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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.

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

"Creekside" Etude #2, by Keith Bond, oil on linen on board, $150 unframed

This etude was an exercise in memory painting.  By developing memory work, the most important elements of a scene are painted, while the superficial details are forgotten.  I studied a photo for 5 minutes and then put it away.  I then painted the work entirely from memory (no, I didn't cheat and take a peek). 

The resulting painting is filled with the overall essence of the scene.  Only the most important impressions were captured.  This also enabled me to put more emotion into the painting, because I was not caught up in the details.  The painting feels like the location even though it turned out quite different from the photo. 

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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.