Nature and It's Impact on Creativity

Nature has such a strong impact on our creativity and overall well being. It’s funny to think about how obvious this is (look at how Romanticism and Impression alone), and yet we all struggle with actually getting enough time outdoors. With all of our distractions from busy schedules and technology, it is easy to lock ourselves inside for longer than we need. 

One book I have been reading recently that has made a profound impact on my daily routine is “The Nature Fix” by Florence Williams. It not only talks about the importance of nature on our creativity and well being, but also the science behind how it works. I strongly recommend it to anyone that needs a boost in creativity. It is worth reading for Williams’ writing style alone. The book is very educational, and actually very funny and pleasurable to read.

After reading this book, I have made a lot of changes in my daily routine to help incorporate the outdoors even more. Even though it is cold outside, I am making sure to bundle up and get at least 10 minute breaks outside (and off my phone). Our brains are always on such high alert, especially after the early 2000’s with the invention of the cellphone. It is such a luxury, yet we are living in an era of extremely high anxiety. 

As far as creativity, I have noticed a major difference in my paintings when I have more time to enjoy the outdoors. The paintings that I ended up enjoying the least were the ones that I did while staying busy without taking nature breaks. If you are struggling with your own creativity, I highly recommend spending some time enjoying nature (preferably with your cellphone nicely tucked away).

Artwork That Moves Me: Cecily Beau “Man with the Cat”

On my most recent visits to the National Portrait Gallery in Washington DC, I was so surprised to see Cecily Beau’s “Man with the Cat” portrait. I have always seen this in my art books, but never in person.

This painting is so creamy, and the brushwork so slick. Although there are incredible details in the sitter’s hand and face, the piece does not appear to be overworked. The brushwork looks so playful as if Cecily were lightly dancing with each swipe.

What I love the most about this piece is the lighting. Cecily did such an amazing job capturing those reflective highlights within the sitter’s outfit. Especially within the pant leg, there are these subtle greens with a very warm orange on the very bottom that literally creates a glow throughout the entire piece. In many ways, the areas of the portrait that are the most interesting are actually the areas around the face and hands, which was not very typical for portrait paintings of this time period.

Another area I love in this piece is the sitter’s cat. He seems so contemptuous laying on his lap, and feels so warm and heavy on the sitter’s lap. She did an amazing job capturing that expression, yet didn’t overwork his face. The body is almost abstract, as it is literally created with bold, diagonal swoops of the brush. Even though this painting is sitting in the same room as a beautifully executed Singer Sargent painting, this piece by far steals the show.

Artwork That Moves Me: Thomas Moran’s “The Grand Canyon of the Yellowstone”

One piece that I have loved for years, and was finally able to see in person, is Thomas Moran’s “The Grand Canyon of the Yellowstone.” This massive painting (96.5” x 68 .5 “) is located at the American Art Museum in Washington DC. Being from Montana, I would visit my grandma and grandpa in Livingston, Montana, and venture into Yellowstone at least once a year. Of all the places in Yellowstone, the Grandcanyon of Yellowstone is by far my absolute favorite. The colors of the cliffs are absolutely uncanny with the ranges of greys, violets, and greens. To see it in person each time never gets boring.

Thomas Moran was part of an expedition in 1871 to explore the Yellowstone Region, which by that time was uncharted. He would have documented over 30 sites in watercolor. Once he returned to New York, he recreated his watercolor studies into oil paintings, using amazing textures for the rocky cliffs and light glazes for the hazy clouds. This painting, among others he created, actually helped convince Congress to establish Yellowstone as the first National Park.

Of all of the paintings I have seen from this area, this one by far captures the feeling and the overwhelming amount of color far better than anything else I have ever seen. Even taking pictures of this area gives it no justice. If you ever make it to Washington DC, I highly recommend stopping at the American Art Museum to see this in person.

