Painting on Commission

Be true to yourself...and your client!

I like to think of myself as being a pretty flexible artist and business person. Being married for 35 years has taught me to be accommodating, compromising and a good listener although she may argue a bit with the last point!

Listening to your current and potential customers, whether through social media, at shows, via emails or face-to-face is an all-important skill that I learned from my sales and marketing management days. You can't go wrong being a good listener. After all over 70% of effective selling is listening... to what your customers want and need... not giving them what they want to hear!

I am a small business person first and an artist second. Many would argue that we artists need not worry about the "business" since sales will come if our art is good...and accepted. Well that may happen but nothing is sold without a maker and a buyer getting together to close a deal. 

My product, the art, is unique to me in that I made it! Think of it! We create, find a market, communicate its availability and our product (hopefully) sells. Nothing could be better!

I get asked from time to time if I will create a painting from reference that is not mine but holds special meaning to the potential client. Firstly I ask if it is their own reference photo. If not I usually ( unless I have something similar) pass. I also can go to the site, do plein air sketches and take my own reference shots.

One recent commission happened by chance. A Facebook friend saw one of my posts about a new painting I did and inquired if it was for sale. Unfortunately it had just sold but I offered to paint a similar, not the exact, scene as a commission. I sent the reference shot off and it was accepted with my caveat that I can take creative license which was agreed along with the 50% down payment. They loved the sky reflections and the ripples in the water. The dramatic sunrise was inspiring for them. It was to be a Christmas present. I listened.

I completed the painting in about 2 weeks and since it was for a local collector I hand delivered it to their home and even helped with suggestions, as asked during negotiations, on its placement in the home. The client was thrilled with it and after a leisurely coffee together I made my way home with the final payment. 

Funny thing happened that evening. My client couldn't wait until Christmas to give it to her husband so she gave it to him that night!  I like to think that she was really happy and excited about the painting! So was he!!

Here's the painting:

"One Summer Day" by Warren Peterson. 16" x 20" acrylic on canvas

I've learned a lot of lessons in my 40 some odd years of painting, selling and marketing but the key one has always been that there is nothing like a happy customer. 

Remember that the best advertising is Word Of Mouth, so be true to yourself as a business person and artist while being true to your customers. You can't go wrong with this lesson.

Simply Put, Plein Air Rocks!

To KISS or not to KISS.....that is the question!

I'm going to post a few short examples of plein air work to illustrate how important it is to think shapes, light and values when painting outdoors.

I'm sure most of you have heard of KISS ( no, not the band) but in case you haven't it means - Keep It Simple Stupid. It's something that I try to subscribe to, especially when I paint en plein air. 

When you're outdoors at all kinds of different locations and weather it is doubly important to think KISS. Why? Because your time is valuable and light doesn't care about your time, so you need to learn how to get your impression of the scene down quickly, accurately and with your emotive response to it in paint. 

Fall on the Goulais - 8"x10" by Warren Peterson Fine Art

This small work is a good example of getting it down quick but with emotion and clarity. It shows the light direction, various species of trees and has a foreground, mid ground and background. The idea is to get the general shape of the hills and tree colours down fat while holding onto that first emotive response to the scene -  the OMG what a view! Here's another one.

Off Ranger Lake Road - 10"x12" by Warren Peterson Fine Art

This sketch is one of my favourites. It has all the elements of a good painting with delineated focal point and a simple handling of the background to keep the foreground trees etc as the focal point in the picture plane.

You can't replicate a fine fall day in Northern Ontario in paint but you can try to get that first emotion down while transferring what your eyes sees to what you feel on the board.

More to come on this.

You can see a whole range of plein air and studio woks on my web site, connected via "About Me" on the right hand side of this blog.

New Work

This is one of my new paintings. It's called " What a View". 24" x 48" on gallery wrapped canvas. It is currently available for purchase. Contact me for details.

"What a View" 24" x48" by Warren Peterson Fine Art

Brushwork Through Thick or Thin.

There comes a time in a painter's life that the brush seems to take on a life of it's own, especially when painting en plein air. Lots of practise and many mistakes imprint themselves over time, making your instinctive handling of a passage look easy to some but all those maddening and wonderful mistakes add up to confidence with a brush especially when chasing the light outdoors.

