Letter to the Student of Painting by Charles Philip Brooks

Folsom View South - Oil on Linen Panel - 12x12"

If you don't subscribe to 'The Painter's Keys', you are missing out on some wonderful writings about art. Here is one example:

"Letter to the Student of Painting"

"Your day contains a great measure of freedom. Your responsibility as a painter is here within the walls of the studio and in the setting of the landscape. You have the opportunity to exercise genuine mastery at every step, and it is in this spirit of grand possibility that I hope you will reflect on the advice made plain here.

Do not grieve too long for the troubles of the outside world. There is important work to be done here. We can best express our care for all others by attending to our work well.

Allow yourself the peace of purpose and the knowledge that to make another attempt with the brush is a noble thing. If you accept the discipline of the truest principles of art, then yours is the reward of an unbroken line of tradition.

Therefore, you may earnestly free your mind of all heartaches, sadness, and transitory despairs. Creation is above these things.

Your vocation is as real and as true as any other. Those who denounce the artist as idle manifest a deep ignorance of the nature of art. Have faith that the civilized will somewhere, at some time, value your well-wrought works. It is a miracle that the world keeps its havens for art and yet it does. Know that to create art is to do a necessary piece of work. The most noble pleasures and measureless joys result from such endeavors. True art is undeniable and it is a gift for all humanity.

The threefold responsibility of the artist is: to creation, to individual talent, and to humanity. For creation - the whole of nature - we must cultivate prayerful awe. This is our source of work and our refuge as well. We should seek harmony with nature. For the individual talent - long hours and years of steady industry hope to find our abilities fulfilled, our minds, hearts, and hands put to valuable service. In this way, we maintain the sanctity of art. Lastly, we make to humanity a willing gift of all we do. Our control over the material world lasts only a lingering moment and it takes a generous soul to build the ambition of a lifetime and then to hand it over in trust to the future.

Painting requires the bravery of solitude. Painting requires disciplined labor. To be a painter is to search the world with a benevolent eye for every subtle beauty that the infinite world offers.

Here is the opportunity to give your honest effort and to add in any small way to the legacy of art. Cultivate patience in your heart and you will improve. Learn to see well and your hand will become sure.

No pain or doubt can invade the honest soul engaged in the communion of creation. We artists must love the world with our deepest selves and forgive it at every turn.

To paint even a little passage with a measure of quality is to achieve a life's triumph.

Spend your days wisely with the best thoughts and works of those who have walked the road before you. Search their paths, their timeless inspirations, and the lineage of their genius. Learn your craft well and your talent will mature into its full possibility. Keep an obedient heart before nature. She is the master above all other masters. Nature is the concrete manifestation of all that remains true and sublime. Let us always be thankful for her abundance and hopeful that we might approach her in our art. Nature will renew every generation of painters, ready to illuminate the minds of those who practice the art with what is calm, rational, beautiful, sublime, and eternal.

Such is the purity of your vocation. Treat every moment before the easel as a quick and tender opportunity. Invest your most noble self. Give your most noble self. To be a painter is to enjoy a precious state of life." (Charles Philip Brooks)

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Color Mixing Exercise

A couple of weeks ago in my beginning oil painting classes at SLC we learned more about mixing color. Most everybody struggles in the beginning to get their mixing skills to a point where they can easily mix a value and color for the painting they are working on. This usually comes with just lot's and lot's of painting, but you can do a few color mixing exercises to help you learn.
This exercise is one of the many simple tools out there to get you started. In some art schools you do this kind of exercise using many colors, for weeks and weeks, before you even begin to paint. We used the everyday paint tube colors that are out on our palette, starting with the warm and moving around to the neutrals. You can do it any way you like. Just begin at the top with white, then, using your first color (yellow) paint the block along the top in the same order and along the left side. The idea is to meet the color in the middle, then add white. Continue with the next color, only this time and on all of the following colors, you will be mixing the color next in line, going across and down first. Then again mix the colors down the left side with the ones along the top, only this time you add white to the mix. You will find that the lower colors at the diagonal line from the starting point and below will be your tints and above that pure color mixes.
After a while you will really start to enjoy the process and look forward to what the next tube color will do when mixed with the next.
You will find yourself getting to the value and color you are looking for faster the next time you paint. Try it! **If you paint your graph on a piece of loose canvas you can roll it up after it dries and easily carry it with you to class.

Using a Transparent "Wash"

Wash Study 

This is a recent painting from a demonstration using a transparent wash. I started the painting using this medium that I make that is glossy and dries quickly. I learned this technique from Brigitte Curt and Ovanes Berberian.

I have modified the wash that works best for me.

In addition to the wash I used a very textured canvas. It is a heavy duty linen. I bought a few of these years ago and never used them. Recently I've begun to texturize my own canvases using gesso and a palette knife. I have enjoyed the texture and decided to give these canvases a try. Turns out it took the varnish wash very nicely. I just dip my brush into the medium and then dip into my clean tube colors, touch it to the canvas and let it run. 

After I finish covering the canvas I let it dry for about 20 minutes and I'm ready to paint. It is very challenging and exciting and fun at the same time. I love how it allows me to approach the painting from an abstract design. The textured canvas gives it a more abstract look and allows me to loosen up and let go of the details in a bigger way.