Enjoy an interview with western portrait and landscape painter Frank Ordaz, who has created work for Lucasfilm, including “Return of the Jedi,” “ET,” and other award-winning films. After a successful run as an illustrator culminating with working with the White House, Frank started his Studio/Gallery in Auburn. Frank is a Signature Artist of the California Art Club and on its Board of Directors, and is on the faculty of the 2025 Plein Air Convention and Expo (PACE).
In this exclusive interview, he shares insights on plein air painting, portraiture, and more.
Cherie Dawn Haas: You’ve said that attention to detail is critical. What are some ways that you apply this to your work?
Frank Ordaz: This is actually a long conversation. What I mean by attention to detail is identifying the elements of my subject that contribute to and enhance the spirit and mood of the painting. I do not mean slavishly painting everything you see with your eyeballs. That is mere copying. For paintings with figures, the subject’s age, clothes, surroundings, attitude, and the time of day are important considerations before paint is even applied. What will I choose for the background? What will be the ratio between the figure and the foreground and background? Will I show the whole figure or just enough to get their personality across?
When I worked in the movie business, set designers only added props that would subliminally tell the audience about the character. Which books were on a shelf would signal their tastes. What music they listened to would tell you lots about their character and social behavior. So, in short, I am looking to tell a story. Even the choice of canvas size is important. I believe it was Michelangelo who said, “Trifles make perfection, and perfection is no trifle.” I can only hope and aspire to make great Art.
You’ve also published a book titled “The Land Iconic.” It’s interesting to me that you view our lands in this way, and you’ve also worked on many iconic “fantasy” landscapes for the movie industry. Can you tell us if or how you see a connection?
When I paint landscapes, my idea is to paint a location that says something about the spirit of that place. I am not interested in painting just a scene with trees and a lake and a barn. I am always asking myself what view and composition best describe this environment that also has universal appeal.
Again, my time at Lucasfilm has had an influence on how I perceive the land. Most “matte painting” landscapes are used as “establishing shots.” The purpose is to visually describe the environment where the characters will perform to inform a storyline. Attention to elements that quickly give the mood and feel is key.
Whether I paint the Grand Canyon or the concrete bridge in the American Canyon, I am looking to convey: This is so important and beautiful that you should at some point come and experience this for yourself. I love painting, but my aim is to direct the viewer to the actual thing presented in the painting. I want them to smell the pine and sense the space and light and get their clothes dirty!
The people of the southwest have been a great influence on your portraiture. For painters working on their craft, what’s your advice for capturing the essence of a person or culture in a portrait? (please include a New Mexico / southwest portrait)
Capturing the character of the person you paint is probably what truly makes a painting significant. My mother was raised in New Mexico and we visited her relatives there all the time when we were growing up. I remember seeing Navajos walking down by my grandpa’s ranch (he spoke Navajo!).
Part of painting portraits is respecting and honoring the person being depicted. I want their story to come through in every stroke of my brushwork. All to say, it takes years of practice and dedication to the craft of not only painting a face but also being sensitive to Native dress and regalia. Frankly, if you really care about the person you are painting, it will show in how you handle the lighting, pose, and attitude.
We’re excited to have you at the Plein Air Convention this year. Why do you paint on location, and what can people expect when they come to your demo at PACE?
I frankly paint on location to study and capture the light. I studied with a portrait and landscape master when I was a teenager. I was trained to go outside, to get out of the studio and paint the light during all times of the day. The camera can capture only certain lighting conditions and so, with many years of painting, you gain a sensitivity to what “looks natural.” Only by painting outdoors can you learn about reflected light; it does not always come across in a photo.
Since we’ll be at Lake Tahoe this year for PACE, what’s your advice for artists visiting the area for the first time to paint en plein air?
I have plein air painted at Lake Tahoe over many years. The weather can get really windy and change dramatically. Be prepared and bring suitable clothing. Try not to take in too much when you start. I hate being frustrated and I’m sure that feeling is universal, so start out by painting just a few elements. I will be out in the field to help and guide the attendees.
What’s the most common advice you give to artists in your workshops?
- Have a teachable spirit. Don’t be afraid to make a mistake – it’s only paint.
- Most students are very timid about getting the darks in the right value: Values are key.
- Separate your lights from your darks. What is the temperature of the light?
- Have the shadows be consistent. When painting outdoors, don’t keep shifting those shadows. Anticipate where they will be and don’t overcorrect.
- You will hear and see how many pros approach the subject matter. They will all be different. Try at least some of these techniques when out in the field.
- And finally: Have fun!
Learn more about Frank Ordaz at www.ordazart.com.
And register here for the 2025 Plein Air Convention and Expo.
