For me, painting is like
driving to a new, exciting place. I have a vague sense of
what it may be like but really no idea until I’m actually
there. And when I get there, I’m always surprised at
what I’ve “found” — something I didn't
expect to turn out the way it did. This is just a sense I
always get; it's not the reality of creating a painting.
The single most important
tool one needs for painting is drawing skill. With that and
a set of paints, you're ready to go.
When I paint a landscape
on a clear day, I use one of my two approaches to painting.
For this demonstration, I’ll use what I consider to
be my “academic approach,” because it has everything
to do with form and shadow.
Back in high school, many
of us took art classes drawing cones, spheres and cubes (yawn).
What I didn’t know then was that, when drawing those
cones, I was learning about light and shadow. And that that
was how you created form in a drawing, which in turn makes
things look real — hence the “light” in
your artwork.
Ray Roberts, Curtis Creek, Oil on Panel, 16" x 20"
Deciding what to paint has
always been one my biggest challenges. It always seems the
grass is greener on the other side of that composition. Okay,
back to Art 101. Start with a gesture sketch, right? Right.
A basic line drawing will do. It’s like running off
a diving board except — if I don’t like it — I
can just start over. If it seems all right, I’ll just
keep going.
Next step for me would be
the shadows, where I consider light source, local color and
atmospheric perspective (among other things). Once the shadows
are painted and I’ve established my composition, I
fill in the rest of the painting, being very careful with
my drawing, color and composition.
Necessary to all honest painting
is the experiential discovery and enlightenment of painting.
It’s a process one goes through when creating a dimensional
object with paint. That flicker of light is what I strive
to see when I paint.
Ray Roberts, Desert Sentry, Oil on Panel, 12" x 16"
I was born in Santa Monica,
California, in 1954. As a child, I spent hours drawing and
had a lot of encouragement from friends and relatives. A
neighbor across the street my childhood home was Evelyn Nunn
Miller, who studied under Anna Hills of Laguna Beach fame.
It seems a lot of art was created in my neighborhood.
Following the premature death
of my father, I was sent to Or me, a boarding school near
Prescott, Arizona. It had a very strong fine-arts program,
which continued to encourage me with my art.
In 1978, I graduated from
Art Center of College of Design in Los Angeles. I was not
aware of how fortunate I had been to study under so many
great artists, such as John Asaro, among others. Throughout
my time there, all my electives were figure drawing and painting
classes.
Following studies at the
Art Center, I immediately began freelancing as an illustrator
in the Los Angeles area.
Ray Roberts, Sycamore Creek, Oil on Canvas, 30" x 40"
In 1984, I again met Peggi
Kroll, whom I had known at the Art Center, and we later married.
We went to nightclubs to sketch people, we took night classes,
and we painted. In 1985, we took an oil painting class from
Dan McCaw. That same year, the first of our three children
was born. Parenthood worked well for us with our careers
in illustration. We were always home and were able to do
a lot with the kids.
With our young family, we
moved to Scottsdale, Arizona, in December 1985. We continued
with illustration, expanding our work nationally, with much
of it coming from New York. In 1989, we started taking workshops
at the Scottsdale Artists School, where I soon began teaching.
In addition, I took workshops
from many of the finest painters available to me. From 1991
to 1994, I studied with many of the “Seven from Denver” and
Harley Brown. I also took — as well as taught — portrait
and landscape workshops.
Ray Roberts, Goldfield Cliffs, Oil on Panel, 12" x 16"
Summers gave us the opportunity
and excuse to leave the Valley of the Sun and head to cooler
climates. We started participating in art festivals in Colorado
and California and won several awards. Soon, art galleries
approached both my wife and me for representation. Some galleries
participated in the Early California Art auctions and included
my paintings.
Although I loved to paint
the desert, California landscapes seemed like such a magnet
for me. The light, the coast, the lay of the land and the
vegetation all spoke to me. In 1997, we moved back to California
and settled in the gold-rush country. Angels Camp is small
and quaint, and close to the scenes I love to paint.
Since the move, I joined
the California Art Club and started participating in their
shows as well as other organizations’ shows. Peggi
and I have enjoyed many two-person shows, and we continue
to enjoy showing together, particularly in group shows.
the group. In 2003, Plein
Air Painters of America invited me to participate in its
18th Annual Show at Catalina Island. Three weeks later, George
Strickland surprised me with a call, asking whether I wanted
to be a member. These artist associations have in their ranks
some of the greatest painters in America today; I am honored
to be associated with them. I had no idea my life would play
out like this. It’s very busy, with many demands of
family and career. I consider myself very lucky to have experienced
everything I have in my life as an artist.
Ray Roberts, San Juan Creek, CA, Oil on Canvas, 30" x 40"
Plein-air painting in California
seemed to hit during the mid ’90s, and there were lots
of hungry painters wanting to learn how to paint outdoors.
I’ve shared much of what I’ve learned with other
artists through my workshops.
In 2000, I joined Laguna
Plein Air Painters Association, where I felt ties to my childhood
and a homecoming of sorts. That same year, I was also a guest
artist at the Northwest Rendezvous, a professional yet casual
group of painters who have met for 25 years near Rocky Mount
National Park in Montana. As a participant, I met, camped
with and became better acquainted with the great artists
who are members of that fine group. In 2002, during their
awards ceremony, I was elected to join the group. In 2003,
Plein Air Painters of America invited me to participate in
its 18th Annual Show at Catalina Island. Three weeks later,
George Strickland surprised me with a call, asking whether
I wanted to be a member. These artist associations have in
their ranks some of the greatest painters in America today;
I am honored to be associated with them.seemed to hit during
the mid ’90s, and there were lots of hungry painters
wanting to learn how to paint outdoors. I’ve shared
much of what I’ve learned with other artists through
my workshops. In 2000, I joined Laguna Plein Air Painters
Association, where I felt ties to my childhood and a homecoming
of sorts. That same year, I was also a guest artist at the
Northwest Rendezvous, a professional yet casual group of
painters
I had no idea my life would
play out like this. It's very busy, with many demands of
family and career. I consider myself very lucky to have experienced
everything I have in my life as an artist.
Used by Permission (C)2004 PLEIN AIR MAGAZINE.
(www.pleinairmagazine.com)
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