A couple dozen of artists showed up yesterday morning at the Montage Resort to have a paint-out. I picked this spot for the clarity and colors of the shoreline seawater along with the brilliant warm colors on the bluff. There is so much happening in this location for an artist that one has to squint to see what truly pops out as a high contrasting focal point. The fast approaching tide chose it for me when it rushed ashore towards the sunny orange cliff. A long cascading group of shrubs grew downs towards the sea at that point. I can thank Nature every time for showing me where to put my focal point. Vivid magenta bougainvillea dotted the bluff for more high contrast in this area. So, I set up my composition to portray this scene based around these natural elements. I added more magenta flowers in the end to accent that bluff with a little more color for the painting`s sake.
I`m so attached to the sea, I become emotional when I see the varying colors in the water along with the white water do it`s dance on the shore. This rushing tide was fingering it`s way so rapidly and with great force, it hit the base and would crawl up even. I have been experiencing this offset tide lately, in fact this whole summer as I spent many days on the beaches of southern California. They say it is due to the hurricanes that were offshore on the coast of Mexico. My husband says it is Global Warming. That`s alarming. All I know is that when I was painting on the shore this summer, I have been nearly wiped out by them several times. My art equipment is getting rusty now from that salt water. I`ve been knocked down hard just taking beach walks in the shallow water when a sneaker wave rushes ashore. Today I was glad I was high up on the bluff. But it has been a fun, fun summer anyway.
Here is an image of the painting after two hours on location:
Here is one of those tidal rushes I`m talking about. Beach people were squealing as the cool water got to them, I did that too this summer!
My artist friends with SOCALPAPA (Southern California Plein Air Painter's Association) had a quick draw which meant we had two hours to paint a scene plein air style. It is very stressful to an artist to cover the canvas, refine and complete a work of art in that short time. I felt like I was a race horse coming in last. Although I did the deed in time, I felt later that I needed to refine it and adjust the painting into something more. Certain areas needed to be brought out more and some needed softening while others needed to be more atmospheric and cooled. Many edges had not been met and there were large empty areas. So, I took it into my art studio at home later that night and worked on it a few more hours. The most important thought running through my head the whole time was not to overwrite the underpainting completely. Only address the areas that I could see were too crude. I worked the whole time while making interval glances at the reversed painting in a tall mirror behind me. It helps me to view the piece that way immensely. Anything that is 'off ' will pop out. After awhile I usually get a feeling and hear a voice that says it is done, there`s no more adjusting to do without overworking it. It`s important to listen to what is going on in your head. I can hear it`s done, it`s done several times before I actually put down the brushes. I`m working on that with each painting, knowing when to quit. I get better and better all the time. The key point is to keep that capture of feeling I had when I was there painting the glorious scenery. A second and I think even more important key point is to abstract the scenery into a work of art, not paint the scene like it is before you, use the elements of art to recreate it. I believe I did in this one.
The price is with a frame. CA sales tax for California residents is 8%.Comment on or Share this Article →
I painted this on location in Avalon Harbor on Catalina Island, Tuesday August 26. I arrived the day before to do an art show, got up early the next morning and found this scene to be especially nice. It had a mixture of cool shade colors with the early warm sun accents of light on the casino building`s edges. The bows of the boats sparkled in the morning sun. Reflections of the sun-kissed casino columns danced on the harbor water which was waving up and down. I felt I was in a dream. There was a heavy ocean swell due to a hurricane down in Mexico, it wasn`t bad yet on this morning. Except for a sneaker wave that would splash against the rocks around the harbor. They were due to become worse later, so I knew I had time to paint and enjoy the clear, sunny weather. Funny thing is the swell was acting up but the sky stayed blue due to the hurricane turning a hard left towards Hawaii. So we never saw clouds from it.
