Camp Mystic

Camp Mystic, 8 x 10
email to purchase

Another piece from the PAA retreat. This one was from Saturday morning at Camp Mystic, a girl's summer camp on HWY 39, which runs alongside the Guadalupe for several miles. 

An interesting note — Camp Mystic's property ends at the spillway indicated here by the abrupt end of the water at its top edge. Just out of frame to the left, about ten feet above the level of the water shown, there was a kayak lodged in the canopy of a tree. Since the tree in question was downstream from the spillway, which itself was at least seven feet tall, the kayak had to have been floating at least seventeen feet above the normal level of the river where the tree stands. Camp Mystic, indeed.

I later found out that several days before our visit, the area upstream had received about ten inches of rain over two days, causing the Guadalupe to flood far beyond its banks. Kayak mystery solved, but an awe inspiring sight, nonetheless.

Afternoon Drive

Afternoon Drive, 8 x 10

$250 plus tax. s&h
email to purchase

Above is the first of several paintings I attempted on the Plein Air Austin retreat last weekend. Julie Davis knows the area around Hunt, Texas very well and she cheerfully shepherded the rest of us to some beautiful venues throughout the weekend. This spot is a few hundred feet from the entrance to Camp Waldemar, a beautiful children's summer camp along FM 1340. While I painted this view, Julie, Trish Seigel and Laurel Daniel stood directly behind me, painting a horse stable just across the road. 

Ingram Home

Ingram Home, 12 x 12

SOLD

 

Here is the painting shown on the easel in the last post, after tweaking. I wasn't able to get to it, or any other paintings, until today. 

Tomorrow, PAA is painting just below Mansfield dam, which happens to be Texas' tallest. I've been looking forward to painting out there, but it now looks like it will be dicey, since I'll have my Irish Terrier, Major, in tow. He's fine until another dog shows up, but at that point focusing on painting becomes a whole other challenge. Wish me luck.

All Along The Guadalupe

This weekend, Plein Air Austin had its annual retreat in Hunt, Texas, along the Guadalupe River in the Texas Hill Country. With one of Texas' most beautiful rivers full from recent rains, non-stop sunshine and temperatures in the seventies all weekend, the timing couldn't have been better for anyone interested in painting en plein air. The picture above shows the last venue of five I painted in forty-eight hours. That's probably no big deal for some, but for me, it is definitely a lot of painting. I'll be posting each one separately, after I've had a chance to make last minute tweaks.

Riata Path

Riata Path, 6 x 8
available

Today, I painted across the street from where I live. The sun was strong, but the temperature was very nice. The birds were going crazy, so I'm guessing they liked it, too.

Mohawk Lounge

Morning After at the Mohawk, 9 x 12
SOLD

The above painting is from a not-so-well-taken phone shot of the Mohawk Lounge in Austin. Taken during South by Southwest a few weeks ago, the shot was almost totally in shadow in the late afternoon. To create a more pleasing light, I had to imagine the morning shadows. Below is the phone image I worked from.

Painting Michaelis

Painting Michaelis, 9 x 12 

The picture above is from a photo taken the day of the PAA paintout at Michaelis Ranch. I caught these girls chatting as they painted, as good a way as any to spend a spring day in Austin.

Lost Creek No. 3

Lost Creek No. 3, 12 x 9

SOLD

 

This picture was begun over a week ago at Laurel's second to last plein air class, and which I never had the chance to finish up until tonight. The sun was breaking behind the bluff, creating dramatic dappled light through the trees on top of the bluff. I found the scene quite captivating.

Bull Creek Trail

Bull Creek Trail, 8 x 10

Saturday morning's PAA paintout was in northwest Austin in a canyon near the source of Bull Creek. Spring has sprung in serious fashion at this spot, a good thing in most every sense. However, the wildly rapid growth of the of every form of plant life in the last couple weeks made for a venue arguably in need of a trim.

It was extremely difficult to simplify values and colors, with so many shades of green and the unwieldy shapes of the new growth. When I left around noon, I was not very satisfied and in need of a nap, feeling I had made little more than a good start after two hours of painting. Said nap seems to have helped, as I was then able to see the bright side, as it were, and finally come away with something I am pretty happy with.

