"Summertime" and traveling with oils....

For this painting I experimented with Gamblin's Fastmatte oil paints.  I wanted to see how the paint would work, because I was considering taking Fast Matte paint on my trip to the Adrirondacks, since they dry fast.  Bringing wet paintings home on a plane is always a bit of a concern.   To get wet paintings home safely, I have figured out how to use little beads as spacers, placing the panels face to face and then taping the "bundle" together to prevent any movement.  Finally, taking the bundle and placing it in a plastic trash bag and taping the bag tightly around the bundle, works well.  

Here is a picture of how I pack my paint.  If you are flying with oil paint, NEVER call it paint when speaking with the TSA.  Use the words, "artist pigments", which is what they are.  I print out the MSDS's from each manufacture and place that with a letter to TSA explaining that I am an artist and place these clearly visible on top of my packed suit case.  So far the TSA agents have never removed any of my pigments or gear.  

Each tube is wrapped in plastic kitchen wrap and then wrapped in bubble pack.  This way the sharp tube corners won't bite into any of the other tubes.  Finally, I place all of the tubes in a zip lock bag for extra protection.  There is nothing more frustrating then squeezing a tube of paint in the field and having paint sneak out of a hole in the tube, into your hand.  If a tube or cap does happen to leak, at least the paint will be contained by the plastic wrap. 

"High Country Gold" © #landscapeoilpainting #pinetrees #wambsgans

This spot is one of those hidden gems you find hiking along the trail.  Not a soul around,  just a few birds bidding the day goodbye, tiny flying wings skimming the surface of the creek and an occasional ripple from the trout cruising for dinner.  

16" X 20", oil on linen

"Lazy River" ©

Last minute I jumped into this painting hoping to get it done by midnight to enter in the CAC Waterscapes exhibit.  Once a painting buddy, Rod Edwards, told me that "green" paintings were the hardest of all.  The difficulty was pulling off the different values and temperatures with only the greens. Years later, Scott Christensen explained to me that you can't have a green tree without "reds" within the greens.  Boy, did he nail that one.  So to begin this piece I started out with a Rembrandt Transparent Red Oxide wash, leaving bits here and there within the distant trees.  It's a great tool to give the viewer the illusion that they are seeing into the forest and provided that "red" bounce for the greens.  

Oil on Canvas,  16" X 20"

"Deep in the Arroyo" ©

In Pasadena there is a natural arroyo and stream that runs year round. Even though you're in the city, once deep down in the arroyo it feels as though you have been transported to a distant wilderness. Horse and hiking trails lace their way between the trees, small animals slip into the brush as you pass and all the while you can hear the distant call of birds.

Oil on Canvas, 30" X 20"

"Morning Stream"

After being gone all weekend, exhibiting in Pasadena it felt great to be back at the easel today. Thank you to everyone that stopped by and visited the show, I so appreciate your time and purchases. This is a scene in the Teton Valley about a mile from my cabin last summer. I have wanted to explore painting the view since the morning that I saw it. It's typical of the valley, a meandering stream, lined with tall cottonwoods.

Oil on panel, 8" X 10"

"Deep in the Arroyo" ©

It's been a while since I posted a painting in process. I thought this painting would be a good example. The last image is the beginning of the piece, where all the major decisions happen. The middle image shows blocked in color shapes. The view is under the 134 freeway, in the Arroyo, with the Colorado Street bridge behind me.

Oil on Canvas, 30" X 24"

Adding large areas of color, following the established pattern of the under painting. I am constantly adjusting and looking in the large mirror behind me to make sure all elements are visible and working.

Beginning the painting I used a wash of burnt sienna to establish patterns and values. I know that the whole painting is about the beautiful light on the sunlit trees, rocks and stream. By painting this wash I can guarantee success telling my story.

"Heritage Valley Creek" ©

When nature provides a scene like this you really can't miss, just hand her the brush and stand back.

Oil on canvas, 16" X 20"

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"Cold Creek" ©

The morning sun is just grazing the cold creek at the start of a new day.

Oil on Linen, 16" X 20"

"Big Sur Creek" ©

The painting of Laguna 2 posts ago just never pulled together. So tonight like a bad child I grabbed the panel and painted this scene right over it! Oh it was fun to see that painting just disappear, never to see the light of day again. I'll admit I am painting seriously for a couple of shows, they are bigger works and not blog-able yet. Going nuts for a bit was a nice break.

Oil on (used) panel, 9" X 12"