ABOUT THE COVER ARTIST Phil Bean

Artist Phil Bean's paintings of warm light colors with cool, dark contrasts often show roads, paths or waterways that draw viewers into the depth of the works. The pleasing effect of this almost seems to say, "Welcome, step into this scene and feel the mood." &emsp;"The value of the color contributes to depth," notes Bean. "In terms of color temperature, warm colors come forward and cool colors go back in most cases." &emsp;He adds that another factor is showing how farther objects lose their edges, unlike the clarity of edges on up-close features. &emsp;Bean enjoys en plein air painting, meaning "in the open air." &emsp;"I like to do that because I'm doing it from life," he says while sharing that this gives him a better awareness of color perception. &emsp;He says it allows him to "respond to light, mood, and atmosphere — essential elements to his work" that are elusive to capture. &emsp;The shifting light is a challenge of this painting method, and some artists have advised Bean to avoid chasing the light. &emsp;"It makes you work fast so you can't get caught up in the details," he explains, saying he has returned to scenes to continue to work on a painting while the light is at the same point in the day. &emsp;Bean's family moved from New England to California when he was young. He grew up in Pasadena, where his passion for art was born. &emsp;After he married, he was admiring paintings in a gallery, and told his wife, "Man, I'd love to do that." This prompted her to get him a set of oil paints. &emsp;He began to paint, read about painting, and experiment with mediums such as acrylics and oils. A 10-day workshop in Jackson, Wyoming, near the Tetons Mountains introduced Bean to different methods that required him to make adjustments. &emsp;"I had a certain way of doing things. I wanted to learn more, but it was hard to get rid of the old habits," he says. &emsp;A technical job brought Bean and his family to Alaska, where he found an opportunity to study watercolor painting with Michigan artist Nita Engle. &emsp;"She was a tremendous teacher. I really enjoyed watercolors and learning some of the techniques she taught," he says. &emsp;Alaska's rugged wilderness developed his appreciation for new painting challenges. Bean says he learned a lot about knife painting from Carroll Forseth in Anchorage. &emsp;A return to New England in 1986 followed his Alaska years. He now paints full-time and participates in multiple exhibits and shows, some with demonstrations and many in this region. &emsp;"I do a lot of mixing of my own colors. I try to figure out how past painters, like Rembrandt, got their tones," Bean shares, regarding his process. &emsp;He studies artists like Swedish painter Anders Zorn, known for his limited palette of four colors. &emsp;&emsp; &emsp;"You're always learning. That's what I love about it — there's so much to learn and see, you never run out," says Bean. &emsp;See more of Phil Bean's work in the Farm Directory section of this issue, and visit his website philbeanfineart.com.