"Eucalyptus in Cambria" and don't do what I did....

Oil on Canvas, 16" X 20"

After painting oceans for a week it was a pleasure to paint dance in the eucalyptus trees of Cambria California.  Now for the bad news and a lesson to pass on.  I painted a nice little study of a wave with the master Ruo Li.  He had requested a long canvas which I didn't have so making "do" I took some linen and taped it to a panel with black tape.  So far so good.  Then at the end of the day I slide the wet painting into my new Raymar wet panel carrier facing the back because I had a bunch of other panels flopping in the front sections.  For those who are unaware of Raymar's wet panel carriers, they are light weight and have inserts down the sides to accommodate different panel sizes.  

Upon arriving home I slide the painting out of the carrier, only to find the corrugated walls of the carrier left nice straight lines across the painting.  It was my fault completely, since my taping job wasn't tight enough to keep the linen tight to the panel.  Even so, I was very disappointed.

Here is the painting on my studio easel with it's lines.  I took a soft brush and tried to obliterate the lines.  Later on I may try to save the piece.

Here is the panel carrier.  Again it wasn't the fault of the carrier, I have them in all sizes and have used them for years without a problem.  

"Wild Surf" ©

Today I had the pleasure of watching Ruo Li painting a seascape at the Keystone art center.  He talked a lot about the process of painting and what he felt was important for artists today.  Interestingly he suggested that every artist should know how to use photoshop and be able to manipulate images to paint.  I came home from the day inspired and even though the paintings and show stuff from last weekends show in Thousand Oaks is still not put away completely, I painted.

Oil on canvas,  11" X 14"

"LA River, Atwater River Walk" ©

Joe Linton has written a great guide to the Los Angeles River with access points, history and maps for bike rides and walks.  This painting was painted where Sunnynook ends at the river.  Hard to believe such a peaceful spot exists just yards from the 5 freeway.  While painting I listened to the distant freeway noises, as families of ducks floated down river, fishermen passed by poles in hand and several people walking dogs and pushing strollers pounded down the trail.  If you are interested in the Los Angeles River check out the group, FoLAR, Friends of the Los Angeles River. FoLAR Website

Oil on linen,  11" X 14"

*On another note, I will be showing a booth full of paintings at the 10th Thousand Oaks Arts Festival this weekend, 10am - 5pm Sat. & Sun.,  2100 Thousand Oaks Blvd., My booth number is 39.  The event and parking are free.  Come on by and say Hi..... 

"Morning in the Canyon" ©

Elsmere Canyon was slated to become a landfill for the San Fernando Valley.  Our city council members and community activist fought long and hard to keep the canyon pristine.  They won and now the canyon is a designated open space, protected forever.  Next month I'll be showing in Pasadena at an event that celebrates the Craftsman lifestyle and this piece may find a home.  

Oil on Canvas,  20" X 30"

"Cruising" ©

It's been a while since I took the time to paint some feathers and I sure enjoyed all the hues of white.  This painting was an experiment.  I have painted several ducks over the years but never on a canvas primed in copper paint.  At first the paint did move as I was use too but once I got the surface covered it went well.  I think the copper base allowed the glow within the feathers to really have a nice affect.  

Oil on canvas,  11" X 14"

"Mailbu Canyon" ©

When I started this blog 7 years ago and I saw paintings that I thought were finished on the computer screen I would see glaring portions that I had failed to address.  Usually I had things all lined up in a neat row or the values so close that shapes were not clearly defined or a very strong angle screaming for the viewer to "look here", all very wrong for my style of painting.  After posting on the blog I would then "fix" these issues and move on to start the next painting.  

For the first time I posted this painting on Facebook before the blog and again I saw many little things that needed tweaking.  I hope this helps other artists when critiquing your own paintings.  So often we paint in the vacuum of our own studios without another set of eyes to look at a painting and a viewer to offer helpful suggestions for improvement.  Try photographing the painting and looking at it on your computer monitor in a small size.  You might be surprised at the different perspective the computer screen provides.  

Oil on Canvas,  20" X 24"

"Quick Draw, Paint the Lakes 2013" ©

Here is my "Quick Draw" Painting from last weekend at the Paint the Lake 2013, plein air competition. During the quick draw the artists had 2 hours to complete their painting and turn it in.  I had picked this spot to paint out when I visited Lake Arrowhead with my Mom a few weeks before the actual event.  She can paint anything and loved the little boats and red roofed buildings, complete with a clock tower.  If she had painted in the event that would have been her subject which she could paint behind her back.  On the other hand, I am a landscape painter and am much more comfortable with nature.  So I chose the scene you see below.  In the early morning the light catches the little strip of sand brilliantly and that was my focus.  It worked!  The judge Helga Batman-Koplin awarded my painting First Place and Best Use of Color.

