Because I knew that my time from life was going to limited in this work, there were several tonal transitions that I wanted to be sure to note and cover the canvas with while I was out with the subject. Some of the important observations I took note of were:

*Hierarchy in value tones.  (Sun the brightest, reflection of sun next, value of sky to follow, etc.…  Also noting the darkest dark from life. The photo wrongly recorded the distant trees almost as dark as the cat.)

*Color balance and cool influence on skin tones as they wrapped around the face and hair.

*Opalescent quality to the color in the water.

* Color balance in spring green tones. (Finding other colors within the green fields that balanced out the acid green that the photo recorded.)

*Noting the accurate color and value of the distant tree line.

This painting along with the close-up detail of the face and many of others of similar approach are depicted in our publication, “Not Far From Home”.

Other good news from the studio…we are in the final phases of proofing the DVDs and BLURAYs before replication for our latest instructional video, “The Beginning of Autumn”!  Things are looking great and are we are anxious for its release hopefully in a month or so.  I am sorry for the long delay since my first announcement before Christmas.  We originally planned only for a digital download release, but realized the demand for a hard disc was too great to overlook and have spent the last months coordinating the production. We hope you enjoy it!  Please see another of the trailers below. Thanks much!

Enjoy!

One of my winter rituals in landscape painting for the past ten years or so has been to visit a secluded glade which my brother Steve Gerhartz  first showed me.  Steve an accomplished artist himself, has painted this location often and has been generous in sharing where his adventurous spirit leads him. This particular “bit of paradise” offers wandering streams that spring forth from the hillside as they descend through virgin cedar forest.  Endless angles and abstractions provide ample material for intriguing and inviting designs.

The invigoration of being surrounded by such beauty and experiencing the joy in trying to capture it on canvas bring to mind what my mentor and friend, Richard Schmid, once said to me while enjoying the experience of landscape painting, “We should be arrested for having this much fun while at work”.   His enthusiasm for the thrill of painting is truly memorable.

This past week I made the pilgrimage to our favorite spot and captured the afternoon sunlight in this new work, “The Scent of Cedars”, 24 x 40, oil on linen.

The technical advice for this challenging work was to keep in mind the original intent of design and light as the moving shadows and spots of sunlight created a new composition every few minutes. If I had constantly chased the moving light and added spots here and there as they shifted, the composition would have been fragmented and less unified.  I cannot stress enough the importance of keeping in mind a solid design of lights and darks from the outset.  It is always helpful for me to produce a thumbnail sketch of this pattern, or if you are tech savvy, a digital sketch of the arrangement of shapes that you may refer to as you continue in the field.

Another snow scene entitled “Spring Fed”, painted in this same forest may be seen on page 101 of our book, “Not Far from Home”.  Enjoy!

Just an update on the video, “The Beginning of Autumn” …  we were originally planning on releasing our latest video solely as a digital download but recently have felt it necessary to also offer it in DVD and possibly BluRay.  We are very close to production on that and hope to have things ready in a month or so.  Thanks for your patience!

The changing of seasons has always been great source of inspiration for me through the years of my artistic development.  It is no surprise that I should draw from this source once again as I chose the theme for our latest instructional video, “The Beginning of Autumn“. We expect its release in mid- December.

It has been nearly 10 years since the release of our last instructional video, “Her Mother’s Locket“.  If you enjoyed our last production, I believe you will gain much from this new work as well, as I discuss many of the critical elements in creating a work of art. While the painting unfolds, I discuss first hand many of the same principles found in the “Technical Insights” and work through problems as they are presented at various stages.  In addition to addressing the common issues facing an artist with a live model, I also spend quite a bit of time sharing how I handle working en plein air (in the open air or outdoors) with a figure. Walter Elmer Schofield, the great American Impressionist landscape painter of the last century said it well, “Those wonderful things out of doors… rain, falling snow, wind – all these things to contend with only make the open-air painter love the fight.  We certainly had a “fight”, but as is always the case, it was well worth it.  As the work developed during the week, we were forced to make decisions as to how to deal with changing light, wind, and rain. While these can a bit of stress to the effort, they also add spontaneity and freshness that would have never been possible.  As we persevered, the circumstances afforded many opportunities to discuss the challenges that I regularly face when working from life outdoors.  I hope you can join me as I look forward to sharing the experience with you!

I have had the privilege of teaching the art of painting for the last twenty years or so and have chosen the portrait as the vehicle to explain the concepts because of the exacting nature of the subject, forcing the student to be precise in their seeing and drawing.

