Shasta Winter Splender


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December 5, 2009 The past few days have been very windy, a sign that the landscape in Mt Shasta is about to go through a transformation from fall to winter. As the days grow shorter this time of year, things seem to move slower. I have to consolidate my time at the easel because the natural daylight is limited, and painting under electric lights is undesirable. After painting all morning in my studio, I gathered my paints to visit the little village of Mt Shasta. I came outside to find a blanket of new snow covering the landscape. Many of the colorful leaves had not yet fallen off the trees, and the fresh snow sparkled and glistened like millions of white diamonds and contrasted brightly against the orange, yellow oak trees and the dark cool green pine trees.

The village of Mt Shasta is located at the base of Mt Shasta, a dormant volcano that ascends 14,165 foot upward into the sky. When traveling from Sacramento, the summit snow of Mt. Shasta is visible from hundreds of miles away. John Muir thought that the mountain was so spectacular that he campaigned to make Mt. Shasta a National Park. As I drove into town, I could see the late afternoon shadow that Mt Eddy casts over the town as the sun disappears behind the mountains, yet Mt. Shasta herself radiated with a wonderful tangerine glow. As I walked through town, I noticed that the trees along the streets twinkled with blue holiday lights. All of the shops were still open and their colorful lights of green and red that shone from the windows onto the snow covered sidewalks. The town seems a little empty with the summer tourists and campers gone, and the early snows keep travelers on the main highways and the local residents at home cuddling with a book close to the fire to keep warm. I feel grateful to be able to live and paint in this very special place with Mt. Shasta’s glorious display of colors, clouds, and weather, magnificently presented for everyone to enjoy.





I have devoted my life to touch, move and inspire others to see and appreciate the beauty of art and its relationship to nature. And, as we travel through this great land with our 1970 Silver Streak trailer following behind our truck, I passionately desire to share the power and beauty of nature and art with others. For a FREE book on everything I know about painting go to http://www.thegrandview.com/

“Sketchbooks and the Artist”

“Curious Bear”Teton National Park

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October 1, 2009


After successfully painting all day on the bank of the Snake River, we return to camp. Bright tones of amber, crimzon, umber, and sienna blanket the landscape.
Squirrels chatter in the trees as they jump from branch to branch, from tree to tree, as if today is the last day to gather pinion and seeder nuts and hoard them inside old hollow trees for quick snacks during the cold winter months. In the woods not far us, we can here the unmistakable bugling sounds of Wapiti (elk) as they establish their territory and breeding herd. Bears, too, eat continuously to store fat for their long winter’s nap.

At our camp near Coulter Bay, just on the boundary of the Teton National Park lives a bear whose name is Number 399. The National Park service gives Bears numbers to identify each bear, keep track of their activity, and to monitor if any bears are interacting with park tourists in an unpleasant manner. Every bear has its own personality and interacts differently with members of the human race. Number 399 is a popular bear at the campground. Rangers and park visitors like him because of his natural curiosity about people, and as a result, many park tourists enjoy seeing this beautiful four year old, honey-colored grizzly. He likes the attention and poses for pictures, and he has never been cited for unruly bear behavior, although his natural curiosity makes a few campers a little uncomfortable as he wanders from campsite to campsite.

I capture my first glimpse of Number 399 as I enjoy a cup of tea just outside of our Silver Streak Trailer. I grab my sketchbook to make a quick sketch on paper knowing that I can later transfer it to canvas. The bear stands for a few moments among several fallen tree trunks before lofting away to another campsite. While he stands there, a burst of wind makes his fur ripple like waves on water, back- blowing his thick winter coat. The following day, I learn that a hunter, who had just killed an elk, shot Number 399 three times and killed him. The hunter apparently was worried that he might have to share his kill with the bear. This was a poignant reminder of the value of sketching in the moment as the opportunity presents itself.
SWB


“Sketchbooks and the Artist”

Artists haven’t always carried their paints and canvas with them on their travels. The practice of painting on location via plein air is a relatively new concept in the history of painting. Many artists prefer the traditional method of sketching their experiences in a sketchbook. Artists can draw models or objects of interest, jot down notes and observations about a subject’s shapes, colors and unique features, or work on ideas for upcoming paintings in their sketchbooks. In this painting, “Curious Bear,” I worked from a sketch that I drew of the bear that visited our campsite. Having only seconds to jot down ideas, I worked on an idea for a painting from my notes the following day after I learned that this bear was shot and killed. This is an example of why it is essential that an artist always have a sketchbook and a pencil or pen to sketch and write notes and observations.

