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/