Many people often ask how I develop studio works from plein air studies.  This post will illustrate a recent example.

Almost 3 years ago, I did a plein air study of the beautiful Rawah Peaks above Laramie River Valley not far from my home in Northern Colorado. 

The peaks were spectacular with a bit of autumn snow on the highest peaks.  The aspens were ablaze in shades of yellow and gold.  The ridges of pine added a nice contrast as the scene receeded for miles. 

But, having been too caught up in the vastness of the scene, I didn't think through the composition of the plein air study very well.  I was too literal in replicating exactly what I saw.  But the end result was a boring forground with the aspen groves bisected by a large field of sagebrush and yellow grass.  And the distant mountains were too distant to reflect the majesty I felt while there.  Also, the peaks were centered from right to left in the painting (boring).  Simply put, I captured the colors and values, but missed capturing the mood of the scene.  It fell apart with the composition. 

Recently, I was digging through my old plein air studies in search of something to inspire a studio work.  This study spoke to me.  I saw the possibilities.  I saw where it had failed originally.  A few thumbnails later in my handy dandy sketchbook, and I knew how to proceed. 

Compare the two images:


Study for "Autumn in the Rockies", 10 x 12


"Autumn in the Rockies", 16 x 20

This reveals how I often use my plein air studies.  I seldom simply replicate the scene in a larger format.  Rather, I develop the bigger ideas I want to express and rework the elements of the composition to best express those ideas.  I zoomed in on the mountain peaks to make them more dominant and majestic.  I didn't care if the mountains weren't true to reality.  I modified them.  I also created more interesting patterns in the aspen and pine covered hillside in the forground, eliminating much of the open sagebrush area.  Again, this wasn't true to reality, but further up the valley, the hillside does look like this.  Thus, I captured the feel or spirit of the area, which was much more important than capturing an exact likeness.

The resulting painting is much more about the rugged wildness and solitude of the Rockies.  It is about the deep canyons and valleys, the forested hillsides, the majestic peaks.  Subtley, you can feel the voluminous heaves of ridges covered in pine as they ascend to the baren, rocky peaks.

The painting reveals pristine glory among God's creations.

Incidently, I didn't refer to any photographic reference.  I used only my plein air field study, imagination, years of experience, and memory to develop the final painting.

Click here to view larger image.

Click here to request information about the painting.

This painting is available through Keating Fine Art in Aspen, Colorado.

  The Divine Proportion

By

Keith Bond

 I find it interesting how a single number has had such tremendous influence on me that it has opened my mind to a new way of thinking and a new way of seeing the world. I am not alone in this fascination with a number. Throughout history, many have discovered the mysteriousness of the number Phi. 

Recently, I have been reading a book about Phi entitled The Golden Ratio by Mario Livio. A while back, artist Skip Whitcomb turned me on to a study of Phi and encouraged me to consider using it to develop my compositions. Also known as the Golden Ratio, the Divine Proportion, the Golden Section, and the Golden Number, Phi is fascinating in both its unique mathematical properties and its manifestations in countless diverse places. It, along with closely related Fibonacci numbers, can be found in the patterns of a sunflower, the pedal arrangement of the rose, mollusk shells, and in the Milky Way. It is abundantly found in nature. With great aesthetic appeal, many artists, architects, musicians, and others throughout history have used it to their advantage. 

I won’t bore you with a discourse on Phi. If you want to learn about it, check out a few books on the subject. 

However, it has been so enlightening to me that I decided to share with you the growth I am seeing in my artwork. My compositions are becoming stronger and more dynamic as a result of using the ratios inherent with Phi. I now use the Golden Section to determine the placement of the major elements of the composition. I divide up my canvas based Phi. My center of interest in a painting is now placed on the Golden Section or at a derivative of it. I don’t want the work to look mechanical, but rather harmoniously pleasing to the eye. I want the compositions to look natural. 

I used to compose my paintings more intuitively.  I did what ‘felt’ right.  Looking back at older compositions, I find that many are coincidentally close to Phi. Some aren’t. I do realize that this won’t guarantee a stronger painting. It is however another tool I can put in my toolbox. 

So profound are the possibilities that it will likely take a lifetime of study to even partially incorporate them into my artwork. Most of what I have learned still needs to be sifted through. And there is more still to be learned. It is a wonderful road of discovery, experimentation, and artistic growth.

