"Falkner Vineyard View" ©

The First Annual Falkner Vineyard Invitational was held in Temecula this past weekend. 28 artists from Southern California were invited to plein air paint on the property of the vineyard and the event ended with a reception in the gallery. It's always amazing to see what a group of artists can produce in a short period of time. Laura Segil of Segil Fine Art Source Gallery in Monrovia arranged the event, provided endless cold water, custom made T-shirts, snacks and complete support for the artists. This photo of one of my paintings was shot on the easel in glaring sunlight, but it does provide an idea of the "Falkner Vineyard View".

Oil on panel, 8" X 10" available at the Falkner Vineyard Gallery, Segil Fine Art Source $400.

"Sunday Swim II" ©

The phone rang today while I was painting a landscape. I was really excited with the painting, exploring all the greys I could create using Transparent Oxide Red as a base. The phone call was from the owner of the first "Venice Floater", asking me if I could possibly paint another, fast, for a special gift. Setting the landscape aside I put up a 5" X 7" panel and painted "Sunday Swim II". I think I like this little fluffy guy more then the first.

Oil on panel, 5" X 7"

"Ocean Trail" ©

The sun is sinking low faster every evening, leaves are just starting to show a glimmer of gold and you can smell fall. I am not quite ready to give up the season of summer, so today I painted a beach scene that I discovered while painting in San Clemente last June.

Oil on panel, 5" X 7"

"Pico Canyon Morning II" ©

Today I painted Pico Canyon Morning in the studio on a larger canvas then yesterdays "tiny" panel. I pushed and pulled color, rearranged the composition to help with the depth of the painting. The main goal was to have the viewer feel as if they could walk down the trail to the distant tree. If this painting can be finished off well, it will be part of the upcoming "Chasing Open Spaces III" exhibit, which requires that the views are fairly accurate, otherwise I would have changed the shape of the distant tree. I am already anxious to return to Pico Canyon.

Oil on canvas, 16" X 20"

"Pico Canyon Morning" ©

Wondering if this composition might work for a larger painting, I gave it a go today "tiny".

Oil on panel, 5" X 7"

"Pico Canyon Trail" ©

This is another view within the new Pico Canyon Park near Stevenson Ranch. It's very early in the morning. The homeless person was still asleep in the crook of a tree. I was very quiet. The trail offers dappled sunlight, a brook, groves of Oak trees and as you progress the trail changes to the width of a game trail wandering into scrub brush. I saw 20 scenes that would offer the possibility of beautiful paintings while wandering the "Pico Canyon Trail".

Oil on canvas, 8" X 10"

"Pacific Dreams" ©

Possibly being a California native caused the magnetic pull the ocean has always had on my heart. Whenever the big blue expanse comes into view I breath deeply, contentment flows, my mind slows to absorb every bit of input of smell, sight and sound. Today, in my dry rust colored canyon I was full of blue "Pacific Dreams".

Oil on panel, 5" X 7"

"Coastal Haze" ©

Before painting this view I wondered how and if I could capture the lovely violets that the "Coastal Haze" created. Sometimes the brush seems to move itself, I just sit back and watch, this is one of those times. Now I understand those elusive grays.

Oil on Panel, 5" X 7"

"Farming Road" ©

Once another artist asked me, "What makes you happy?. Odd but that question has surfaced in my mind many times, not really having a clear answer. I know for sure collecting rocks or sea shells would top the list. This would seem to be a complete waste of time, but during the process I am completely happy. Gardening and reading, well not just reading but holding a book in my hands is comforting, would be near the top. But today painting this huge scene on a tiny panel made me truly happy.

Oil on panel, 5" X 7"

"Walker Trail" ©

Our brush is brilliant orange, looking so soft from a distance but if you hit bare skin to the dry twisted weeds you will bleed. This tiny painting has value changes in the large Oak Tree on the right that won't show, photographing late at night. But they are there. I need about 8 new tiny paintings for the Riverside Museum show and this may be the first or a warm up. The view is a few miles from my home and 2 miles from the original "Walker Cabin". A one room log cabin where the Walkers raised 12 children. Can you imagine?

Oil on panel, 5" X 7"

"Sunday Swim" ©

I have painted this little lady before and people keep adopting her. This painting was done on request. I picked this title because I discovered a very small pond within the Venice Beach Canals, early on a Sunday morning and this duck asleep on the bank, awoke, fluffed up her feathers and slipped into the water for a "Sunday Swim".