Learning In Progress

View From Driftwood Winery, 9 x 12

I'm just back from a three day workshop with Jill Carver in Wimberley. Jill is super talented, lots of fun and full of valuable information, which I hope will percolate down through my very being over the next few months and be reflected in my work. There was so much to think about, I found myself time and again focusing on something Jill had emphasized, only to ignore other important things that I thought were already second nature. 

Take the field study above, for example. If you zoom in, you can see the canvas isn't even completely covered, because I neglected to complete the block-in at the beginning. The result — lots of annoying little white specks for one thing, and variations in color and value in areas that didn't need it, for another. Because of all that, the eye has to search more than necessary for intended focal point. Annoying, indeed.

Oh, well. Lesson learned. And now I'm going to have a beer.

Looking East

Michaelis Ranch Field Study No. 2, 8 x 10

The rising terrain to the right of this composition intrigued me after getting a close look at it earlier in the day. It's full of cactus, scrub oak, brambles and live oak, with pockets of spring grasses that just light up from a distance when the sun peaks through the clouds. This type of terrain is typical of central Texas, along what is known as the Balcones Escarpment. This study is another very rough one, but I think I did a better job with the values here, than in today's first attempt.

One other note worth mentioning. Sharon Michaelis, along with ONE long-trusted hand, for all practical purposes ranch this land and its two hundred plus head of cattle by themselves. She is an amazing and delightful woman — relentless in her care for her ranch and every head of cattle on it, yet at the same time lighthearted and extraordinarily welcoming toward visitors. THANK YOU, Sharon.

Silos and Old Barn

Michaelis Ranch, Field Study No. 1, 6 x 8

This morning, PAA drove out to the Michaelis Ranch, twenty-five miles or so from downtown Austin. This place had so many things to paint, it took a good hour just to look around and see what felt most inviting. Because of all these choices, I decided to try for two. This commitment to get two studies fully down on location is good for me, though I feel some anxiety about posting these very raw and imperfect efforts, which were, at least for now, the inevitable result. Hopefully, though, this will force rapid improvement, in which case the exercise will have been worthwhile.

Mission No. 2

 

San José Mission, 9 x 12

SOLD

Here's the second painting of the church. With so many shapes and angles, it was quite a challenge, but an enjoyable one.

Mission No. 1

Mission San José, 6 x 8

SOLD

Today was our PAA trip down to San Antonio to paint Mission San José, one of five historic Spanish missions in San Antonio, all of which date back to the early 1700s. This study was left pretty rough, 

primarily to leave enough time to work out a second, larger piece from a different vantage point.

I was pleased with the result for a couple reasons. The rough treatment seemed to capture the weather beaten appearance of this fascinating place, and I felt that the yucca plants in full bloom in the foreground paralleled both the ruggedness and sheer beauty of the church's exterior.

The aforementioned larger piece will be completed and posted Sunday afternoon. I completed the block-in on site, but had to leave before putting in the necessary detail.  Time ran short, because we had to wait a good hour and a half for the sun to break through and give us a nicer light, while working on the first piece. I know, excuses, excuses.

Finding Lost Creek

Finding Lost Creek, 8 x 6
SOLD

This morning Laurel's plein air class met at Lost Creek, in southwest Austin. It was sprinkling on and off all morning, though we were able to paint from under a bridge spanning said creek. The title, Finding Lost Creek, refers to the fact that, in contrast to the conditions a year ago, the creek is flowing strongly enough now that it can be found by following the mild roar of rushing water.

As far as painting from underneath this particular bridge, I don't recommend it on a cloudy day. It was virtually impossible to tell the different color temperatures that I had mixed on my pallet, due to lack of light, and the constant looking back and forth from the relatively bright landscape to the dimly lit pallet. Because of this, I ended up doing considerable color adjustment and general tweaking, once I got home.

Pencil Practice

Alright, Who Took My Bed?

Being a conscientious taxpayer, dog owner and father of a high school student in perpetual motion, I didn't get the chance to paint anything today. I did have a great walk with my dog Major, however, and rediscovered a trail we hadn't checked out in years. It has "paint-out" written all over it. 

So, what does this have to do with the sketch above? Nothing. I just wanted to get at least a little drawing done, since we have plein air class in the morning. I drew this from a photo, while watching NCIS.

