Creativity: Picture the most euphoric state you can imagine; the birth of a child, flying down a ski slope or a rollercoaster or the view of an awe-inspiring sunset and realize how transient that state is. This is what creativity is for me.
It is when everything aligns naturally and suddenly the strange riddle you’ve been deciphering becomes completely discernible. The riddle is inspiration-I equate it to craving something to eat but not quite able to decide what you are craving.
Photography: I have experienced this state of clarity in each medium I work with. My photography used to be, a love of landscapes which weren’t always available to shoot depending on the quality of light and time of day.
I would find an abstract pattern in nature but the image never quite meshed. In a landscape, you can plan for shapes and composition allowing lines to create depth and dimension for the viewer but how do you explain objects and make them have interest to the viewer.
So many attempts failed because I was missing the crucial aspect of the image-it wasn’t the shape, it wasn’t the color, instead it was how it interacted with light.
you just know you’ve captured something beautiful and the excitement is that transient state of seeing what’s invisible and showing it to the viewer.
As I continue to see nature beyond the larger scope of a landscape, the isolated image becomes more clear. I find myself noticing, even in the flattest, blandest afternoon light how something evokes an emotion or at least interest from a chaos of details.
After I shoot a landscape or an object, sometimes you just know you’ve captured something and the excitement is that transient state of seeing what’s invisible and capturing it for the viewer.
Light separated glistening white blooms of winter jasmine this morning. The image was beautiful as a whole but it was difficult to simplify and accentuate details that could explain what originally inspired me.
Finding light amidst darkness and chaos is a privilege I never take lightly.
This is a problem the artist often has with separating the ordinary from the extraordinary. We are bombarded with details and often a beautiful image of nature can be quite overwhelming to the viewer.
It is the artist’s job to separate light and shape from the background where the viewer is often left with a chaotic mass of line, form and color. The essence of beauty is often just simplification of the whole.
I have always been a landscape artist but often a flat afternoon light does not offer anything dramatic, this is why I have learned to not only see light but to isolate it and allow it to be the main focus in my photography and art.
As a painter, in the past, I was more impressed with the whole or the peripherals to evoke mood. Now I tend to see shapes and how light accentuates them creating drama.
Light becomes its own object in an artwork and much like you don’t paint water, you must paint that which interacts with the clarity of water, light is not easily defined, it is more it’s reaction with objects that is important.
Because of a growing passion for photography, I have learned more about seeing objects and painting objects. Much like writing teaches us how to think and explain our experience such is photography to the artist, it teaches us how to see and describe the intangible.
Yesterday I made a trip to Daingerfield Lake; it was a wonderful trip with my brother and nephew. Lately I miss the electric hour and either capture the sunset or afternoon light but we had two things, time and shared interest.
I haven’t enjoyed photographing quite like it, it’s amazing to share seeing with others, I love the solitude and introspection but having family to share that passion was an incredible experience for me.
The light as the sun dipped into the horizon created a spectacle on the landscape. The blues were cold and rich, the green reflections were charged with depth and intense green color.
Almost 400 photographs later, I was able to capture Lake Daingerfield in a way I’ve never seen it before. Usually we kayak and fish but this time it was solely a photography trip and a memorable one at that.
To complete the perfect trip, my son called from Oklahoma, although I wished he were with us, it was the next best thing. We will definitely get back for more photography and kayaking, it is truly a beautiful lake to visit.
Daingerfield State Park is 150 miles east of Dallas. Texas. It is a small intimate lake for kayaking and offer a wide variety of fishing opportunities including pickerel which is what we go for.
My intention has always been to create art that was realistic and once I attained a certain skill level I would just tweak reality, just enough to make the viewer a little off kilter.
It probably stems from years of depression which, although is part of the creative process, also makes the person feel off center. The paintings that approach surreal are a bit more dark but nothing too obvious.
Moonflower is a painting of the morning glories, moon flowers, which only bloom at night. I wanted to share a bit of the darkness and mystery of evening but I wanted the flowers to have a bit of a magical feeling to them.
The willow tree is a tree from my youth. It makes it into most of my paintings and is a bit of a symbol of time spent in New Jersey. The dark green lawn in the summer beneath the shadows of tall dark willow trees.
