|
Home
Originals
About the Artist
Prints
Contact the Artist
Galleries
2010 Show Schedule
Blog
Links
|
by Frank Baggett on 6/9/2010 12:44:16 AM
Many folks ask how did I get started as an artist, or how long have I been painting. I simply hold my hand out at about the height of my waist and say "I have tried to be an artist since I was about this tall". I am still trying to be an artist, because an artist never matures, or can no longer improve their work. With each new work that I complete..I have learned something new. Combining all of these little pieces of experience and knowledge into each new work..is what makes an artist more professional.
Painting a painting is like learning how to ride a horse. You can read books all day, listen to lectures all night, take extension courses thru any accredited school..go jump on a horse, and get thrown off as quickly as you got on. But any horse person knows..you have to get back on. By getting back on that horse, you have applied yourself towards being a better rider. The same rule applies to picking up a paint brush and learning how to paint. It is YOU that decides which brush stroke to make, or how much pressure to apply to the reins of the horse you are riding. Too much pressure on those reins, and that horse may rear up. A misplaced brush stroke can ruin your work of art. Each time you get on that horse..you are building a little more confidence in yourself as a good rider. Each time you begin a new work of art, you build a little more confidence in yourself as an artist. I call this common horse sense.
With each new piece of work completed and released to the public, I personally feel that a part of my inner feelings have been exposed to the world. I actually "live" in each work that I do...I am not in my studio sitting at my easel..I am inside of the painting. Many hunting and fishing experiences are still stuck in my memory..just waiting to be put on canvas. I paint what I feel, and I feel what I paint. Apply that simple statement to your artwork, and it will become an important part of your everyday routine in life. I stress the use of temperature in artwork. Cool blues, warm yellows..all have their own effect on a painting. The decor side of the art world stresses neutral colors..browns, tans, greens. If your life is just a plain brown color, you are missing out on life! Is a sunset brown? Is the season of fall..just dull brown? What if your television screen..was only neutral colors?
Your artwork is not going to be accepted by everyone. This is called diversity. If you want a good critique of your work, show it to family members...all will say it is beautiful. If you want the truth, find or start a critique group of fellow artists that have the same interests in art as you. You will be amazed at what another pair of artist's eyes looking at your work can see! I will say this..CONSIDER what other members of your critique group suggest and then make your final decision based on YOUR feelings. Carrying your feelings on your shoulders will not work when using a critique group, you have to be open to suggestions. I have a wonderful group of artists that I have become friends with and use as my critique group. All of the members agree...it works.
I hope this entry in my Blog will help others, and I have had to stop the comment section in it due to so much spam. But if you would like to contact me or have any questions, or comments, feel free to look me up either via email or even a phone call. I always have the time to talk to another artist, because I am still trying...to become an artist.
Sincerely,
Frank Baggett
Read this Full Article >>
by Frank Baggett on 4/13/2010 12:25:21 AM
How have I become a better artist? The answer is simple. I have combined my time in the outdoors while hunting, fishing, or just relaxing with first hand observations of nature and using these personal experiences, memories, and dreams to create new works. It seems that with age comes wisdom. Springtime is my favorite time of year, and here in Tennessee..life is breathed back into the dull browns of winter foliage with a brilliant yellow of buttercups blooming, and brilliant whites of dogwood trees. I spend a lot more time sitting next to an old oak tree and observing the scars in the bark, the twisted limbs of age, and other things..that I simply walked by as a young man while turkey hunting. Now I am just as content while listening for a turkey to gobble, to see the sunrise..casting shadows across objects, turning a green leaf into a brilliant green, or reflecting into the creek water making it appear as glass. The old adage.."take time to smell the roses"...is true.
