The Art of Painting and "Scenic Beauty of the Shore" Photography are the subjects of Russ and Dan Myers Blog. Kindly click the Facebook Like button if you enjoyed this blog. Welcome.

Who Uses Color?

January 24, 2025  •  Leave a Comment

Reverse Subtraction Painting

Everybody chooses shoes, ties, outfits, home interiors, vehicles, and so on by considering color first. Artists, too, work with color, but sometimes, we don’t get to choose any of the colors we work with. This was the case when my brother Dan asked me to create a series of four paintings of a maple tree, each depicting a different season, for our myersbrothersart.com website. You can view "Winter Maple" in the tree gallery section.

Winter poses an interesting challenge. Typically, it’s snowing outdoors during this season, and snow is white. Since I use white watercolor paper to create my paintings, I was faced with a dilemma: how do you paint white snow on white paper? Mmmm, white on white. Now what?
Dan and I devised a technique we call "reverse subtraction painting." Here’s how it works: I began by painting the red leaves, then added the tree branches. What remained unpainted represented the snow. By doing this, the whiteness of the snow was initially “subtracted” from the composition. As I completed the painting, I reversed my technique, revisiting the beginning and deliberately painting in the snow to bring it to life.

Using white effectively in a painting can be both challenging and rewarding. White can represent light, texture, and subtle contrasts. When painting snow, for example, you can use shadows in light blue or gray to define its shape and depth, giving it dimension against the stark white paper. Highlights can also be enhanced by layering transparent washes or adding specks of color to mimic the reflection of sunlight on snow. Incorporating these techniques can help bring out the beauty and realism of a winter scene.

This approach allowed me to create a winter scene that feels dynamic and textured, despite the challenge of working with so much white. Check out the result in the gallery and see how the reverse subtraction technique brings the "Winter Maple" to life.

Peace and love. Russ Myers

myersbrothersart.com


   


Who Says, Stay Centered?

January 23, 2025  •  Leave a Comment

   Artists Are Trained to Be Off-Center

Many people say, "Get in formation!" But artists are trained to go their own way. While following cultural dictates may have its advantages at times, the artist's path often leads somewhere off-center, exploring uncharted territories.

As I paint, I try to approach each dilemma or problem as though I were blind—not in darkness, but blind to all possibilities. In a sense, artists are all blind—blind to conventions, to limits, and to expectations. Being "blind" allows us to look beyond what is immediately visible, to trust our inner vision rather than relying on what we’ve been taught to see. It’s not about being unaware, but about suspending judgment and embracing the unknown. I challenge myself to see things with fresh eyes, unaffected by preconceived notions.

For example, take my painting "Realto Rainbow" in the Dreamscape Gallery. The colors appear off-center, as if they’re soaring out of the frame, suggesting movement, change, and fluidity. There's no strict formation because the painting, like the artist, is forging its own path.

I wasn’t blind in the traditional sense while creating this painting, of course. My eyes were wide open, but in a way, I closed them to everything I thought I knew. I followed my own feelings, diving into an abyss of the unknown—what some may call emotion. What emotion, exactly? The emotion of yellow, aqua, gold, and my own blackness. An area void of light, yes—it’s dark, but within this darkness, I found a moment of temporary escape.

In that moment, I realized that nothing is real except for the colors in the rainbow of my painting. These colors won’t fade away like the rainbows we chase after when the rain stops. They are permanent, existing only within this space, untouched by time or weather.

The blind path is not one of ignorance but of discovery. Artists are blind in the sense that they have to venture into the unknown with each new piece. We can't always see where our work will take us. But that's the beauty of it—we let go of certainty and trust in the process. We are led not by what we see, but by what we feel, and that is where true creation begins.

 

 


Who invented the Saying "Hang Together?"

January 22, 2025  •  Leave a Comment

   

"Icy Tree" – A Case Study in Balance and Composition

The phrase “It is written” often evokes a sense of certainty and finality. Interestingly, the idiom traces its roots to the United Kingdom during the revolutionary war, where the English would say, "United we stand, divided we fall." It’s a sentiment that suggests strength in unity—hang together, or face the consequences of disarray.