The same trees were struck by lightning and ended up becoming outdoor furniture where many of my very old poems were written on copied on.
Blackbirds are a consistent subject in both my paintings and writing. They are mysterious as the night sky and symbolic of impending doom.
Halloween has always been a subject as every year I see a different feeling to capture. I love the dark evening and the idea of goblins in the trees, I have always been a big fan of horror movies and my uncle used to buy my brother and I horror comic books and the feeling and thrill of being scared has continued through my writing and painting.
Child of ten is a diary of sorts, my dad died when I was ten. This is a painting of the effects of losing a parent at the age of ten. There are many symbols including the egg which represents the soul. Again the blackbirds are in the field and the child watches the future unfold.
The death of my father was a catalyst for much of my earlier writing and has only recently shown up in paintings.
This painting is from a dream when I was very young. My grandfather came out of a willow tree as the lightning hit the tree. The red flannel shirt is from the dream and I remembered the shattered bits of wood-I am planning on another attempt at this painting as the face wasn’t quite correct.
Many older painting ideas are now resurfacing as I begin to gain more confidence. I plan on creating a more concise series on the surreal side.
It’s been more than ten years when I first met R.L. Clayton, he is a science fiction writer and I met him through a friend. He wanted a cover image of a futuristic ship that didn’t exist. Challenge accepted!
Sea Species was born. We both invested time and patience to envision an image that didn’t yet exist. That is the job of a designer when you are creating something that is not your own, you need to listen and get out of our own ideas and allow the client’s vision to become real.
Little did I know at the time, but I was about to create a library of books that all stemmed from one project.
A lasting business relationship quickly turned into a friendship even though I have never met him in person.
In these days that the bottom line trumps loyalty and integrity, it is a very rewarding experience working with a client on a basis of trust and the old fashioned idea of a handshake.
Next came the Envoy and soon after that the Genesis. I created his website for the evolution river series and posters for book readings. We also started a social media presence and a monthly email.
The next book was about the woman pilots of World War II. It was a departure from science fiction to a story with a historical backdrop. Another book and another cover was created and as the list of books grew so did the website.
R.L. Clayton books website began with R.L. Clayton descending in dystopia back before dystopia was a thing. I listened to the creepy ideas that spawned the next cover in the collection.
The Dead series began with a book about terrorists, on the cover was to be a coffin with a life meter on the face; Dead and Dead for Real was born.
The writer’s vivid ideas began creating a definite brand and a look and feel that grew as we continued to produce new books.
In this time I learned the art of creating an e-book and suddenly besides the printing issues we learned and tackled the problems associated with creating an e-book.
R.L. Clayton books grew as more books were added to the library. The next frightening book in the series was Dead Reckoning, a child with a bubble wand blowing dangerous chemical agents into the air. The whole idea and darkness of the Dead Series truly inspired my love of the macabre.
Dead again followed Dead Reckoning and the next chapter in the series leads back to the Envoy in the Evolution River Series. It is very exciting to see a writer create a body of work and I feel like I am on a journey that continues to inspire me and reach for more creativity.
As I continue to grow my skills and knowledge of book marketing we are seeing how the public reacts as each book is produced and Clayton attends book readings. We have recently gotten some great reviews on the Dead series and am anxious for the next book to be finished.
During the process of creating all the books, Clayton had mentioned a book he was thinking of with his 9-year-old granddaughter, a children’s book. The first cover we tried was with real photographs and than we decided pastel was the way to go. Inside of the book are 12 separate illustrations of the yard in pastel and the characters besides the cat were all created in Adobe Illustrator.
The book is finally available on ebook and in print on Amazon. During this process we have learned about publishers, I’ve created a video for the evolution river series, two websites, several reviews and two websites. We both have learned from a relationship that has lasted more than ten years and I am excited about the new projects and the new books we’ll come to create, in fact other children’s books are on the list as well. We’ll see.
All of this knowledge and experience came from a trusting and mutually rewarding relationship and I consider myself lucky to be able to work with a great write like Clayton.
Please check out his books at www.rlclaytonbooks.com.