Oil on Panel, 8" X 10"

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"Vineyard Hills" ©

In a couple of weeks I'll be painting in the Falkner Winery Invitational near Temecula, California. Segil Gallery in Monrovia is hosting the event and it just has to be a success with the combination of wine, beautiful surroundings and art. So today while getting ready for a show at Descanso Gardens tomorrow I painted some "Vineyard Hills", just for fun.

Oil on Linen, 9" X 12"

"Pico Canyon Cliffs" ©

This morning a small band of Santa Clarita Valley Artist Association painters met in Pico Canyon Park to paint together. The cliffs in their coats of dry brush lit up in the morning light caught my attention and that is the subject of "Pico Canyon Cliffs".

Oil on Linen panel, 8" X 10"

"Late Afternoon, Mt. Gibbs" ©

The last day of painting in Yosemite I painted this quiet pond, leading your eye to the rosy Mt. Gibbs in the distance. While painting several of the words of wisdom that Charles Waldman gave to the group were dancing in my head. I was trying very hard to implement as much as I could. Here are a few of his recurring comments that would be of value to any artist:

1. Before painting a scene, quiet yourself and tune out the chatter. Decide what the concept is before lifting the brush.

2. Value is more important then Color. Value (light and dark) rules, color happens. Keep the darks quiet!

3. Trust what you put down on the canvas and leave it alone.

Charles suggested many of the books that artists typically read, Hawthorne, Schmid, Payne, Goeschner, Macpherson and Henri. After the workshop I pulled some of these off the shelf and realized it's really great to be able to continue reading about the concepts we learned in the workshop. I would suggest if you would like a boost, dust these off and read them again.

And with this painting, as the light faded against Mt. Gibbs I was sorry to see everyone head home. The time together seemed so short. I am already looking forward to returning next year and maybe I'll be able to paint Mt. Gibbs in the late afternoon once again.

"Dana Fork Rocks" ©

Brushing off the tiny winged bugs and bits of leaves from this painting I was reminded of the lesson that it burned into my brain. Again this is Charles Waldman's teaching in action. Charles stressed using the brush to it's potential. Pushing hard to scrub in the beginning wash of oil, keeping the paint very thin. Then when placing your sunlight into the painting, load the brush with lots of juicy paint and with passion make the stoke of sunlight, never to to touched again. Usually it's temping to go over a brush stroke here and there, softening edges, even noodling. This act weakens the painting. Squinting down at my subject, the rocks, I was able to "see" the brilliant sunlight shape on the granite rock and with one stroke place the light into the painting. I would have never been so bold before watching and listening to Charles during his demo. This painting will remain in my studio to remind me to paint bold, strong and confident.

Oil on Linen panel, 8" X 10"

"Tuolumne River" ©

I traveled up to Tuolumne Meadows early so that my sea level body could acclimate to the high altitude and my artistic eye could adjust to the light and palette of the landscape. Hunkered down in a grove of pine trees across the meadow from Lembert Dome I was in the "zone" painting away happily. When a gentleman walked up, I don't know how he found me in the trees, and said "nice painting". I asked him if he painted and he said "a little" with a shrug. I explained that I had come up for a workshop and smiling he said "well that might be with me". My head swung around and with disbelief I asked if he was Charles Waldman? With that we laughed and introduced ourselves to each other. He left me to paint but returned shortly and painted too. How lucky was I to have the chance to watch a real master paint right in front of me and this was before the workshop! And what a humble fellow to say he painted a little. This painting was my first piece finished along the "Tuolumne River".

Oil on Linen/panel, 8" X 10"

"Dana Fork Creek" ©

The high sierra region of Yosemite has an edge of danger and mystery woven into it. The weather can flip in minutes, hikers are subject to high altitude sickness, bears are too familiar with people food and hunt for unattended coolers and yet the beauty that beckons from around the next bend is seductive enough to outweigh any of these dangers. This little painting was done at the end of the day, in a closed composition (no sky), to capture the feeling of the granite rocks warming in the sun against the ice cold creek water. The rivers and creeks almost always had a lovely rust color glowing in the sunlight seemingly due to the algae growth on the granite stone underwater. This element of color sets off the stone and trees surrounding the water and provides the complimentary color to the sky that reflects in the dancing light. I would like to take this study and paint a nice large piece of the "Dana Fork Creek".