Painters often hear variations of this message, albeit in a more specific form: "Balance is key." To an artist, balance represents much more than symmetry; it’s the relationship between design, composition, and the careful placement of elements to guide the viewer's eye toward a cohesive direction. A central theme or subject often provides this direction, helping the viewer to interpret the painting as a whole.

But art isn’t always about following the rules. Sometimes, an artist will deliberately throw the viewer off balance, forcing them into a state of confusion or discomfort. It’s a choice that challenges expectations and makes the viewer engage on a deeper level. In my painting "Icy Tree", however, the composition intentionally seeks harmony. Or, does it?

When you take a look at "Icy Tree" (which you can view in the Tree Gallery section), you may wonder: Does this painting hang together or not? The answer, as I’ve come to realize, is kind of, sort of, maybe. While I certainly followed most of the rules of design and composition, I might’ve strayed just a little too far into abstraction in terms of the colors and layout. The result is a piece that may appear slightly unbalanced at first glance.

But here's where the title makes a difference: "Icy Tree." By naming the painting, I created an anchor, a bridge between the abstract forms and the viewer’s expectations. The title invites you to engage with the work, bringing it down to Earth, so to speak. The ice may be painted in unusual colors, but the title suggests something familiar—a tree, frozen in time. It provides context and meaning to what might otherwise feel like chaos.

In this instance, I turned to my brother, Dan, for help. I asked him to contribute a title that would bring a sense of cohesion to the composition. With just a few words, his suggestion did exactly that. It provided the necessary "hang togetherness" that transformed a fragmented piece into a unified whole.

Sometimes, it’s not just about the brushstrokes or the color choices. It’s about the story we tell through the title, the viewer’s perspective, and the way everything comes together. "Icy Tree" may break a rule or two, but it still manages to convey a sense of unity in its own, unique way.

So, does it hang together? In the end, I think it does. And if you look closely, you might see that even in the abstract, there’s a bit of order waiting to be discovered.

Peace and love. Russ Myers

myersbrothersart.com


What, paint outside the lines?

January 22, 2025  •  Leave a Comment

Growing Beyond the Lines: A Journey Through "Whorled Loosestrife"

Growing up, I was always told to "color inside the lines," a simple piece of advice meant to guide me toward structure and order. But what if I told you that the lines themselves were never the key? My painting, Whorled Loosestrife, which resides in the blue/green artwork gallery, invites you to question this very concept. In my work, I’ve asked: “Lines? What lines?” And you’ll see, they aren’t there. Instead, I’ve created an illusion that suggests lines, but never actually uses them. This, for me, speaks volumes about how lines in art—or life—might not be as essential as we once thought.

This piece is more than just a painting. It’s a study of color, an exploration drawn from my personal "lost x-file." For me, the x-file is not just a forgotten folder of paper; it’s the collection of memories that linger at the edges of consciousness—memories that I both want to forget and yet, often, cannot escape. These recollections, many of them from a turbulent youth, pop back into my mind at unexpected moments, urging me to reevaluate them.

It’s precisely this duality of recollection and forgetting that inspired my journey into painting beyond the lines. Through painting and coloring outside the prescribed borders, I’ve discovered a form of healing. These creative acts became my refuge, helping me to confront and process the traumas I experienced as a young person. It was through this expression that I learned something powerful: that freedom exists beyond the boundaries we are taught to obey. And in that freedom, I began to understand myself more deeply.

With each brushstroke outside the lines, I unlocked a little more of my own freedom. The act of painting became not just an artistic endeavor, but a survival mechanism, a way to heal and redefine who I am. Whorled Loosestrife is a testament to this journey. When I break the boundaries in my art, I find that I also break the walls that once confined me emotionally and mentally. Art has given me an eternal realm of freedom—an ongoing conversation with my past, present, and future.

For me, painting outside the lines is no longer an act of rebellion; it’s a way of surviving. It’s a path to understanding the intricate layers of my identity, and it’s something I carry with me in every piece of art I create. Through this process, I no longer fear what’s outside the lines—I embrace it. And in doing so, I invite you to join me in this exploration of what happens when we let go of the lines and simply paint our truth.

 Peace and love. Russ Myers   

myersbrothersart.com       


What is Painter's Power?