Even the feathers of the Wild Turkey..are incredible. The brilliant colors that are created from the sunlight hitting the feathers at different angles..are simply amazing. Memories and experiences such as this...have helped me to become a better artist. There are no rules that nature follows..it is unpredictable. I try and use this same theory in my artwork...no rules. Sometimes a painting starts out as "tight" with small brush strokes, and lots of detail...only to become a "loose" painting with brisk brush strokes and very little detail. Why does this happen? Often I am trying to convey a certain feeling or mood for the piece which cannot be captured in detail...such as fog. Often while Commercial fishing on the Tennessee River, mornings were foggy with the sunlight trying to burn thru. As a young man I always hated foggy mornings due to the delay in pulling my trotlines. Today, I relish the moment and sit on the bank watching the droplets of water form from the misty fog and drip from leaves, the sunlight hitting them and making them appear as diamonds until they evaporate.
All of these experiences are filed away in memories...waiting for new works to be created from them. Wisdom does come with age. If you are a young artist reading this Blog, I urge you to...take the time to look at life...thru an older man's eyes.
Frank Baggett
Read this Full Article >>
by Frank Baggett on 2/4/2010 12:24:15 PM
Recently a new Sportsman's company has opened named Global Outfitters www.globaloutfitters.com located in Huntsville, Alabama. Hunters, Fishermen, Wildlife Art Enthusiasts or anyone that loves the outdoors will find something at this establishment for their enjoyment. Presently I have several original works displayed and for sale at their gallery. The Art Director for Global Outfitters is John Warr of which is known for winning the Alabama State Duck Stamp Competition in years past. John works closely with any artist that he features in his gallery and offers any guidance he can to help promote these artists. Also there is a Artist Blog page http://www.mygospace.com/index.php?option=com_content&view=section&layout=blog&id=13&Itemid=78 on the web site for artists that have questions or comments in regards to getting their works exposed to the internet and hints on having prints done of your work. If you are a Wildlife artist wanting to have your questions answered, I urge you to contact John Warr either by his Blog, or his email address which is posted on the web site. Check back often...as this company has just opened their doors to the public, and will grow rapidly in years to come.
by FRANK BAGGETT on 1/16/2010 9:20:58 PM
As a new year has started, so has the tedious chore of decisions as to which WILDLIFE shows to attend and apply for in 2010 that have the potential of being successful shows. We all experienced the effects of the recession of 2009, and wonder if 2010 will be any better. A fellow artist friend of mine once said that every time he entered a competition and did not place, instead of thinking that his work was not good enough to win...it would make him work that much harder on his next piece of artwork. I am applying this train of thought to the economy. America will work that much harder from now on to prevent such a disaster from happening again. Faith in God and Country, heart of a lion, and desire to overcome... things necessary to be an artist in today's world.
I have just listed a new show on my Schedule of Events page of my website which will be in Houma, Louisiana in April. While browsing their website, there is a letter from the Founder of LWACG that I enjoyed reading. Not even Hurricane Katrina can stop a gathering of these artists and carvers that want the world to see their work, as well as organize a new show! I will be glad to exhibit my work there and show some support for the efforts that these folks have done. If any other Wildlife artists or Carvers read this Blog, I hope that you too will consider showing at this new show in Houma, Louisiana. Disasters happen every day, some smaller than others, others are tremendous such as the Haiti Earthquake. My heart goes out to these folks in need.
Many Wildlife artists have elected to not attend shows, or simply cannot afford the expenses of booth fees, hotel rooms, and other costs. Here is the questions that I ask myself: "How bad do you.. "want it"? What are you willing to sacrifice to become a successful artist? Every artist needs to keep these questions in mind throughout his or her art career. This does not mean to go out and spend every last dime on paintbrushes, or booth fees, etc. and loose your home, or spouse. It simply means to keep your priority on art at the top of the list...if you really "want it". If art is a hobby for an individual..that is wonderful, and the priority for art is lower. Only YOU know the answer to these questions. So sit down someplace quiet (I prefer the outdoors)...and ask yourself.