What remains my greatest challenge in the process of teaching is conveying in the simplest of terms the most direct, systematic approach to solving the problems before us.  As we stand with loaded brush before the model, so many decisions need to be made at once, often instilling panic in our hearts while we try to sort out the visual information.  Organization of thought in the beginning is paramount in the process and seems to be the only way to wade through the ordeal with any peace of mind and success in the endeavor.

“Yes, yes”, you may be saying, “but organize what?”

It has been my goal to stress the critical nature of categorizing the aspects of drawing, value, edge, and color from the outset so as to build on a solid foundation.

This needs to be accomplished before I apply paint to the canvas so I can break down the elements in a way I can wrap my head around and not be overwhelmed as the avalanche of information pours in.  So, before I begin to paint, I will make these visual observations and mentally categorize them in terms of hierarchy of value, edge, color, etc…

Value…  Look to see while squinting where the lightest lights and darkest darks are and then make a concerted effort to keep all other values in their proper range compared to the extremes.  i.e.(Not allowing the reflected lights to become too strong so to break out of the simple shadow shape or applying to many highlights to destroy the subtlety of tone.)

Edge…   When squinting, what edges emerge as the sharpest and which visually subdue to create the most variety to add power and drama to the subject.

Color… Where are the strongest colors and how do all of the others relate to them.  Also, what is the color of the light and do I see its influence on all of the top planes of the scene.

If I take a few minutes before the work begins, often it alleviates some stress and possible mistakes along the way… Keep Smiling!

These two works were completed as Demonstrations at a recent conference in San Diego.

Other news from Gerhartz Studio… we just finished filming a full length video on painting the figure en plein air that will be released in the upcoming months.  Watch for the trailer soon!

Not Far from Home is selling well (thank you)… get one while they are still in print.

My father was a classically trained baritone who sang in many choral groups that performed the works of Schubert, Brahms, Palestrina, as well as many other early gospel and early church composers.  As a child, numerous Sundays afternoons were spent at concerts soaking in the harmonies of these great works. These experiences have formed many of my sensitivities today.  As I search and strive to build compositions in my work, often I reflect on what I have taken in musically and find myself asking as the sound weaves its way through my being, “What would that feeling or sensation I am receiving from the musical harmony look like in paint”?  So the Journey begins….

This work, “LaBoheme”, inspired by Giacomo Puccini’s opera by the same title, is a tribute to how God has inspired me through music and the power that is contained within it.

Through the years, many have commented on the music that is playing in the studio and have asked for a list of some of the works.  The following are some of my favorites that have carried many inspirations. (The list is only partial at best.  Listed are only my favorite albums or songs of each artist, but often all of their work is greatly moving).

               Artist/Composer                               Album or Song

• Ralph Vaughn Williams         Fantasia on a Theme by Thomas Tallis
• William Ackerman                  Conferring with the Moon
• Arvo Part                                  Te Deum
• John Rutter                              Requiem
• Vassilis Tsabropoulos            Chants, Hymns and Dances
• Giacomo Puccini                      (All of his Operas)
• Josh Groban                             Mi Mancherai
• Connie Dover                           The Wishing Well
• Allison Krauss                          A Hundred Miles or More
• Henryk Gorecki                        Symphony #3
• Patrick Cassidy                         Irish Film Orchestra  (Famine Theme)
• Itzhak Perlman                         Theme from Schindler’s List (John Williams)
• Yo Yo Ma                                   The Music of Ennio Morricone
• Eleni Karaindrou                      The Weeping Meadow
• Fernando Ortega                       The Shadow of Your Wings
• Dave Gerhartz                            Hear You Call
• Hayley Westenra                       Quanta Qualia
• Rodrigo                                       Concerto De Aranjuez
• Joshua Bell                                 Romance of the Vioin
• Loreena McKennitt                   Nights From the Alhambra
• Nightnoise                                  A Different Shore
• Oscar Petersen                           Night Train
• Over the Rhine                           Happy to Be So
• John O’Conor                              15 Nocturnes
• Sarah McLachlan                        Afterglow
• Secret Garden                             White Stones
• Sons of Korah                             Shelter
• The Tallis Scholars                    Lamenta
• Van Morrison                             Poetic Champions Compose
• Gabriel Faure                             Requiem

This is a sampling of my favorites…I did not include many of the more well known classical composers, of course, they would be on the list too.

I’d love to hear some of your favorites too…

Thanks and Enjoy!