January 22, 2025  •  Leave a Comment

  The Power of the Artist’s Vision: Painting Beyond Color

As an artist, it’s not just about color, composition, or theme—it’s about tapping into a deeper truth. The true artist within an artist discovers the power of humanity’s self-truth through the act of creation. My goal in painting is to bring forth something meaningful—not only for myself but for others as well. Through my work, I aim to help viewers connect to a shared vision, to feel something beyond what’s visually presented.

Nature is a boundless source of inspiration. It’s full of life, in all its various stages of growth and transformation. For me, painting from Mother Nature’s treasure trove—be it plants, animals, or the changing landscape—is an opportunity to showcase the cycle of life itself. A simple seed, planted with care, grows into something beautiful and bountiful. It’s a process that nourishes the body and soul. The act of watching something bloom, and then harvesting it to provide sustenance, mirrors so much of our human experience.

Take my painting "Carrots" in the Fruits and Vegetables Gallery, for example. Sure, I want the viewer to appreciate the vibrant color of the carrots. But, above all, I want them to feel the crunch as they chew—an experience that transcends mere visual representation. This sensation isn’t just conveyed through the color and form of the painting; it’s conveyed through the brushstroke, the texture, the movement of the paint itself. Every curve, bend, and detail adds a layer of meaning.

I may only have color to work with, but my artist’s power allows me to imbue my paintings with more than just a likeness. Each carrot in my piece is unique—slightly bent, thicker or thinner, longer or shorter. Some still have their green leaves intact, reflecting how they’ve soaked up the warmth of the sun and the nourishment of rain. These imperfections give the carrot character, and through this, I offer recognition to a humble, everyday food we often take for granted.

Through the brush, I am not just painting a vegetable; I am telling a story. Each carrot is a narrative of life and growth—rooted in the earth, nourished by nature, and ultimately, providing nourishment for the body. As I create, I invite the viewer to feel not just the visual aspect of the piece, but the connection to the experience of growth and sustenance that all life shares.

In this way, the artist within the artist seeks to elevate the ordinary to the extraordinary, to allow the viewer to see not just the color of the carrot, but the life it represents. And in doing so, we can all find nourishment in the simplest of things—through art, through nature, and through each other.

Peace and love. Russ Myers
myersbrothersart.com


Beach Photos- Include the Ocean

January 21, 2025  •  Leave a Comment

 

When photographing at the beach, no matter what your subject, I feel it's important to include the ocean in the composition.

The ocean is not just a backdrop; it brings a unique sense of scale, movement, and atmosphere to your photos. Whether you’re shooting a portrait, a landscape, or candid moments of people enjoying the sand and surf, the inclusion of the ocean creates a sense of place and adds depth to your images.

Here are some tips for effectively incorporating the ocean into your beach photography:

1. Use the Horizon Line

The horizon line is a powerful compositional element. To create a balanced image, consider the rule of thirds. Place the horizon either one-third from the top or bottom of the frame, depending on whether you want to emphasize the sky or the ocean. Keeping the horizon straight is crucial to maintaining a professional look.

2. Capture Reflections and Textures

The wet sand near the water’s edge can reflect the sky, clouds, and even your subject, adding an extra layer of interest. Additionally, the ripples in the sand, waves crashing on the shore, or patterns left by the tide provide dynamic textures that enrich your composition.

3. Embrace Golden Hour

The golden hour—shortly after sunrise or before sunset—is ideal for beach photography. The warm, soft light during these times enhances the natural beauty of the ocean and creates dramatic shadows and highlights. The colors of the sky during golden hour also complement the blues and greens of the water.

4. Include Foreground Elements

To add depth and context to your photos, include foreground elements such as rocks, driftwood, shells, or footprints. These details not only frame the ocean but also help to guide the viewer’s eye through the image.

5. Showcase Movement

The ocean is constantly in motion. Use a fast shutter speed to freeze crashing waves or a slow shutter speed to create a dreamy, blurred effect. Capturing movement brings life and energy to your shots.

6. Play with Angles and Perspectives

Experiment with low angles to make the ocean appear vast and imposing or shoot from a higher vantage point to reveal patterns and textures in the water. Changing your perspective can make even familiar beach scenes feel fresh and exciting.

7. Mind the Weather

Cloudy days at the beach can be just as photogenic as sunny ones. Dramatic skies paired with a moody ocean create a different but equally captivating aesthetic. Don’t be afraid to shoot in less-than-perfect conditions—the results might surprise you.

