Introduction

Every artist must carve out his or her own "approach" for creating work. After much trial, error, and study, I have arrived at a 'process' that works for me. This approach enables me to start a painting* with a high level of confidence that I will be able to carry out my original vision successfully.

One might think that following such a process could lead to boredom or lack of artistic 'inspiration'. I have found this to be the opposite of the truth. The process I have developed for myself includes time for inspiration while providing enough structure to enable the execution of my original vision with a minimum of frustration and waste.

Below, I outline the major steps of my process.

*Note: this is the process used for my studio Paintings. As described below, my Field Studies and Drawings are supporting elements for the creation of these larger pieces.

The Process

Step 1: Concept Identification - The Vision

The first step is, of course, the identification of a concept or 'a vision' for the completed piece. Living amidst the beauty of the Monterey Peninsula, this step is easily accomplished by frequent excursions on foot, horseback, or simply driving through the valley. Usually I'll take a photo to serve as a 'reminder' of the scene (I have enough such reference photos to last a lifetime!!). I also carry a hand-held tape recorder to record my ideas while driving.

Step 2: Small Sketches

Once a concept has been identified, the next step is the creation of one or more small sketches. The purpose of these sketches is to identify the major forms, lines, and compositional arrangement of the scene. At this stage I am experimenting with different formats/sizes (e.g. horizontal rectangle, vertical rectangle, square, etc.) I have notebooks full of such sketches that I continually return to for ideas and inspiration. Below are two sketches taken from my notebook for 'Still Water Morning'. Notice that the one on the left is more 'rectangular' than the one on the right. I chose this one for the painting because I wanted an 'expansive' effect (a sense of going for miles and miles) rather than the more 'closed in' design of the sketch on the right.

Step 3: Field Study

Once a design has been identified from the small sketch(s), a painting is done on location in either oil or pastel. The purpose of the field study is to observe nature directly because there are many subtle nuances in a scene that can never be captured by a camera. Back in my studio, I can draw from both the field study itself as well as my "visual memory" to recreate the true feeling of the scene in the studio painting. At this stage, if I've cut corners on the compositional sketches, I can really pay for it with the field study. Why? Because now I am involved in juggling two more variables (drawing and composition) along with the challenge of mixing color and value of the paint. With a well thought-out composition/drawing, I am free to focus on the important aspects of outdoor painting: color and light!

Field Study for 'Still Water Morning" (9 x 12 inches)

Step 4: Detailed Drawing

The Plein Air study is always relatively small (e.g. 11 x 14 inches). Conversely, the studio painting is usually two or more times the size of the field study (e.g. 22 x 28 inches). Often, there is a fair amount of detail that needs to be addressed in the larger studio painting that was not addressed with the field study. If I am not completely confident that I can create the larger painting from the field study and supporting sketches, I create a detailed drawing at this stage. The detailed drawing is usually the same size as the field study; however, it is done in graphite or charcoal (e.g. it is monochromatic). This allows me to focus on drawing details, compositional issues, and the core value transitions for the final piece. Since drawing has always been one of my favorite pastimes, this stage also provides some "relaxation" before addressing the large painting. The inset below shows the detailed drawing for 'Still Water Morning'.

Detailed Drawing for 'Still Water Morning" (9 x 12 inches)

Step 5: Final Studio Painting

Once I reach this step of the process for a final painting, my original vision has been refined through each stage of the process. I have had time to experiment with different designs (sketches), be expressive with color, light, and value (field study), and refine the important subtleties of the piece. Every stage of the process is a living part of the final piece. Now, I can approach the larger canvas with confidence. During the creation of the studio painting, I may make subtle changes to the colors and values, or experiment with different paint qualities. I may go over one or more areas several times before the piece is completed; but each addition is built upon a solid foundation because of the preparatory steps.

'Still Water Morning" (18 x 24 inches)