Spanish Chapel

Spanish Chapel, 6 x 6
$85

SOLD

Above is my entry for this month's A Day Not Wasted Painting Challenge, which I first learned about on Dana Cooper's blog. My own personal church-painting binge seems to be breaking out, as our plein air group painted New Sweden Church on Thursday morning, and will be going to San Antonio next Saturday to paint the historic San Jose mission. In the meantime, time to do my taxes!

Dog Day Afternoon

 

Dog Day Afternoon, 24 x 20

SOLD

Finally ready to post this last scene of dogs on the road. Below are the other two in the series, which were the subjects of earlier posts.

Dog Walk, 24 x 20

SOLD

Gracy's Place, 20 x 24

SOLD

New Sweden

 

New Sweden, 8 x 6

SOLD

PAA met today out in Manor, Texas, about twenty-five miles from downtown Austin, to paint this vintage church built by Swedish settlers to central Texas. A plein air study doesn't do justice to the detail and craftsmanship that went into its construction. It was quite a challenge, but a lot of fun, even though it was chilly and windy. But I'm not complaining. 100º temps are not far behind.

Morning Run

Morning Run, 6 x 8

Saturday's Plein Air Austin paintout was in San Marcos, along the San Marcos River a few hundred yards upstream from where it runs under I-35. The river is spring fed and the water crystal clear. The scenery, the constant din of the falls and the spring sunshine made for a great outing.

Work In Progress

I was out of town all weekend and don't have any completed paintings quite ready to post, but I thought I'd let you know what I'm  working on. The pictures below show the first two stages of my latest "large" landscape (24" x 20"), which I started Friday afternoon. It will be the last in a series of three painted from photos of my visit to Colorado last September.

The top picture shows the application of the main color, following the establishment of the main values using a dark neutral, shown in the bottom photo. I hope to post the finished piece tomorrow, after I develop the dogs in the foreground, soften some edges and add final detail. I'll also be posting a plein air painting from our PAA paint-out along the San Marcos River Saturday morning. It's close to complete, but the paint's thin in a couple areas and needs some final touches. Hope you had a great weekend.

Spring Pours In

Spring Pours In, 8 x 6
SOLD

Plein Air class today. This was our first venture outside the confines of Laguna Gloria for this batch of classes. The morning fog and occasional drizzle burned off before we met at Zilker Park at 9:00, and from then on, it felt like summer. However, with all the rain we've been getting, it very much looked like spring. Another beautiful day to be in Austin. The bluebonnets should be exploding any day now.

Quiet Crossing

Quiet Crossing, 10 x 8
SOLD

This picture was painted from some pictures I took the morning of my weekend trip to see my daughter's out of town swim meet. As I said in my last post, it's a beautiful drive (Texas beautiful, not, say, New England beautiful) and I'm glad I stopped to take some shots. The only problem was that the sun stayed behind the broken clouds all during the limited time I had to take shots and still make the meet in time.

I tried to paint this scene more sunlit than it actually was, but with limited success. I also was trying out gesso board for the first time, so it's pretty rough looking. I'll need to practice on it before I feel comfortable with it. Maybe a paint upgrade to Gamblin would help. If you paint on gesso board, any advice is welcome.

Toy Truck

Toy Truck, 6 x 8

SOLD

I drove by this beauty this afternoon in Caldwell [corrected — originally misnamed the town, Chandler] after attending my daughter's swim meet in College Station. There's plenty of natural beauty between Austin and Aggieland, but this red behemoth just screamed to be painted louder than anything else on the trip. The driver, Erich, and his wife, Jackie, were more than happy to accommodate me and came out a couple times to check on my progress. Painting en plein air has to be the best way in the world to meet and get to know people you would never have had the chance to, otherwise. And with today's weather around 70º, it couldn't have been more enjoyable.

Nice Morning For A Walk

Nice Morning For A Walk, 6 x 8

$125

email to purchase

This morning the Plein Air Austin paintout was downtown at the Lamar Blvd. footbridge. My vantage point was from the Town Lake jogging trail underneath the Lamar Bridge. The footbridge is about ten years old now and is a great addition to downtown. It has a beautifully unique design somewhat resembling the intertwined ends of a shoelace (not apparent from this angle). Its wide promenade with benches and shrubs is popular among locals and tourists, alike.