Artwork that moves me: “Portrait of Mary Cassatt"

This portrait of Mary Cassatt is currently in the National Portrait Gallery in Washington DC. Since we recently moved to Virginia, I was finally able to see this piece in person. Degas is such an amazing artist, but this painting is by far one of my favorites from him. There is so much going on, yet it is so raw. The stillness in the face and dress are juxtaposed with the vibrant brushwork in the background. The white that Degas used to go around Mary’s head is so nicely balanced with the whites in her cards. 

I love how this piece is so ambiguous as well. Mary is clearly sitting playing cards, yet it is hard to place where she is. If the background were to be more completed, the painting would lose so much.

This is also a piece that was not overworked. Degas did such a great job capturing Mary’s expression, and then leaving the face alone. The background as well appears to be a very loosely executed undercolor that was left alone. It is raw, but yet very carefully executed. If you make it into DC, I highly recommend paying this piece a visit.

HOW Exercise helps Creativity

A lot of my focus these last couple years has been on what exercise has done to help my creativity. However, even though it was obvious that exercise was incredibly helpful, I couldn't quite find the specific science to how the two connected. Until now.

Christopher Bergland wrote a great post in Psychology Today about how exercise actually helps boost our creativity. In his post “Alpha Brainwaves, Aerobic Activity, and the Creative Process,” Bergland’s primarily focus is on Alpha Brainwaves. We hear about alpha brain waves a lot with exercise, but there is a lot of connection with creativity as well.

Alpha brainwaves helps our brains connect the dots of seemingly unrelated ideas in fresh ways. In other words, It helps us focus solely on solving specific problems without overthinking or being distracted.

With creativity, every piece we make involves constant problem solving. No matter if we are creating an abstract or realistic piece of art, we are always problem solving. What colors should we use? Are the values too dark? Too light? What about the edges? Alpha beta waves in our brain help us focus more on solving these issues.

Just how do we get alpha brain waves? Alpha brainwaves happen when we exercise. “The Athlete’s Brain: Cross-Sectional Evidence for Neural Efficiency During Cycling Exercise,” points out that people who exercise regularly and have higher VO2 max have higher levels of alpha-band oscillations.

So if you're looking for ways to stay focused on your art piece and come up with new ideas, I highly recommend working out!

Commissioned Paintings: What does your client want captured most in this subject.

Before you start to paint your subject, especially if it is commissioned, it is smart to ask your client what they want captured from the subject. There may be something very specific that they love and want represented. If you have a collection of paintings on your website, even asking your client which ones they wanted their painting to most resemble would be very helpful.

This last year, I made the mistake in one of my commissioned paintings by not capturing something my patron loved the most: the hair. I had painted her two Yorkies, and had sent her an image of the finished painting. I had simplified the fur to make it a cleaner look, however she was hoping to get a lot of detail in the fur with individual hairs going each way. The painting was eventually complete, and we were both happy with the outcome, but it would have been completed much earlier if that was clarified before the painting began.

Now before I start a painting, I make sure the following are answered:

How large will the painting be?

What specific feature(s) do you want captured in your subject?

What paintings from my website do you want the painting to resemble

*Very important, make sure your patron isn’t expecting a painting done in a style you aren’t comfortable producing

-What colors would you like (sometimes your patron wants the painting to match a certain room)

Painting Helpers: Looking at painting while working out.

There always comes a time in painting when we get stuck. Sometimes it's from to the beginning, other times before we are done. Either way, it can always be very frustrating and time-consuming to try and resolve these problem areas in our paintings.

One thing that has really helped me these last few years is to take my painting with me while I'm working out. Even just taking a picture on my phone and having it present while building up a sweat works just fine.

Generally the harder to work out, the better the results. Why? When we are going through an exhausting workout, we are very present in the moment. We have to stay presents to push aside that hard, and in return it can get us hyper focused on our artwork as well.

The main exercises I use to help get to this point are lifting weights, running, and HIIT intervals.

Painting Helpers: Balancing Your Colors

Sometimes when our paintings aren't going the right direction, the issue could be how the colors are interacting with each other. While our paintings may have one or two dominant colors, every color on the pallete, even in small doses, can make or break the final outcome.

