Author Archives: Rex Beanland

Zoom Demonstration!

On Thursday, Nov 19, 2020 I did my first zoom demonstration for the Calgary Sketch Club.  It was a fairly stressful process simply because I got a new, powerful piece of hardware that I hoped would make the experience better for the viewers.  I worked beautifully.

Here is the painting as it was when I finished the demo (1 1/2 hours).


I spent about another hour in the studio and this is the final version.

I’m really happy with the painting and I’m over the moon with the process.  I think I can use this technology to continue my teaching in this most challenging of times.

Hair Is The Hardest Part Of A Portrait

I have been doing a lot of portraits lately and, for me, the hardest part of a portrait is the hair. This is  especially true for portraits of women.  To create hair that has volume and definition  is a real challenge. 

As much as I enjoy art when it’s easy,  I actually do appreciate these challenges. They aren’t always fun but I always learn from them because they motivate me to figure out what the problem is.

So, with this in mind I  began to practice various portraits.  This was one of the first ones. 

The first thing I learned is that black is not a great colour for shadows on a face. As far as the hair goes. The shape is accurate, it reads as hair. There is also a little value contrast in it.  It is a little lighter and redder on the right side.  Overall, however it’s just a dark blob that adds very little to the portrait.

So I knew there was a problem in the way I approached hair.  I wasn’t seeing the shapes within the hair.  So I took a new subject and did a portrait in pencil where I had more control.


This was when the light bulb turned on.  I was seeing the detail and the various shapes within the hair. All I needed to do was copy them with paint. 

So I took the ideas from this pencil sketch and painted them.


This is the portrait that I painted. I actually filmed it as a video lesson.  I’m very happy with it.  The hair has a nice feel, it appears real and it supports the subject.

Accepting A Challenge

This process of practicing a challenging subject is something I do a lot because that’s how I learn and grow as an artist.  I don’t like it when paintings don’t work out but I have to admit that I learn more from my failures than my successes.  I just enjoy my successes but I learn from my mistakes.

Happy painting!

P.S. When I finish editing the video I’ll be putting it in my newsletter.  If you are interested in receiving my newsletter please contact me.  The next edition will be coming out soon. Contact me.

Doug Swinton’s Promo Clip for my FaceBook Demo

One of Calgary’s great people, artist and store owner Doug Swinton and his son Rion came by today to film me doing a demo for his FaceBook Live weekly painting demo.  Like anytime you are with Doug it was a really fun morning.  Thanks to all involved and to my wife, Susan, who stayed the whole time to offer moral support.

Here is his promo clip.

Here is the painting after the hour.

And here is the final painting.

If It Was Easy It Wouldn’t Be Worthwhile.

In my last post I showed a little study I did of this same subject.  I really enjoyed the subject but the painting was unsuccessful because the figures got completely lost in the dark doorway behind them.  With that painting I redid the figures in gouache and the painting was rescued.

However, I wanted to redo it and try to make the figures work but only using watercolour.  This is that painting.  It was definitely not easy.  I’ve never been so mindful of value, always asking myself how the shape I was painting fit into the overall composition.  It was a fine line to have the dark doorway in the background yet still have the darkest darks in the figures.  It was a technical challenge but because of that it was an opportunity to learn.

The other big challenge was to have the face of the guy really express an emotion.  Again it’s a challenge to get detail into such a small shape.  Again I feel that it works really well. 

Finally, the drawing was very tight but I’m pleased that the painting is actually quite loose.

A Glance At Stephan Ave
12 x 16

A Couple Of Interesting Ideas

I have a lot of fun doing these quick, little watercolour studies.  It’s a chance to practice ideas with minimal pressure.  I just glance over my photos and the first one that catches my interest gets painted!  


A Glance On Stephan Ave

This  one had really interesting architectural shapes and a neat attitude from the subjects.  When I painted it I liked everything except the figures. They were completely  lost in the background.  Since it was a failed painting, at that point, I decided it was gouache to the rescue!  The figures were completely redone in gouache. 

River & Osborne: Waiting To Get Home

This one came about very accidentally.  I took the photo with my iPad on a bright, sunny day. The iPad created a whole different feeling.  It was a blast to try and keep it wet and atmospheric. 

What’s Your Story?

I try to make sure that I include play as an important part of my painting process.  This  is where I just try things to see what they look like.  I find I learn a lot in these ‘fun’ times.  This painting is a beautiful case in point.

This is a painting of the Empire Building in Edmonton.  This painting just uses the basic shape of the buildings as they actually are.  I wanted to see if I could completely change the lighting to go with this extreme sunrise theme. I also wanted to see if the building were interesting enough shapes. The painting turned out absolutely fine, but nothing special.