"Lake Gregory", Paint the Lake 2013 Plein Air....

Painting on the shore of Lake Gregory the sun was shining, then clouds blew in and finally rain patted on the water.  This was my first painting and standing there I was relishing the cool mountain air while getting adjusted to the variety of surrounding greens.   Last weekend I was one of the artists painting the lakes in the area for the Mountain Arts Network event "Paint the Lake 2013".  My number was 48, so I guess there were at least 48 of us with a possibility of a few more "w, x, y & z's".  The event was so well run and organized I would recommend it.  On top of the normal stuff everyone was so friendly and the painting locations gorgeous, it just can't get much better.  

I had to pick one painting to enter for judging by Karl Dempwolf, California Art Club Signature Member.  Of the four paintings I completed, these two were my favorites and I had to pick one to submit to the gallery.  Thank goodness for email and here is why.  I was able to send the image to Cassie, my daughter and tough critique and let her pick which one to enter.  I still wasn't sure and headed to the gallery with both paintings under my arm to decide last minute and I ran into Harry Flock the frame dealer.  Harry is an old acquaintance and was willing to get me his advice and he picked the same one.  So I went with the majority vote and I am glad I did because it won 2nd Honorable Mention.   All of the paintings are on exhibit and available for purchase at the Mountain Arts Network Gallery in Lake Arrowhead until September 15th.

"Lake Gregory",  11" X 14"

"Janet's Boat" ©

What could be better then a day of art making at a friends house?  My buddy Janet make a Greek dessert platter, fashioned from a description in a book she is reading about the building of the ancient aqueducts of Europe, for all of us to dip into now and again.  Having just returned from a trip Janet shared a photo she had taken of a little boat listing on the beach in Scotland and allowed me to paint a little painting of the scene.  I'll fiddle with it a bit then she can have it for her collection.  A nice way to end a perfect day.  

Oil on linen, 8" X 10"

"Estuary of Carmel" ©

Twice I have stood on the sandy beach beside the spot where the Carmel River greets the ocean painting as the sun sank behind me into the Pacific Ocean capturing this view.  It's a tough scene with all the rocks and shifts and yet so very inviting I can't help but try to get it down on canvas.  I used the little plein air pieces to work out this larger canvas.  Those little babies are worth their weight in gold.  One time I was told to never sell the plein air pieces because of all the information they contain and I understand the thinking better now then ever.  Meanwhile I am preparing for a trip to Lake Arrowhead to paint in the event "Paint the Lakes" starting Thursday morning.  I can't wait to meet the other artists and explore the 3 lakes we are allowed to paint.  

Oil on Linen,  18" X 24"

"Art Alfresco and El Matador Beach" ©

Today was the monthly California Art Club paint out, hosted by George Malone.  George picked El Matador beach for our gathering spot and the day couldn't have been more perfect.  With most children back in school the parking lot and beach had plenty of room.  So you don't think I paint with sun on my palette and shade on the painting you should know I turned my easel for the photograph, since I had my back to the sandstone cliff as I couldn't get back far enough for you to see the whole spot from where I was actually painting.  One thing I learned today is not to set up so close to the cliff as the wind blew sand off the cliff onto my painting.  It's covered in sand and the paint as some chunks floating on the surface.  The other thing I learned today is Gamblin's new warm white is a luscious and good replacement for Titanium white when painting outside.  I can't wait to try their other newly introduced colors.

What grabbed my attention was the lone big rock lit from above with the shadowed bigger rock behind it adding to the drama of the scene.  

Oil on panel, 9" X 12"

Last weekend I showed paintings at the Ventura Museum for their event "Art Alfresco".  Below you can see my booth set up, before they opened the doors to the public.  I was able to meet several new art lovers and collectors and the weekend was a success for everyone.  I'll be back in two years for the next event.  If you are ever in Ventura looking for a dinner spot, try out Sushi Marina.  The service and food couldn't have been better.  

"Elsmere Sentry" ©

There is a moment at sunset, when everything turns brilliant orange and lavender above the park and ride at the Elsmere Canyon entrance.  I have wanted to try to catch that moment in time and finally took a break today from framing and packing for a show tomorrow in Ventura to give it a go.  If you are in the area of Ventura on Saturday I am showing 25 paintings at the Ventura Museums event, "Art Alfresco" from 12noon to 5pm.  Anyone is welcome to come from 12 noon - 2pm there are tickets available that include lunch and museum admission.  From 2pm - 5pm there are $5.00 tickets for admission.  If you come please say HI!

Oil on Canvas, 12" X 12"

"Summer Evening" ©

Hard to believe this spot is behind the Jack In The Box restaurant in Lebec but you can see it while you munch on a burger, right off the 5 freeway.  