I almost always begin my oil paintings with this burnt orange blend over my bare linen panel and wipe it to a dry patina before painting in color. That way, if there are unfinished edges, which in plein air painting, it is a given, this warm color will show likes sparks of light instead of bare white. I lightly sketch in my composition with the same burnt orange color that I make from Alizaron Crimson, Cadmium Yellow and a touch of Chromatic Black, sometimes a dab of Ultramarine Blue. Since the light is changing rapidly, I do not waste much time on the sketch, it is only to position my major shapes upon the panel with minimum detail. I make an indication of where I want my focal point to be, in this case the rear/stern of the smaller boat and the bow tip of the larger boat. The water bouncing through the space between the larger and the smaller boat has an interesting mix of color abstractions in various shapes and values. That area is also off-center in the right-lower thirds. I`m too busy to measure for the Golden Mean, I just divide my panel up into thirds and then mentally note that there are 9 equal squares within the thirds. You can see the dot shaped markers I place in each third on the edges of the panel. I then wipe some off especially near the sky later, otherwise if it dries it can show through my light blue sky. I move so fast painting that sometimes my third markers stay and can be seen in the final painting. A secondary focal point is the upper balcony of the casino with the colorful flags. One area lead into the other quite nicely by alignment.
Next is the blocked in painting, I filled my panel with the major shapes in a poster-like layout. I was not being picky about meeting edges, just very picky about values and color, geometric shapes and atmospheric perspective.
In a couple of hours I had added and adjusted major areas into more of an interwoven piece. I was just about done, but I had to leave. I was part of the Summer Art Series, Shops at the Atwater put on by LPAPA and the Catalina Island Company. I was supposed to be demonstrating that morning. I chose to finish this piece in the lobby of the Shops at the Atwater later. A man wanted to buy it right there, I told him I think it needed refining, so I gave him my card. Another man sent his wife to see what I was doing from a boat in the harbor. He was going to buy it if it was his boat! It wasn`t, but I took pictures of his boat after that.
Here it is completed in the nice lobby entrance to the Atwater Shops. The indoor light makes this appear more washed out, but I worked on it for an hour maybe to tie up very disconnected edges and leave other edges alone. I also added trims on the building and boats, flag poles and dashes of color in strategic spots. I did not overwork anything, to keep it fresh looking with the initial shapes brushed in still being intact and not brushed over again. Done!Comment on or Share this Article →
This old house is a 1923 farm house in San Juan Capistrano that is now a wine tasting business called Hamilton Oaks San Juan. It also hosts a lot of weddings. I felt it was the right time to paint the rear of the home where the weddings are held. I made a couple of strokes of paint under the dark wood arch to indicate a bride and groom figure standing there. This combination of orange orchard, craftsman style home, water tower and landscaping is so quaint, so country. I am going to paint more of these, this is the first. It is framed and on view at Hamilton Oaks now. Here is an image of the framed painting and how it appears in the sitting room. The third image shows it when I was painting it on location. Someday I may get commissioned to paint live during a wedding there. That would be exciting!
It began to get very cloudy when I was painting it, although it was sunny when I started. So, I took this painting into my home studio and brightened it back up again with a blue sky and a big white cloud. I used a reference images that I took on location when it was sunny. I added more highlights ad accents too, it really cheered up afterward!Comment on or Share this Article →
Comes framed for $350, $300 without a frame.
I began this painting on location at Salt Creek Beach where I have walked many times with my dog for the past ten years. I have done some swimming here too. I have started to do a series of it, especially showing the lifeguard stands. Being summertime, the lifeguards have their work cut-out for them. They have to keep a sharp eye out for distressed swimmers or ones who are heading for deeper waters without being old enough. I was a lifeguard back in upstate new York during my college years, I feel the brotherhood kinship towards them. The lifeguard trucks make several trips throughout the day at these stands. I enjoy the colorful appearance of the stand/structure and how the lifeguard overlooks the beach from his or her station. At a certain time of the later afternoon, the tracks become shadowed enough to pop out their trails. Also, the heat causes a marine layer to develop out at sea along the horizon, it is a favorite time of the day there for me. The sun turns the sandstone bluffs more of a yellow orange and the sandy shore becomes buttery with violet-blue shadows. This beach is very beautiful with many tourist folks from the Ritz Carlton and St Regis Hotels above taking walks along a shoreline path. The locals like myself love to walk their dogs or just be a couple going for a sunset walk. That`s where I was painting from with my Chihuahua, Dolce, sitting by my side. Here is a picture of the painting after the sun went down where I started it on location. This is what we call a block-in of the major shapes of the composition. Although I began to elaborate more on my focal point to capture it.