Those strokes also seem to take you to another place when you're back in the studio working the sketches up into larger works, so much so that when you stick your nose into the finished work you sometimes say to yourself "how did I do that?".

The Painterly Approach 

Detail -  Man Vs. Wild 

I'm going to spend some time on this blog looking at how brushwork, with a loaded brush or in a thinly painted passage, can add substance to your paintings in the field or back in your studio.

I've taken sections from a few of my works ( you can see the whole paintings in my web site linked via About Me to the right) that in their own right could be assumed to be full works on their own. Click on each image for a larger view.

Look at this detail to the left. After loosely painting in the tree trunk I took my mid value green and laid it on to establish the main masses. This was a nice summer day with some wind so I wanted to highlight the haphazard growth on this old pine and the storm damaged broken top.

Next I took a green on one side of the brush and another lighter one on the other side. Applying the darker side with a sweeping motion laid in a good strong background on top of which I quickly applied the lighter green very lightly to pick up the darker under colour. I moved on to other sections to let this dry. While doing so the light changed a bit, throwing some deeper shadows under the branches. I liked this and added the darkest strokes to capture that moment.

Detail - Breezy Day. Private collection.

You have to work fast at this with acrylics and, as I said earlier, it takes some practise but the sweeping, loaded brush effect can add a lot of depth. Your brain can add in the details.

This is another example and the "thick over thin" method can be seen here. I usually work from background to foreground, top to bottom so I can overlay the various passages. This was a very windy day and I painted the clouds first in thin washes of blue, gray and white for this section. The loose brushwork in the clouds adds movement to simulate the wind direction. After laying in the tree trunk I took a very loaded brush and carefully added the wind-swept branches and needles of this very old pine in the same direction as the clouds. A light, stabbing upward motion with the brush, coupled with holding it horizontal provided some happy notes on the board. I was in the moment.

Detail - On the Agawa. Private collection.

When travelling I usually take about 6-8 colours with me. You never know when one will work better than another. I do have standard palette.

For this painting to the left I only took my 4 basic palette colours as the location, the Agawa Canyon, is located in a very remote area. I had Cadmium Yellow Light, Ultramarine Blue, Alizarin Crimson and Titanium White. This detail is from a painting that was done in about 90 minutes as I had to catch the train back to the city. After laying in the sky and a darker value for the distant mountains in this canyon I went to work on the mixture of hardwood and pine trees. I worked from background dark trees to mid-ground light to foreground dark again. I used a different brush technique on the light green trees by taking a loaded brush, holding it at the tip of the handle and slowly let gravity take over as I gently let it drag from top to bottom holding the brush parallel to the board. I carried the green as a light wash over the distant blue hills to create their treed tops.

Thin and loose. A great combination for distant views

Detail - Pancake Bay

Keeping your paint passages thin, that is without impasto, is a great way to simulate distant places in the picture. These pull you eye back and when combined with receding values give the illusion of depth on a two dimensional surface.

Here you can see how I modulated the background hill with values and various shapes in the brushstrokes to show their underlying structures, vegetation and shadows from the clouds, whose shapes were first blocked in with gray and overlaid with a light white/blue mix. By pushing the clouds shapes around from up-sweeping brush strokes and dabbing semi-white highlights you can get a nice transition between the darker belly of the cloud and the lighter tops. Adding the darker trees at the lake edge further enhances the distance between the lake and the hills.

Detail - Spring Morning Algoma. Private collection.

 Holding your brushwork in reserve is a specific strategy that you can use to ensure that the mood of the painting and its emotive statement is conveyed to the viewer. The detail to the right is from an 18"x24" painting where brushwork was subordinated to colour value and shapes. I wanted a more slick surface in the final painting to give the viewer a chance to set themselves on the shore and look to the distant hills that are too far for details. Your eyes fill in those distant details. The mid-ground shadowed areas act as a foil to draw your eye to the sunny hills and lighter foreground in the finished painting acts as a step into the picture.

You can view the full painting images on my web site via the About Me section at the top right. You will find them in the Plein Air and Archive galleries and can click on them to enlarge.  While there take a look at the Demonstration page to see more of my technique.