The Passing of a Legend

On April 18, 2021, the art world lost a modern legend, Richard Schmid. Richard Schmid was and will always be an artist that I look up to and one that I have learned a great deal about art and how to paint. I have almost all of his books and DVDs, and I refer to them often, their pages well-worn and many sections streaked with yellow highlights. Now as an art instructor, I often turn to them for inspiration for art instruction. Some of you may have seen some of his work, heard me talk about him or read about him in my past art emails.

My admiration for Richard Schmid goes back several years when I was just beginning to look for alternative art education. In 2007, I was searching the Internet for artists who were hosting workshops in the New England area and came across an artist named Albert Handel. I loved his style, which was modern impressionistic, and I wanted to learn his methods. He worked both with oils and pastels, and his paintings would sing with color in a relaxed manner that belied years of practice. 

I saw that he and Anita West were going to do a five-day workshop in Putney, Vermont at the Village Arts of Putney, a reclaimed New England barn turned art studio, so I decided to sign up for it. The first four days were spent at the barn and on location with Handel and West with demonstrations and plein air painting. I was in heaven! On the last day, we were all treated to an indoor still life demonstration by both Handel and the secret bonus artist: Richard Schmid. I had heard of Richard Schmid, read a lot about him and loved his work, but my painting studies came a little late and I missed being able to take instruction from him.

 Nancy, Anita, and Albert.

I couldn’t believe my luck when they told us that he and his wife Nancy, who is also a fabulous artist, would be there that day. He and Albert painted, each from their own angle, and the class took up positions behind them and watched in awe as both of them turned out terrific paintings, each in their own style, in less than four hours. Richard spoke about his love of his craft, intertwining serious thoughts about art with delightful jokes as he worked, but Albert was mostly quiet and took Richard’s occasional ribbing with graceful ease. They were lifelong friends, so as he worked, Richard regaled us with wonderful stories of their adventures painting together.

 Richard painting a floral still life.

Albert's pastel rendering.

I consider myself very lucky to have met Richard and be in his presence as he constructed another masterpiece in front of a enthralled group of students. From my notes of that day: “But the best part was meeting Richard Schmid and Nancy Guzik, and getting to watch Richard paint-what a treat!” and, “When Richard painted, all of his strokes were deliberate. He never repainted over an area, and he thought out every stroke.” As you can tell, I was captivated by his methods. I was also entranced by Albert’s pastel rendering, which was so deceptively casual and bursting with color.

Village Arts of Putney

At the end of the session, Richard, Nancy and Albert answered questions and signed books and prints. I bought two beautiful prints, one of Nancy’s and one of Richard’s, and a signed copy of Richard’s first book, Alla Prima, Everything I Know About Painting.

In 2008, I drove up to Putney, Vermont on Saturdays to take classes at the Village Arts of Putney with one of Richard’s students, Jack Keledjian. It was a fun place to gather with like-minded artists and to share our thoughts on art and painting, and it’s a memory that I will always treasure.

Additional reading: Richard Schmid

“Each one of us is here to make this world a better place through our art. What you create is important and who you are is to be treasured, and that together we can fill this world with beauty and make it a better place for all.”                                                                                        -           Nancy Guzik

“The most enjoyable experience for me is still plein air painting … and its natural companion, alla prima (painting from life),” writes Schmid. “What could be more exhilarating than getting out under a great sky and feeling a fresh breeze while I paint the delights of nature? Painting on the spot from life is the method I learned from the start of my training, and the one I regard as the most challenging and therefore most rewarding.”                                                                              - Richard Schmid

Two-Point Perspective

Recently, I presented an example of one-point perspective that uses one vanishing point. This week, I’d like to talk about another type of perspective in the Linear Perspective group, the two-point perspective. Two-point perspective is mostly evident in street and building scenes, as well as interiors. However, whenever there is a need to project depth and dimension, you will find that understanding two-point perspective will help in sizing and drawing all of your subjects.

The “two point” in a two-point perspective grid is referring to two different vanishing “points,” where each becomes an anchor that we use create a 3D object on a 2D plane (your canvas or paper).

Typically, these two points are at the opposite sides of the composition, with one on the far left and another on the far right.

Create a Two-Point Perspective Box or Building

To create a two-point perspective box or building, draw a straight line on a sheet of paper. This will be your horizon line or sight line. Place two points at opposite sides on the line.

Now, draw a line where the corner of your box or building will be in relation to the horizon line.

Connect the top and bottom of the corner line to both vanishing points.

Draw more lines that begin at the vanishing points and end at the lines that connect the corner line.

Draw perpendicular lines to finish the outlines of your box or building.

You can use this method to draw street scenes, such as this one. In this case, the vanishing points are off to the right and left of the scene, the horizon line cutting through the building horizontally.

“Perspective is to painting what the bridle is to the horse, the rudder to a ship.”

-Leonardo da Vinci