It happened so that I gave numerous drawing classes this season. People love pencil drawing and sketches, and they are excited to learn how to create such art or a value drawing for other art, like for a watercolor and acrylic painting. Therefore, I have many drawings now. I always ask my students to also use big size paper for their creations. We most often use 24 x 18 in or 61 x 46 cm paper.
Using reference image or setting up still life
I personally prefer real items in front of classroom for my pencil drawings and sketches. During summer and fall, it’s extremely easy to find something suitable. We used real items for still life, but perspective pencil drawings and sketches are simply composed and constructed from imagination. I haven’t got images yet of other drawings with personal items, shoes, jeans jackets and figures. We gradually increased complexity and went from still life and perspective drawing to pencil drawings and sketches of figures. That took about 30 private art classes. Large size paper makes a lot of sense and allows creating the best compositions and value transitions.
Tutorial won’t do that
Tutorials usually teach something one: style or technique of a particular artist, one subject or one feature of it, and that doesn’t always mean your tutorial will include explanation or clear understanding why to choose exactly this one style, feature or part of subject. Demonstrations are frequently done on small sheets of paper. I’ve mentioned this numerous times before: if you can draw, you can draw anything without any limitations. You won’t need photos, printouts, grids and similar things. If you can draw, you just observe, pay attention and allow pencil to do its job. Which I always do! I hope you love seeing these drawings and sketches! I have to post many at a time because there are way too many.
When it comes to painting, I wish all potential students had: the ability to create value sketches and drawings of whatever subject they intend to paint. That doesn’t apply very directly to abstract artists, yet, even they would benefit from knowing what value, color temperature, contrast, negative space, etc. is. More or less realistic painting features even more components, including direction of light, shadows, aerial or atmospheric perspective, linear perspective, elements of composition and so forth. When creating art, we cannot forget about the quality of materials, artist’s ability to apply them, and there’s also a spiritual and mental factor to creation of art. Confidence, inspiration, focus, being able to observe and memorize visual information are all important aspects of creation when you start painting.
We were using real items for our still life drawing, its size is 24 x 18 in or 61 x 46 cm
Wen everything comes together: theoretical and practical skills, experience, perfect mood and great materials, we can speak of excellent artwork. Beginners will normally focus on the technical side of creation, and using brush or pencil with confidence and skill, is a huge part of success. However, if we want to see progress, we have to build a base. Value sketch or drawing are the best possible base building blocks which help you start painting. Controlling graphite pencil is much easier than swiftly flowing paint, therefore, one can learn very gradually. Pencil drawing includes all aspects of painting, plus pressure control, minus colors.
Why is it important to know how the shadows are formed? Why is it important to create negative space and apply different values? Because that’s how our drawing gets dimension, depth and interestingness. If you are very familiar with these aspects, you will paint easier and the result will be more satisfying. Painting uses exactly the same visual components. If you are like me who has excellent visual memory, you will create art without thinking about these aspects. If you are just starting out, you will have to learn how everyone of these aspects contributes to successful painting and brings your idea to life.
For this still life, we used real items again, size 24 x 18 in or 61 x 46 cm
To be honest, it’s by far not enough to trace the outline and then apply color to create a painting. Painting works when you know why something is there and why it is like that and no other way. Pencil drawing teaches all of the above and provides with good hand movement memory. It doesn’t matter actually what medium we use: if we master the principles and components, only the physical application of medium is different. As we know: the stronger the base, the better we can build upon it. Not sure where to start? Start with drawing.
For this spring creek drawing, we used photo which we modified as necessary, size 24 x 18 in or 61 x 46 cm
Drawing big and huge is even better than simply drawing. The aspects and components of painting I mentioned before need space to make them visible. We use most often large size paper: 24 x 18 in or 61 x 46 cm for classes. I use the same size for my value sketches. We don’t have to finish the drawing as finalized artwork, but we can do that, as well. I bring most of my value sketches to condition when they can serve as a reference for watercolor or acrylic painting. Setting up real items or viewing real trees, grasses and plants and anything else allows creating easier. I teach drawing only in private classes because it requires very individual approach. The attached images are created from real things and photos. The weather is great in spring and summer, so start drawing outdoors and turn your sketches into completed artworks.
