Sunday, August 31, 2014
Sunday, July 20, 2014
Every child is an artist. The problem is how to remain an artist once we grow up.
"Paint Your Dreams" (12 x 12 inch oil on gallery wrapped canvas) is my submission to The Second Floor Studios Art Invitational. Artists were given three different photos of the same subject to choose from:
Tuesday, April 22, 2014
Thursday, March 6, 2014
Saturday, March 1, 2014
Thursday, December 12, 2013
He's currently hanging in Abend Gallery's Holiday Miniature Show in Denver. If you can't make it up there in person, call the gallery to purchase him. Just mention my name, and the title of the painting.
Tuesday, December 10, 2013
Thursday, December 5, 2013
Wednesday, December 4, 2013
Tuesday, December 3, 2013
Monday, October 28, 2013
Tuesday, October 8, 2013
I did have two other photos, but Chip's color was washed out by the camera flash. They seemed to indicate that there was a lot of tan in his coat, but I asked some questions to make sure that was the case.
The finished painting would be 6 x 6 inches. You can see that I first toned my canvas with orange and then did the drawing, putting in most of my values as I drew.
Then, I began to paint.....
Wednesday, August 14, 2013
Tuesday, July 23, 2013
Monday, July 15, 2013
Thursday, July 11, 2013
Sunday, July 7, 2013
Saturday, July 6, 2013
Tuesday, July 2, 2013
This sunflower was painted entirely with a palette knife and I've decided that is my favorite method of painting these flowers. The strokes give the petals such energy and expression.
Monday, June 24, 2013
Wednesday, June 19, 2013
Sunday, June 16, 2013
Painting outdoors is my most pleasurable activity. I love being out in warm weather enjoying the sites, smells and sounds of nature. Painting "plein air" is challenging. The light changes quickly, and in this case, my model didn't stay still very long. I consider my plein air pieces to be studies of light and color to take back to the studio, along with a photograph of the scene, with the possibility of creating from it. But occasionally (and in this case) I'm happy with the painting as it is. If I repainted it, I'm sure I'd lose the looseness and immediacy of the piece. My strategy here was pretty simple: get my model in before she moved and then paint the scene around her. She happens to be "Patches," Rock Ledge Ranch's resident jersey. It was a perfect morning of painting in the company of some favorite artist friends.
Tuesday, June 11, 2013
With this painting, I focused on creating a very simplified interpretation of the vase and flowers. When I painted it about one year ago, it didn't turn out at all like I had wanted and I tossed it into my "reject pile." Last week, I was cleaning up in my studio and ran across it. My first reaction was "Where did I get this great painting?" It wasn't until I looked at the signature that I remembered painting it. When I judged the work on its own merit, versus what I had wanted it to look like, I realized that it worked very well. Lesson learned: don't scrape off every painting that doesn't please me. I need to put it in my reject pile and look at it again down the road.
Tuesday, June 4, 2013
The Edgar Payne exhibit blew my socks off! I found the Eucalypti painting and was stunned to see that none of the values (lights and darks) in the painting were as dark as those in the photo from which I was working. The darkest foreground trees were no darker than the tree on the left that you see below. I took six pages of notes such as: "the trees are entirely blue green with only a small amount of yellow greens where the light hits," "dark warm brown underpainting for the trees and ground, even under the lightest values," "paint is as thick in the sky and background as it is in the foreground," "the grass green is the awful yellowy pea green that is popular in women's clothing right now." Anything that would give me total recall of what I'd seen!
Sunday, June 2, 2013
After drawing it, I could see that my shapes were "off." I took a photo of my canvas, and then drew on it in Photoshop to make corrections.
Then, it was time to start painting! I had done some research online to learn what colors Edgar generally used on his palette. Most of them are the basics that most artists use, but there was one that I wasn't familiar with, Van Dyke Brown, and one that I didn't want to run out and buy (Hooker's Green), so I did some research to figure out how to mix those colors using paint that I already had in the studio. After that, I read that Payne made grays that he mixed in with all his colors and that the grays consisted of different proportions of Ultramarine Blue and Indian Red, with a little Cadmium Yellow added.
With everything laid out on my palette, I started by blocking in the shapes with the colors and values that I saw peeking out from the paint strokes applied over them. I discovered that I wasn't able to really see Edgar's brushwork in the photo I was working from, so I was kind of on my own with the sky. I just did the best I could to get the colors, values and cloud shapes correct.
It was at this point that I was able to see the original painting, and came back from Tulsa with all kinds of information that I needed. I'll start with that in my next post.
If you attended the April Art Walk, you may have seen the painting in my studio at just about this stage. I'll have the completed piece on display at my next open studio, Friday June 7th, from 5 to 8 pm.