“You want me to use what color on her face????”

So often as I am demonstrating painting a portrait, students are surprised by the fact that black is one of the essential pigments I use in mixing the flesh tones on the light side of the face.  In most lighting situations, the visible play between soft greens, ochres, and pinks seem easy enough to identify, but the question arises as to what pigments should be mixed to capture these tones. So often in striving to achieve the greener tones, students and (myself included early on), would reach for the viridian or sap green, only to overshoot the target and end up with colors too rich for the environment. In studying the works of John Singer Sargent and Anders Zorn, I was made aware of the sensitivity of tone by mixtures of ivory black, raw sienna (or yellow ochre), and white for the cooler tones I was seeing. This beautiful portrait by Sargent clearly illustrates the power in reserve of color while his gorgeous, liquid strokes melded the forms to bring forth an amazing lifelike feel.

John Singer Sargent

“Scarlet”, on page 99 in “Not Far from Home”, is one of my paintings that clearly drew from this inspiration in color mixing and tonal control.  I must say that there are a myriad of ways to key a painting and infinite variations of mixes to achieve a similar effect; the above simply describes my path.

I will again take this opportunity to encourage you to copy the masters works, not to profit or plagiarize, but to study and greater understand the sensitivity with which passages and transitions in tone can be made.  You need not copy their work in entirety, but just the aspects that you are struggling with. I have found that I can look at their works for hours and only see in part the subtlety, but when I physically mix the transitions in paint, I better understand the true nature of the color relationship.

I wish you joy and success in the journey!

“Not Far from Home” continues to receive great reviews…

“I pull out your book each time you post a “Technical Insight” and am either reminded of a lesson or learn a new one. This post for me makes turning the form with color temperatures very clear.

Your book is such a treasure, a masterpiece inside and out!“….Laura Albiento

Thank You!

On a winter evening a few years ago, Jennifer and I attended a party recognizing and celebrating the album release of a friend’s music. The event was beautifully staged and in contrast to the cold, dark night, the warm candlelit environment they created was breathtaking and somewhat otherworldly.  As an artist, my only regret from the evening was that I couldn’t capture the effect on canvas.  From a practicality stand point, I knew I couldn’t ask the hosts to leave their house in disarray for weeks so that I could paint from life, so not to be deterred and let the inspiration slip away, I arranged to recreate the mood in the studio. During the following week, our friends who served the party agreed to model, the food and candles were gathered, and the work began. Among the most challenging aspects in capturing this festive gathering in paint were:

1. Not burning the studio down.
2. Establishing the lightest lights and holding the key, specifically not allowing any of the lights in her white apron to supersede the candle’s glow.
3. Getting enough light on my canvas to see while the models remained in the darker candlelit space.
4. Achieving a balance of color temperature throughout the canvas.  In an overwhelmingly warm light source such as candle glow, the tendency is to only paint the obvious warmth of the light.  I was again reminded that it is the introduction of the complement that accentuates the warmth and strengthens the forms.  Remember to look for the complete balance in all areas! In this case, it meant finding the cool tones in the models skin and clothes, the candles, the tablecloth, the artichokes, etc., etc….
5.  Arranging the candles in an interesting line to create negative spaces between them that were as interesting as the candles themselves.
6.  Creating variety in the candle flames so as not to be to repetitive in the shape, value and color.
7. Coming up with enough jokes to keep the models smiling for days on end.
8. Not burning the studio down. 

Enjoy!!!

Thanks for considering “Not Far from Home”…

I remember the day like it was yesterday.  The notion of standing in a snow bank for several hours on this cold, dark, damp winter afternoon surely didn’t sound appealing and the temptation to return home to the fireplace and some tea was calling loudly.  The yawns were growing closer and closer as I meandered down the back roads of home and all I could hear in my head was the recording  “Should I just call it quits for the day?”,   “Do I allow  the self-rationalizing  to reign and talk myself into how I couldn’t possibly be lazy by succumbing to comfort rather than work?”   I am glad that on this occasion I did not.

Farm on Beaver Dam Road  18 x 30   (page 92 and 93 with detail  in “Not Far from Home”)

The awakening began as I opened the car door and saw the colors true, not through the subtle green tint of the windshield.  The colors, though in great reserve, still called out before me…the warm greens of the shadows in the snow gave way to a violet cast as the brightness of the foreground bled toward me.  The shift from red to green on the face of the barn boards was exquisite. The humidity accentuated the variety in edges as the snow covered roofs stood in stark to the wisps of branches in front of them.  All of this I would have missed had I stayed in the car.