First Class Palms

 

Plein Air Class Study, 8 x 6

I titled this post First Class Palms because, you guessed it, today was the first session in our most recent plein air class. This is a pretty quick study, in terms of total time spent painting, as we spent a good bit of class watching and learning from Laurel as she demonstrated a line and mass block-in. When it was our turn, we were to simplify the main value masses into verticals (darkest darks found here); inclined planes (sloping planes such as mountains, hills or rooftops, which are the next lightest of the four; then the ground plane, which catches more light than anything except the surface of water at a distance and finally, the sky. This is a pretty down and dirty field study, in which I focused on these main values rather than on getting accurate color, and which is fairly obvious in this image.

Dog Walk

Dog Walk, 24 x 20
SOLD

Above is the second in a series I'm painting from my trip to Colorado last September. I'm going to post this completed painting by itself for the moment, but will add a couple shots I took earlier in the process. It will help demonstrate a cool blocking-in idea Laurel came up with for our alla prima class. For lack of an established name, I refer to it as the "rub in, rub out" technique. Stay tuned. . . .

 

Okay, here is a snapshot of the completed block-in. It's all done using a dark neutral, a large brush, paper towels and linseed oil. The linseed oil is used to allow the paint to spread more easily, the large brush to get the canvas covered more quickly and to keep you from getting too detailed. The paper towel is used to rub off excess paint from areas on the canvas that have lighter values than what has been applied with the dark neutral.

So, to begin with, start placing the main, simplified shapes on the canvas in their correct location on the canvas. One cool thing about this process is it's very low pressure. If you don't like where you applied your dark neutral, or you applied too much, just rub out the necessary areas with paper towel, and rub in with your brush the areas that need to be darker. Any dark neutral that remains on the canvas will just add punch to the shadow areas. 

To make it easier for the dark neutral to spread easily, dip a paper towel in linseed oil and scrub a thin amount of the dark neutral into the canvas. Do be careful not to make the underpainting runny or to use so much oil that the canvas gets shiny reflections. If this happens, use paper towels to pick up the excess.

Continue applying and removing the dark neutral until you have a good value map that is accurate in the placement and also in creating an accurate range of values on the canvas before adding color.

 

Now you're ready to start putting in color. Paint in the main color masses, blended in on top of the dark neutral underpainting, and continue until, finally, you've added in the all the highlights and everything looks the way you dreamed it would.

Final Class

 

Apples to Irises, 16 x 20

$400

email to purchase

Above is the final assignment in Laurel Daniel's alla prima class. Being the final class, Laurel gave us the choice of using any of the block-in methods we had explored over the six weeks. Any guesses on which one was used here? If you guessed it was the McPherson method of blocking in the main color masses with accurate "average color," then modeling as necessary before adding the spectral highlights in the final stage, then you get a gold star. I only did one painting using the rub-in, rub-out method, but judging from that one (posted January 30), the method seems to give a slightly different look, where the meeting of some color edges tend to go dark. I like that look, but for this one, with so much overall light, I decided on sticking with the color block-in one more time. If you have any opinions on the subject, I'd be glad t hear them. 

One week from today begins our next plein air class, in which everyone is looking forward to trying out our new tricks out amongst the elements.

Road Warrior

Road Warrior, 6 x 6

SOLD

Having never tried one, I've been keeping an eye out for an old vehicle to paint, and yesterday's PAA paint-out at the Davis Ranch offered several good choices. Besides the other vehicles, there were countless beautiful landscapes to paint on this ranch, which raises Texas Longhorn cattle. I hope to go back out there sometime soon to paint from the "natural world," but on this visit I couldn't pass up this amazingly expressive old road construction truck. It's as if it were relating to me its many stories the entire time I stood before it.

More Work From Class

 

Cafe Tray, 20 x 16

The still life above was the assignment we began in last Wednesday's class and showed for critique in this morning's, the final session of Laurel's alla prima class. In this assignment, as in the previous one, we used a blocking-in technique used by Kevin McPherson. My post of February 9th (first of two posted that day) explains the process in detail, which I like very much. I find that this method of identifying and applying the correct average color, along with the correct values, to the main shapes at the block-in stage saves a step by not having to go back and paint color into the different neutrals of a previously painted monochromatic block-in. A key, I find, is to make sure you don't sacrifice the true values of the color masses (especially the darks) when blocking in with color.