Sincerely,
Frank Baggett
Read this Full Article >>
by Frank Baggett on 12/13/2009 9:11:24 AM
The Tetons
One has to ask themself..just what exactly is Impressionism. I posted a Blog yesterday in which I elaborated on the subject some. Today I will try and explain my own personal feelings towards Impressionism. The word impress is a good start. I am impressed when I see something that sticks in my mind, or "pops" when I see it. Gaining favor towards whatever we are viewing. We are impressed when someone goes..above and beyond our expectations. Ahh a key word..above and beyond. We see our natural world with our eyes everyday and when looking at a photo or a Realism painting, we see basically the same image that our eye sees..naturally. To take an image, whatever it may be..and utilize an Impressionsim style, goes...above and beyond what our eye sees naturally. Colors are more vivid, lines are more distinct or faded. Images can be made of dots, daubs of paint, or as I mentioned..even smears of paint done by fingertips. Whatever technique is used in creating the work has the end result...a work that when viewed at a distance or at a glance..becomes alive and gives our eyes the appearance of a photo or a Realism painting and "impresses" our mind.
How does an artist know how to paint in this form? I have learned by studying many of the Masters such as Robert Wood. It is evident how this artist saw nature thru his eyes with a breakdown of colors and the effects of light on objects such as trees and water. The prism effect of water breaks all boundries of color and allows an artist to paint water with a "no holds barred" freedom. That is why I enjoy Impressionism...the freedom of looseness and the relaxed "rules of photo/realism". I have always said that when an artist releases a new work to the public, he is displaying a part of himself or herself to the world. How will your work be accepted? Opinions are like the stars, critics are always ready to discect your work, but to "impress" whoever looks at the work is what I want. I hope that I have explained my version of Impressionism to everyone.
Read this Full Article >>
by on 9/13/2009 10:08:49 PM
I have just accepted an offer from the Humphreys County Executive to start a new mural on the John Willams attorney office building next to the Humphreys County Court House in Waverly, Tennessee. The mural size will be: 10ftx 75ft. Rough drafts have been made for submission and review by the Committee Group, and after opting for their choice..I will begin the mural. It should be completed by October 17, 2009 which is the 200th Birthday of Humphreys County. Today is...September 13. I will be using Liquitex Professional Acrylics for the inital mural, and sealing it with several coats of sealer. There are so many different sealers available now. If you happen to drive through Waverly and see a guy up on a scaffold with a paintbrush in his hand..it will be me. I enjoy a challange..and with a time frame of 30 days for completion...this will be a challange.
Other points of interest that I will be taking on include the Blueridge Wildlife Festival in Blueridge, Georgia this coming weekend, the Southern Wildlife Festival in Decatur, Alabama next month...and the NWTF 34rd Annual Convention in Nashville which will be Feb. 18-21 in 2010. As I mentioned in a previous blog post...I have joined forces with 3 other outstanding Wildlife artists, and we will be displaying our new group name: The Arts of Hunting & Fishing at the NWTF Convention at booth #35...look us up. The new web site for our group will be up and running soon as well, and I will announce it everywhere that I can including my Blog. I hope to see everyone that can make it to these shows this year, and as was mentioned on my site..I always have time to shake a hand and chat about the art world with anyone that has an interest. I have posted many new works, and there are several more that will be posted as they are completed.
Many folks have inquired about art classes recently, and I have had the pleasure of having Mrs. Sue Bradley as an advanced student in my studio over the past few months. Sue has had professional training with Lorie Putnam of Nashville as well as several other professional artists. She is an avid outdoorswoman with an eye for Wildlife in both her photography as well as her artwork, and I have really enjoyed teaching my techniques and theorys of creating Wildlife artwork to her. Sue is also a new member of the North Carolina Wildlife Artists Society. My congratulations go out to her!!
Comment on or Share this Article >>
by FRANK BAGGETT on 8/15/2009 8:18:57 AM
A commissioned work. Many folks have wanted to know how these paintings look framed, and in this Blog is a photo taken in my studio of the painting framed. I hope this helps with your choice of having a commissioned work done. 
by Frank Baggett on 8/9/2009 12:49:37 PM
There has been much talk among many, many Wildlife artists that are not only artists, but hunters, fisherman, and outdoor enthusiasts here in America. The region that I live in is considered Southern by tradition. As I have mentioned in many articles I have written in past years, I support the NWTF as well as Ducks Unlimited for their Conservation efforts not only here in America, but even in other countries such as Canada. After talking with other artists in different states that share the same enthusiasm as I do for the outdoors, an idea will soon become a reality. Any hunter, fisherman, or outdoorman or outdoors woman has an experience that they could, and should share with others that have the same interests as they do. Just sit with a group of anglers at any bass tournament and listen..everyone wants to share their story. Stop by any check-in station for any kind of wild game and listen...everyone wants to share their story. Go camping at any National Park or Recreation area in the world and listen....someone has an exciting story that they have experienced at one time or another.