I recommend using a book that has about 50 sheets of plain paper with a spiral spine to start, and urge artists to carry it with them everywhere. Make a point to draw at least three drawings a day in it. Practice drawing in it everyday, and use it for everything from ideas for your next painting to making your shopping lists. It is not practical to invest in expensive journals with upgraded paper and leather binding displaying the artist’s name in gold leaf. Although these can be impressive, the fancy journals are intimidating and rarely, if ever, used. Don’t think of your sketchbook as a holy relic. It is just a book with pieces of paper. The real value is not the book itself; it is using its pages to practice your sketching and to journal what you are thinking and feeling each day about the world around you, with the possibility of capturing a precious moment that later can become your next great painting.

I have devoted my life to touch, move and inspire others to see and appreciate the beauty of art and its relationship to nature. And, as we travel through this great land with our 1970 Silver Streak trailer following behind our truck, I passionately desire to share the power and beauty of nature and art with others.For a FREE book on everything I know about painting go to http://www.thegrandview.com/

Capturing Animals on Location part 2

“Wapiti Study: Opus 1”,
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The National Parks

September 30, 2006

Today the fall colors of the trees blanket the hillside with a palette of green, crimson and amber foliage signaling that the seasons are changing. Bursts of air blow through the groves of aspen trees tickling the golden yellow leaves making them quiver. Light breezes start from the foothills and briskly float upwards to the peaks of the mountains. In the distance, I can hear the faint whisper of the streams of air moving through these beautiful trees. The leaves tremble, making quaking, rustling sounds, and all at once, they serenade me with a grand symphony of song. Millions of leaves let go of the safety of their summer resting spot in the trees high above the forest floor and rain down upon me in a turbulent whirlwind. Millions of leaves fall spontaneously like the confetti at the finale of a political convention, covering the forest floor with a thick carpet of yellow interwoven leaves. Against the background of Blue Spruce, massive Douglas fir and the White Bark Pine, these bright leaves shine like golden diamonds on a dark green velvet backdrop. I am aware that I am just an observer of a moment of the symphony of seasons that has existed for thousands of years. In the distance I hear the call of the Wapiti (Elk) echoing throughout the canyon as the males gather their mates and begun their rut.
SWB

Placing Animals in Your Paintings, Part II

When I was painting this painting, “Wapiti Study: Opus 1”, I was in a meadow capturing the fall colors, and all at once, a massive elk came out of the aspen trees to check out what I was doing. We locked eyes for what seemed like minutes but probably was only for several seconds, and after he was satisfied that I was not another bull elk that might be interested in invading his territory, he retreated into the woods. When composing a painting in nature, artists imagine and hope to have living creatures included in their composition. Occasionally, an animal will comply and grant a brief but most appreciated opportunity to see and paint them. Artists who are interested in adding wildlife in their paintings spend hours practicing, drawing, and painting studies of animals to use in future compositions. These studies (small renderings in pen and ink, pencil, and paint) become invaluable tools and a vital resource for adding animals to their paintings in the future. I recommend that artists start by drawing people because all the techniques needed to draw anything are practiced when drawing the human form. Next, practice drawing a dog or cat. Many quadrupeds have similar characteristics of their counterparts in the wild.

“The wonder of the world, the beauty and the power, the shapes of things, their colors, lights, and shades; these I saw. Look ye also while life lasts. ”
This verse is on a plaque hanging at the Moose Visitor Center at Teton National Park in Wyoming. The original message was etched on a gravestone in Cumberland England. This humble and unselfish message describes my dreams and efforts with The Grand View, my art classes and workshops along with the national PBS television show over the past 25 years. I have devoted my life to touch, move and inspire others to see and appreciate the beauty of art and its relationship to nature. And, as we travel through this great land with our 1970 Silver Streak trailer following behind our truck, I passionately desire to share the power and beauty of nature and art with others.
For a FREE book on everything I know about painting go to http://www.thegrandview.com/