Purple Passion vine illustration using Adobe Illustrator
I have been illustrating in Adobe Illustrator for many years and after a many parts and end equipment I thought it was time to expand my subject matter. How I actually started working in the high-tech industry doing technical drawings and the occasional illustration was by showing an image of a green tree frog to a potential employer. It was the first attempt at illustrating using a PC-the program was Arts and Letters Jurassic Arts and the tools were basic at best.
I have since worked in Micrografix Designer, Corel Draw even freehand and finally the standard adobe products-Illustrator and Photoshop. After writing about the life of a goldfish I decided to illustrate the image instead of using a photograph and what follows is how I approach illustrating in Illustrator.
My first and most basic process is just getting the shape and basic colors and tones down. This is the fastest part of the illustration. I will usually follow the lines of color and shadow and create layers of light that cover up layers of shadow.
Image 1-basic form
After I feel the overall form is correct I will layer the colors again almost like the rings of a tree-you overlap each color with the form that overlaps it. You will notice every change and try to process it as if there were multiple layers of shapes that make the final form. I try to use as little gradients as they can tend to be contrived-if I do use them they need to be very subtle.
The second figure shows a minimal change from the first. Basic overlaying of colors that allow the background to show through and adds depth to the illustration. Detail is not as important at this point as there will be overlying of details and softening of edges after this stage.
Image 2-overlays of colors-layering for effect
The third step is where all the details begin taking shape. Again hard edges are overlapped
with lighter softer edges. At this stage I need to realize the overall texture and the best
way to create a subtle dimensional feel to the image.
Image 3-overlaying two
By the third step the most intricate color and details become the major focus. I start cleaning up the basic shape and making sure all the proportions are right. The lines and detail is severe at this point because with the next step I will use the brush to merge the shapes to form a subtle more photographic image.
The final step is actually using brush strokes to overlap the hard edges of the previous step. Light and shadow overlay the original details and blocks of colors with varying degrees of opacity allows for more subtle effects.
Final step before creating background
After finalizing the details and colors of the fish I create a background. I don’t want much detail in the background so brush work and simple heavily feathered images create a backdrop that strives to not fight with the image of the goldfish.
Finished product using Adobe Illustrator
This was a previous post from blogger and I though with the new illustrations for R.L. Claytons’ first children’s book Penelope the Pooting Spider-I thought it was appropriate to share the article on techniques for illustrating with Adobe Illustrator.
We started with the cover and the interior was a watermarked version of the cover with characters highlighted on each page.
I added illustrated versions of the animals from illustrator but the cat and the field was created by hand with pastels and then photographed and adjusted for color and texture.
Birds are not only a passion of mine they represent nature and often are the most accessible species in the suburban backyard. I remember going to my grandmothers’ in Orange New Jersey-out of the a concrete landscape of the city there were birds, not many but enough to offer some nature amidst concrete.
Over the years of writing and painting, certain birds have become symbolic in my work. The two most prominent are blackbirds and owls but recently the swallow has sparked my interest.
There is a song by Sparklehorse called the pain birds and on the album Good Morning Spider is a swallow. The first in the series is actually called the painbirds and it was during a time of great upheaval in my life.
The painting sat on the wall unfinished for more than a year, just the bridge and the water. I knew it was going to be swallows but I just couldn’t decide how and where the birds would appear. Next came the purple passion vine, a very religiously significant plant that I collect, all of these elements finally gelled and the Painbirds was born.
The second in the series came about with a lot less symbolism. I focused more on the relationship of two birds on a wire and the landscape that expanded behind them. Again, it sat unfinished for a long time as the image came together.
The problem is that the initial idea is filled with excitement and direction but after some time the overall details fade. This is why I can’t paint when I feel like painting, it seems you either see the details and textures and the way they need to be rendered or you don’t.
Birds on a Wire was the second in the series and it was just as large as the first one. Notice the change in colors, the richness and warmth replaces the cools and somewhat melancholy of the pain birds, it was a bit more comfortable time in my life and I believe I was much happier. The sunset does have a bit of symbolism of change and the possibilities of tomorrow and becoming comfortable with things ending.
