search a place to paint before the rain started in again.

The view I decided to paint - © Michael Warth

The clouds to the South looked pretty dark, but the view North was looking pretty good as you can see in the photo above. I figured I would have a few hours to get the painting blocked in, with the colors and shapes done enough to finish the painting in the studio. I took several photos to help me later.

I always work with a toned canvas, and typically make a quick drawing in pencil before starting the painting process. The 8" x 10" wood panel toned using Raw Umber and White was toned a week ago so it would be dry before packing it in my bag.

The painting was progressing quite well, as passers-by slowed to see what I was doing. Then again, since I took my son, and I was working out of the back of my Jeep, I bet it was funny seeing me out there painting while my son had the stereo jacked listening to his hip hop music. The thumping, the lyrics, and all was at times silly...but we were having fun. To be honest I even cranked the music listening to heavy metal as well. Yeah, I'm not a happy little trees kind of guy...there is something relaxing about listening to Five Finger Death Punch while making a tranquil oil painting.

The storm was coming, and I was pushing my luck. I rushed along getting the colors blocked in as fast as I could to beat the rain. I knew having the basics down, along with some quality photos, I would be able to finish the painting in the studio.

About two hours into painting, and quite comfortable by the way, it started to sprinkle and I ignored it at first. Within minutes, it was raining and I knew it wasn't going to blow over. I had a lot to put away, and even though my plein air set-up is quite easy to pack and transport, I wanted to get things cleaned up so I wouldn't make a mess or forget something on the road.

By the time I got things packed and I was back in the driver's seat, it was like a monsoon outside. Thankfully I packed up when I did. All was not lost though. I got enough done before the rain and I chose this spot because I wanted to make a day of it by heading further north after painting to hit an art store and great restaurant later in the evening.

Matt (my son) and I headed out to get to the art store about 40 miles north of my painting spot. I picked up a 24" x 36" belgian linen canvas, and we made it to the Irish themed pub, The Claddagh in the Brewery District for a Jamison Burger and Guinness. It was a great day, productive, and fun. Everyday should be like this.

In future posts I'll share more about my plein air setup, and how I like to pack my gear for a quick escape from the studio.

It's Time

Alternative Revolt Magazine - © Alternative Revolt

Still here? I know, I know, I've been gone for over a year. Many of you may know that I have been working full time for "the man" all while performing my duties as the Director of Photography for Alternative Revolt Magazine, my freelance photography work, and of course my work over at The Thirsty Muse.

Levi Benton - © Michael Warth

I've all but quit working as an artist. Though I have painted a few new works, I have really been lazy when it comes to fine art creations. Over the past few months I have been putting new work together, gathering the proper and much needed supplies, and have great plans to get back to what I love. The magazine is gone, and it really did take up a lot more time that I ever thought it would have. Furthermore, The Thirsty Muse takes a lot of time to produce and it does eat up a lot of my free time. With that said, I don't want to wait for January 2013 to start fresh with the new business model for Warth Arts.

I had a lot of fun at the magazine and I will miss it terribly. Meeting and photographing world famous rock stars (as pictured here at the left: Levi Benton of the band Miss May I), writing the popular 'Hopping Mad' beer column and even doing interviews with bands. The stuff back stage, on the tour busses, in the photo pit, and around the venue with literally thousands of screaming fans is something I could never try to explain here on the blog. Just know I made some awesome memories, great friends, and thousands of photographs I am deeply proud of.

Avenged Sevenfold - © Michael Warth

The work at the magazine taught me a lot about life, and what doing what you love is the most important thing in life. I have met individuals who have picked up a guitar, drumsticks, singing, etc., and made it their life's work. Many of them know I paint and wonder why I don't just make the leap and do what I love for a living. That's a long story for another post.

As of now, I have several canvases freshly "toned" and ready for me to start new work. The plein air bag is always packed and ready for an adventure, and the studio is due to be cleaned up and ready for new levels of productivity. I hope you will join me here on the blog to learn more about my paintings, the process, and the adventures I take on to make new art. It's Time...time for me to get back to the things I'm good at, and what I love to do. At times, I'll share what I'm doing in the world of photography, writing, and maybe even a little bit of my personal life.

A recently completed plein air painting...

"In The Field" 8" x 6" Oil on Canvas - © Michael Warth

Focus on Color

The Used Palette - Copyright 2010 Warth Arts

As artists we spend a lot of time mixing colors to get just the right look to evoke mood, realism, style, etc. However, a lot of artists get hung up on the right tube of color without understanding the concept of mixing the color one needs. Is it better to have hundreds of tubes of colors so that one can have the color they need? The simple and quick answer is no. Throughout history artists have been on a quest to develop a simple yet complete palette of colors to suit their needs. Why? Because it is always to better to be a master of a few colors than a blind user of "too many".

