AND NOW THERE IS FOUR!

I just wanted to introduce my newest piece in my Nevada Prospector Series.  This one is especially striking because of the 12x36 inch canvas size.  This handsome fella is taking a moment away to set aside his Gold Fever and his dream of Striking it Rich to "Strike a Pose" for this piece.  I hope you enjoy.....check out my website for more of my work at JulieTownsendStudio.com

Striking a Pose- 12x36 Acrylic

"Big Rewards"- 12x16 Oil

"Just One More Pan"- 16x20 Oil

"Taking a Break"- 18x24 Oil

"Awkward" Is The Word That Comes to Mind

The moment I pop  the cellophane wrapper off a new canvas, my artist mind begins what can only be described as a journey.  That white canvas contains unlimited possibilities and my list of things I want to eventual paint continues to grow.  Of course I consider myself a landscape artist so most likely my new painting will be a landscape of either mountains or the desert... two environments things that are dear to my heart.  There might be a dramatic sunrise or a collapsing ruin built by some long forgotten miner or rancher.  No matter the focal point that I eventually decide upon I have to do my research.  I gather up inspirational photos and reference materials that I use to inspire my final piece.  I work up a mental image of what I'm trying to accomplish before I lay out the paint colors on my palette.

Since I have only been seriously painting for the past two years, I'm still working out my exact methods and styles when  it comes to approaching a new piece.  At this point I really start by painting my sky in.  Many artists sketch detailed renderings to consider composition and values before they ever grab a brush.  This is a discipline that I haven't gotten  into but I know that I really need to add this step into my painting process.  I know that I will be a better artist if I slow down and really plan out each piece instead of just hoping it works.

Sky is in, so I then lightly paint in my main focal points such as the trees, stream or that old building.  Often the composition will change and thankfully it isn't difficult to paint out mistakes.  There is a whole period from the first brush stroke to the point that you start painting in the fine details that I refer to as the "Awkward" stage.  Only you as the artist can see the final result in your minds eye and as you bring your piece to life you have to start top to bottom, back to front and so this takes time to create.  I'm sure that it is a similar creative process that a musician uses composing a musical score, an author writing a novel or an architect drawing the blueprints for a towering skyscraper.  There will be a trash can filled with composition paper, writing paper or long pieces of drafting paper.  It takes a while to get it right and painting has that same process.  

After painting over or adding elements, there is a point where the piece begins to emerge from the "Awkward" stage to a "Bonding" stage.  Your heart begins to feel the excitement as your piece  begins to emerge literally in front of your eyes.  I find myself walking past my studio just so I can catch another glimpse.  I take frequent photos as I work because I find it very helpful to study the composition whenever I find that I have a few minutes.

Yes, there is a love-hate process that you go through as you're creating a new piece and you just hope the end result will bring feelings of more love than hate.

Faces and Feathers

At the beginning of April I started an oil painting that I found to be very fun to paint.  Using a reference photo that contained 7 or so roosters full of attitude, perched on a stone wall and the flavor of a favorite Robert Duncan piece I came up with my own creation of the scene.  I even used a palette knife to lay in the stonewall and that is a first for me.  I had to put it aside as I worked on a large commission piece and so this week I was finally able to get back to give these guys some faces and feathers.

I'm trying to remember to use brighter colors and I think that the mountains came out looking pretty good.  Even though they are close I laid the colors loosely and didn't try to focus not as much on detail as impression.  This is a technique I'm going to use again for sure.

I think a nice barn wood frame is in order and as soon as it drys a coat of varnish will finish it up.

If you are interested in purchasing any giclee prints of this particular piece visit my Fine Art America site at:Julie Townsend- Feisty Fowls

Everyone Needs a Critic

I have one friend that I can depend on that will always tell me the truth about my artist endeavors. She will always tell me what she likes about my creation but equally she doesn't hold back with truthful criticism and since she has nearly 40 years of painting experience, I know that she knows what she is talking about. Sometimes it is hard to hear but it is EXACTLY what I need if I want to grow as an artist.

Right now, my week has been consumed with working on my very first commission piece and last night my friend had a great deal of sound advice regarding my progress. The issue with this commission piece is that the buyer has requested a combination of two of my existing paintings on one canvas. Both of these pieces were featured in the Mar/April 2013 edition of "Gold Prospectors Magazine". Now with many paintings that might not be a problem per say but in this case we are talking about two completely different landscapes; one is of a mining shack that I painted near Tonopah, Nevada and is smack dab in the heart of the Mojave Desert and the other one is of a prospector panning for gold in a mountain stream. The focus of both is gold mining but blending the two together is proving difficult.

I had followed her previous council and had created a rendering by doing a pencil sketch of the layout based upon the conversation I had with the buyer. The buyer said he loved the idea and so I proceeded to start my painting. Visually, I worked to combine the sky and mountains between the two scenes and then my plan was to separate the two scenes by using tall pines trees and shrub pine in the center as a division. When I was about 3/4 of the way complete, I sent a progress picture to my friend and she had a great deal to say about it.

First, she told me that it was breaking a huge compositional rule by having large trees in the center of my canvas and that these trees are the focal point when they shouldn't be. No matter if the buyer agreed, it was my job as the artist to direct him to a composition that works and while they may be buying the piece upon completion, I still owned this work. They will probably be in awe at anything you paint because they don't possess the artistic skill to paint anything and that is why they hired me. She didn't want me putting something out there that I might later regret. All I can say about this is that I sure have a lot to learn about this art business.

Then she gave me some helpful advise to consider a correction. She advised me to take a heavy bristol paper and to tape it on to the canvas in the problem area. Then re-paint the scene that better brings the two paintings together and that will minimize the center pine trees. This way I can visually see the correction before I start laying waste to my piece and deciding this wasn't going to work. Wise advice to be sure.

I have included the pictures of my original works and the current piece in progression so that you as the reader might learn along with me. After all, the purpose of this blog is to hopefully help other aspiring artists like myself by sharing my journey.