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This image shows the prepared canvas with the composition sketched in white pencil. As simple as this composition is, I didn’t feel it necessary to put a lot of detail into the drawing, but the basic proportions are all there. The grid lines I used to transfer the sketch to the canvas can just be seen in red. I don’t think there is much more I could say about this step unless anyone has a question.
"I was born on February 12, 1975, and have been drawing as long as I can remember. By the time I was in high school, I knew I wanted to be an artist, although at the time I didn't have a clear idea of how exactly I would use my talents to make a living.
"As I continued studying art, I began to suspect that fine visual art was dead. No one seemed interested in teaching students how to draw well, or paint well. More often than not, my own skills exceeded those of my instructors.
"The only field left that seemed to require good drawing, painting, and compositional skills was illustration, and therefore I began studying illustration at Utah State University in Logan, Utah. I became even more convinced that I had made the right decision in staying away from fine art as I endured course after course of required "drawing" and "painting" classes in which instructors required me to draw with "less focus", or use ridiculous materials such as shellac, glue, sand, salt, etc.
"My second year at Utah State, I met Damon Denys. In discussing Art with him I realized that there were other people who believed that technique and subject matter were indispensable components of any work of art. I then decided that I would work to develop my own painting skills with the purpose of creating artwork that I considered worthy of being called Fine Art.
"Since that time, I have studied on my own: Drawing from live models to learn the human form, studying proper painting techniques from any source I could find ample reason to trust, and developing a philosophy of Art based on reason, and life on earth.
"My goal is to portray the heroic and romantic in human nature and human achievement in a realistic style and a modern setting. I place particular emphasis on composition, technique, realistic detail, proper craftsmanship and consistency of style."
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August 20th, 2004 at 5:45 pm
Bryan,
I am wondering about your theme for Titan…since the actual shrugging is still to come it seems that the figure ought to be a modern, not an ancient, god…and I keep thinking that Atlas, having shrugged, would look more lightened and relieved than he does here. Could you give some more of what you are thinking on this?
August 24th, 2004 at 6:00 pm
Hi Bryan
I much admire your work, especially your themes and technique. Being an art student I also have an interest for each step in the process of completing an artwork. So, I have taken much joy and gained some knowledge from following the birth of your works on this site. But I would like to know more about your technique. Have you written anything on painting or sketching, or is there any books or authors that you can recommend?
August 24th, 2004 at 9:15 pm
Every day I look at your artwork. Every day I am comforted. Sometimes, it is the best part of my day. Your artwork offers a life-affirming quality that seems to escape every piece of artwork I have ever seen. Winter evening is the most elegant and masterful piece of life I have ever experienced. This, in part, is why I know you are the right person to answer my question. Please, in as many words as you’d like to use, tell me who and what were the most important sources in the development of your technique? I have never painted, and have drawn only minimally, but I am capable. I need a point in the right direction so that I can save myself the pain encountered during countless hours of reading and studying trash. From what I have read about you, you know exactly what I am talking about.
August 27th, 2004 at 11:00 am
Erik and Shane,
Thank you both for the compliments. Your questions are closely related, so I will answer them in one go.
I will start with important sources of development in my own technique. First of all, from my earliest memories my parents were very supportive of my interest in art and encouraged me in every way. There were always crayons, pencils, markers, papers and even modeling clays available as well as a lot of attention and praise for every little doodle. Second, I was lucky enough to have a few good teachers in grade school and junior high. Third, my uncle, Mark Buehner, a successful and talented children’s book illustrator, introduced me to illustration and recommended the program at Utah State University under his professor Glen Edwards. Mark was also the only person I knew who was successfully making a living as an artist…an important role model. Fourth, Glen Edwards, who taught illustration at Utah State University, gave me the only figure drawing and composition instruction I ever received, though I never did complete my illustration degree. Because he taught illustration, (often looked down upon by ‘fine art departments’) he was interested in the commercial viability of artistic talent which meant realism, good composition and stylization. (Unfortunately for future students, Glen has since retired.) Fifth, I met Damon Denys at Utah State. He rekindled my interest in fine art and introduced me to the Pre-Raphaelites, a group of Victorian artists whose interest in realism, technique, craftsmanship and theme were an inspiration to both Damon and me. Damon and I learned a lot from each other’s techniques and experiences and began learning everything we could about classical painting techniques (mostly from whatever books we could find on the subject). The rest was a lot of practice (still in progress) and trial and error.
As for books I would recommend, one must is ‘The Artists Handbook’ by Ralph Mayer. This large reference book contains information on just about every fine art medium. The section on oil painting covers everything from safe canvas preparation to pigment chemistry and a brief overview of various techniques. There is a comprehensive bibliography and a good list of recommended books for anyone interested in researching a particular technique further. Also of some use is the list of suppliers of quality art materials (obviously this depends on how recent your edition is). I also recommend picking up a good book on perspective for artists (perspective for architectural and engineering drawing is not quite the same thing). Other than that, look through as many art books as you can and select your favorite artists. Read biographies on them and their contemporaries. Damon is more likely than I am to ever write a book on art technique, mainly because he is a much better writer. When and if either of us does write such a book, obviously I would recommend that as well. In addition to reading, draw as much as you can. There is no substitute for practice.
Damon and I are currently preparing to open a fledgling school of fine art in Salt Lake City. I will not post my personal contact information here, but if anyone is seriously interested in information about the status of our school or the availability of private lessons, perhaps the gallery would be willing to pass your contact information on to me.
Guinevere:
Thanks for the continued interest. There are several reasons for the classical Atlas in the composition. Even though the metaphor refers to a modern situation, it only works because it alludes to the classical image of a titan holding the world on his shoulders. To me it would seem too awkward a juxtaposition to have, for example, a strapping young athlete in gym shorts, or even a man in a business suit holding the globe on his shoulders. It would border a bit too closely on surrealism for my taste. With the toga, the reference to the Greek legend is unmistakable. Also, one of my reasons for painting this composition was figure painting practice…there are far too few good excuses to paint even partial nudes when painting modern subjects. On a purely compositional note, the strong diagonal of the shoulder sash is an important part of the visual balance of the piece, and I don’t think it would be nearly as effective without it.
As for the figure appearing more relieved as he walks away from his burden, I don’t agree. I think he would be calm, certain in his decision and resolved, but solemn, knowing the consequences his action will have, and reverent and proud because of the ideal he has chosen to uphold in place of his servitude. When you see the finished piece, let me know what you think.