Four artists: myself (Frank Baggett), Mike Shepard, Beverly Basham, and Dale Waggoner have decided to join forces and create a web site that will allow both artists, hunters, fisherman, and outdoor enthusiasts to share their stories in blog form, and view the works of the mentioned artists on a new web site that is in the making. Beverly Basham needs no introduction into the world of art, she lives in Decatur, Alabama and is the director of the Southern Wildlife Festival which is held in Decatur, Alabama for several years. Her works reflect her love for the outdoors. Mike Shepard lives in Cambridge, Ohio and is renown for not only his artwork, but his experiences with other hunters and fisherman in the outdoors on many of his hunts and fishing trips. More info about both Mike and Beverly can be found on www.fineartstudioonline.com Dale Wagoner lives in Kinmundy, Illinois and is known not only for his masterful works of Wildlife art, but also throughout America as a premiere taxidermist of the many trophy whitetail deer mounts he has entered in competitions.
As Wildlife artists, all four of us have tried to incorporate our experiences from life into our artwork. I realize that there are hundreds if not thousands of other artists across the world that "live the life" that they portray on canvas just as we do. Regionally, we represent a vast portion of the Southern states here in America. We feel that if all outdoor folks want to share their story, or to simply read what other folks have experienced...why not give them a place to read or write them down? At the same time....give everyone the opportunity to view and purchase artwork that compliments these many stories.
The new web site is under construction, and the 4 artists that are featured are very excited to be able to not only display and sell their work, but also to be able to relate actual stories with their artwork to the public. The original idea for this unique upcoming web site originated with Mr. Dale Wagoner. I will always try and give credit where credit is due. I am enclosing email addresses for Beverly, Mike and Dale with this Blog entry. We look forward to hearing from folks all across the world.
Beverly Basham: bevbash57@yahoo.com
Mike Shepard: jodanshep@verizon.net
Dale Wagoner:natural1dale@hotmail.com
Comment on or Share this Article >>
by FRANK BAGGETT on 7/3/2009 10:14:21 PM
I wanted to post on my Blog page about how as an artist, I feel towards the world of art. No one can feel what.. you as an individual feel, no one can see what.. as an individual you see, and this is part of being an artist...individuality. However, these feelings, and sights have to be placed on or in some form of medium such as canvas, clay, glass, etc. Each artist has his or her own way of expressing themself to the world, and as any craft..pratice makes perfect. When I finish a painting and make my photos of my work, I then release these images to the rest of the world to see. Artists are always putting a piece of themselves on display, and this where the work can be seen as great, or not so great. Are artists more sensitive with their feelings than the average person? Yes. Many of the greatest artists that lived were not accepted during their lifetime as great artists..fact. However, they painted what they saw, and felt...as mentioned earlier. This is one of the most important traits of an artist...his or her own unique ways of expressing themselves. The worse thing an artist can do is to become "locked" into one definite form of creating. When doing finite work for Duck Stamp Competitions, painting can become tedious. One thing that I have learned after 40 years of painting is to keep yourself..."loose". I simply get a canvas out and just use my imagination to paint..I paint loosely, no restricting of finite lines...slop that paint onto the canvas, mix it up, brisk brushstrokes, try a new technique such as a sponge, a palette knife, perhaps even my fingers. Often times..what started out as a mess on canvas...turns into a unique painting. Flowers are a favorite subject of mine for this way of keeping my work..."loose". I may paint 2 or 3 paintings this way before going back to such works as the Duck Stamp Competitions or a very detailed work for a commissioned piece. Just do something different to break the boredom! Plein Aire painting will also liven an artist's techniques...try it. Okay, now I am ready to finish that Duck Stamp, or the individual hairs on a dog, or small tree limbs in a sunset. Also, after returning to an unfinished work after "loosening up"...you will always notice something that you did not while painting it...I promise.
