"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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California Sculptors Symposium

This blog is having to stretch and bend with my artistic activities, especially the next couple of months. Besides painting for 2 huge shows, I have 3 upcoming absences, where getting online will be impossible.

The first is starting now. Some of you know I have been a professional sculptor in stone for over 20 years. Over the next 8 days I will be an instructor at the California Sculptors Symposium in Cambria, California. I will take my painting gear, for any possible chance to paint, but during the last three years I haven't had a spare minute during the symposiums. With 40 plus carvers seeking advice and giving daily lessons, time flies.

This photograph is of a sculpture that I carved in Italian marble. The title is "Italian Twist".

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"Trail Shadows" ©

Trail Shadows, completed. If you look at the previous post, you will see the birth and process of this painting. The colors of the sandy riverbed and shadow on the trail are what captivated me when I first saw this scene.

Oil on Canvas, 16" X 20"

on reserve for Segil Fine Art exhibit "California" or "By The Artists' Hand" exhibit in June.

"Trail Shadows" © O/C 16" X 20"

On top of all the darks of the trees and brush I have added the mid values and some lights. Now I will really start to pay attention, looking at edges, patterns and brush work.

I will have to shoot this for you in the morning outside because my work lamp is creating shine and misleading lighting on the painting. The painting is very close to being finished. A few twigs to indicate structure in the bushes that are placed in the foreground and a final check on all the other elements and that should do it.

"Trail Shadows" ©

Over the next couple of months I must paint large paintings for 2 very important shows. One is a four women exhibit "By The Artists' Hand III", in Valencia, CA. and the other is a 2 woman show at Segil Fine Art Source, in Monrovia, CA. In order to keep the blog lively and somewhat interesting I will post the progress of these large paintings. The first one, is titled "Trail Shadows" after the small blog that acted as the model for this piece. Enjoy!

This is the very beginning of every painting. A quick line sketch of the composition. I am placing every element carefully and planning patterns of light and dark within the composition.

Because of the mountain range I painted the sky first so that I could melt the mountain edge into the sky paint with a soft edge. This gives the mountains a feeling of distance, rather then a cut out appearance.

Now I have added all of the dark areas of the mountain range. Leaving white canvas so that the sunlit areas will really glow.

The orginial blog painting can be seen, sitting on the mast above my painting. I have added the sunlight on the mountain peaks.

Working on the mid section to foreground I am painting all of the darkest values. At this point I am studying the patterns that the darks make and adjusting these shapes here and there, until I have pleasing forms. Notice that the darks on the left are very cool, while the darks on the right (sunlit side) are very warm.

"Spring Blooms" ©

Today a small band of painters traveled to Descanso gardens. This is my mornings effort. It was very lovely, till about 12noon, then the clouds blew in, wiping out all sense of light.

Oil on panel, 8" X 10"

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"Sunlit Palm" ©

I know, another palm tree. They are just so lovely and such fun to paint. Today was terrific all the way around, and the palm was a huge part of it.

Oil on Canvas, 16" X 20"

on reserve for June shows

"Hoopers Creek" ©

This morning I finished "Hooper Creek", in a large studio format for one of the June shows. I may tweak a bit, after looking at the painting as I pass by, peeking out of the corner of my eye. I have to admit I do glance at the paintings as I go about my day, hoping to catch that one detail that would make the piece better.

Oil on Canvas, 18" X 24"

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"Malibu Lagoon" ©

Late afternoon at Malibu Lagoon.

Oil on Panel, 5" X 7"

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"Lakeside, LA Arboretum" ©

This morning the "Thursday Irregulars" got together to paint at the LA Arboretum in Arcadia, California. I could paint there for a year and not run out of views. I even purchased a membership, I was so impressed. One of the best parts of today's adventure was speaking with a group of kids that were visiting the Arboretum. They were awesome, curious and very polite. It was really fun to share with them what I was doing. I am sure there were at least two future artists in the bunch.

Oil on Panel, 8" X 10"

"Hoopers Creek, Spring" ©

The lack of rainfall this year had kept the wildflowers of spring at bay. Tiny grasses and new leaves are the only indication that winter is leaving our valley.

Oil on Panel, 8" X 10"


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"Eaton Canyon Trail" ©

I have painted this view at the beginning of the Eaton Canyon Trail three or four times now. It must be the composition and the colors of the mountains always calling me back.

Oil on panel, 11" X 14"

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"Hooper Creek" © study

Driving home from the Train show in Filmore, I glanced out the window and saw this view flash by. A U turn and I was out of the car, capturing the creek. I am painting the scene on a 18" X 24" canvas because I think Hooper's Creek deserves more easel time.

Oil on panel, 5" X 7"

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"Clouds For Pennie" ©

This painting is a commission that will be heading to it's new home tomorrow. The idea was to paint a large gallery wrapped canvas as if you were looking through a window, seeing clouds and a blue blue sky. Clouds are very enjoyable to sculpt in paint, simply put I had fun.

Oil on Canvas, 24" X 30"

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"Oaks Under Clouds" ©

Clouds are still drifting over the Oaks in the valley. Even now, close to evening the wind is cutting through the leaves. Today was a banner beautiful day, or what you might call a "mayors day". This was the kind of day you want photographs taken of your home town for publicity.