There is no such thing as an ugly color. It is not the color, but what color you choose to have next to it that makes a difference. Charles Hawthorn and Joseph Albers have both talked about this in their separate books (Charles Hawthorne: On Painting and Joseph Albers: Interaction of Colors). If the colors aren't working in a painting, oftentimes there can be one or two colors that need a little tweaking.

When adjusting a color, just ask yourself if it is too “blank,” and then adjust it according to the color wheel. For example, if a color is too green, add a little bit of red. Too dark? Lighten it up with white. A color does not have to match the subject exactly, but it does have to interact with the other colors in an interesting way.

Painting Helpers: Seeing Your Shapes as ABSTRACTS

Sometimes when parts of a painting are too obvious, they lose interest. Even a realistic painting needs to have ambiguity, otherwise it can either be too boring or illustrated. With my students, for example, we always talk about drawing what we see instead of what we think we should see. If you don't see the details in the eye because it is in the shadow, then don't draw it.

When we focus more on the abstract elements of a painting, we focus more on how the shapes, values and colors interact with themselves. In Harold Speed's “On Painting,” he described this idea beautifully. Although he was a realist painter from the early 20th century, he explains how a painting is 100% design, made of shapes, shades, and colors. If all of the elements of art can work together in a piece, you will have a successful painting

One artist that I really admire for using abstract shapes within a realistic setting is Antonio Mancini. Though his paintings are realistic, they are also incredibly abstract. In his painting “Lost in Thought” for example, if you were to only look at the bottom half of the piece you would think it was an abstract painting. And in many ways, ironically, it appears more realistic than any photo.  

Reasons Working Out Helps My Art: Solve Your Problems More Easily

A majority of painting is problem solving. Even if we know ahead of time what we will be painting, there are always obstacles along the way. Should this tree be moved? Is this too green? These are the questions that help make a strong painting, although they aren't always easy to answer.

Exercise has had a profound impact on how I solve my problems in a painting. For one thing, it has helped resolve difficult areas a lot sooner. Instead of locking myself in front of my painting when stuck, doing a 30 minute workout allows me to get my blood flowing while thinking about the painting at the same time. Creativity doesn't always happen in the studio. Oftentimes it happens when we are away doing other activities. In fact, most of my “aha” moments happen when I'm about 5 minutes into a workout.

If you are really stuck on a painting, one thing I found that helps is to take a picture of the painting and keep it visible during a workout (if running, I hold the phone in my hand). As soon as you start to breath heavier, take a look at your picture. Oftentimes the problem areas will stick out like a sore thumb.

After my workout, I try to get at least 10 minutes into a painting to address the problem areas. Even if I just leave a note for the next day, I know I have made a lot more progress than if I stayed in the studio all day.

Reasons working out helps my art: Just feeling good

Making art is such an incredible way to relieve pain. Whether it is psychological pain or physical pain, the benefits of making and observing art are incredible. 

However, a common misconception about making art is that you have to suffer to make “great art.” We have drastically over-romanticized the idea of the tortured or starving artist, slaving away on artwork and never being happy with life.  We went to think of Jackson Pollock or Van Gogh as prime examples. 

Artists, just like anyone, want to alleviate pain and suffering. In fact, artists can actually improve their creativity by taking care of themselves. Jackson Pollock, for example, had 2 years where he was sober in the 1940s, and these were also known as his most prolific years. “That was the period when he really came into his own as a creative innovator,” Hellen Harrison proclaimed. Even Van Gogh was known to be more prolific when in the hands of Doctor Gachet.

Many artists actually make sure to include working out into their daily routines. Joan Miro and Earnest Hemingway used to box (even with each other), Picasso was an avid swimmer, and Charles Dickens used to walk over 20 miles a day. 

When I started working out more, I noticed a major difference with my mood. I felt more optimistic and excited about the day. I now have a lot more energy and am able to sustain that energy most of the day. In return, this helps my paintings head in the right direction where I am happy with the results.