Sincerely,

Keith Bond

PS. As the most irrational of all irrational numbers, I am intrigued by the prevalence of Phi in the natural world. This number, which is farthest of any number from being expressible by a fraction, has qualities which make it far from random. There is order to it. It supports my firm belief that what may appear to our limited, finite minds as chaos is governed by a higher law which we don’t understand. 

This is the third painting in the Painted Etude Series.


"Westcliffe Barns" (Etude #3), by Keith Bond, 4 x 5, oil on board, $150

This painting was an exercise in seeing abstract shapes and colors.  To avoid being caught up in the 'things', I turned a photo upside down and just began paing the shapes as I saw them.  This is one of my favorite exercises to do.  I was delighted with the results when the painting was turned right side up. 

What is the value of color? This is actually a play on words. To most people, this question would trigger thoughts on how color influences mood or creates harmonies. However, there is an underlying value to color that, to me, is much more important. That is its value in terms of grayscale. 

‘Value’ is a word used to describe how light or dark a color is.  So the restated question would be ‘how dark or light is the color?’

Looking at paintings in black and white is quite revealing. You can determine very quickly how strong or weak the composition is. Color can often be distracting, inhibiting your ability to see some of the more important underlying compositional elements.

For an artist, the grayscale is divided into 9 steps from black to white. However, if every value of the grayscale were used in a given painting, that painting would lack strength. A strong or dynamic composition is limited to 3 or 4 values. No more. They should not be found in equal proportion. One value should dominate with a secondary, and tertiary, etc. 

This is closely tied to composition or design, because the abstract shapes which make up the underlying design are nothing more than an interesting arrangement of pieces of varying size, shape, and values. These shapes fit together like a jigsaw puzzle.

"Aspen Interior" by Keith Bond, 24 x 36, oil on linen

Study the black and white and full color images of this painting.  You will notice that the dominant value is found in the foliage of the distant trees and in the core shadow of the aspen trunks.  This value is also found in the cast shadows on the ground plane.  The secondary value is the sunlit ground plane and the small spots of light on the foliage.  Next comes the value of the sky which is also found in the highlights on the edges of the aspen trunks.  Lastly there are just a few dark accents which make the entire painting work.

The three main values create a strong composition and hold the work together.  Notice that the blue mountain and golden foliage have the same value.  It is a difference in the color and color temperature which creates the depth.  Also notice that differences in color temperature are what make the aspen trunks turn.  It gives volume or dimention to the work.  But that is another topic for another time.

Remember, strong compositions are limited to 3 or 4 main values of varying dominance. 

Sincerely,
Keith Bond

Recently, I have embarked on a series of studies or exercises in my artwork. The Painted Etude Series is an exciting way for me to practice particular technical aspects of painting. They provide a great opportunity to explore and experiment. As a result, I am able to learn and grow tremendously. 

As I recently began doing these little etudes almost daily, I have been excited about the little jewels I am creating. Some are similar to my typical paintings. Many are quite different. But they serve a purpose for my progression as an artist. Some are explorations in new subject matter. Some are exercises in composition. With many, I work on drawing, or color theory. Others are attempts at employing new techniques of paint application. Some focus on rhythm or harmony. Others push the envelope on contrast or discord. I am simply striving to grow as an artist and broaden my abilities. 

I have decided to offer a few of these little gems for sale. Only the etudes which I feel are successful in terms of aesthetics will be offered for sale. The paintings which fail or simply don't have aesthetic appeal will not be released for sale. 

It is my hope that these little painted etudes will be exciting to you. They show my struggles and excitement. They reveal my methods and thoughts. Hopefully at the end of the project, significant growth with be evidenced. 

The paintings will be released regularly. There will not be a specified schedule for release, but rather as they become available. I will send a brief email and also post them to my blog. The paintings will be 4 x 5 inches each and will be unframed (I may occasionally do other sizes such as 4 x 4 or 3 x 6 when I am exploring certain compositional choices). The paintings will be $150 each. I will continue this project as long as I find excitement and benefit in these little exercises. I anticipate doing about 100 or 200. Perhaps I will do them as long as I live. I am not concerned with a predetermined quantity. 

I feel that these painted etudes will add value to my entire body of work as they are evidence of my growth as an artist. In some cases, these little studies may even become precursors to more developed studio works.

I hope that you are as excited about this little project as I am. 

Sincerely,

Keith Bond

PS.  If you would like to be notified when these become available, sign up for my free email newsletter.  You will also receive articles which explore art philosophy, creativity, marketing, collecting and many other art related topics.