The lifting morning fog is the most recent addition to my art collection. Birch trees have always been a favorite for autumn paintings, especially, when I have a few students who want to learn painting fall colors. The classic involves an artwork which we started in 2018, and it got not finished until now. Half-done paintings sort of nag and urge me to not be lazy and just add a few layers of paint.
Every day is only worth what its accomplishments are. I believe every day is good when I can show something for it. Therefore, time I devote to each artwork feels as a well-spent day. While everything else is rather slow and inconclusive in our life at the moment, one aspect of it is always unchanging: the creative aspect and pleasure of creation.
Acrylic paints dry darker, that’s why we need to learn what color combination is suitable for background, middle and foreground. I’ve talked a lot before that applying color is not the same as building it up. Building up color creates volume and color shifts, as well as allows implementing color temperature.
Textured birch trees on bright forest ground takes its origin probably in 2015 if I am recalling this correctly. I apply textures on canvas which is painted in the base color, grey or brown usually. I cannot judge yet whether it will become a good painting or not, therefore, many layers of paint are required to make it work.
Textured paintings are more problematic to photograph because the textures are raised and reflect more light. Color play is important part of textured paintings, but it comes to full expression seeing the art in person.
Here is the Rusty gold of autumn birch: it’s the same painting, compare with the image below; but pictures show completely different background colors. Unfortunately, neither one is absolutely true. The actual painting isn’t yellow, and the background isn’t bright blue, but the options are either to publish or not, and I would most often choose to publish. Rusty gold of autumn birch painting is 24 x 20 in or 61 x 51 cm.
I started to paint the lifting morning fog at the beginning of August. I had a very diligent student who attended private classes, and she was interested in fine detail of acrylic painting, layering colors and achieving a certain grade of realism. Nobody without experience can just jump in such art right away with the first brushstrokes. We managed, but such art takes much longer than a few hours. In my case, it’s rather a few weeks.
The lifting morning fog painting is created on my favorite size canvas: 24 x 18 in or 61 x 46 cm. I love this size for both, watercolor and acrylic.
Pictures were taken with iPhone, and that sometimes adds way too much contrast and changes the color temperature. Colors usually on pictures are either stronger or weaker, but not my actual colors. My experience is that grey becomes strong blue and that disturbs color balance of my artwork. I’m using a grey-bluish shade which is carefully crafted, unfortunately, it looks very blue on the images.
I hope you like the new additions to my art collection, and some will also be put up for sale soon. Currently, there are quite a lot of acrylic paintings, and I update the sale pages quite frequently. Stay in touch and all the best enjoying the October colors!
Like every year, we get from winter into summer heat in Ontario. I’ve noticed there’s nothing in the middle quite often. It was cold even until the first weeks of May, and then suddenly, we got high heat. That means plants and flowers bloom over in a few days, and everything at once. It is difficult not to take part in all breathtaking blooming and return to life of nature, therefore, I am feeling as if in summer in my art already. The old story: creation must be done in advance of any seasons, celebrations and festivities.
Not only for shows
It’s not so that I am creating only complex art for competing in shows and simple art for teaching art classes. One of the other categories would be plainly decorative art, and we are seeing lots of it recently. Just some splash of color, some shapes or basic subject on white or abstract background. Nothing extreme, nothing mysterious or hiding deep meanings, just art for covering wall space and keeping the creative hand sensitive. This is the routine art which doesn’t reach ceiling of mastery and doesn’t strongly affect our mind or soul. Art that is often described as “lovely, nice, cute”. These are, besides, the worst compliments when it comes to creativity and creation. They say practically nothing, they are empty words. They leave one unaffected like water drop rolling down a leaf leaving no trace as it evaporates.
