"Dusk" ©

For two days I have been working on this painting. The scene is outside my backdoor, beyond the neighbor that grows palm trees. The entire painting is about the glorious colors that are the grand finale of the day.

Oil on Canvas, 18" X 24"

"Trail Shadows II" ©

This is a scene I truly love. I am walking along the bridle path that winds it's way across the San Francisquito river bed. I painted it for one of the June shows, last month and really want to keep the painting. So, I painted it again but differently. This version is more detailed in the brush and I experimented with an lemon yellow under painting. Really fun and I enjoyed spending the day within the "Trail Shadows".

Oil on Canvas, 16" X 20"

"Palo Verde" ©

Plein Air (Open Air) painting is always a roller coaster ride. You don't know, for sure if you can pull off a decent painting. Sunday I took a group of SCV painters to the Gardens at the water treatment plant to paint out. There wasn't a soul around, probably because it was a holiday weekend and most folks were off water skiing and BBQ'ing. You could hear the humming birds zooming past your easel and the big black bees servicing this Palo Verde tree.

Oil on panel, 8" X 10"

"Silent Morning" ©

This painting was on my easel last week when I left for Catalina. Today I finished the piece, or at least came close. While I was painting I remembered standing at the edge of the road looking over the bushes at this pond. The clouds blanketed the earth, it was absolutely silent, until a bird called out, it's call drifting over the water.

Oil on Canvas, 16" X 20"

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"First Tee, Catalina" ©

One hour aboard the Catalina Express and you are on the "Enchanted Island" of Catalina. Last week the "Thursday Morning Irregulars" met in Avalon to paint together. During the weekdays the tiny town quietly wakes up under the morning marine layer. Shop keepers sweep up, benches are hosed off, getting ready for a new day. By 9:30, the sun gently grazes the mountain tops, robins egg blue, patches appear in the sky overhead. No, the horrible fire isn't apparent in downtown Avalon, yet it's the talk of the town. Signs on homes thanking the fire fighters still hang brightly. Romance smitten couples, young and old waltz down the boardwalk that hugs the bay. While painting you hear easy laughter, the clanking of the metal clips on sailboat masts and the ocean lapping onto land. Honestly, it felt as if I had traveled thousands of miles to a relaxing little village, where time slows way down and life is simply beautiful.

Oil on Panel, 9" X 12"

"May Afternoon" ©

This past weekend in the small "village" of Sierra Madre artists arrived from all over the country to show and sell fine art. One of the wishes of the event organizers was that the participating artists demonstrate their process. I broke out my easel on Saturday afternoon and started this little painting. The crowd was thick and sales were brisk, so this painting was "on hold" till today.

Oil on panel, 8" X 10"

"Golden Hills" ©

So typical of California, sandy riverbed, Coastal Oaks and golden hills. This year, rain failed to find us and the hills are gold now, instead of green. Wild fires are our biggest fear until November, when rain may fall once again.

Oil on Canvas, 16" X 20"

"Big Sky" ©

I need 5 more large paintings for the June shows and today I decided to paint in the clouds of the "Big Sky". Surely the morning light will show me more to tweak, as usual, but this is where the painting is at 10pm.

Oil on Canvas, 24" X 20"

"Sunlit Pampas Grass" ©

Those of you that know my work will think that you have seen this painting. I painted this piece today on a much larger canvas then my previous Pampas Grass (9" X 12"). The first painting was juried into the California Art Club, "Wild Things" exhibit for the next 6 months. The thought of giving the painting up was awful, so I came up with the idea of painting it again, better and bigger! I changed the composition and the direction your eye flows over the canvas in this painting. Probably because I just gave "birth", but it's my favorite now.

Oil on Canvas, 16" X 20"

on reserve for June shows

(Don't worry Janet, I have you covered)

"The Arroyo, Looking South" ©

The "Thursday Morning Irregulars" met today at a small park over looking the Pasadena Arroyo. Most painters chose the bridge as their subject. I was also looking at the bridge and turned around to set up my easel, and KaBam I saw this view. I instantly fell in love and went to work.

