The Artist's Road Painting the World's Beautiful Places

Voices of Experience

Jason Sacran

The Crossing         16 x 20"         Oil

   Jason Sacran is an artist/painter living in Arkansas. He has been invited to many juried exhibitions and his work has received awards with organizations such as the Oil Painters of America and the American Impressionists Society and has won top honors repeatedly at plein air events nationwide.

   “I paint what catches my interest in the moment. This could be almost anything; an orchestration of shapes, color contrast, light and shadow patterns, a mood or atmosphere, a subject I have never tried, or a subject I enjoy, etc. I am drawn to paint places and things that say something about the day and time I live in now. Although my work is not necessarily subject driven, I find myself painting the overlooked and simultaneously familiar aspects of everyday life—scenes we pass by but rarely take the time to fully consider. In the chaos of daily life, I believe we all take the simple and familiar for granted. Sometimes it is these quiet unadorned places that make the most worthy subjects.”

   Jason was kind enough to accept our invitation to do an interview for The Artist's Road.

   I have always been creative—building things, drawing, etc. Being somewhat talented you could say, I was always the “artist” kid in school. For the most part, my teachers were encouraging and allowed me to draw in my free time and sometimes even during class, which I did no matter if they let me or not. My family was also supportive, especially my mother. If it weren't for my mother and a guidance counselor getting together and submitting my drawings to an art school, I would never have had the chance to pursue art outside of anything other than a hobby. Fortunately they did, and I went to a graphic design school called Nossi College of Art and Design in Nashville, TN. After a few semesters there, I changed paths from graphic design to fine art painting and switched to Tennessee Tech University in Cookeville, TN. That is where I finished my studies and received my Bachelors of Fine Arts degree. My wife, Rebekah, was also a big encouragement to me, especially in the beginning when I needed it most. I have had several artist friends that have been very encouraging too, especially an artist friend named John Lasater. See our Voices of Experience interview of John Lasater.

Beckoning         18 x 24"         Oil

   Although I had some good teachers growing up, art was not a strong suit in the grade schools I attended. For example, the English teacher taught the only art class available in high school. And though she tried her best, it was not much of an art education experience. In college, I had some good teachers. The one that stuck out to me the most was Christine Koczwara. She had been a combat artist in Vietnam (the first female combat artist in the county) before becoming an art instructor at TTU. She really pushed me to grow and refine my drawing skills. She was also my first painting instructor. I had not really ever painted before going to TTU. In fact, I was 21 years old before I ever really picked up a brush. After college, I pursued painting on my own, gaining experience from going to the Portrait Society of America conferences, reading books, looking at other artists' works, and putting in the hours of hard work.

The Old Hay Barn         14 x 18"         Oil

  When were you first able to pursue your painting full-time?

  After graduating, I worked several jobs before becoming the curator of the Fort Smith Art Center (now the Fort Smith Regional Art Museum) in 2007. At that time I was fortunate to have worked with and become friends with a lot of artists. Some of them encouraged me to go full-time as an artist. I had been painting part time for a little while, and I was making enough from commissions and events that it made sense to give it a try. My wife was a big encouragement in this endeavor and she had my back to go for it. We had three of our four daughters at the time so it was nerve-wracking in the beginning to go full-time, but it proved a good decision and we moved forward with it in 2009. I also taught at the University Of Arkansas Fort Smith as an adjunct instructor for a couple of years and taught workshops occasionally, so that helped, too. I have been full-time for 16 years now. I have to say that it has had its ups and downs as it has been feast or famine. Either we're doing well or having a tough go. It has also been hard because I contracted Lyme Disease some years ago, and It finally caught up with me in 2019, leaving me bedridden for almost two years. I am still fighting the battle and most likely always will, so I haven't taught a workshop or been to an event since then as I cannot travel, I don't have energy, and I live with chronic pain. But we have been truly blessed to make it thus far.

Abandoned         20 x 18"         Oil

   Is your primary focus on painting from life alla prima? Can you tell us something about what subjects inspire you?

   In the beginning of my career I was nearly exclusively into portrait and figure, mostly painting from life. Around 2010, I had some friends that persuaded me to give outdoor painting a try. It was funny because I had believed that if you could paint the portrait/figure, that you could paint anything. That was definitely not the case, at least not for me. I couldn't believe how bad I was at painting landscapes from life. Eventually, after many attempts and getting better at it with each painting, it became my primary choice of subject. Not long after, I began entering plein air events, eventually” joining” the “plein air circuit” participating in outdoor events all over the country. Landscape painting/plein air is still my subject of choice to this day.

   We enjoy featuring the Nocturne work of artists, if you have an image or two you would like to share. Can you tell us about why you enjoy painting at night and the challenges it presents?  

Abraham's Promise    24 x 18"    Oil

   I love painting at night and have been doing it ever since I started painting plein air.

