Concept to Canvas

One of the main topics I addressed was a common question from art students about how to paint rocks underwater. My initial response was a straightforward "you don't," which might have seemed slightly blunt. However, I explained that successful painting is about understanding fundamental principles like values, colors, and edges. It's about more than the specific subject, like underwater rocks, but these core elements.

I pointed out that focusing too much on painting underwater rocks can cause one to miss the critical components that make a painting look realistic. For example, to depict rocks under water effectively, you need to use more muted colors, softer edges, and closer-together values. I also emphasized the importance of drawing and observing how rocks appear flatter as they recede underwater.

We then broadened the discussion to painting various subjects, including trees. I advised against getting caught up in the specifics, like whether you're painting a spruce or an oak. Instead, could you focus on the shapes involved? Concentrating on basic shapes rather than the specific identity of the subject can achieve a more accurate and effective representation in your work.

Reflecting on my teaching experiences, I stressed the importance of returning to the basics of art. Many students want to dive into complex subjects, like large bouquets in still life, but I always emphasize simplifying their approach. By focusing on basic shapes and forms, you can create visually appealing arrangements that resonate more with viewers.

I also discussed how overthinking can hinder artistic progress. Instead of getting bogged down by intricate details, prioritize shapes, values, and colors. This streamlined approach can lead to more tremendous success in your artistic endeavors. I shared some personal anecdotes from my early days as an artist, revealing that I, too, was once distracted by the specific identities of animals and objects rather than focusing on their underlying shapes.

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Welcome back to "Concept to Canvas," and join us as we delve into the world of landscapes, colors, and techniques with expert artist insights.

In this episode, I am in the stunning White Mountains of Arizona. Amidst the green aspens and pine trees, we'll tackle the challenge of making a predominantly green landscape exciting and vibrant.

Learn how to observe and mix your own greens, avoid store-bought crutches, and leverage the changing light to add variety and depth to your paintings. Plus, get tips on the importance of painting from life and making color swatches outdoors.

To sign up for a free webinar, check out: ⁠https://gaborsvagrik.easywebinar.live/registration⁠

Are you painting for excellence or just to fill a space on the wall? Often I hear students speak about having to paint in certain dimensions, but bigger isn't always better...

In the world of art, there's often a debate about the importance of the size of a painting versus its quality. Today, I want to delve into this topic and share some insights that might help you in your artistic journey.

Behind me, I have three paintings by Ray Roberts, Ken Backus, and Matt Smith. These are smaller pieces, roughly around 10x12 or 11x14 inches. They're not what you would call large paintings, certainly not 20x30 or 30x40 inches. Despite their size, these pieces are remarkable examples of quality art.

Often, people think they need a large painting to fill a space on a wall. But the question to ask is, are you looking for art, or just something to fill a space? Personally, I would rather see three smaller, high-quality paintings grouped together to fill a space than one large, poorly executed piece.

Always strive for quality in your paintings, regardless of size. You can certainly work on larger canvases, but remember, it's like a high jumper—they don't start at the highest bar but gradually work their way up. Creating a large painting that is energetic and poetic is no easy feat. It requires skill, practice, and often, multiple sessions to complete.

One key to infusing energy into your paintings, regardless of size, is painting from life. This approach brings vibrancy and authenticity to your work. Tackling a large canvas in one session is challenging, even for experienced artists. It often requires bringing the piece back to the studio for further refinement, and there's nothing wrong with that.

For students and those still in the learning phase, the focus should be on mastering the medium and honing your skills. Don't be pressured into creating large works before you're ready. Instead, aim for a series of smaller, high-quality paintings. Grouping these together can create a stunning visual impact without compromising on quality.

The Size DilemmaQuality Over SizePainting from LifeStudent Perspective

Painters are often tempted to over explain their subject by going into detail. But too many details muddies the character of the painting.

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As artists, we sometimes feel compelled to include every single detail in our work, but have you ever wondered if this might actually detract from the essence of what you're trying to convey?

Imagine painting a tree. I've seen painters meticulously depict every single leaf. But why? If you find yourself doing this, ask yourself why. I often joke with my students that there's no need to prove it's a tree by painting every leaf. We can recognize a tree from its overall shape and character.

What really matters is capturing the character of the tree. Give it a general shape, add some detail, and leave it at that. From the shape alone, we recognize it. Over-detailing can sometimes feel like shouting at the viewer, as if they wouldn't understand otherwise.

Consider a car in a painting. We all know what a car looks like. You don't need to detail every single part of it. Over-detailing can almost feel insulting to the viewer, as if they need everything spelled out for them. Instead, focus on the shape, value, and color that make the car recognizable and poetic.

Fine art isn't about illustrating every tiny detail. It's about conveying a sense of beauty and emotion. There's nothing wrong with illustrations, but fine art aims to evoke a feeling or a story without over-explanation. If you're new to painting, it's natural to want to include every detail. I did it too. But over time, you learn that the beauty often lies in simplicity.

Detailing should be like the cherry on top of a dessert – a finishing touch, not the whole focus. Some of the best landscape painters master this balance. Whether you're painting a figure, a still life, or a landscape, too much detail can overwhelm and obscure the message.

Think of it like this: if I spoke to you in an overly detailed, fast-paced manner all the time, it would be exhausting and hard to follow. The same goes for a painting. Just as a photograph might blur the background to keep the focus on the subject, a painting should guide the viewer’s eye to the important elements.

This concept isn't easy to master. It's something you need to practice and struggle through. Look at the works of great artists you admire. Often, what draws you to their work is its simplicity – not in the sense of how it was created, but in how it looks. Simplifying is one of the hardest things to do, especially in the beginning, but it's crucial.

In your next painting, focus on the general shapes, values, and colors. Leave some mystery. Let the viewer fill in the blanks. Like a well-written book that leaves you pondering, a good painting should invite the viewer to engage and imagine.

If you're struggling with this, you're not alone. It's a challenge for many artists, including myself. Keep practicing, and over time, you'll find the balance between detail and suggestion.

Thank you for reading. If you found this helpful, subscribe to my channel for more tips and insights. Visit my website for free videos, webinars, and instructional content. Happy painting!

Capturing the EssenceThe Art of SuggestionEmbrace SimplicityLeave Room for ImaginationThe Power of SuggestionPractice Makes PerfectThe Beauty of MysteryKeep Practicing

A vital part of creativity is allowing yourself time everyday to pause and reflect. Here I discuss my philosophy of alone time and how I carve out time every day to achieve it.

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There is no right or wrong answer to this question, but you can improve how fast you paint, which is particularly important if you are a plain air painter, if you practice consistently.  

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When you write a paper, the best place to begin is with an outline, an overview of what you would like to say. Similarly with painting, especially plein air painting, you ought to focus on the big ideas, the whole picture, instead of getting bogged down with one aspect of the painting.

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I get asked by the students at our academy about brushwork and how much it matters, and that answer depends on your level. 

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Depending on the type of landscape you are painting, shadows in the distance may not necessarily always be lighter...

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As painters, we are all illusionists, but how ought we to go about creating the illusion of light? In this episode I offer you some ways to improve your understanding and application of light in paintings. 

To sign up for this free webinar, check out: https://gaborsvagrik.easywebinar.live/registration

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