8" X 10", oil on linen panel

"Dana Fork" ©

Charles (Chuck) Waldman could not have done a better job. He gave of himself 1,000 percent to the 12 parcipants of his workshop. The next few paintings I'll share with you may not seem like "Laura's", but that is the point of attending a workshop, you paint quite differently then usual, if you are learning and boy was I learning.

Oil on Canvas, 9" X 12"

"Taunting The Sea" ©

It's time to hang my "Gone Painting" shingle once again. I am headed to the north east area of Yosemite National Park. California Art Club Gold Medal/Signature artist Charles Waldman will be leading a workshop that I will join while there. A workshop event saves you time scouting locations, provides a "tribe" that looks out for one another, promotes safety in numbers and gives an artist an opportunity to learn from all the other artists participating. I always make new friendships that last long after the workshop is over. I will return on August 11th with a box full of wet canvases to share with you. Meanwhile, here is another view of the "Sand Dancer" as she was "Taunting The Sea".

Oil on Panel, 5" X 7"

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"Creeks Edge" ©

In a couple of days I am heading to the high country of Yosemite to paint. It's on my mind, packing paint, collecting the gear and buying bug spray with lots of deet. Painting today a tiny creeks edge in between all of the packing gave me a moment to reflect on the upcoming trip.

Oil on canvas, 8" X 10"

"Season's End" © study

In September I'll be participating in the 1st Annual Falkner Vineyard Art Invitational, located in Temecula, California. A day of painting the vineyard, followed by an artists reception and sale of the days paintings. Also each artist will have one painting hanging in the gallery. With this little study I am starting to explore what might be a nice larger painting. This is the beginning of figuring out a successful larger piece.

6" X 8", Oil on canvas

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"Evening Glow" ©

When you have a view like this outside your front door it's just difficult to stop painting it over and over again. This is Placerita Canyon, near Choke Cherry Lane looking to the east when our tiny canyon is blanketed in the "Evening Glow".

Oil on Linen, 16" X 20"

"Bonterra Vineyard" ©

A while ago I painted a painting called "Vineyard Vignette", it was never blogged. Recently a lovely collector requested the same painting, smaller with a slight change, leaving out a building. Also without the building she suggested the title "Bonterra Vineyard". I like this, it's as though we are both working on this together, yet we have never met. The internet is an amazing tool of our times.

Oil on Linen, 9" X 12"

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"Lisa" ©

Today I was allowed to paint a live model for the first time. Another artist arranged for me to join in a weekly event of painting in a private studio. I was unsure of what I would manage to get onto the canvas. The advantage of working in a controlled environment is having the light stay constant, usually I am outside and the light is shifting every few minutes. What was wonderful was to be able to really look at another human without either one of us feeling odd. Lisa chose to keep her eyes shut. I don't know if this a common pose, I didn't care I was just thrilled to have the chance to paint looking at a live lovely lady, named "Lisa".

Oil on Linen, 11" X 14"

"Joey and Yellie" ©

Yellie is beautiful, inside and out, so I am still trying to "get" her but I really have had fun exploring the two of them and will keep on till I have it. Ever polite and faithful Joey is one of those dogs that is one in a million. The two of them together are priceless.

Oil on Linen, 9" X 12"

"Mendocino Headlands" ©

My goal in this painting was to draw the viewer into the arch that the ocean formed out of stone and if possible make it believable. The water and rocky cliffs are a whole different set of colors compared to Southern California and it was a nice break today to paint the "Mendocino Headlands".

Oil on canvas, 8" X 10"

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"Live Oak Park' ©

Live Oak Park is in the Sand Canyon area of Canyon Country. What attacted me to this scene was the lit brush and sand off in the distance and the lovely Oak tree on the right. Because of shooting the photograph late at night the upper left corner is washed out, but you can see where I am going with the painting. This painting will be hanging in the upcoming "Chasing Open Spaces" exhibit in October. One last thing, I painted on a linen surface that is new to me, "Old Holland" and it is luxury I have never known before. Simply elegant. If money was not a consideration I think that I would paint on nothing else, ever again.