One last comment that I would like to make about my feelings towards the art world...treat others as you want to be treated. Every artist was a child at one time, and had some form of encouragement to express themself in a medium. All artists have a mentor..fact. Inspiration...is vital to an artist. One of my mentors was Robert Woods which was well known for his "Four Seasons" landscapes. There are no secrets to my paintings, and if asked by ANYONE...I will be glad to show a technique, style, color mixture..whatever, whenever, and wherever. This is the way that I would want to be treated if I asked a fellow artist.."how did you do that?" If you have any questions..feel free to reply to this Blog.
Thank you,
Frank Baggett
Comment on or Share this Article >>
by Frank Baggett on 3/31/2009 7:47:17 PM
E.I. Dupont, New Johnsonville site
Many folks have asked questions as to how long did it take to complete a painting, or have I ever demonstrated how I paint. In this tutorial I hope to show some of my techniques, and step by step photos of the actual painting being done. This painting's theme involves the Wildlife Habitat Council, which is an outstanding Conservation organization, coupled along with Earth Day which is on the 22nd of April this year. The subject matter is the Great Blue Heron which is a very majestic bird found all across America. I have chosen to involve the corporation of E. I. Dupont into the painting also, and the site chosen is the New Johnsonville Plant which has a program named "Wildlife at Work" in New Johnsonville, Tennessee of which I am also an active employee of. The New Johnsonville Plant is home to many species of Wildlife as well as being the world's largest manufacture of Titantium Dioxide.
I prefer to use pre-gessoed canvas or masonite panels of good quality and museum wrapped on the outside edges. To start the painting, I use a mechanical pencil to sketch the basic outline of my primary figures. Why a mechanical pencil? Because the roughness of the canvas will use up the lead of a regular pencil so fast that I would spend more time sharpening the pencil than sketching. If there are only a few basic lines drawn for paintings, I may simply use burnt umber and a paint brush to place my reference strokes for such things as skylines, trees, water, or perhaps a building. Often times a simple landscape involves one line...the horizon. And I begin the painting from there. Shown here is the painting's main subject matter which is the Great Blue Heron along with the New Johnsonville site incorporated into the background.
 It may appear small, but the canvas is placed on my drafting table, which is 48 inches wide. The vertical lines are a few reeds placed to add interest to the painting. As the painting progresses, the reeds may get moved, or omitted completely. Notice the waterline edges, and a few other quickly drawn lines which are solely reference lines. Detail is only drawn in on the main subject matter, and only for future reference. At this point, I am only focusing on establishing the foreground, background, and "anchoring" the main subject matter into the painting. Now I will establish shadows in water, and pay particular attention to the direction of light...which will add drama to the painting. The light source will be from the right side, with emphasis on the breast of the Heron and the beautiful plumage of the bird. As I mentioned earlier, the word anchoring refers to making the Heron appear "in" the water...not floating on top. Placing a few reeds over the bird will also give the illusion of depth. Often times, too much shadowing or reflections will give the illusion of "fake". I am after Realism in this painting, and showing Industry and Wildlife working together...in the same Habitat. Now I will begin painting...I always like to start with the furthermost object which is the sky in this case. I hope to achieve a dramatic lighting with a sunrise from the right hand side of the canvas. Laying in light coats of paint, I start to develop the sky.
Sunset and sunrises are both the same..you cannot let the reds and oranges mix with blues, or you will have a green sky. I will carry the oranges over into the left side as well, but more muted and subtle to give a hint of 3 dimension. I am also starting on the buildings, adding colors, and imagining how shadows will give the buildings "structure" and appear real.
The sky is taking shape, and the reflections of sunlight on grasses, stacks, and other objects need to have a lot of attention. I am laying in base coats of paint for the reeds that line the pond of which will be painted over to give depth and dimension with more fine details given to individual blades of the reeds. It is painstaking to lay in each individual blade for the reeds, but it will pay off with good realism and interest. Many Plein Aire painters will only give the suggestion of grasses, and omit much detail. Now I will start blocking in large portions of the canvas to see how the total composition will appear when done. I like to do this to have a sneek preview of the outcomming painting. Only the artist knows how he (or she) expects the painting to look when completed.