Oil on Panel, 11" X 14"

"Last Light IV" ©

Today, I came very close to finishing this painting. In this photo the darks are black which is untrue, in fact all the values are incorrect. It's after sunset and I put the painting in a frame, running all around the house testing the lighting in every room to photograph the painting in. Tomorrow I'll shoot it in daylight for you. Meanwhile, today I pushed and pulled every area of the painting, except the sandy foreground and sky. I was checking shapes, cool colors vs. warm colors and standing back to double check the over all painting, every few minutes. My goal was to have the viewer believe that the trees and bushes are back lit with the last light of the day.

Oil on canvas, 24" X 36"

"Last Light IV" Painting Process

This canvas is 24" X 36", a bit bigger then the usual daily paintings. I was able to paint with a huge brush, 1 1/2" wide Broad, and it was very exciting. This is a view that I pass everyday I leave my home, that must be why I keep painting it. This is the 4th version of "Last Light". So to begin with I just used thin washes to cover the entire canvas.

At this point I have paint everywhere! Little color notes dancing all over the piece. I am looking at large shapes, a bit of rhythm that will play with the painting is finished.

Now, I will begin with the sky, since I have to push the edges of the trees into it for the back lit effect. From the sky I worked right into the distant brush and trees, moving forward. Then I skipped over the middle section and painted the foreground. This set the values and gave me the range of color that will tie the painting together. I haven't touched the large trees on either side of the canvas.

It's difficult to photograph on my easel late in the day. I am working on the middle ground and decided on shapes within the brush.

I took the painting outside to photograph it just before dark. I have just started moving into the large trees. At this point I feel very good about leaving the painting till the morning. I know where each element is located, I know the values and shapes and I can dream about the painting and make decisions that will help me in the morning. Tomorrow I will "paint", carefully with smaller brushes pulling together the whole painting. I can hardly wait....

"Sage Brush" ©

Today I spent the day at the Montrose Artwalk, displaying my paintings. Part of the Artwalk is to demonstrate your process. This painting, "Sage Brush" was painted at the show. Thanks to everyone that came to say "Hello".

8" X 10", Oil on panel

"Moonstone Beach" ©

Finished? possibly. This is "Moonstone Beach" brought to a good point. Today I started back at the sky, looking at the shapes, connecting the dark and light clouds. Then I moved onto the distant mountains, giving them the suggestion of structure. Next, I popped into hills, just above the tree line, a peachy/blue color, tying into the cliff in the lower right. The tree line is really straight when you are standing on the cliff but for the paintings sake I gave it a bit of interest by varying the bottom edge. Then I tightened up the rest of the painting. One detail that I was delighted to have in the view, were the rocks leading from the cliffs to the water and also the wet sand from a creek leading from the cliffs to the sea. Both of these elements help bring the piece together. (This photo was shot in direct sunlight, out of doors) On to the next piece!

Oil on Canvas, 18" X 24" on reserve for June shows

"Moonstone Beach" painting process

This is the point that I stopped at this evening. The painting is moving along now and in the morning I will be able to make a decision on the cliff edge in the lower right hand corner. Right now it feels too dark almost strange. Also I really want to make sure that each section as the eye moves back in the painting is clearly defined. Tomorrow I hope to post the finished piece.

The yellow field in the mid section of the painting is distracting, even though it was really there on the cliff. I will try to push that towards the peach in the cliffs. The rocks on the shore leading from the cliff to the sea need to be planted and developed. The water needs action and the sky needs more of the colors of the rest of the piece.

All of the elements are defined and the entire canvas has paint "notes" covering it. Now the challenge is to bring harmony within the colors and address each and every area of the painting.

Starting with the sky and moving forward I am just covering the canvas with large masses of color.

This is the beginning of "Moonstone Beach". On the blank canvas I painted a loose sketch of the composition. At this point I moved the largest mountain peak so that it wasn't dead center on the canvas.

"Pacific Sunset" ©

I have heard that painting everyday, a painter improves, miss three days and the painters skill starts to decline. Working at the California Sculptors Symposium, the only tools in my hands were for carving stone and more then a week has passed since I had a paint brush in my hand. This evening I decided I should just move paint, enjoy the process and become reacquainted with the materials. Pacific Sunset is the result. Starting tomorrow I'll get back to the larger pieces for the June shows, shooting the painting process so you can join in with me.

Oil on Panel, 8" X 10"

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