Reasons working out helps my art: Taking Action

There are so many components when it comes to making a painting.  Whether your composition is abstract or realistic, there is  a  lot of analysis and organization into making sure you have a successful piece. 

With all of the components in painting, you would not be able to accomplish anything without the ability to take action.  Artist block is literally the inability to take action on your own artpiece. Any amount of experience, advanced theory or technique means absolutely nothing if you cannot even get the motivated to work on your canvas.

When we are able to take action and just work on our paintings, even if it means making a mistake, it is almost always better than being stuck.  Many of the Masters in the past would work and rework canvases until they were satisfied with the results.  Look at Monet, for example. In Ross King’s book “Mad Enchantment,” he talks about how Monet would have a “slashing day” in which he would destroy all of his unsuccessful paintings with a knife.

When I was younger, I used to spend so much time trying to get motivated to paint. What I started to realize is that even if you aren't in the mood to paint, if you just get started you will eventually get yourself into the mood you want to be in. Working out is exactly the same.

Exercising has really made a profound impact on my working ability in art. In many ways, taking action in exercise is very similar to taking action in art. Some days you are super excited to get to work. Other days, you can feel like a slug. When you just take action and put in the work, you will eventually get into the flow.

Reasons Working Out Help My Art: Push Through The Difficult Parts!

There are always parts on a painting that are more difficult than others. Things like adding details to a face, trying to be bold without overworking the painting, or committing to some strong brush strokes can be very challenging. These are areas that require a lot of strong focus and mental energy.  

More often than not, a painting requires us to change directions or redo problem areas. So often with my students, the hardest problems aren't necessarily finding what isn't working with the painting, but finding the grit  to actually make the necessary changes. 

To make a strong painting, you have to find ways to work through the difficult areas until you find a solution that works. It is easy to make a painting, but difficult is to make a successful painting that is bold, emotionally powerful, and timeless.  In Picasso’s Guernica, for example, there are hundreds of pictures (in the Reina Sophia Museum in Madrid) that cover rooms with all of the stages of this painting. Picasso never settled with his first draft, but continued to work on it until he was satisfied. Even Sargent, Sorolla, Velazquez, and Rembrandt were known to scrape down and rework their paintings until they were satisfied.

One thing that working out on a regular basis did this year was get me used to being uncomfortable (in a good way).  Not only do I feel much better when the workout is finished, but the rewards are so much better.  Just like in painting, if you push through the hard parts, your hard work will eventually pay off. 

More than anything, working out has allowed me to have the mindset to take action with so many things in my life. Painting does require a lot of analyzing and self reflection, but it is so easy to overthink what to do or, even worse, procrastinate. If you haven't started a workout program yet, I highly recommend finding something you really enjoy. You (and your paintings) won't regret it! 

Reasons working out helps my art: Helps me formulate ideas

No matter how much you try to plan your next painting, there are always areas that are more difficult than others. Not just in technique, but also in the places where we get stuck and aren't sure what to do next. This is actually one of the reasons that I love painting so much.  If it was easy and we knew exactly what to paint, it would have become boring years ago. But even with these anticipated struggles, one thing that can be very problematic with painting is overworking it to the point where it is no longer interesting. 

When I make sure to work out on a regular basis, a lot of times I get ideas in the middle of the workout. They can either be ideas on a new painting, or ideas on how to resolve an issue on a painting. Generally the more I  get out of our comfort zones, the better the ideas become.

One of my favorite things to do is to bring a picture of my painting with me when I am working out. Whether I am running with the image on my phone or bringing a print with me to the weightroom, there is something very interesting that happens. The point when the exercise gets very difficult is often the times our minds start to look for ways to push through. Just glancing at the painting at this point is so incredible because the parts that aren't working will stand out like a sore thumb. Now you can feel good for not only pushing yourself in your workout, but also resolving a difficult area in your painting. 