The last in the series is the Celebration. I watched as the recent drought ended and Lake Ray Hubbard was full again, the swallows swarmed the bridge as if they were celebrating the end of the drought. It is the smallest painting of the three with the most birds.
It also marks a time where I am getting back to water at its simplest aspect. I wanted to get back to the way I used to paint water. I have recently departed from the clarity and depth and explored bright colors and reflections. I am going back to the basics and why I started painting water in the first place.
I have several paintings in the works, one is of grackles, another of egrets, I am getting back to studying nature with more depth and understanding. I am also working on some abstract images that are a bit less about nature and more about the human condition.
Stay tuned and please let me know which of the series you prefer and why.
It’s almost like a stain-glassed window as the light filters through spring leaves. I have been watching this for many seasons and have had the idea on my easel for many years now.
I was interested in the richness of fading afternoon sun. I love the shadows of blues and greens reflecting a coolness in the midst of an ending day. This is the third in an upcoming series of paintings coming off the easel. Stay tuned.
I love the patterns in nature. As an artist, finding a unique perspective that can show a viewer something they might not have seen before is a large part of my artistic intent.
I have always painted landscapes and seascapes but I could never perfect what is already real. I am competing with the greatest artist of them all: God. All I can hope for is to show the viewer an aspect of that image that moved me and perhaps move the viewer with the same or varied feeling.
As I have been photographing more regularly, I have found the need to see deeper than just the landscape. Especially when the light does not cooperate with the subject or doesn’t show up at all.
I learned to isolate parts of nature when my desire to photograph didn’t lend itself to the light of the day. On a gray winter day, when there is nothing but flat, bland light and no objects are discernible by any effective modeling, I have discovered a new way of seeing the landscape.
I started seeing how images were painted by stray bits of light. Suddenly instead of a bland landscape, I was able to find just a piece of that landscape that could be a graphic object. I don’t even care if the final image is discernible, it is more the aspect of its abstract nature that intrigues me.
I have started gathering autumn leaves, green leaves and patterns in water, in the past I would have struggled to find something in abstract but now the image jumps out at me. It’s a muscle and to strengthen this way of seeing the landscape has changed my whole outlook on contemporary art.
I believe that bringing nature into the house can evoke a calm center as well as a conversation piece for visitors. I like how without representing a specific subject, the image evokes something without trying too hard to be abstract or artsy. I have found my way to the abstract and contemporary subject.
Interiors are from Adobe Stock-Photographic art Artbygordon
There are so many different feelings when you paint, sometimes it’s pushing paint around, sometimes it’s deliberate, even mechanical and sometimes it’s instinctual, tonight’s sitting was a little bit of all of them.
I started with an under painting and it was one of the more deliberate paintings I’ve started, unfortunately I didn’t have the full picture, just an idea of clouds moving forward over the viewers head. The actual image is from real life, I have photographs for reference but I’m not completely sure where the clouds end and what the landscape looks like.
I painted the background with perspective lines, every form, every color and every space will be designed with the idea of perspective and I want the viewer to feel overwhelmed by the clouds overhead.
As I tend to do, I switched gears after finishing a monochromatic under painting I turned to the painting of a scene from beneath Shark River Inlet in Belmar New Jersey. This painting was inspired thirty plus years ago and it still stood clear.
I painted with a clear feeling of purpose but as suddenly as it began it ends and I wasn’t sure if I was done with the painting or should start all over. The problem is the idea and image is strong but the recollection is so hard to bring back to mind. I will continue to study it until I know it’s either done or time to start over.
Another thing about painting, sometimes you feel like you’ve created your best work and sometimes the same painting looks like a mistake. I got back to the grackles above the city, an image that I started at the end of the last series, again I had that feeling of instinct kick in and for thirty minutes or so I painted like I figured out the problem.
None of the paintings are finished but I feel like I’m shaking off the stagnation and getting in the process. The most exciting thing about painting instinctual is that images appear that you didn’t necessarily know you were creating they just come out of the details you’ve worked in feverishly.
I’m excited about this series and feel it will be a huge step toward my future painting style and feel.
Stay tuned, more paintings coming very soon.
Artbygordon: Original oils on canvas, Original pastels on paper celebrating the beauty and mystery of nature. Water and night skies are my specialties.