PAINTING THE TOWN - URBAN SCENE

 Click here to Buy for $50 – 4x6 oil on cardboard

City scenes offer artists a wonderful variety of interesting shapes and colors. Architecture, cars and trucks, and people, as well as natural elements like trees and shrubs. But many artists feel overwhelmed by too much information in urban subjects. I think the answer to is to simplify, and include only enough detail to communicate the essence of the subject. I like to look for the “big shapes” of color, form and value. After all, those are the elements that usually catch my eye. Capture those aspects of the scene first, then decide how much detail is needed. That’s the approach I used here; hope you like it.

 

PLEIN AIR TIPS from TOM BROWN

 

Students who are new to painting outdoors often mention they have a hard time finding a subject and knowing what to do with it. There are a couple of things I can suggest which you might find helpful.

    If you’re painting on location, the first thing I suggest when considering a subject is to pause, close your eyes for a moment, and ask what drew your eye to the subject in the first place. It could be color, light, an object or something else. Then think about how you can emphasize that, whatever it was. And decide what you can minimize in the composition if it doesn’t add to the picture.

    And there is something else you can do to go beyond that. It’s a 3-step process.

    First, give it your best shot on location. Don’t stress out; just make a decent effort and don’t worry about the results.

    Second, at your convenience paint an “improved” version of that in the studio, taking as long as you need. Even if you keep reworking the studio effort for days or weeks. Then compare the two paintings: the plein air version and the studio version. Analyze what things you did to improve the plein air effort.

    The final step is to return to that location with those things in mind and view the subject again with all those possibilities in mind. And paint that same subject again directly from life, taking artistic license and kicking it up a notch similar to what you did in the studio.

    After you’ve done that once or twice you’ll never again feel limited when scouting locations. You’ll see things with all the possibilities, and you’ll have loads more fun painting those pictures. Give it a shot! I think you’ll see the difference immediately.

    Hope this helps, and I wish you Happy Painting!

LIVE OAKS, GOLDEN HILLS
6x6 oil on board
$100 available here

CALIFORNIA LIVE OAKS by TOM BROWN

“CALIFORNIA LIVE OAKS”
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SKYSCAPE by TOM BROWN

Click HERE to Bid  (10x8 in. – Oil painting on hardboard panel – starts at $50)
I’ve always loved watching clouds, ever since I was a small kid. I like finding strange shapes and “things” in them; I’ll bet you do too. And when I see them forming large, long patterns like this I can’t help but get that down into a painting. This was rather breathtaking at the moment. And I was very happy with how this painting of it turned out. Hope you like it too.