Capturing Animals on Location

West thumb Yellowstone NP

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The National Parks

Capturing Animals on Location

Painting animals on location can be tricky. Animals are usually very poor models because they are unwilling to hold still for extended lengths of time. If you paint animals that linger like cows or horses or, in this case, bison do, it is possible to capture their basic outline and essence as you compose and sketch your initial painting on location. The finer details of the animal will come into focus once you begin painting. Look very carefully as you are painting your sketch and you will find that all the detail information that you need is right in front of your eyes - even though the animal’s pose may change. Start by painting the animal’s eyes first, and paint outwards to the head and then the body. If you enjoy painting animals and want to paint extraordinary animal studies, it is important to learn how to paint them accurately by drawing them frequently. Great portrait painters draw the human face and figure everyday to hone their skill. The painters of domestic or wild animals must do the same if they want to excel. However, if you only want to paint an occasional cow, you can be successful by just drawing what you see.

September 20, 2009
Our journey continues north into Yellowstone as we follow an old logging route. We carefully tow our trailer through the forest knowing that we risk the chance of breaking down in a very remote part of the country. This is a very difficult day for both the trailer and us. The standing trees are so thick that it seems impossible to find a space wide enough for the trailer to squeeze through. We finally reach the southern point of Yellowstone lake, and find the west thumb of the Geyser Basin where we discover a herd of American bison that are grazing nearby, lingering as if they want me to paint them during our stay. In my painting, I capture the oldest male in the herd on my canvas. SWB

For a FREE book on everything I know about painting go to http://www.thegrandview.com/

September 18, 2009

Teton Splendor

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The National Parks

It has been many years since I began painting twenty of America’s National Parks for the PBS series “The Grand View, America's National Parks through the Eyes of an Artist. ” Lately, I have been yearning to return to the wilderness near Yellowstone and paint along the way. Earlier this year, we bought a 1970 Silver Streak Trailer (pictured below), and after much preparation, we hooked it onto my truck, and began our exciting journey. The next few blogs come from observations that I wrote in my daily journal and paintings that I sketched of locations that captured my eye along the way. So, come along with us as we travel through the northwestern corner of Wyoming on our road trip to the Tetons and Yellowstone National Park.

September 18, 2009
As we approach Jackson, Wyoming, we travel off the main road onto on old prospector’s trail. The ruts are deep and it is hard to move forward with the trailer. After about a mile, the truck cannot go any further on this dirt road, so I collect my paint supplies and hike up the pass by foot. All through the day, cool breezes and a few light showers signal that the seasons are changing and winter is on the way. The aspen trees are also changing as their green summer tops turn into a more suitable coat of yellows, oranges, magenta, and browns. Thick layers of clouds cover the Teton Mountains. From time to time, the clouds clear revealing the mountain's majestic crags and peaks above the foothills so beautifully sprinkled with aspen trees and colored with a thousand gorgeous autumn hues. SWB

For a FREE book on everything I know about painting go to http://www.thegrandview.com/

Imagination

View from Inspiration Point

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Imagination

Shasta, from Susti'ka, is the name of a well-known Indian tribe who lived in the Mt. Shasta area in the 1840’s. These native people lived in three major groups in Shasta Valley, Scott Valley, and near the Klamath River. A small tribe of the Shasta clan called the Okwanuchu occupied the territory southwest of Mount Shasta where the headwaters of the mighty Sacramento and McCloud rivers converge. Very few of the people of the Okwanuchu clan remain, but I had the good fortune to meet one of their ancestors. He told me about a path above the Ney falls that would take me to a breathtaking vista of Mt Shasta that they called Inspiration Point. I wanted to capture and share the experience that I had when I visited this magical place at sunset by painting “View from Inspiration Point” for you.

Imagination is the key that unlocks originality. The question today is how do artists develop their ability to create something from their imagination that they haven’t seen before. Before anyone can be original in their creativity, they must begin with the elemental aspects of art, and that means studying, practicing and applying all the skills needed for that artistic endeavor. If your goal is to paint a scene from nature that you originate without being in nature or using a photograph, you must study nature, and learn her lines and shapes, every nuance of lights and shadows, times of day, weather conditions, atmosphere, and the seasonal times of year. Next, artists must repeatedly practice drawing and painting what they observe and feel when they paint in nature. Accurate sketching, along with skillful color choices, and practiced, intentional brush strokes assist the artist’s representation when painting the scene first hand.
The additional lesson that you as an artist must learn is to take time to memorize what you see, feel, hear and smell at the scene, and to be able to recall accurately what you have seen and experienced later. Then, you are set free to imagine everything that you have stored in your memory and use it when you create paintings in the studio without using photographs. Using your imagination is like using any muscle in your body. By using your memory frequently and consistently, you will see improvement quickly. Painting from your imagination is a skill that is essential for an artist to reach the next level of originality and creativity.