Oil on Canvas,  24" X 30"

"Point Dume" ©

Point Dume is one of the many beautiful beaches in the Malibu area with long stretches of white sand  rimmed by majestic cliffs welcoming long walks alone or a day at the beach with friends and family. 

Oil on linen, 11" X 14" 

"Rocky Mountain Retreat" ©

Last month driving to Leadville Colorado in the Rocky Mountains we came across this view.  The spot seemed so perfectly peaceful, accented by a few squirrels and birds I knew I wanted to paint it.  It has been a while since I posted my process and so with this painting I took a few shots as I went along.  You can enjoy my struggle, along with me.  

The canvas size is 18" x 24".  At this point I am just locating the various elements and deciding on value patterns and placement.  I prefer to work on a white canvas so that any of the lighter values are as clean and bright as possible, allowing the canvas to contribute to the success of the piece in the end.  The paint is very thin and I am using mostly transparent paint.  Rembrandt and Gamblin manufacture my favorite transparent oil colors.

At this point I have paint all over the canvas.  I have located my darks and lights and decided that the main focal area will be the sandy beach and the secondary focal area will be the distant mountain, bouncing the viewer between the two with little side trips into the trees.  

Now that the canvas is covered and I have all the different elements figured out I need to start really finessing the paint quality and placement.  What I am going after is a variety of brushwork, edges and areas of the painting making sure that every move supports the main idea and that particular element that I am painting.  I had difficulty painting under studio lights so I painted the rest of the painting outside in natural light.  That is something that might be helpful to artists, take your painting outside and look at it, up close and from 20 feet away.  Critiquing is much easier and you will spot issues that had eluded you inside.  Another reason plein air painting is so wonderful.  

Here is the finished painting.  After the paint sets up a bit I'll go in and tighten some edges and make changes in anything that calls out to me.  Another advantage of oil paint is the ease in which you can alter the painting whenever you chose.  

"Palm Tree Trio" ©

While I was painting this one, a comment made was that the palm trees were "scruffy".  Looking around at all the palm trees I thought they all look a bit scruffy this dry hot summer.  I did add a little more to the fronds for the paintings sake.  One of the many advantages of painting, just putting down what we wish to see in the end.   

Oil on Linen,  16" X 12"

"Calm Waters" ©

The whole idea of this painting was to suggest calm water flowing gently around the bend.  I had painted this scene before not knowing how to handle a some of the passages, this time the piece is better.  

Oil on linen,  16" X 20"

"Coastal Cypress" ©

The Museum of Ventura County is planning their 3rd bi-annual "Art Alfresco" fundraising event on Saturday August 17th.  I was invited to exhibit my artwork for sale, so all of the construction work on the home front will have to wait a bit, while I paint new work for the show.  Looking at my collection of available paintings I decided a few more coastal/water scenes would compliment the group for the event.  

Oil on linen,  16" X 20"

"Coastal Cliffs" ©

Home from Colorado it was nice to get back to the ocean.  Next month I'll be exhibiting at the Ventura Museum and thought a few ocean scenes would be nice for the show.  

Oil on Linen,  16" X 20"

"Sunrise on the Rio Grande" ©

The Rio Grande works it's way south though Alamosa Colorado heading for the gulf of Mexico.  If I lived in Alamosa I would be on the banks painting often.  Only in town for a few days it was a race to get a feel for the area.  One morning this was the view as the sun was rising over the LaVeta pass.

Oil on canvas,  14" X 18"

"Navajo Land" ©

Headed from Durango Colorado to Canyon de Chelly Arizona we crossed into the Navajo reservation.  These rocks were a common sight along the highway.  I loved watching the light change, the weird shaped rocks and distant mesas.  This little 9" X 12" painting will never be a studio piece but I had good time figuring out how to create the illusion of separation between the formations.  The Navajo land is open range, so we had to keep an eye out for cattle on the road.  Here is a little photo so you get the idea....looks like she is trying to hide behind the sign.

"Summer Waters" ©

The Rio Grande river is still flowing, even though our country is so very dry.  This was the scene early in the July morning headed from Monte Vista to Center Colorado on the San Luis & Rio Grande Railroad.  

Oil on Linen,  12" X 16"

"Alamosa Sunrise" ©

Walking out the back door of the Comfort Inn in Alamosa Colorado last week, this sunrise view greeted us.  One of the other travelers giggled and said "hey, that looks like a painting", I grinned back with a "OH YEAH".  

Oil on Linen,  16" X 20"

Cleaning out the studio...

Just before leaving on a 2 week adventure from Ely Nevada to Canyon de Chelly Arizona, I decided to figure out what canvases warrant studio space and which canvases need to be "recycled".  I have talked to many artist buddies about how to not get buried in paintings that you really aren't comfortable showing or selling.  Artist Kathryn Stats suggested using her favorite tool, the palm sander to to sand off the brush stokes of old paintings.  This works well for me, since part of my painting process includes having the brush work follow for form of whatever I am painting, whether I am painting a mountain range or tree.  