He's GOT To Be Freezing

 

Inner Peace, 6 x 6

NFS

(Intro paragraph updated, 2-17) Above is a re-shoot of the study I originally posted on February 9. The previous shot was taken without my normal photography equipment, and ended up darker and more monochromatic because of a problem I was having with glare on the paint strokes. Comparing the two, it's hard to believe both images were taken from the same study. The colors and values are much more accurate in this one.

This plein air study was done this afternoon in my sister's back yard. Though it was cold today, I decided that if a partially clad buddha can sit outside in forty-degree weather all day long without showing any hint of suffering, I could certainly wrap myself up for an hour and get outside and paint a small study. 

Okay, so I didn't complicate my logic with the fact that the buddha in question isn't a real one, but merely a two-foot statue. Thinking too long on such matters can distract one from the goal. Thus, whatever it takes to get to that point, one must act on it. And be with the moment, no matter how cold.

You Guys Are In Trouble.

 

You Guys Are In Trouble, 12 x 16

$300

The still life above is my attempt for the most recent assignment in Laurel's alla prima class. We've been exploring various blocking-in techniques and for this round we followed a method used by Kevin McPherson. We began by using the correct color and value to block in the darkest darks and the lightest lights, followed by reducing the remaining areas to three or four color masses, and using the correct local color and average value of each to complete the block-in. From there we applied the full range of values as necessary to complete the picture. I'm not sure which method I prefer so far, but each of them has been very helpful and made it easier to get rich values and color without getting bogged down or overworking it.

More School Work

 

Flowers and Teapot, 20 x 16

SOLD

If this setup looks familiar, you probably saw it on the blog of one of my classmates in Laurel's alla prima class. In fact, Trish Siegel was nice enough to forward me her iphone reference photos, since the angle I had to work from in class didn't offer a very interesting composition. 

The class is exploring different techniques of blocking in a canvas. This one entails using a big brush to apply dark neutrals in very rough and dry form, then using a paper towel to wipe out lighter areas. Repeating these steps as necessary, you end up with a fairly accurate value study and block-in to paint into. I enjoyed this technique because it seems to help me to both loosen up and to work more quickly and spontaneously.

School Work

Still Life for Class, 16 x 16

Here is a still life begun last Wednesday in Laurel's alla prima still life class. We started out blocking in values, using a dark neutral in various densities of paint, coverage, etc. Being a bit rusty, all my blocked in values seemed to come out the same — black.  Since we were to complete the piece for the next class and I couldn't reconstruct the still life at home, I continued on to full color, even though the correct value relationships hadn't yet been established. I struggled quite a bit with the values throughout the execution of this piece. Looking at this piece now, I think it is apparent that I never completely solved these issues, especially in the pitcher.

In any case, this turned out to be a valuable lesson, despite the less than optimal start, and maybe more so because of it.

Bull Creek Running

Bull Creek Running, 6 x 6

SOLD

Thursday was the first paintout of the year for Plein Air Austin. It was a perfect day to be outdoors, and we found some pretty scenes along Bull Creek, a couple hundred yards upstream from the Bull Creek Dog Park. We've had some good rains in the last two months, so the creeks are all running and the reservoirs are catching back up to normal levels. For the time being, anyway. Enjoy it while it's here, I always say.

Can with Brushes

Can with Brushes, 6 x 6
purchase

The weather's been cold in Austin lately, so I haven't painted outdoors in what seems like forever. Today is turning out beautiful, though, so this post may be the first and last still life for awhile.

Sunshine II

Sunshine II, 24 x 24
NFS

If this horse looks familiar, you probably saw "Sunshine," which I'm reposting below, and which was first posted back in August. Both of these were done with pallet knives, from photos I had taken a few years ago. Since the first one had been my only pallet knife painting to date, I decided to do a companion piece.

Now that these are finished, I'll be sticking with brushes for awhile. They were fun, but I'd like to take a class on the genre before doing more.