Your growth as an artist will take a lifetime. It is a continuous path of frustration and joyful insight. You will never know everything, and most artists quit before they discover who they really are as an artist. When your imagination employs the rich sensory memory of all that you have experienced, the artwork you create becomes alive, and this is what the world is waiting to see in your paintings.

For a FREE book on Everything I know about painting go to www.thegrandview.com

One quality needed to become a great artist.

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This will take you over to Ebay
Sense of Place

One quality needed to become a great artist.

I painted “Silence at Siskiyou Lake” on location during the May painting workshop at The Grand View Ranch. This romantic scene captures the essence of the feeling of Mt Shasta and the ethereal quality that surrounds her majestic slopes. The low angle of the light and the colors from the cool haze lightly covering Mt Shasta and the foothills contrasted with the warm highlights of the morning sun just breaching over the high alpine tree line give this painting a “sense of place.” Creating a “sense of place” requires an understanding of nature that one acquires by closely observing nature and sketching what you see, combined with a good sense of design and composition that one learns with practice and effective instruction by a competent instructor. When I learned these skills, I read the works of early poets and scholars to understand the old methods of depicting a “sense of place,” a romantic vision that seems lost in painting lately.

One such poet and observer of nature that I found particularly fascinating was John Ruskin. Ruskin was a formidable voice during the 1850s and 1860s when early artists like Albert Bierstadt and Thomas Moran established the direction and instructive influence of art. Ruskin promoted “direct imitation of nature’s vital facts” as the path to “truth.” He advised students to begin by studying a single leaf, and expand their range of vision gradually, avoiding any view that would make a “pretty” picture. He recommended that in preparation for study “in the field,” the serious art student should select one photograph of a natural place like a riverbank or a corner of a park, then hold the image up to a window, and trace the outline as accurately as possible. He wrote that by doing this, it might improve the artist's ability to simulate nature more accurately. I recommend it as an exercise for beginning students who want to create a realistic portrayal of nature in their paintings.

Artists who make a career in art share one quality that makes them successful. This quality separates great artists from the meek. All successful artists have the ability to persevere and do not quit. Quitting is contagious. In our 21st century, kids are encouraged to quit when the going gets tough, or when they are bored with a hobby or interest. We have dreams of becoming a great a pianist, a writer, a soccer player, a singer, or an artist. Quitting guarantees that you will not become anything great. Students come to my studio and they have stories about how they dreamed of becoming something but quit because it was too difficult, too risky, or not attainable. All artists encounter aberrations of failure, and they can be consumed with negative conversations in their heads about why their art does not sell, or even worse, why it is not liked. Artists quit when they are convinced that their next work is doomed to fail.

Those who continue to create art have learned how not to quit. What would you do if I could guarantee that you would not fail, and that the next piece of art that you create will be the masterpiece the world is waiting for? What if you already have everything that you need to complete an extraordinary painting, and that all you need to do is to pick up a brush and paint it? Unfortunately, I can only guarantee that if you do not create art, your dream of painting a masterpiece will never happen. If you wish to become an artist- step up, find a subject that you feel excited about sharing, and paint. The world is waiting to see what you have to offer.

At our workshops, we explore and disarm many of the limiting and judgmental ideas that people have believed to be true since childhood and introduce new possibilities for creativity and artistic expression through the excitement of outdoor painting.

Come and join us in October for a life-altering experience!

If you are interested in experiencing a breakthrough weekend that will take your art to the next level, visit our new website at http://www.thegrandview.com You can download my FREE BOOK where I share “Everything I know About Painting.” At my website

I hope that we can build a community of artists that can share information with each other.If you know of any artists that might appreciate being included, let them know about this blog.
I hope to offer more painting tips as this conversation continues.

If you have questions that you can email me anytime Stefan_Baumann@yahoo.com, please don’t hesitate to email me anytime. I welcome your feedback