8. Incorporate People or Wildlife

Including people or wildlife in your ocean shots provides a sense of scale and interaction. A lone figure walking along the shoreline, seabirds in flight, or surfers riding the waves can make your composition more compelling.

By thoughtfully including the ocean in your beach photography, you create images that are not only visually stunning but also evoke the emotions and memories associated with the sea. So next time you head to the beach with your camera, let the ocean be your muse.

 

 

 


Who Says Colors Vibrate?

January 21, 2025  •  Leave a Comment

 The Art of Red: Slowing Down to Speed Up the Creative Process

In the realm of both science and art, color plays a profound role in how we perceive and experience the world. Take the color red, for example. Science suggests that red vibrates at a frequency of 432 Hz, a frequency known for its harmonious and grounding properties. However, in the world of painting, red becomes something far more dynamic, something that transcends the limitations of measurable vibrations. For the artist, red doesn’t just sit still at 432 Hz—it can move at light speed and beyond, a velocity our brains are intuitively drawn to.

But here’s the catch: while our minds race to interpret the energy of the color, our brushes can lag behind. This is the paradox of painting—the creative mind operates faster than the tools at hand. So, how do painters bridge that gap? How do we use color, particularly the vibrant reds, to make an impact without losing our creative flow? The answer lies in a technique I call TABA—Take A Breath Artist.

The Speed of Thought vs. the Speed of Painting

For the painter, color becomes a tool of expression that requires both patience and an understanding of the relationship between the mind and the physical act of painting. The colors we work with, such as barn red, fire engine red, or the softer tones of magenta, often seem to demand immediate action. They pull us into a state of quick creative thought, urging us to make bold, fast decisions.

Yet, as we work on a canvas, we often find that the speed of our imagination does not match the speed of our brush. When working with vibrant hues like red, the process can become a bit like trying to catch up with a racecar with a bicycle—an exercise in patience. At times, this can cause frustration, especially when dealing with tricky colors that don’t quite match the mental image we envision. Red, especially, has this power—it can seem too bright, too intense, or even too harsh for the calm, balanced tone we may need in our artwork.

This is where TABA comes in.

TABA: Slowing Down to Embrace the Art

When I’m in the studio and the reds aren’t working for me, I use a simple trick. If the red is not ready-made or pre-mixed, I start with pink. It’s a lighter, gentler color that serves as a base, and from there, I begin adding in red, bit by bit, until I find that perfect shade. The process of layering allows me to temper the intensity of red while giving me the time and space to adjust the balance, the tone, and the texture of the color. It’s like adjusting to the speed of thought.

This method—starting with pink and gradually adding red—is a way of slowing my brain down, so to speak. It helps me align my mind and my brush, to allow the act of painting to become as fluid as the ideas that originally sparked it. I call this process "Take A Breath Artist" or TABA. It’s a reminder to slow down, focus, and let the painting unfold at its own pace.

The Role of TABA in "Torch Ginger"

One piece where I employed TABA is in my painting "Torch Ginger", featured in the herb gallery. The subject of the artwork—a vibrant, fiery plant—required bright, intense reds that needed to feel both natural and artistic. Using TABA, I started with softer tones and gradually built up the colors until I achieved the right balance. The result is a more controlled, deliberate application of red, allowing the fiery quality of the plant to emerge while maintaining a sense of artistic harmony.

By using TABA, I was able to capture the essence of the plant without allowing the intensity of red to overwhelm the piece. This slow-down technique gave me the flexibility to work within the speed of thought, ensuring that my brush was always one step ahead, yet never rushed.

Conclusion: Mastering the Speed of Color

As artists, we’re constantly navigating the gap between the speed of thought and the limits of our tools. The color red, with all its vibrancy and energy, can be both a challenge and a gift. By using techniques like TABA, we learn to slow down and give our creative processes the space they need to develop. In doing so, we can truly harness the power of color—allowing it to work at its full potential without ever losing the rhythm of our artistic flow.

So, the next time you're working with red (or any color), remember to take a breath. Slow your mind, and let your brush create.

Peace and love. Russ Myers  

myersbrothersart.com


Who Are You, Artist?

January 20, 2025  •  Leave a Comment

    Who are you, artist? I have my own answer, for me, a growing painter.  I paint because I am alive, I'm alive because I paint. 

