A Bit About Me - Tom Smith
I’m entirely self-taught. I’ve been drawing and painting since as far back as I can remember (which, being 70 years old, is becoming an increasingly shorter time!) Of all the places I have ever painted, including the Grand Canyon, the Swiss Alps, and the Grand Tetons, I flat-out love the Sierras the best. Yes, I know the correct term is “the Sierra,” but they’ve been “the Sierras” to me since my first backpacking trip on the John Muir Trail back in 1968. I’ve logged about 6,000 miles backpacking on Sierra trails since then, and I’m lucky enough to still be able to explore John Muir’s wonderful “Range of Light.” I strive for that love to come across in my work. I believe that a good landscape should be large enough to do justice to the immensity of the Sierras, and the entire American West- as such, my landscapes are never smaller than 18” x 24,” and range up to 36” x 48.” Many folks have commented that they feel as if they can “walk right into” my paintings- and that’s exactly the feeling I’m shooting for. Others have noted that my pastels look like oil paintings, which I take as a compliment), and so they assume the pastels I use are oil pastels- which they are not (soft pastels are basically just very expensive chalks; despite this, finished pastels are called “pastel paintings”). They also express surprise that the “solid” look I strive for can be created with soft pastels, which traditionally impart a lighter and more wispy impression. Again, I’m pleased with that response. A rock is as solid as solid gets, and a mountain is neither light or transparent. If that doesn’t come across in a mountain landscape, then, in my humble opinion, the painting is a complete failure.
I did a lot of part time, “plein aire” (outdoor) painting along the sidewalks of beachside La Jolla, California, back in the 90’s and early 2000’s, selling about 200 seascape pastels to tourists and locals alike (look for a sample of my La Jolla work below). When my wife came developed breast cancer in 2005, I began painting like mad, trying to pay bills not covered by our miserable insurance. When she passed away from cancer in 2009, I was burned out on a lot of levels- shattered, I guess you could say, by that wretched experience, and gave up painting altogether. Now, some ten years later and retired from my former full-time profession of classroom teaching, I have found myself plunging back into painting, more feverishly than ever.
THE BOTTOM LINE
I absolutely detest the business side of art. I freely confess I am the world’s worst businessman. There was a time when I literally gave my work away, and to this day I feel uncomfortable taking people’s hard-earned money for something I’d be doing anyway, simply for the pleasure of it. I’ve been told that I sell my work for far too little. Then again other say it’s not worth half of what I charge, so...I guess that’s why I hate the business side of art. The rates quoted below seem to work for most folks, and I think they are pretty reasonable, compared to what other artists charge for comparable work at comparable sizes. I think my prices are fair, because I sell my originals pretty much as fast as I can finish them, and I complete, on average, about four paintings per month. An 18” x 24” original, whether pastel or acrylic, averages $ 600. Larger originals vary in price, depending on size, subject matter, and the time it takes me to complete the painting, but on average, a 24”x 30” original goes for $800. If you’re interested in something larger, we can “make medicine,” as the mountain men used to say.
I also loathe framing, and am not very good at it, so I encourage my patrons to find a professional framer for my work. In the case of pastels, it is especially important that the framer be experienced in framing this demanding medium. I apply the pastel to the rough side of a sand-textured, gesso-coated 1/8”-thick hardboard (the same “canvas” I use for my acrylic paintings), thus assuring a very sturdy, long-lived subsurface for the paintings. I spray the finished painting with a light protective pastel fixative, but under no circumstances should the surface of a pastel ever be touched, rubbed, or scratched. Of course, that goes for any work of art, including acrylics and oils. But unlike acrylics and oils, soft pastels are traditionally framed under a sheet of non-glare or non-reflective glass, and to the cost and difficulty of framing.
PRINTS
I photograph all my finished originals, and have begun reproducing my work as high quality giclee-on-canvas prints, usually 12” x 16”, although I can have them made larger. The giclee process imparts a beautiful, color-lush look to my paintings, and unlike the original pastels, the canvas support requires no cover glass. The process is not cheap- it costs me $68.00 per print, to which I tack $52.00 for my own profit, bringing the total to a nice round $120. Whether this is considered “worth it” or not, I leave up to my patrons. Unframed prints can be displayed without a frame, since they are printed on stretched canvas and make for a pleasing presentation as they are. For a framed print, I only charge the cost to me to have them framed, bringing the final price for a 12” x 16” to $200. Larger originals vary in price, but I keep the price proportional to that of a 12” x 16.”
COMMISSIONS
I gladly accept commissions. Roughly half of my finished paintings are commissioned. I often base my originals on a patron’s photo or photos of a favorite Sierra scene, especially photos taken along the Muir Trail, but I never work too literally from a photo, and usually spend several days sketching and deciding on compositions at the actual location. Sometimes I’m asked to paint a scene that does not appeal to me, and I will either alter it as I consider necessary, or refuse the commission. I am not much of a figure or portrait painter, and so I almost never include people in my paintings. Prices / sizes for commissions are similar to those listed above. Turnaround time between request and finished paintings varies with the subject, but averages around one month.
Payment / Delivery / Guarantee
Please contact me by email (thomassmith678@yahoo.com) to discuss methods of payment and delivery. I guarantee satisfaction; I always send photos of completed originals to prospective patrons, so there will be no surprises upon delivery. However, if you are not satisfied with your painting upon delivery, no charge will be made. If you have paid prior to delivery, a full refund will be made upon return of the artwork.
SHIPPING ISSUES
I sell most of my work to Southern Californians, mainly because there are just so many of them, and because the Sierras are so close to Southern California. Like me, hundreds of thousands of Southern Californians have a love for these mountains. Since I am based in Orange County about half the year (come summer, I’m on the road or trails, hiking and painting), I am able to deliver most of my originals and prints to my patrons in person. Obviously, shipping farther afield involves proper packing and shipping charges, which can vary with the medium, dimensions and weight of the artwork, as well as the delivery time.
INQUIRIES
I’m happy to answer any inquiries you may have. Feel free to inquire, and never fear- I’m in the fortunate position where you need not fear a “hard sell” approach- and it’s not in my character to hard-sell anyway. On the other hand, I don’t like to “dicker.” If you don’t think my work is worth what I charge, there are a million other artists out there, and I hope you can find one who better suits your needs. Thanks so much for visiting my website- I look forward to hearing from you, and wish you all the best in 2022! (Things can only get better- right?) Happy Trails, Tom