Here is the collection of canvases that I found that could be sanded and used again.  Most are older or experiments that I learned from but would never show to another person.  

Out on the patio I have a table set up, ready for sanding cavases.

All the brush work is gone off of this panel, yet you can see a "ghost" image of the original painting.  

Next step is using a foam brush from Home Depot I use to spread and cover the panel in Gamblin ground.  

This is the can of Gamblin ground.  Painting on this ground is lovely, very simular to an oil primed canvas.

Here are 5 supports (canvas and panels), drying and almost ready to be new paintings.  I am home now and will start posting the paintings of my adventures.  

"Sunset at Deception Pass" ©

Last September drifting along the shores of Whidbey Island I found people sitting and watching this sunset at Deception Pass park.  I joined in and with not enough time to capture it in paint took a few photos with the idea to paint the view one day.  Since our home is "in construction", actually destruction came first, now we are in the remolding stage and it's coming along, painting views that have haunted me is the perfect escape.  

Oil on linen,  14" X 11"

"Telegraph Road Ranch" ©

Until the proposed housing development reaches the Ventura Country line this little ranch is safe, just as it has been for the last 80 years.  

Oil on Canvas,  11" X 14"

"Rocky Canyon" ©

What captured my attention with this view was the idea of a pool of water, too small to make it over the cliff down the falls.  At first I thought it would be great fun to paint the rocks but without being able to paint alla prima as usual, it's much more difficult to keep my place.  I should explain a bit, we are under construction and my easel is about 20 feet from the main work.  The otters I wrote about previously were much less of a distraction.  Too bad they can't lay tile.  

Oil on canvas,  18" X 24"

"Kelp and Cliffs, Whalers Cove" ©

I never knew how LOUD otters could be until I painted this painting.  Three otters were floating, slithering over and around each other and eating for the couple of hours I spent painting this one.  Floating and slithering they were pretty quiet, eating on the other hand is a very noisy activity.  One little guy was slapping his catch on another object with relentless patience.   While another little guy was eating what looked like kelp but sounded like raw carrots, for hours.  You can't help but watch their antics and smile.  They moved with such grace and ease though the water no wonder everyone enjoyed the otter show at Whalers Cove.

Oil on Linen, plein air, 9" X 12"

"Sand Shadows" ©

As painters we get pretty comfortable painting what is around us, for me that would be oak trees, dry riverbeds, dusty trails and sycamores.  Sand dunes are not something I have the chance to paint regularly and they are a challenge.  I will take this little "idea" of a painting for a larger piece and move the ice plant decorated dunes so that I can really make the sunlit sand sing.   My family makes fun of me moving trees, mountains and rivers and I have to remind them that my job is to create a peaceful painting, editing nature just a bit.

Oil on canvas,  11" X 14"

"San Antonio Pump House" © Brackenridge Park

Last month while I was hunting painting spots in San Antonio I ran across this pump house in Brackenridge Park.  It was built in 1878, which explained the collapsing roof, in response to a decade of folks suffering from Typhoid fever and Malaria.  The Pump House supplied San Antonio with the first clean running water and reliable source for fire fighting.  It's the second oldest industrial building standing in the city, now abandoned and overgrown with vines.    

Oil on linen,  8" X 10"

"Harbor Night" ©

A while back I traveled to the northern coast of Maine to paint the pink granite cliffs and emerald ocean.  While there I photographed this image, with the idea that someday it might make a painting.  Just for fun today I gave it a whirl and had a good time while the wind is howling outside.

Oil on Linen,  8" X 10" 

"Honey Trail" ©

Just around the bend are piles of white bee boxes, filled with busy bees.  Santa Clarita, my town, has just opened this area as a new open space for everyone to hike.  I have been painting here for years, under the radar so to speak.  Fortunately no one has ever shooed me out, unlike the Newhall Land and Farm property on the 126.  Oh, yes, caught by helicopter painting on the side of the road with Lorelle Miller.  The guy wouldn't even let us finish our paintings.

Oil on Canvas,  18" X 14"

"Evening Glow" © Garland Park, Carmel Valley

Garland Park is the perfect place to paint near Carmel when the coastal fog is thick as cotton.  The park is only 8 miles from the ocean, covered in trails, dotted with ancient trees and clear skies.  The Carmel River flows year round along the edge of the park, headed to the ocean.  I talked to a ranger about the safety of painting alone and he told me it was perfectly safe in the park.  You wouldn't think that painting alone could be a problem but I have had a few of close calls, one mountain lion, the others human.  When I am involved painting a space ship could land next to me and I wouldn't notice.  Well, maybe but you get the idea. 

Oil on Linen,  16" X 20"