When I arrive at a scene and like what I see, I set up my easel and began to do a thumbnail sketch in my bound sketchbook first, then I do a rough oil sketch on the panel. I used to draw the oil sketch in detail, but I do not anymore due to time restraints, that light is moving fast and I want to give the actual painting process the most of my time and energy. Here is all I do for a quick sketch to position my focal point, which was the lifeguard stand. Then I draw lines to indicate positions of the bluff and shoreline, horizon... They can change during the process too.
From looking at the background of the bluff and shore, you can see how the mid to light value yellow-orange, yellow ochre of the bluffs differ from the lighter value sandy shores. Also how the blue-violet shadows cast so beautifully on a late afternoon. See how brilliant the afternoon sun makes this scene look! The sun was to my back right.
I worked on the lifeguard stand first in the painting because sometime between 6pm to 7pm, they close up the windows and take everything down. I wanted to capture the liveliness of an occupied stand on scene before I went any further into the surrounding areas. Below is a detail of the lifeguard stand:
Life is a beach in the summertime!Comment on or Share this Article →
Painted 100% on location at Bishop Creek Park in the Eastern Sierras on a warm July morning. I am adding a few more images below of the steps of the painting. Here is the painting when I completed it on location:
I at first do my oil sketch in a red-brown to arrange the subject matter. I have to do that or the painting will not proceed in an semi-orderly fashion. There`s always room for shifting things, taking out things or changing angles. I liked the horizontal flow of cool creek waters behind the warm vertical Jeffrey Pine trunks as sunlight streamed in from beyond. At 9am the light was on the right side of the painting but within half an hour it shifted over to the left side, so I changed my focal point. Better choice as it had more interest flowing over a big red granite rock and had a shady cove there.
Above is the part where Charles Hawthorne calls it right, "The weight and value of a work of art depends wholly on it`s big simplicity - we begin and end with the careful study of the great spots in relation to one another. Do the simple thing and do it well. Try to see large simple spots - do the obvious first. When you go out and paint and things mean only spots of color to you, you have your painter`s eye with you." "See if you can`t simply put down spots of color and let the results take care of themselves. You have got to be able to see these spots come together without outline and let the outline come after. Look to the center of color spots and don`t be particular about where the edges come together."
Here is the link to Charles Hawthorne`s book on Amazon, approx. $7 in paperback.
This was a complicated scene so I had to think simply and not get into any detail or try pulling the color/value/shapes together until the canvas was nearly covered with my approximate color notes in varying shapes, say about 75-80%. I kept thinking about how the shadow shapes connected into a design when midvalue color notes were added. The colors of the creek were gradually layered in from shadow shapes to highlights. But, at first I put strokes of pure white titanium down where I wanted the lightest white of the creek to shine, then added slightly lower colors into it, carving the creek into a flowing shape, very careful not to obliterate or muddy the purest white.
In the last part, I pulled the blank parts of the canvas together with neutral colors that faded the background a bit, to give a sense of depth and atmosphere. I softened those shapes to recede, but I did not blend them totally. Plus I made a foreground pull together with warmer neutrals since it was sunshine on dirt. The trees were cleaned up around the edges and straightened, interwoven into the creek and background, then warmed up on the trunks.
Below is my location on the side of the road that is very less traveled, my Chihuahua, Dolce, taking a nap while I painted. Life doesn`t get much better than this morning when all turned out well.