I paint, in sync, simultaneously with every breath, heartbeat, thought, feeling and emotion in and around me. I am constantly creating and recreating the painting that I am and manifesting myself into the art.

It is a twenty-four-seven-three-sixty-five process of honesty, meaning and being.

Take a walk through my painting "Woodland Trail" in the landscape gallery. At that precise moment in the pristine forest, as an elementary art student, I discovered I am a painter.

Surrounded by nature, I was transformed from a civilian into an artist. I was ready to make a significant commitment and shift my identity and lifestyle. The process can be challenging, but it also provides a sense of purpose and belonging. 

I began a journey of self-evaluation and self-education into the art world of painting.

Encompassing all things artistic, I studied. As I walk on my woodland trail today I continue to grow while learning from nature. I seek the truth of change: summer to fall, fall to winter, winter to spring and back again. The cycle of life.

Peace and love. Russ Myers          

myersbrothersart.com


What is Bias in Painting?

January 20, 2025  •  Leave a Comment

    Bias can be defined as a deviation from expectations of a value or the act of modifying an expected mean. 

Painting bias is a natural act that is supposed to take place. I feel this is true because all painting is abstract or an act of summarization. A painter's artistic sensibility for his/her artwork is a filter of design, color, line and theme taken from one's own experience.

Bias comes from repeating favorite techniques from habit. A favorite technique can be done purposefully and consciously. Is that artistic bias? No.

The perceptions of each individual painter is different from any other painter. When a group of painters have the same subject matter, such as a particular landscape, each painting will be seen from a different artist perspective. It is based on the artist location, field of view and as seen through their own filter bias. Understanding this concept can lead to freer expression, imposing less negative self-judgement. Creative freedom is the goal.

Bias creates individuality, uniqueness and the artist own expression of beauty.

It is a cause for celebration. In this way painters create their own style, due to each having a different perspective of the landscape both physically, mentally and emotionally.

There are many shades of gray between abstract and representational art. 

Peace and love. Russ Myers

myersbrothersart .com    


What is Art Space? Vision within a vision.

January 20, 2025  •  Leave a Comment

    Art space is not the size or area of a painting but the size and area of any creative limitations.

Think or assume in limitations and your vision become limited. Visions are ideas of things yet to be experienced with a brush, paint and a blank surface.

Let's say my subject matter is based in nature, for example, a tree. Am I limited by its form and function or limited by who I am? View the painting "Moonlit Summer Maple" in the tree gallery. I did not place any limits on my theme, moonlight, so I FIRST envisioned moonbeams being projected from the moon passing down through the tree branches. Realistically there are no such things as moonbeams until I create a vision within a vision.

SECOND, according to my vision, I paint moonbeams of light streaming from the moon onto the tree, passing around the branches of the tree planted in the ground. Utilizing this method, two visions, creates who I am as a painter/artist.

Peace and love. Russ Myers      

myersbrothersart.com


Is Blue Really Blue?

January 17, 2025  •  Leave a Comment

     Paint a small to medium sized color blue on your surface. Next to it paint some pink. The blue you just painted changed. Because by painting the pink next to the blue your mind is now processing blue/pink. Not blue alone. Paint green next to the blue/pink. The blue changed again. Is blue really blue?

Painters are free to intentionally create a new world for ourselves and at the same time affect the perception of others.

Paint yellow next to the blue/pink/green. The blue changed again. Here is where your artistic intuition becomes a top priority. I call this feelings. When under an intentional amount of control, feelings are powerfully dynamic.

Feel the colors being processed as your composition is becoming a work of art. Change the blue you first painted by adding a little white. Paint that on your surface. Next, paint a lighter shade of pink and place that next to your new blue. Do the same to green, make it a little lighter. Now the yellow, make it lighter. Paint the new blue/pink/green/yellow next to each other. Compare the first area to the second area. Do you feel the power of color? Is blue really blue? 

Recommended reading:  Indigo: In Search of the Color That Seduced the World

by  and 

I am available for online one-on-one art lessons. Please click on ART LESSONS on the home page for more information. 
Peace and love.  Russ

myersbrotherart.com


Emotions of Painting Color

January 16, 2025  •  Leave a Comment

    When painting try not to think so much, if at all. Feel it. Given, subject matter does matter.