Oil on Canvas Board, 5" X 7"

"Stormy Sky" ©

Clouds blew in and out of our valley with ease today. A cold nip reminded me that even with the light change, summer is far away.

Oil on board, 5" X 7"

"Oaks" ©

Spring green is sprouting all around now. This bunch of Oaks are down at the corner of Sierra Hwy and Placerita Canyon. There has been a truck in the field lately and usually that is followed by construction. Hopefully they will save these old oaks.

Oil on Canvas

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"Another Day" ©

This painting is titled "Another Day", simply because as I was walking down the trail and spotted this view I thought to myself, "geez another day in paradise". I am so fortunate to live in the Santa Clarita Valley. "Another Day" is part of the exhibit "Chasing Open Spaces II" that will hang till May 6th. The show is exclusively paintings of the natural areas of the valley with the purpose of showing people how beautiful it is and that it is worth preserving.

Oil on Canvas, 16" X 20"

"Tree Trunk Study" ©

This small tree trunk study was a luxury for me. My only goal was to capture the light bouncing around on these lovely trunks. I wasn't working towards a framed finished painting, just simply painting the light that I saw.

Oil on Panel, 8" X 10"

"Midday In March" ©

The sun is still a bit to the south, so even midday you see lovely shadows. This is one of the advantages of painting during the winter and spring in California.

A footnote: A few days ago I found a new way to photograph the blog paintings and the images are now looking very close to the originals on my computer, for which I am very pleased.

Oil on Panel, 8" X 10"

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"Gotta Itch" ©

Last Saturday while waiting at the William S. Hart Park for my painting buddies I was watching this goose. There was something really pestering his belly that far outweighed any interest in me. Today was raining and painting this goose seemed like a wonderful way to spend the day.

Oil on Raymar panel, 6" X 8"

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"Trail Shadows" ©

San Francisquito Canyon, late in the day, on the bridle path watching the rabbits dart across the trail.

Oil on Raymar panel, 6" X 8"

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"Glowing Clouds" ©

The idea for this little painting was to capture the clouds as sunlight burned it's way along the edges.

Oil on Canvas Board, 5" X 7"

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"Winter Pastels" ©

Soft. Everything this day was soft, the sky, the sand, even the brush. The colors of winter are becoming more and more pastel.

Oil on panel, 5" X 7"

"Winter Grass" ©

These grasses will soon be replaced by waving strands of green. I think the drastic contrast between the oak trees and the silver grass is what captured me in this scene.

Oil on panel, 5" X 7"


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"March Midday" ©

Spring, really is just around the corner. Looking into the brush winter and spring are battling it out and spring is winning! On the trees small tufts of green are unrolling and it won't be long till our hills are a carpet of green. This painting is of Rice Canyon in the middle of this March day.

Oil on Panel, 5" X 7"

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"Palms And Clouds" ©

Last evening was the city of Pasadena's Art Night, a twice annual event. I was lucky enough to exhibit paintings and demonstrate at the Pasadena History Museum, during the event. The museum is hosting the "Who Was Sam???", Sam Hyde Harris exhibit presented by Maurine St. Gaudens Studios. Just knowing that his paintings were a few feet away was great inspiration. This painting was my demo piece.

Oil on Panel, 8" X 10"

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"Above The Arroyo" ©

The "Thursday Irregulars" plein air group gained access to an estate overlooking the Arroyo, in Pasadena, today. This little painting was done entirely with a palette knife, and no, I didn't forget my brushes. I really am enticed by the action I can get with the knife on the panel. It doesn't photograph well, as the thick paint catches the light.

Oil on panel, 9" X 12"

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"Pico Canyon Morning" ©

Even with just a couple of inches of rain the hills have a green glaze as the bits of wild grass reach for the sun. This view is just at the mouth of Pico Canyon, looking South West, towards the sea.

Oil on Panel, 12" X 16"

"Near Rocking Horse Road" ©

This little painting is all about the light caught in the brush along the road.

Oil on Panel, 8" X 10"

"Sanctuary" ©

Deep in Descanso Gardens there is an overlook where wild birds take sanctuary. This scene is early on a winter morning, with just a few ducks floating in the shade. From the other side of the lake you could see through the brush several very large white birds. If you were a bird this would be a bit of heaven.

Oil on Canvas, 18" X 24"

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"Early Morning, Pico Canyon" ©

Very early in the morning it's difficult to get the oil paint to "move" on the panel, due to the cold. Today I experimented with working exclusively with a tiny palette knife. It felt wonderfully juicy and powerful.

Oil on Panel, 5" X 7"

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"San Simeon Seals" ©

I have been painting a large piece for 2 days now. I just can't bring myself to take it down off of the easel and paint a small daily painting, just yet. Today for your pleasure I am posting a section of a painting that is hanging in my dining room that I painted previously. These seals stack against each other, basking in the sun up the coast, near San Simeon. Every time we go camping we stop just to watch their antics, guaranteed to bring a smile to everyone.

Oil on Canvas, 36" X 36"