Dolce my great companion and best friend on her favorite towel. She`s a good girl.
Adios Amigas!Comment on or Share this Article →
I painted this plein air piece onsite at Salt Creek Beach in Orange County, California. It`s right down the hill from me. I went there on the eve of the 4th of July. I go there often. We have been having great summer weather lately except for the marine layer that sometimes wipes out the sunset. Fortunately on this day the fog kept back until right at sunset so I was able to paint a vivid orange sun as it truly looked. Towards sunset, the lifeguard stand closes up and stands in dark shadow against the high color skyline. Nearby cattails are also in cool shadow with the tips towards the sun glowing in light. People are lined up out on the shoreline for the day until the sun sets. The sand turns from golden colors to cool mauves,neutrals and violets. Monarch Beach peninsula is a distant bluff in gray. The sea was calm this day without big waves. I was holding back on painting my sky until the last 15-10 minutes to wait and see what glorious colors would appear. It is like magical color bursts almost every time. Then I began feverishly mixing batches of a crimson, blue-violet and gray to build the marine layer puffy clouds with the halo of cream and buttery light hitting the tops. Then I stroke in the orange and yellow orange as the horizon becomes a blaze of warmth. Colors change so rapidly at sunset, I lay it down and leave it pretty much alone to capture a moment. I add final tints of colors to give it some highlights but not overdo it as the colors at sunset are actual down in the scale of values.
Here is the spot I picked to set up and I brought my Chihuahua, Dolce to keep me company. She takes her nap in the Radio Flyer wagon while I paint. I feed her some white chicken breast first and some water so she`s comfortable enough to sleep. She also gets a little walk first to chase lizards and tire herself out.
Dolce loves to be with me anywhere. I love the beach and so does she.
Dolce, my Chihuahua napping, I keep her tied just in case she sees another dog, she loves to run after them!
After the sunset, it tends to get dark quickly and people leave. I usually run into the ocean to cool my feet off after standing and painting. It`s always a good day spent when I paint until the sun goes down. I`m so happy when the day is done and another sweet painting is created. I went back the next day on the 4th and began yet another painting of beach goers and the lifeguard stand.Comment on or Share this Article →
In the spring this year at the Upper Newport Back Bay, I spotted a beautiful Great Blue Heron while I was there trying to find a good painting scene. I set up to paint him or her, but the darn bird was looking for morning food so it kept moving. Hey, they are always hungry for tasty little fish in the marsh beds. I used my binoculars to get a better view and did my best to block in a quick composition. Meanwhile I had my dSLR Canon set on a tripod and was taking lots of photos with a zoom lens. I also had a deadline to meet some LPAPA members over in Balboa Island for a paint-out, so I was in a hurry. Here is my oil block-in I gathered down along with a separate pencil scribble and about 100 images.
This is what plein air painters call a block-in. We fill the canvas with the big shapes in a balanced composition or arrangement. I placed the body of the Heron just to the left of center with his neck stretched out a bit. All this is to be altered as the painting goes along. The key to being there painting in person is to capture the natural colors and values plus the atmosphere while there onsite. My mind can retain much information along with the initial impression or emotional impact. Since he had flown away before I could do anymore, I left to go to my other destination. Only I had enough info to finish this in the studio sometime later. It pays to have a long lens with a camera, I love birds and it is nice to see them at a closer distance. Except they are wildlife and keep their distance from humans, so to zoom in is priceless to me and a lot of other Audubon lovers. Here is a scaled down image I took of my subject while there, it is greatly sized down. I had access to a 42mb image to paint from thanks to my dSLR Canon. My large image was sharp and I could zoom in to see the details clearly.
This will be framed and available at my July 19-20 art show at Back Bay in Newport Beach, California. I will have a booth filled with my original plein air impressionism style paintings along with 55 other artists. Here is the information link to the Newport Bay Conservancy who hosts the show at the Peter & Mary Muth Interpretive Center. The link will open in a new window.