Oil on Linen, 16" X 20"

"Snow Capped In Mendocino" ©

A lovely lady by the name of Liz, emailed me a photo of her mountains in the high country of Mendocino and asked if I would paint them for her. I jumped at the chance, because it was a challenge and it makes me happy to paint for a collector. I have never met Liz, but a the while I was carving out her mountains in oil paint, I thought about what it would be like to have this view. WOW

Oil on Linen, 9" X 12" sold

"Evening, Santa Clara Riverbed" ©

The Santa Clara River weaves lazily across the Santa Clarita Valley. In the winter rain water cuts deeply into the sand, in the summer the dry sand glistens between the bushes and Cottonwood trees, until the evening light when the sand cools and reflects the blue sky. This is the moment I captured in "Evening, Santa Clara Riverbed".

Oil on Linen, 16" X 20"

"Pico Canyon" ©

Last evening four Santa Clarita painters met at Pico Canyon park to paint together, enjoy each others company and share the evening. Two had just purchased new plein air easels and that is really fun for everyone, figuring out how all the parts work together. Personally I don't think you can have to many easels, being the owner of 2 Guerrillia Boxes (6X8 & 9X12), 1 EasyL (11X14)and 1 French Easel. Tools have always intrigued me no matter what the medium. Pico Canyon is very typical of the whole valley, hosting Oak trees, scrub brush and distant mountains. We were talking last evening about how lucky we all are to live in such a beautiful valley.

Oil on panel, 8" X 10"

"Surfing" ©

This is the last second before the ride is over. What attacted me to this surfer over the others was his brilliant yellow board, against all the colors of the sea. Surfing has changed, little ankle leashes prevent having to swim to shore to retieve the board after a spill, short boards allow for quicker moves, waiting for a wave the water level is around your waist rather then you actually floating on top and finally "turning turtle" has been replaced by a slick move of just pushing the tip of the nose down with you on top diving down under the rolling white water. Amazing what can change in 30 years.

Oil on panel, 5" X 7"

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"Canyon Evening" ©

This painting is a "break through" piece. I always have some idea of how the finished painting will look before beginning, even working in plein air. And almost always the painting takes a few turns that I didn't expect, which is disappointing, even if the painting is successful on it's own. Finally it all came together, I guess I am catching on to this business of painting and it feels great. What you are seeing is exactly what I envisioned, whew. You can't see the whole painting because of the format, 20" X 24", so there is a bit more sky. After I finished I went out back to work on a stone and most of you knows what that means. Oh, yes!

Oil on Linen, 20" X 24"

"Rock Rose" ©

This lovely bloom was waving in the last bit of sun for the day. These carefree flowers are dazzling with their tissue paper thin petals in every shade of white.

Oil on Panel, 5" X 7"


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"San Francisquito Riverbed" ©

One of the benefits of development in the Santa Clarita Valley are new views accessed by constructed trails. Judging by the amount of folks passing today the trails are appreciated very much. This view is just north of Decoro along the "San Francisquito Riverbed".

Oil on panel, 8" X 10"

"Making Lunch" © In-N-Out

I have heard that while painting still lifes artists become hungry. I would have to say the same applies to painting the prep area of an In-N-Out. The menu is simple, great prices and the food is real, one of the best hamburgers in L.A.

Oil on Canvas, 10" X 8"

Purchase ($200. U.S. shipped, unframed): from the artist

"Old Red" ©

It's close to midnight and I need to stop here but really want to develop this piece more. And yet I really wanted to post today since this is number 400. Yes, 4oo paintings, another 600 to go! This small craft was one of many that are tethered along the edge of the Venice canals.

Oil on canvas, 8" X 10"

"Venice Beach Pier" ©

If you were walking or running on the beach from Marina Del Rey to Venice Beach this would be your view, early in the morning.

16" X 20", Oil on Linen

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"Venice Beach Floater" ©

Canals weave in and out of homes for a few blocks in Venice Beach. This duck was floating in a small pond that fed into the canal, along with many others. She however chose to float in the early morning sunlight.

Oil on panel, 8" X 10

Purchase ($200. shipped, unframed): from the artist

"San Onofre Sands" ©

This little painting has little specks of sand all over it. One of the many treats of plein air.

Oil on Linen, 8" X 10"

"Summit Park" ©

When Valencia was developed thought was given to preserving a lovely strip of land in the heart of the "Summit" housing tract. The wild grasses under the oak trees are whacked off as a tool preventing fire, which to painter looks strange. We look forward to painting all the little shoots that usually surround a tree trunk. I am sure that brush clearance is a good thing as a couple of teenagers asked me for a light, while I was painting away. Imagine that, and even though I said "no", they liked the painting of "Summit Park".

Oil on Canvas, 8" X 10"