What is my point in all of this?  Every day, every condition, has something to offer despite my feelings.  What a gift.

Some twenty-five years ago as I was about to embark into this world of painting, a dear friend and co-worker of mine from the illustration days, Kenn Backhaus, gifted me with a little gold plaque that was mounted on my French easel for years.  It now proudly hangs in my studio.  The quote inscribed was by the great American Impressionist, Walter Elmer Schofield, “Rain, falling snow, wind…All these things to contend with, only make the open air painter love the fight.” (I might add bugs, too!)

“Not Far from Home” Testimonial  from Glenn Terry

“Got Daniel Gerhartz ‘s book of paintings, “Not Far From Home” yesterday. It is a fantastic book, full of tremendous beauty in the paintings, close up details, and even a step by step process in the back. The book itself is well made, worth the cost and then some, and can’t help but to inspire artists at any level, seeing the works of a master painter with such a fresh and vigorous style, full of heart and love of life.”

Thanks for all of your encouragement folks!

One of the key elements that I have taken away from years of painting from life is the heightened awareness of the warm /cool interplay on the subject as the form turns.  I know I have mentioned this on previous posts, but its importance bears mentioning again.  In this image and the details to follow, you will see how the shifting of temperature accentuates the volume and three dimensionality of image while holding the values in a simple mass.  It can also be seen in great detail within the two page spread of, “Indigo and Ivory”,  30” x 60” (Page 118 and 119 from “Not Far from Home”),

In these details, you can see the transitions from warm to cool inter-playing throughout the forms, but most specifically where noted with letters W (warm) C(cool).  See how close in value these tones are, yet there is still a noticeable form change.  My first discovery of this application came to me years ago when studying a Sargent painting at the Museum of Fine Arts in Boston. In his painting, “The Daughters of Edward Darley Boit”, Mr. Sargent rimmed the outside edge of the light plane on the foreground girl’s blouse with a cool tone to give the added feeling of cool light and also to aid in the turning of the form.   This accentuated coolness along the rim of all of all forms can also be seen in William Bouguereau’s works.  The pictured Dennis Miller Bunker portrait has also been a favorite of mine and illustrates this point nicely.  I would urge you to see their works first hand to study just how effective and evident this application is.

This study of warm and cool as it relates to light and form is discussed and demonstrated in great detail in our re-released Video “Her Mother’s Locket”.  The new On Demand streaming format released at a significantly lower price will enable you to watch this instruction from any computer or iPad with internet capability.   In the new version, we have also added hi-res photos to see the completed painting as it is being painted before you. You will see the 30 x 36 studio painting from start to finish with moment by moment commentary, sharing with the viewer the critical elements of building the design and execution of this work.

To purchase “Her Mother’s Locket” instruction, please click painting.

                                             Click image to see preview trailer…Thanks

Enjoy!

As I began to decide on the composition for this work, the question arose in my mind, (as it always does when staring at a white canvas), “How can I make this work unique”, or, “How can this portrait, not appear as just another stale, predictable depiction of a pretty girl.”  Many different elements may have been used with to achieve this end, whether it is limiting the palette of colors, pushing the key or value range into something far more moody, the unusual cropping of the figure, or other various methods.

In this case as I was moving the lighting around the model trying to reposition things to get a fresh look, I noticed the striking abstract created by the models face against the lighter background.  This technique is certainly not original with me, as I have seen the great illustrators of the past employ this effect beautifully. The works of Frank Brangwyn and Dean Cornwell stand out in particular.  Notice how the figure or heads are not immediately visible but rather are part of the greater compositional whole.

Dean Cornwell

Frank Brangwyn

The lights and darks follow the pre-established patterning and flow of connected values.  The strong abstract pattern was most important to them.  This, too, should be just as important to us.  My take away from these masters  has been to try to see the subject in the abstract more than just a literal portrait  on canvas.  My former teacher Bill Parks would fill dozens of sketchbooks with 2” x 3” designs just to explore the infinite variety within shape and size juxtaposition.  He often mentioned that the painting should just as interesting at 50 yards away as it is upon close inspection.  His voice is still ringing in my head… how grateful I am for his tutelage.  I must mention that in addition to Bill’s voice, Jennifer’s parting words as I am heading for the studio are often, “Design, Design, Design”… for her reminders I am grateful as well.  

Click Book for more details…Thank you!