Shunshine, 24 x 24
NFS

Value Study

Self Portrait #3, 8 x 6

Here's the value study. Being able to focus just on lights and darks and putting them where they belong made a big difference. It was completed within the ninety-minute time frame, and the likeness is easily the most accurate of the three, though the brush strokes feel loose and free.

This process was really helpful for me. The best thing is, the series is done and I don't have to stare at myself for hours, anymore!

Another Self-Portrait Exercise

Self Portrait #2, 8 x 6

Here's another stab at the exercise I did for my last post. Considerably less than perfect, these two portrait studies have brought home to me a couple things. One, resist the urge to go to a smaller brush — even in most detail areas, like the eyes— than you would use for the rest of the painting. Two, getting an accurate value study in a portrait is more than enough to keep me occupied for ninety minutes. In fact, today's exercise actually took a little over two hours. The extra time was spent trying to fix problems I created with that little #2 brush(!).

So, because these last two studies both have areas where the values and/or placement are off, my next "ninety-minute" exercise will be done in one color only.

PLEASE, GOD, let ninety minutes be long enough!

Self Portrait

Self Portrait, 8 x 6

Hello, again. Wow, posting two days in a row! I have to say I'm glad Christmas is over, so I can get back to painting. Today's exercise was lots of fun for me. I had finished the architectural subject from yesterday's post and was noticing how clean and squared off everything looks. Not that there's anything wrong with it, but I seem to tend toward the precise, especially when working on architectural subjects, in the studio.

So, today I decided to get a mirror and do a timed study of my very own (aging!) face. It was fun not worrying about flesh tones, much less photographic precision. I didn't even "draw" an underpainting, instead starting in with the main skin color and building "planes of color," which is something Cezanne was known for. I really want to start doing this at least a couple times a week, as I think I benefit greatly from letting down my guard, so to speak. If you have an opinion on this, either way, I'd love to hear it.

Happy painting.

Back Entrance, Revisited

Back Entrance, Revisited, 12 x 16
$300
email to purchase

Happy Holidays, everyone. I hope you are enjoying your families and friends, and are looking forward to much painting in 2010. Today's post is my first in three weeks, thanks to shopping, overeating, and all the other critical holiday activities. The image above may look familiar, as it is an enlarged attempt from one of my very first posts back at the beginning of June. I worked primarily on improving the brushstrokes and enhancing the values and colors of the background. I enjoyed this subject when we painted it en plein air last spring, and was glad to go back this week and explore it anew.

Best wishes in the new year!

Back Entrance, 8 x 10
plein air study

The Gatekeepers

The Gatekeepers, 6 x 8
$85
email to purchase

The temperature was in the thirties this morning at the Ladybird Johnson Wildflower Center. Since I already chickened out of the previous two paintouts due to cold weather, I decided I had better show up this time, lest I take on the rep of being a thin-blooded milktoast.

Unfortunately, I was, indeed, enough of a milktoast not to confirm by yesterday whether I would show up this time. This fear of committing on record was due to a sub-freezing forecast for early this morning.

As it turned out, even this less severe strain of artistic cowardice came back to haunt me. I did make good on my internal promise to come out to paint today, but of course, I was the only one to show up.

Here I was thinking I would finally get to see some painting friends I hadn't seen in three weeks due to my past milktoastness, only to be disappointed. Alone in my exposure to the early morning elements, I called the president and priestess of Plein Air Austin, Laurel Daniel, to learn that the paintout had been canceled, altogether. It turned out no one else replied to the email invitation, either, and because of the apparent lack of interest, the cancellation.

If I only had the guts yesterday to commit to painting this morning, I would not have had to paint alone. Laurel, at the very least, would have been more than happy to come out and paint, as long as she knew anyone else wanted to. In the meantime, however, she had already started in working on a commission and was too involved to come out on such late notice.

So — I learned a very important lesson this morning. When painting en plein air, it's okay to be a milktoast, as long as you admit your milktoast status up front. If you think you might NOT be a milktoast, but aren't quite sure, just be firm in your commitment. And do so at least one day in advance. Moving on.

In the landscape above, the various plant life on either side of the trail struck me as almost human sentinels, with the power to allow or deny access to anyone venturing down the path.

Hmm, plants with distinct personalities. I must have been more than cold this morning. I must have been really, really lonely.