The water is next, using a large paint brush (I often use a household paint brush) I will start adding color to the painting.
It appears as a mess, but the colors are strong tones of reds and yellows for the reflection of the sun into the water, and then the reflections of the reeds and sky are picked up. The layout is intentional, as the placement of the Great Blue Heron in the dark areas of the blues will give me the effect of drama that I am looking for. Notice the paintbrush strokes going downward..light reflects in long rays across the water in a distance. Up close reflections are more defined, as will be noted in the water's edge next to the reeds in the foreground. I keep the paint translucent by adding water. After the downward strokes, when the paint has had enough time to set, I will do a light dry brush across the water. Another popular artist that has demonstrated this technique is Bob Ross.
 This is a closeup of applying paint in downward motions. Again, the blues and oranges, yellows, and reds have to be done in different applications...or you will have green water. I will want green water in the foreground, and using this exact technique with the mixing of the colors on the canvas will give the green tint that I am after. When painting quickly, I will often actually mix colors right on the canvas. This requires practice, and good knowledge of your color chart. Notice that I have lightened the reflection in the water on the left where the reeds stop, and the skyline begins. This also gives more depth to the bird as well. Often times the color scheme is changed so to give more contrast between objects. I will work on the bird next, and get an idea of the color tones I will want.
Here you can see the greens in the water I mentioned that I wanted which are from the reflection of some of the smaller grasses around the pond. When working on blending of colors on birds, I will often use my fingers to gently mix light coats of paint over each other to give the luster of the fine feathers on the head and sometimes the body of birds. Again, there is a waiting period between coats, and often to speed this process up, I will actually lower the light that is over my pallette to make the paints dry even quicker. This technique works well on stretched canvas, as the flexibility of the canvas with finger pressure works well. When applying paint like this, I rub my finger in circular motions and vary the pressure that I am applying. The heavier the pressure, the more of the top layer of paint is "dissolved" and mixed into the layer below. Dark colors with light overcoats is the usual way I apply the paint. When I am satisfied with the colors, to give the luster of feathers in sunlight I will gently dry brush a light coat of Titantium White over the paint, and again I will very gently rub the edges of the colors to blend the white into the paint.
Now the painting is coming together. Color values are established, the composition looks good, and now the foreground will be added. This is a crucial moment in the painting. Often a painting can be ruined with the additon of objects that will later be unwanted, and will have to be removed by repainting a section of the painting.
Here is what I have completed so far, and the array of my studio. I have slept on the idea of adding the reeds in the foreground that will give the bird a more definite "anchor" into the water, and now I will begin to add reeds into the painting.
I have added several reeds, and used one to go across the bird. Often overlapping objects helps with depth as well as interest to the work. It is time now to sit back and study the painting to see what else can be improved upon. I may lighten the back of the bird because the light source is stronger and shows more detail in the reeds, so there must be as much light in the object which is even closer to the viewer. Too much will ruin the effect of the lighting on the feathers on the breast. Another way to check for a good composition is to simply look at the painting...in a mirror. The reflection will be reverse, which gives a different perspective of the same painting, but rearranged. If a painting looks as good in the mirror as it does while being viewed normal..you have done well. Now I will actually place the unfinished painting in a frame. Doing this will cause the viewer's eye view to be more fixed on the main subject matter, and not clutter around it. The frame I am using is not the one that will be on the painting when completed, but will suffice for now.
There are changes to be made such as the white feathers in the tail of the bird..they take away from the image and will be muted to a darker tint. Another reason for framing prior to completion is to decide where to sign the work at. The back of the bird is too dark as mentioned prior, and more detail will be added as well. Here is the completed painting titled: E.I. Dupont, New Johnsonville
The photo of the finished work was taken outdoors, in natural sunlight. There will always be a tremendous differece between natural lighting, and artificial.
Comment on or Share this Article >>
|
|