   This tree is located on the square in Sonoma, California. It is a very large Eucalyptus tree sent by President Abraham Lincoln as a promise to the people of Sonoma. It was sent as a sapling by ship, arriving around Cape Horn when Sonoma was the capital of California. President Lincoln was bringing the railroad to California to get gold and silver to bring back to Washington, D.C., to finance the Union Army during the Civil War. The people in Sonoma were afraid he would only bring the railroads to the mines and forget about bringing them all the way to the capital. He sent this tree as a symbol of his promise that he would bring the railroad to Sonoma, and he did not go back on his word.

Green Light         12 x 24"         Oil

   Some of the challenges in painting at night include a lack of light both in the scene and on the canvas. I have used several light systems to light my canvas such as a Revilite, which is a great light system although a little pricey. I have found that although it has a dimmer, it can be too bright in some cases. I have used a grill light which I really like and I have used book lights, mostly clipped to my support. You can find these online or in stores. The best lighting situation is getting under a light pole or somewhere where there is a lot of ambient light such as being by a lit window or in a lit up town/city. Another challenge that can come with night time painting is the glare when you apply paint. I haven't really fully figured that one out, although sometimes I will paint more dry/with less mineral spirits/Gamsol, or I will utilize brush direction. There are other challenges as well, but those are the main ones for me.

Log Jam         16 x 20"         Oil

Fall Creek         14 x 18"         Oil

   Have you had the opportunity to travel to other parts of the world to paint? 

   I have been fortunate to travel to Spain and Italy. Although it was the museums that were most inspiring, I was able to paint quite a bit in Italy. It was very exciting painting in some of the places that a lot of the greats, such as Corot, have painted.

   Would you tell us a bit about your process from inspiration to final painting? 

  Usually when painting plein air, I will look/drive/walk/hike around finding something that catches my interest. This could be light and shadow, an orchestration of shapes, a light source, or simply a scene that interests me. I am always looking for possible designs and light situations. Once I have landed on a spot, I set up my gear and go to work. I don't usually do preliminary work (sketches, value studies, etc.). Whether a small or a large painting, I just go straight for it. I enjoy attempting to capture the scene spontaneously and with no preconceived ideas of what I need to do, figuring it all out from my compositional marks to the final stroke.

   My process: After setting up my easel and figuring out what size canvas I want to use, I will usually tone my canvas to a mid-value neutral grey (going more warm or cool depending on the scene). I do this so that I am not fighting the white of the canvas and I find it easier to control my color and value. I then make compositional marks or a drawing of my scene, designing what I want to paint. Although I am usually true to the scene, I am not attached to painting exactly what is in front of me. I will add, delete and move things around as needed to make a pleasing painting.

   I will then begin laying color down, looking mostly at the largest shapes or shapes I believe will compose well. I attempt to get the color, value, and intensity correct in these shapes. This stage is my first statement or the block-in.

   After my block-in is where I need it to be, I paint my second statement, going into each shape and breaking it down, looking at shapes within shapes, correcting color, value, and chroma. I do this as many times as needed until I have my painting just about complete. Then I go for the final touches which are the smallest details needed, such as finessing edges, tweaking saturation of color, and anything else that will make the painting true to what I am seeing. Once I deem the painting finished, I will usually sign it, even if I know I will be touching it up in the studio. I do this to have a more harmonious signature, meaning I will utilize the colors already on my palette or carve into the canvas while still wet.

Hwy 1 Revisited         18 x 24"         Oil

     Although I use acrylic from time to time, especially for block-ins in the studio, and I am not tied to any particular colors or brands, I primarily use oil paint and usually use Gamblin oil colors (bought nearly anywhere that sells art supplies). I utilize these colors (in order of my arrangement on my palette):  Titanium White, Cadmium Yellow Medium (sometimes using Cad Yellow Light as well, depending on the painting), Cad Orange (rarely but sometimes Cad Red Light, mostly depending on sun situations), Cad Red Medium, Alizarin Crimson, Ultramarine Blue, Sap Green and/or Viridian, and Ivory Black (a great neutralizer, especially when trying to eliminate saturation in a neutral). I don't usually use mediums, but occasionally I will. For extending dry time, especially in studio work and plein air that requires multi-sessions and I need it to be wet into wet, I will mix in clove oil. It’s very inexpensive on the internet or in a pharmacy. It also gives my paint more flow and a buttery consistency. I like the smell of it, too. For speeding dry time, which I like when doing multi-session plein air, especially in plein air events, I will dip into Maroger medium as I paint. I use the Italian blend (linseed oil, beeswax and lead mixture). This medium is good to build up impasto brush strokes, as well. I am able to get this from a painter friend, Andre Lucero. I will also use linseed oil sometimes. As far as thinning down my paint or cleaning my brushes, I use Gamsol, an odorless mineral spirit made by Gamblin. This seems to be the safest mineral spirits available. 