Summer cottage
Technical side versus emotional aspect in painting
t’s understandable that with overload of images the internet viewer is attacked with in a split second, nothing gets more than a quick glance. Rarely, somebody will notice elegance of lines, flowing or strong brushstrokes, shifts of warm color into cool shades, perspective, mood, the way the subject reveals itself, I mean, all things which exceed just purely technical approach of painting. Technical approach dominates because lots of art on the internet is done by beginners and emotional level is left out when the main focus goes to the technical side of using art supplies and creating the subject.
Wildflower meadows
Mastery in art
The most adorable category is art as discovery, art as secret, art as mystery and soul touching art. Not every artwork becomes a masterwork, far from that. Even well-known artists have uneven level of mastery in their works, and that is just a very human feature. Nobody can be at the top of their creative juices and riding the wave of inspiration 24/7. Any human has ups and downs, divine moments and dark alleys where they get lost. It is a good personal goal to have more of good art which has lasting effect on the viewer. Every artist tries to achieve that, and in the best artworks, mastery comes to expression.
Show continues
The virtual art show continues, and since the lead post was helping a little, but I need to add new art, I am including in this post variety of available images, the brand-new blooming meadows paintings and some other art. I know how nobody wants to see more sales and so on, but I simply need to turn visitors’ attention to the fact that these are show artworks and they are currently sold at their best prices. I will probably change the content after a while, but for now, please enjoy, and you might possibly like to purchase some art.
I’m always updating pages of available art, therefore, have a look!
Representational art and my transition to personalized realism
To me personally, creating art means observing and creating it without help of any devices, and where possible, using the real things as references. It also means drawing and painting the subject in a recognizable way, but not necessary sticking to life-likeness so tightly that I cannot implement my own adjustments which are not present in reality. Representational art is pretty much neglected and not recognized in Canada. The modernism and contemporary traditions run here deep, and, certainly, artists who engage in abstract and contemporary abstract art, are way better off.
Flooding spring water, watercolor, 42 x 18 in or 61 x 46 cm.
So, how come I prefer realism in art?
First of all, my background is very different from Canada-born artist’s background. I moved over here when I was close to 50. By that age, the local Canadian artists have established their niche, gotten decent visibility and have participated in numerous juried and other shows. Well, I had with me 2 brushes and a travel set of watercolor paints, and that’s it. No portfolio, no previous paintings because you just don’t have space in one suitcase. I hadn’t even ever had a camera before I arrived here, therefore, I had no images also. So, I started from scratch. I’ve been very successful and productive comparatively, but I certainly couldn’t catch up in a few years with what others had done during quite many decades.
Country barn in spring landscape, size of this painting is 22 x 16 in or 56 x 41 cm
Talent and practice
I had some features which lots of artists do not have when they start out, even if it is at quite old age. I was drawing since early childhood, all on my own. Unlike in North America where somebody would immediately get a private tutor for talented kid or send this kid to a specialized school, nobody gave anything about my well-done drawings. I didn’t have any artists around, moreover, I had never seen any real art. We didn’t have TV those times, nobody had even dreamt about internet back then. It was a countryside out of a small picturesque Latvian town where we lived, but there were no museums, no exhibitions. I had the feeling that I can draw, and my goal was to create drawings so that the things on them looked real.
Country barn, spring, pen and watercolor, 16 x 12 in or 41 x 30.5 cm
Self-criticism
I was very critical and paid attention to every flaw in my drawings since there was nobody else to provide with critique, explanation or suggestion. I practiced for numerous hours until my drawings looked good to me. The paper I had wasn’t a drawing paper, nothing like it. It could be wrapping paper, white pages in front of a book, some paper for notes and later notebooks for school. I was certainly not selective when it came to art supplies, I simply didn’t have them, but pencils were around. I didn’t have eraser, therefore, I learned to draw without necessity to use an eraser.