So how much is "too many"? It really depends on you and what you are comfortable with. I like 13 colors (includes black and white) for studio use and about 7 when I am working en plein air. With that said, I focus on versions of the primaries (red, yellow, and blue). I don't purchase greens because I have always liked my mixed greens better than anything I have ever tried from a tube.

If you are struggling with your colors, and you are overwhelmed with mixing, find a handful of your favorite primary colors and start mixing for practice. Use white to lighten the mix but be careful using black to darken. When darkening a value of a mixed color try mixing a dark color version first using a darker primary and see what happens when you add white. You may end up with a few more darker values of the color you mixed and have good light value versions to use too. For example, if lemon yellow and cadmium blue make a nice green but it is not dark enough to start with, try using cadmium yellow. Play with your colors and make notes.

- Michael

Mixing Colors - Learn by Practice

My studio palette - showing some color mixing practice

Practice makes perfect right? So why do many of us choose not to practice mixing colors? Is it because paint is expensive? Maybe we think there is no need to practice. I for one, look at the overall expense associated with the oil paints I use and shutter at the thought of putting out colors to "practice" mixing. But why? I'll tell you why, because I think every time I put paint out on the palette, I have to make a painting! And I am here to tell you, that is rubbish! Why learn how to mix when you are making a painting? I decided it was better to practice and "see what happens" on the palette, and dispose of the colors than to be frustrated because I can't figure it out when I am working on a painting.

And that my friends is why all this became a post today. I have been playing around with a small plein air painting setup and I am used to a big palette. Therefore, the small palette created several challenges. I went out to paint, and I got frustrated and trashed the painting. I threw it away! I learned nothing. I had wasted so much time, I neglected to take notes, and I really had no idea why I had so much trouble. I decided it was time to practice! I mixed the basics (blue and yellow to make green, red and yellow to make orange, etc.). I determined a lot of things; here are a few important points I learned in regards to my colors, and the plein air setup I plan to use regularly...

• I like using French Ultramarine rather than Prussian Blue to mix with Cadmium Yellow Pale to make my "landscape greens" color. (I lighten the mix with yellow, but may add white on occasion).
• I like to keep the colors to a minimum on the small palette (7 colors versus my standard 13)
• For landscape painting en plein air, I must rely on my ability to mix sky color, and landscape green colors to make the paintings a good representation of what I see.

So there you have it...I plan to practice more often. I also hope to become a better artist by painting en plein air. The small paintings may help my control, and detail; I hope working small keeps me interested in creating paintings en plein air. If anything, I must get faster, the sun has a schedule that refuses to wait for me to get it right!

I hope this post sparks some ideas for you, get out and paint, but don't forget to learn the colors you use.

Happy painting,

Michael

Rembrandt - my favorite three by the master painter

Hi All,

I wanted to share three Rembrandt paintings with you for today's post. Most of you are aware that Rembrandt is my favorite artist. The paintings that follow have specific meaning to me and I'll share why each painting intrigues me.

Rembrandt - The Mill - Oil on Canvas (1650)

Many years ago I discovered my father (also an artist) loved The Mill. We were discussing Rembrandt and were amazed that we have never discussed the fact that we both admired The Mill more than any other Rembrandt painting. I find this fact very interesting since we never really discussed our favorite paintings before.

Rembrandt - A Girl With A Broom - Oil on Canvas (1651)

A Girl With A Broom is one of those paintings that just has that warm Rembrandt glow. I remember a reproduction of this painting in Mom & Dad's house growing up. I never knew it was a Rembrandt (of course like many youngsters I didn't really care who painted it - I just liked it). I have to admit it freaked me out a bit because the girl has one of those stares that follow you around like an old Scooby-Doo cartoon. However, this is one of those paintings I was exposed to as a child and later "discovered" who painted it. 

Rembrandt - Portrait of Artist's Father - Oil on Panel (1631)

The last painting is of the artist's father. I haven't had the guts to try to paint my Dad's portrait yet but someday I may try. As an artist I can appreciate the importance of this painting to the artist himself. I can imagine what Rembrandt might have felt as he was painting a portrait of his father. I consider my father to be my greatest teacher and Rembrandt to be my greatest inspiration, therefore this particular painting is one of my favorites.

- Michael