Off North Ponce         20 x 16"         Oil

   When it comes to supports or canvases, I use several substrates. My favorite (it's expensive!) is Claessens #13 double primed. It is a fine weave utilized mostly by portrait painters. I also use a medium weave Claessens #15, a landscaper's choice linen canvas. I most like these linens adhered to a panel or gatorboard. You can get these supports on panels at several places such as Raymar, Windriver Arts, and Source Tek. These linen canvases can be bought by the roll at most art supply stores, too. I buy these rolls online from Dick Blick and Jerry’s Artarama. I also use Centurion Linen panels. These are much less expensive, especially the multimedia boards which are acrylic primed. These panels are surprisingly good for the price. They make an oil primed panel, as well. I hardly ever use cotton canvas.

   As far as easels go, I perfer a Soltek easel made for plein air painters on the go. This easel is lightweight, easy to set up, and easy to put in a larger backpack. I just use the shoulder strap when going painting. I also use a half french easel (one of the oldest plein air easels—harder to set up but great for larger works and stability). In the studio, I just use an H frame studio floor easel.

Fallen Memories II         11 x 14"         Oil

   I also use Viva or shop paper towels as I like the thickness of the towel. I use a large airtight brush cleaner used by most plein air painters. In the studio I use a large, plastic Folgers coffee container with a Bob Ross screen cleaner. I mostly like Rosemary & Co. Brushes, mainly the Ivory long flats. You can look up my brush set to see what I use. Just look up Jason Sacran on the Rosemary site search bar. I also use a few palette knives from small to medium. These can be bought anywhere that sells art supplies. I sometimes use a small squeegee when designing or drawing my scene. My good friend, Charlie Hunter introduced me to it. Go to Charlie's materials/store section for more info on the squeegee. I like to sit when painting too, and use a metal folding bar stool from Walmart. It's less than $20. It is cheap enough that when I used to fly to events, I would buy one and leave it or give it away at each event because I couldn't carry it on a plane. It is taller, so it's good for painting. I have one that I sawed the legs down to make it fit in my bag, too.

    I use a long backpack. You can buy these online or in sporting goods stores. I also used to use a 24” Milwaukee rolling hardtop tool bag. They don't make them anymore but I am sure you can find one comparable at a hardware store or online. These were great for plein air events that you would have to fly to. It would fit all materials and supplies including my Soltek easel. They were indestructible. The wheels were also built to take the roughest terrain and the hardtop was good for sitting on. I would also recommend using sunscreen, taking water (and possibly snacks) with you, consider using latex or a specialized glove to not get paint into your hands/skin, a hat and/or an umbrella. I wear a neutral colored hat and sometimes use a neutral colored beach umbrella bought at any hardware store. I would recommend buying one that has a weighted metal or concrete base for stability in any wind situations.

Between         16 x 20"         Oil

   For a retouch varnish I use Winsor and Newton retouch spray. This is good for plein air. Not only will it dry quicker, but it revitalizes dry spots giving the entire painting a satin sheen. In fact, I will sometimes use it as a final varnish because it gives me the chance to paint on it in the future if I want to. I will also use W&N final varnishes too. You can find them in matte, satin, and gloss. I always use spray varnishes because it's easier and spreads well.

   I buy frames from several frame companies. Masterworks has great frames. They are expensive, but worth it, especially for major pieces. I also use JFM frames. These frames are less expensive and look great, especially for plein air works. The owner, Pat McDanial, often shows up and sells at major events. You will need to make an account (or contact Pat) for this company. I will occasionally use Randy Higbee frames as well. Randy would often show up and sell at events on the west coast.

    Any words of wisdom you might give to beginning artists?

   Paint! Paint a lot—as much as possible! You can go to many workshops or schools and learn well, but it's the miles you put into painting that will give you the most improvement. In fact, going to too many workshops can actually confuse you. As you learn each artist's own processes and techniques, sometimes the information can be contradicting and confusing. So learn the fundamentals for sure, and remember there are no real concrete ways to paint, just your way— meaning, once you learn the fundamentals, you will begin to find your own way of painting, your own authentic voice. It only comes with experience. Learn art history as well. You will gain much growth from knowing where you came from.

   Also, I would recommend finding like-minded artists to “hang out” with. Having an organization, group or individual artist friends can make a big difference. They can push you to grow, critique your work (as well as you critiquing their work) and watching other artists work and progress makes you better too. The camaraderie pushes you for sure. I, myself, have a great artist friend, John P. Lasater, who I mentioned before. We were fortunate to find one another when we first began as full-time painters. We have been friends for over 15 years now, and would travel together, go painting together, and push one another to get better. We have witnessed many ups and downs together as well as our progress in our own work and careers. It has been a true blessing having John in my life. I am not sure I would be where I am today without him. So, get a buddy.

  


   And, just for fun, if you could sit down and have a long conversation over dinner with an artist from the past, who would you choose, and why?

   Issac Levitan. We would need a translator for sure, but it would be worth it. I believe he is one of the best landscape painters to have ever lived. To read about Isaac Levitan, go to: Autumn and Isaac Levitan.

To see more of Jason Sacran's paintings go to: Jason Sacran Fine Art.

All images © Jason Sacran