If you haven't tried working out with an image of your painting, I highly recommend it. Even if it is a completed painting, you may be surprised to find an area that isn't working.

"This Is Exactly What It Looks Like"

This was custom dog painting of a black lab and a yellow lab. "It is Exactly What You Think It Is" was an enjoyable painting of these two dogs in their true loving states.

Labs have always had a very special place in my heart. We grew up with black labs, and no matter what your they was like, returning home to a lab would make you feel like you were the most important person in the entire world.

I can admit, the main motivation for making this painting was to make something my wife and I smile each time we saw it. A lot of the paintings I love can be very dark and emotional, however the ones that are silly and loving can have an equally emotional impact.

Artwork That Moves Me: Diego Velazquez, "Mars Resting "

There are so many reasons why I love this painting. However the 2 biggest things I love about this painting are the humanity with this character and the surprising lack of detail in the focal area.

At a time when Mars was always depicted as this very strong, untouchable God, Velazquez decided to paint a very depiction of Mars. He is shown out of armor, rested, and even a little defeated. He seems more human than God.

Compositionally, I absolutely love how Velasquez painted this. The face is still the focus, yet it doesn't follow the rules most painters use to draw attention to the main focal area. It doesn't have the strong contrasts most painters use to draw attention, and it seems to have less detail than the rest of the painting. Yet it still draws our eye in and makes for a very strong composition.

Artwork That Moves Me: Albert Oehlen

Artwork That Moves Me: Albert Oehlen

So many of my favorite contemporary painters are from Germany. One of my all-time favorite painters is Albert Oehlen. Especially his paintings from the 80s and 90s. These paintings are bold, energetic, playful, and incredibly beautiful.

What I really love about Alber Oehlen is how bold yet playful each of his pieces are. His brushwork is strong, yet he keeps his edges soft. His paintings have a background that is realistic, yet once the piece is complete it becomes abstract and ambiguous.

What I guess I love most about his pieces is how I can never put my finger on why I love them so much. There is so much mystery and playfulness, yet at the same time so much control and care. I love it!

Artwork That Moves Me: Sir Thomas Lawrence's "Miss Harriet Clements"

Artwork That Moves Me: Sir Thomas Lawrence's "Miss Harriet Clements"

I have always been a fan of Thomas Lawrence, but this piece especially really has a lot of characteristics that make it stand out. Even though she is sitting, there is such a sense of movement with everything outside of her face. The glowing highlight is so beautifully done without being too garish. I could look at this all day.

Boston's Finest

This is an oil painting of a Boston terrier I painted at the beginning of 2023. This is painted on panel. Also known as the “American Gentleman,” they have the largest eyes of any other dog breed. If that title isn’t funny enough, I recently discovered that Boston Terriers were originally bred to fight rats in garment factories. These dogs always crack me up so much, and to be able to paint them is even better. This painting is a Christian Ives original oil painting that is colorful and semi-abstract.

Why I love Painting Dogs

For the longest time, I mainly painted people and landacapes either realistically or as semi-abstracts. They were, and still are, a constant source of joy. However, in 2018, I started primarily painting dogs since more people were interested in having their dogs painted. This became one of my biggest joys in painting as it helped me free up more than anything I had ever done before.

When I grew up, we always had dogs. At my dad's house, we had black labs and a sheepdog. At my mom's we had shelties. Dogs have always been a part of my life. In fact, on the Chinese Zodiac I am the dog as well The same reason I actually started painting dogs in 2018 was because it was the Year of the Dog.

Whenever I paint people, especially if it is a commissioned painting, I always feel like you have to flatter the subject in some way. Sometimes you can never be too honest in a painting, especially if the person you are painting has something they don't care about like a larger nose or double chin.

A dog, on the other end, is very different. You want to see their wild and playful side. Whenever I paint dogs, the painting is never complete until I can see how wild and playful they can truly look. You never have to worry about flattering certain features of a dog. If they have a large nose or crooked tooth, it is almost better to exaggerate it since it captures more of their features.