Old countryside house in pen and watercolor, 18 x 12 in or 46 x 30.5 cmRocks and water, size of painting is 22 x 15 in or 56 x 38 cm.
Big works for me
I always loved drawing big or as big as I could depending on paper size. In high school, I was drawing life-size figures, huge posters. Well, Latvia was still in the Soviet Union, you couldn’t just go out and get a photo of a musician or modern poster because there weren’t any. I filled this gap and my paintings and drawings were very popular. I added to my stipendium during the University years (government paid students who had excellent results) income from drawing portraits of fellow students. It was a decent extra income which I immediately spent in old and rare book store. That explains why I do not draw and paint portraits while in Canada: I always did it from a real person, not photography.
Peaceful, lake view, watercolor, size is 20 x 16 in or 51 x 41 cm
My favorite subjects
We always had a garden and orchard ever since I can remember me. After helping my parents with most urgent work (we always had to work as soon as we were able to, like 5 or 6, and it was due to necessity of life, not my parents’ dictatorship), I sat down in front of some building, in a park or next to a flower or plant in the garden and just drew and drew for countless hours. When the drawing had all decent values, contrast and proportions, I was genuinely happy. I called my lines “completed lines”. If there was something not fitting in or sticking out, I started over. I developed my own style eventually since I had zero outside influence. Zero, and it’s a good thing. Although, I couldn’t study at art academy, I never gave up art and always kept it close to me.
Canada got me going on watercolors
The first paintings I did upon my arrival to Canada were all full sheet watercolor paintings: 30 x 23 in or 76 x 58 cm. This was the first time I ever had a real watercolor paper. It was Arches, 300 lb or 640 gsm. It felt like wood, and I loved it. Its cost was about 10 times less what it is now, and, yes, I used it for everything, even color tests. I was wondering how could the American and some Canadian artists get so much detail in their paintings because, realistically, what I cannot see, I cannot paint. This was the first time also when I discovered that artists were repainting photos, too. That was new since I was always told that repainting a photo is the worst of artistic sins.
Early spring, rural hills watercolor, size of this painting is 24 x 18 in or 61 x 45 cm.
I chose personalized realism
I never went that direction myself, though. There was no need. I can draw effortlessly anything assuming I want to or that subject seems interesting. It also shortens the number of steps: there’s no need for taking, downloading and editing photos or getting printouts. Yet, I need the subject to be present. That’s not always possible, like in winter and so forth, therefore, I added memory images to my reference sources. Indeed, due to drawing so much I developed photographic memory over time. I have numerous large drawings in a few huge folders. They include plenty of landscapes and most often flowers, still life and birds, as well as buildings. When I go through these drawings, I can usually find something I want to paint, or I just look for a new subject outdoors or indoors.
Uphill, rural house, size of this painting is 21.5 x 16.5 in or 54.5 x 42 cm
I hope it looks good
I have scattered my watercolor paintings from previous years all around this post. Many of them were posted before, but image quality had decreased, so, these are new images. I noticed on the phone that an article with too much text doesn’t look good. These paintings include black pen and watercolor wash and only transparent watercolor paintings. I do paint very loose actually. Students who have attended my classes know that. When demonstrating a feature or a particular subject, one simply doesn’t have too much time. I use targeted brushstroke, generous amount of water and paint, as well as excellent quality, pure-pigment-containing watercolor paints.
Early spring in rural village. Size of this painting is 18 x 24 in or 46 x 61 cm.
Realism it is, although, not strictly
I am not interested in abstract art, although, I can create it if somebody asks, for instance, for a commissioned painting. Completely abstract art doesn’t present me with enough challenge. The driving force for me is the subject, especially the challenging aspects of it, ability to create more complex and deeper paintings. I don’t care whether they look exactly like the real things. I want the viewer to get my message, the idea behind the visible lines and colors. That’s however, a theme for another post because these are aspects which internet display doesn’t bring to expression.
All paintings deserve being featured since my early posts get very little or no attention. I placed some on page for watercolor sales:
