"Who's Studying Who"; 8x10; oil on panelSOLD
"Around The Corner"; 10x12; oil on panelSOLD
Monday, March 12, 2012
More studies.....
"Who's Studying Who"; 8x10; oil on panelSOLD
"Around The Corner"; 10x12; oil on panelSOLD
Saturday, March 10, 2012
Time flies....
I can't believe it's March already.....summer is coming way too fast for those of us in the Southwest Sun Belt....100 degree days are on the horizon.
A quick update is in order....I was very honored to find that my piece, "Midway," won third place in the annual juried exhibition at the Sedona Art Center
"Midway"; 12x24; oil on panel
A quick update is in order....I was very honored to find that my piece, "Midway," won third place in the annual juried exhibition at the Sedona Art Center
"Midway"; 12x24; oil on panelI was also very honored to hear that I was juried into membership in the Oil Painters of America...I will find out if any of my submissions made it into the OPA 2012 National Exhibition
Finally, some new pieces:
"Evening Cows"; 6x8; oil on board
Finally, some new pieces:
"Evening Cows"; 6x8; oil on board
"Valley Sentinels"; 10x12; oil on panel
Thursday, March 1, 2012
Wednesday, February 22, 2012
Sunday, February 19, 2012
Working through......
"Difference Of Opinion"; 12x12; oil on board50x50 update: 45 days; 60 paintings; next week I'll begin the selecting/editing process
Friday, February 17, 2012
Inscape III - Morning sequence....
Surprisingly, I've had a few people ask me about my painting process -- which actually cracks me up, because I rarely feel like I've got a handle on what I'm doing day to day, let alone describing it to others ---
Anyhoo...here we go...
This is the initial sketch I worked from; 8x10.....
First off I tone a 16x20 panel with a light wash of burnt sienna color; then a loose sketch to draw in the major elements; at this point I also a looking at spatial relationships in the drawing...often drawing lines around elements to see if I'm happy with the negative spaces as well.
Initially, I lay in the darks first as I have a tendency to lose my darks quite quickly. I work from a three-color palette -- Ultramarine Blue, Alizarin Crimson or Cad Red Medium, Cad Yellow Lemon, and Titanium White. Also at this point in my development it helps me think about working with the shadows. Working loose and thinly with a mixture of Ultramarine, Alizarin Crimson (my chosen red for this painting), and Cad Yellow Lemon.
Still looking at spatial relationships, I decide that another grove of trees helps balance the composition a bit and helps establish more of a feeling of distance by creating what I think of as a secondary middle ground.
Once I feel pretty good about the drawing and my placement of darks, I move to the sky and block in the color from a mixture of Ultramarine, Alizarin, White and portions of my left over dark mixture -- the foreground and water will also be derived from these colors in one proportion or another. I also go back to my trees and horizon lines to adjust edges, blend, and re-establish some darker shadows.
Completing the initial color pass, I lay in the middle value colors of the trees, foreground and reflections. Up to this point, everything has been done in one sitting, working wet-into-wet. I'm trying to pay particular attention to color harmony and edge relationships before letting the painting "set-up" for a bit.
After letting the piece sit overnight (if longer than overnight, I will often give the piece a very light coat of Liquin or Neo-Megilp to unify the colors and create a wet-into-wet feeling), I start to work in more local color on the trees and foreground, tighten up any details that I want to add in the center of interest, and generally make sure my value relationships are where I want them.
Anyhoo...here we go...
This is the initial sketch I worked from; 8x10.....
First off I tone a 16x20 panel with a light wash of burnt sienna color; then a loose sketch to draw in the major elements; at this point I also a looking at spatial relationships in the drawing...often drawing lines around elements to see if I'm happy with the negative spaces as well.
Initially, I lay in the darks first as I have a tendency to lose my darks quite quickly. I work from a three-color palette -- Ultramarine Blue, Alizarin Crimson or Cad Red Medium, Cad Yellow Lemon, and Titanium White. Also at this point in my development it helps me think about working with the shadows. Working loose and thinly with a mixture of Ultramarine, Alizarin Crimson (my chosen red for this painting), and Cad Yellow Lemon.
Still looking at spatial relationships, I decide that another grove of trees helps balance the composition a bit and helps establish more of a feeling of distance by creating what I think of as a secondary middle ground.
Once I feel pretty good about the drawing and my placement of darks, I move to the sky and block in the color from a mixture of Ultramarine, Alizarin, White and portions of my left over dark mixture -- the foreground and water will also be derived from these colors in one proportion or another. I also go back to my trees and horizon lines to adjust edges, blend, and re-establish some darker shadows.
Completing the initial color pass, I lay in the middle value colors of the trees, foreground and reflections. Up to this point, everything has been done in one sitting, working wet-into-wet. I'm trying to pay particular attention to color harmony and edge relationships before letting the painting "set-up" for a bit.
After letting the piece sit overnight (if longer than overnight, I will often give the piece a very light coat of Liquin or Neo-Megilp to unify the colors and create a wet-into-wet feeling), I start to work in more local color on the trees and foreground, tighten up any details that I want to add in the center of interest, and generally make sure my value relationships are where I want them.After this stage, I will set the painting aside and place it in a frame before going back over it for any final adjustments -- for me, this is now the hardest stage....
Inscape III - Morning; 16x20; oil on panel
Inscape III - Morning; 16x20; oil on panel
Wednesday, February 8, 2012
Tuesday, February 7, 2012
Tuesday, January 31, 2012
Creekside.....
"The Creek"; 8x10; oil on panel
I love returning to subject similar subject matter in different light...
Monday, January 30, 2012
Drawing, drawing, drawing....
"Prairie Valley"; 8x10; oil on panel
Still-life and landscape a day.....almost....unlike my landscapes, I prefer to let the underpainting on the still-lifes dry completely.....
Saturday, January 28, 2012
Thursday, January 26, 2012
Back at the easel....
"Call Me Irrigated"; 6x12; oil on board
Finished moving my studio....happy to be finally back painting....(Not even going to talk about Jan Brewer "pointing" at the President)
Thursday, January 19, 2012
Monday, January 16, 2012
Flirting with winter.....
"Early Snow"; 6x6; oil on board
Felt a bit more like winter today....Playing with Alizarin some more....
painting tally: 29...28 days
Friday, January 13, 2012
Alpine Spring....
"Sunlight"; 8x10; oil on panel
Eating out today for my wife's birthday, I asked about the seasonal ale selection. Shay (!) informed me that it was a Spring ale.........???? It is still January.....isn't it?Sam Adams Alpine Spring Ale -- pretty darn good any time of the year......oh.....and the glass the company advertises with the little laser-etched thingamabob on the bottom of the glass.....it actually works.......try it
Thursday, January 12, 2012
Wednesday, January 11, 2012
Holidays over....
"Three Over"; 6x12; oil on board
Okay....festivities over; national ho-hum championship over.....time to get back to work50x50 painting count update tomorrow
Thursday, January 5, 2012
Wednesday, January 4, 2012
The Blind Side.....
"The Blind Side"; 6x6; oil on board
Okay gang, I went two days without trumpeting this repeatedly....but I couldn't hold out any longer....... The Oregon Ducks are Rose Bowl Champions for the first time in 95 years!!!!
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