To me the most intriguing factor contained in a painting is color. All else aside, color stimulates my emotions. Landscape painting is highly emotional. Imagine looking out over the desert at sunset and you feel nature's song in your heart singing paint me, paint me.

"Saguaro Landscape" in the red and purple gallery is a song, painted, filled with emotional color. Daylight is fading. The sky is multi-colored. The sun will only be in view for a few more minutes. Orange settles around the distant mountains. Greens are muted. Sand turns to gold. A warm breeze blows on my face. The saguaro cacti are cooling down.

This emotion has now become timeless. I have captured the essence of my feelings. 

I am available for online one-on-one art lessons. Please click on ART LESSONS on the home page for more information. 
Peace and love. Russ

myersbrothersart.com   


The Versatile Paint Brush

January 16, 2025  •  Leave a Comment

    As there are two sides to every story, there are two ends on every brush. The working end of a brush are the bristles, the opposite end has many other interesting uses. For example, when a painting is wet you can use the rounded handle end to draw lines in the paint without damaging the surface. Making lines in thick paint helps to invent spaces that add feeling to the design. The lines create artistic ridges for a relief sculpture effect in thick paint. Some brushes have a tapered tip cut or molded to a nice edge that's good to smooth out paint, adding variety. A rounded end cannot achieve this effect since it cannot scrape off enough unwanted paint.

Brushes are sometimes useful as a back scratcher. 

Brushes are like keys on a piano. Hard strokes are thick and loud. Soft strokes are thin and quiet. In-between strokes will probably create the fulness that completes your painting.

Brushes are oval, pointed, square, tapered, small or large. Cleaned after every use they can last a very long time. I have some brushes I still use that I bought over 50 years ago.

Artists pallet knives are brush-like tools that create a modern look akin to bricklaying, achieving a look envied by any brush.

I am available for online one-on-one art lessons. Please click on ART LESSONS on the home page for more information. 
Peace and love. Russ

myersbrothersart.com


Art History Now

January 15, 2025  •  Leave a Comment

    Studying the various styles of images on the internet, TV, movies, photographs, magazines, catalogs and advertising, etc. benefits artists. They help inform our contemporary culture of artistic vision.

Also, art history's vast collection of artwork and associated educational information helps painters explore composition, color, design and feeling. Studying art history can create a comfort level to express yourself in your own unique way by broadening your knowledge.

Many instructional publications are devoted to the history of art to encourage learning about different artistic movements or periods. Studying art throughout human existence builds appreciation of art. I can recommend: History of Art by H.W. Janson, Anthony F. Janson, Dora Jane Janson

Reading biographies about the life and times of individual artists is an education in itself. As you, in your own way, travel into the realm of art history the paintings you create are your own art history. I can recommend: Studio of the South: Van Gogh in Provence.

I believe all painters should study other painters. It seems natural.

Notice my painting "Saint John's Wort" in the Invasive But Beautiful gallery. Never has this bloom ever been painted exactly like this. I call this style of painting "Vision of a Vision".

I am available for online one-on-one art lessons. Please click on ART LESSONS on the home page for more information. 
Peace and love. Russ 

myersbrothersart.com


White, a Color?

January 15, 2025  •  Leave a Comment

Yes and no. To a painter, yes. To others, no. A bride, more than likely, is the exception.

White has always been a symbol of purity. Painters and different artists use canvas, paper or screens that are offshoots of purity just by the fact of being white.
Many times I utilize the color white to dramatize a painting as a whole or maybe just sometimes in certain areas. Observe the artwork "Rocky Mountain Columbine" in the blue/green gallery.

I've accented parts of the top, middle and bottom of the painting with brush strokes of pure white to create a mood of vibrant outdoor life and sunshine. My favorite tool for doing these strokes is the fan brush.

I have made a study of interior design. Within this artistic medium pure white is seldom utilized. However, a painter finds white indispensable as an accent color or for deintensification of a primary hue. 

White is a "colorful" and wonderful tool, essential to a composition. White creates drama in negative spaces, adds three-dimensionality and accents reflective surfaces.

I am available for online one-on-one art lessons. Please click on ART LESSONS on the home page for more information. 
Peace and love. Russ

myersbrothersart.com

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