Rex Beanland, Empire Building, Edmonton 1, watercolour, 11 x 15

I thought both the sunrise theme and the shapes of the buildings were fine but then why isn’t it very interesting. The thing that jumped out was that the buildings in the background are as detailed as the closer buildings.  This gets the eye wandering down to the background too much.  I asked myself what is my story?  Where do I want your eye to go?  For me the story is the life on the street in the front so in this painting there are too many distractions.   

So I redid it with the clear intention to push the background buildings further back and keep the detail only in the closest buildings.


Rex Beanland, Empire Building, Edmonton, watercolour, 11 x 15

In this version your eye is definitely drawn more to the foreground.  It’s a more focused and comfortable visual experience.  

Lesson learned!

Painting In Quarantine

As many, many people have observed these are unprecedented times.  I’m very grateful that the majority of my daily routines have not changed too much.  I used to spend most days in the studio and now I’m doing the same thing but spending even more time.  I’ve been more productive than usual.

I have really been drawn to portraits lately.  It has been so much fun to do this.  Some are finished studio works but most of them are sketches.  What wonderful practice!

These are a sample of the portraits that I have done recently. 

I’ll be thrilled when the world goes back to normal but in the meantime I’m very grateful for being an artist and being able to pursue my passion in spite of what’s happening out there.

Happy painting!

Speed Painting Of Tuktoyaktuk

This is a 10 minute speed painting video of a subject from my trip last August to Tuktoyaktuk.

It demonstrates some really  interesting techniques including how to paint water and also a different way to create a nice sunny sky. 

I hope you enjoy it!   

If you do please leave a comment.

Click on the image to watch the video.

Transparent Watercolour Portraits

For the past 10 years I have focused on urban landscape.  Over that time the figures in the paintings became more and more important.  So this interest in portraits is a natural outcome of that process.

I’m trying to develop a process that is fairly quick, a little impressionistic and that captures the character of the subject.  Like anything if one keeps practicing one  will eventually get there.  These are 2 studies.  

I find that when I do portraits I really do feel a personal connection with the subject.  I love this process.

Rex Beanland, Mary Ellen, watercolour, 12 x 15
Rex Beanland, Mary Ellen 2, watercolour, 12 x 15

Why Bother With Plein Air Painting? (Painting On Location)

I have written a number of times about the benefits of plein air painting and I’ve recently been reminded of them.

Here are 3 previous posts

I find that when I get to involved with photographs I eventually get pretty stale and the paintings show it.  I reached this stage recently as the winter months keep me in the studio working from photos.

But fortunately we have been cross country skiing at Bragg Creek a lot and since my wife Susan, is a much better skier than me I have about an hour after my ski waiting for her and this is prime time for a little plein air sketching.  Plein air means painting outside on  location.

In terms of the benefits of plein air painting what stands out in these studies is that each subject really has some challenges.  The challenges are things that are in the scene that I don’t have a lot of experience with but I have to figure out, quickly, some way to represent them.  There’s a definite time limit and so there is no time to waste.  I take my best shot and get on with it.


Rex Beanland, Bragg Creek 2, watercolour, 9 x 12
Bragg Creek

The two challenges in this painting were the subtle undulations of the snow in the foreground and the large mass of trees in the background.  To capture the feel that there were a lot of trees back there I just took a brush charged with water and quickly washed it over the entire top of the painting and voila! it gives the impression there is something going on back there.

Rex Beanland, Bragg Creek Trees, watercolour, 9 x 12
Bragg Creek Trees

The challenge in this painting was how to quickly get the feel of all the foliage which was really one shape but with lots of variations in colour and value.  I thought briefly of trying to paint each shape separately but that was way to time consuming so I just made one wash of the lighter green and as it dried kept adding darker greens.  It completely captured the feel of the scene for me.

Rex Beanland, Claire, watercolour, 9 x 12

This last one was done while I was attending a zoom meeting.  That’s a video app where you can see all the participants.  This woman was great because she seemed very tired but held this basic pose for quite a while so I was able to complete the entire thing in about 40 minutes.

So Why Bother With Plein Air?

The main thing I remember was the excitement I felt to get out of the studio and deal directly with the subjects.  It invigorates my mind and I find myself making decisions quickly and decisively. 

Plus it’s a lot of fun and time just flies.  I also have a great record of each experience.  They remind me of the moment far better than a photo would.  And finally I learned a lot from each one of them.  

It just can’t be beat!