Here is a detail of the painting:
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This painting has been accepted into the Newport Back Bay juried exhibition along with "West Cliff Glow" It will be available for purchase on the reception night. It will be framed in the King Of Frame Laredo Black with gold trim. Although the website of Newport Bay Conservancy does not announce the Friday July 18th reception, it will be held between 6-8:30pm in the Muth Interpretive Center for artists, guests and art collectors. In conjunction with this; on Saturday & Sunday, I will be having an art booth on the commons at the Muth. It is called SOCALPAPA Paints the OC Parks & Back Bay Art Show & Sale. Click here for more info.
Here is an image of where I painted the plein air piece on location:
This is in the Upper Newport Back Bay region. I like facing the northwest side when it is sunset time from Back Bay Dr. As the sun sets over the west bluff it reflects light across the maze of marshland and bay water. The tide comes into the marsh and begins a maze design that an artist can have a lot of fun capturing. Once it fills up, the design disappears as the bay becomes wider. I race against time to paint with my brushes loaded with oil paint that best matches the colors I see.
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This painting has been accepted into the Newport Back Bay juried exhibition along with "Silhouette Sunset." It will be hung just for the reception night at the Peter & Mary Muth Interpretive Center where John Cosby will announce award winners. It will be framed in the King Of Frame Laredo Black with gold trim. Although the website of Newport Bay Conservancy does not announce the Friday July 18th reception, it will be held between 6-8:30pm in the Muth Interpretive Center for artists, guests and art collectors. In conjuction with this; on Saturday & Sunday, I will be having an art booth on the commons at the Muth. It is called SOCALPAPA Paints the OC Parks & Back Bay Art Show & Sale. Click here for more info.
Here is an image of where I painted the plein air piece on location:
My favorite collector took this image of me shooting the after colors from the sunset. It was wonderful and turned all kinds of colors.Comment on or Share this Article →
On a hot summery day in the Hudson River Park on the New York City side, I painted with the editor Bob Bahr of Outdoor Painter, the home of Plein Air magazine. While I was in upstate New York visiting family, he asked if I would like to come down and paint NYC. So I did and boy was I glad! Bob is the coolest cat I ever met, he showed me where to park in northern Manhattan (Inwood) where he lives and lugged my art supply luggage over the bumpiest sidewalks to the park. He was the greatest company-painting buddy for four hours and is also an artist, so we each painted by the river bank. He later told me the best way to get downtown Manhattan where I had to be staying overnight. He was most glad to tell the history of any of the landmarks and people of the district. I had such a good time and would do it again. In fact, I painted another skyline scene from lower Manhattan the next morning. The next day Bob wrote an article (with my words) about the difference between painting in the East as opposed to the West where I live now. That was icing on the cake! Here is the link to that article on OutdoorPainter.com.
As soon as I saw the George Washington Bridge I knew I had to paint it. The weather was very uncomfortable being that old New York sticky, humid air and it was in the high eighties to boot. I struggled with that but I just got into capturing the bridge between New York and New Jersey with that wide Hudson River between. The incredible history of it engulfed me. I became persistent in matching the color values of the river, land masses, buildings and veils of atmosphere. I felt a panoramic composition was better than a 9x12, so I drew a horizontal line six inches down from the top of the canvas. I kept making new colors for each part of the painting, it was not formulaic colors. I wanted it to have a cohesiveness so I kept relating each color note to the former. In the end I had a piece that looked pretty nice. As you can see the high clouds in this painting, a big thunderstorm was moving in and later pelted all of Manhattan. I loved it, hadn`t seen or heard a huge thunderstorm like that in years.
Below are images of the painting on location, thanks to Bob Bahr taking these shots, the first one is a selfie image he took on his smart phone:
Bob Bahr and I along the Hudson with the the GWB in background.
This painting is now framed in a 12" x 6" Randy Higbee dark Arroyo wood frame with gold inner trim.
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