251: Painting with Lines

Warmth of Summer, 16" x 20", oil on canvas

I HAVE often stated that painting with thick paint is like walking a tightrope–there seems to be so much that can go wrong it can feel like you are completely out of control. If you study the paintings of Van Gogh, as well as artists who evolved from his discoveries like Tom Thompson and the Group of Seven, you often observe the use of cloisonnism (the use of line to contain patches of color). So why does cloisonnism emerge whenever painters use thick paint?

I've talked with artists who love thick applications of color but in order to get the control they need revert to thinner applications. I think the reason Van Gogh used cloisonnism was to retain a sense of control while walking the tightrope of thick paint application. You can observe from his work that the emergence of the surrounding line is intermittent–the line is not uniformly thick nor visible around every form. This thick and thin, vanishing line is what gives Van Gogh's work form while still retaining a considerable degree of sophistication of texture. Van Gogh borrowed this look from the art of woodcut. Although I've been a printmaker for decades until now I haven't explored this promising technique.

In the accompanying painting I added cloisonnism by using a red acrylic marker to draw my motif on gessoed canvas. I then added a thin layer of Gamblin Galkyd tinted with Quinacridone Red. I added local color using brushes and palette knives leaving a ragged line of underpainting around each form. I modified the line by pushing the adjacent color around with a fan brush.

Of extreme interest was achieving a degree of success even though I was in a low energy cycle while painting. This safety net–a process that allows for a more relaxed approach–is very welcome. I can see evolving this technique until the line, though present, becomes less obtrusive. This is what I believe the Group of Seven did as the use of line at certain stages of their development is less evident in their work.

Brad Teare –September 2015

250: Landscape Painting Tutorial

HERE are the next to last installments of the four part landscape tutorial. In the last two chapters I fine tune the composition by adjusting values by adding some dark notes and some light passages as well as softening various edges.


This is the most complete explanation of my techniques. Let me know if you have any questions in the comments section below. Many thanks.

[NOTE: The final video will post as soon as it uploads to Youtube. It is taking longer than usual and I'm not sure why. Hopefully it will be worth the wait.]

Brad Teare –September 2015

249: Energy = Creativity

Your art reflects the energy level 
you had when you painted it.

"Everything requires Time. Time is the only permanent and absolute ruler in the universe. But she is a scrupulously fair ruler. She treats every living person exactly alike . . . ." –Michel de Montaigne

TIME is often cited as universally constant, often as a goad to the slothful masses toiling away pointlessly earning their daily bread. My perception is that time is anything but constant. Rather time expands or contracts according to our energy.

Optimal creativity can only exist during times of optimal energy levels. When we increase our energy we increase our capacity for creativity. So while everyone has the same amount of hours in the day not everyone has the same energy and therefore we have different levels of creativity. When we increase our energy we increase our creativity and our capacity to live a full life.

Our art needs to have a high level of energy–if not the viewer will not feel the life and energy you intended and will not be emotionally moved. Norman Rockwell made the analogy between a painting and bouncing a ball off a wall. A ball never bounces off a wall with more energy than it had when it hit the wall. As a painter the energy of your pitch must exceed the energy you want your viewer to feel.

Systems drive behavior, therefore we need to devise a system that promotes an energetic life. When we have low energy we ignore life giving habits. We become resentful, bitter, angry, fearful–emotions resulting from fatigue.

When we find a way to revive our energy we are kind, courageous, joyful, and invigorated. This state easily affects our paintings and viewers detect the energy just as such personal traits energize those around us. Everything either energizes us or drains us–our energy level is the most important factor to our success.

Every artist should understand this fact–time management is energy management. But knowing this equation is not enough–we need to understand it with such passion it changes us. Probably most of us won't change until the pain of not changing surpasses the pain of changing. But eventually we need to become highly conscious of this important equation–more energy=more life.

So what will boost our energy?  I need to eat right and exercise regularly. Everyone is different but I can't surround myself with dark colors and energy depleting images. I need powerful, life affirming imagery. I think it wise to practice a spiritual discipline that focuses on gratitude, peace, and kindness. I also need to keep my studio neat and orderly. Pointless chaos drains me. Who would want a studio in a parking garage? Your studio should exude positive energy so you will reabsorb that energy. Studios, like great works of art, are like batteries–they energize those around them. Collectors realize this and buy the best art and let the life and energy stored in the paintings infuse their daily lives.

In like fashion some people and activities drain your energy. Avoid them. Seek people and places that replenish you. Avoid watching TV excessively. Watching TV is not restorative. No one watches TV for an hour and then jumps up feeling totally refreshed. Just like much of our food is not real food, much of our entertainment is not real entertainment–because it exhausts energy rather than restoring it. Seek out social and recreational activities that actually enhance and expand your life. Do not be satisfied with a junk food version of life.

Being an artist is not easy. It might be one of the hardest ways to make a living. More than anyone else we need to be intentional about creating an energetic life.

Brad Teare –September 2015

248: New video series, parts 1 and 2

"Reflections", 20 x 20, oil on canvas.

I made a new series of videos–one of the first where I show the entire painting process from start to finish. Especially interesting to many will be using a hand held palette. For the first time viewers will be able to see my colors as I hold the palette to the camera as I mix paint. It's a little awkward but I think you will get the idea. I also draw my sketch on camera directly onto the canvas. Nearly every stroke will be seen in this multi-part series.

These two videos are longer than most–nearly 40 minutes total. Please post your questions below. Let me know what you think of the videos.





Brad Teare – September 2015