Archive for March, 2007
March 30, 2007 at 6:17 pm
· Filed under Uncategorized, Landscapes, Plein Air Painting, Art, Plein Air, Shows
I finally have all my work ready for my solo show at Robert Lewis Gallery! It opens Friday, April 13th. Hope to see you there (click here to view paintings that will be in the show).
My next show is a group event at The Vault Gallery in Sonora, “Gold Country Plein Air“. I need to have a couple of pieces ready for the “pre-show”, so painted this one.
“Golden Hour” - Oil on Linen - 8×6″
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March 29, 2007 at 2:12 pm
· Filed under Landscapes, Plein Air Painting, Art, Plein Air, Shows
I love painting in Blackwood Canyon, just outside of Tahoe City. Andy Skaff and I paint there together when I visit. I completed this work for my solo show (opening April 13 in Pacific Grove). I took photos at interim stages, so hope to make it into a video as I did the “Secluded Cove” painting. I’m thinking of having both videos run on a loop at the show as I think collectors would be interested in seeing paintings develop. Then again, they’ll get to see them in the “ugly stages”!

Autumn in Blackwood Canyon - Oil on Linen - 16×20
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March 22, 2007 at 5:02 am
· Filed under Seascapes, Technique, Plein Air Painting, Art, Plein Air, Shows
As I wrote yesterday, I have a solo show coming up at Robert Lewis Gallery, so I’m painting like a mad-man to get ready, less than 4 weeks until the opening! Click here to view paintings in the show.
I painted this studio work, “Secluded Cove“. I’m not happy with the quality of the photo, but it gives you an idea. I am really happy with the painting, but have to figure out how to get decent photos of my larger works. If you have tips, let me know. I use a digital camera for larger works and a flatbed scanner for smaller works.
Click the image below and you’ll get to a page that will show you a QuickTime demo of the painting in progress. This is also available on YouTube.

Click to visit a page with the demo video
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March 20, 2007 at 8:33 pm
· Filed under News, Plein Air Painting, Art, Plein Air, Shows
I’d planned on a weekend of painting in Carmel, but, the weatherman lied again. Instead of sun, fog. I did get one afternoon in the day I arrived. The second day, while I was waiting for the fog to clear, I stopped by Robert Lewis Gallery. I first met Robert at Eriksen Gallery (the first to carry my work) and then again at San Luis Obispo Plein Air last year. He has a gallery of his own in Pacific Grove. Nice guy. We had a chat about art as a second career. Turns out we’d both been at Apple Computer around the same time (he was at Claris on the Filemaker team).
He ended up asking me to show at his gallery for a bit, starting April 13 (Friday the 13th, no less). Having just delivered a dozen paintings to Kumquat Art & Home, I’m a little short, so I plan on painting like a mad man the next few weeks! I finished a nice large one today that I’ll post tomorrow. I have photos of the work in progress, so it makes a good demo. Most of the work I can commit to the show currently are on the small side, so I’ll be painting 16×20 and larger to have a variety.
The painting above, “Hillside Oaks” (Oil on Linen, 12×16) will be in the show. I’ll blog about the details as the solidify. Hope to see you at the opening! You can more Friday, April 13th for now.
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March 19, 2007 at 4:39 pm
· Filed under News, Seascapes, Landscapes, Plein Air Painting, Art, Plein Air, Shows
I’m showing again at Kumquat Art & Home in San Francisco. Keverne, the owner, reported a sale as she was hanging the work, so we’re off to a good start. Click here for a full page of paintings available, here’s a sample of what’s available. She also has a number of older, unframed studies that are being sold at a very reasonable price
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March 17, 2007 at 2:48 am
· Filed under Travel, Landscapes, Plein Air Painting, Art, Plein Air
I’m taking time off to take advantage of the fantastic weather (sorry east coast, don’t mean to brag
If the weather holds out, I’ll stay here until Sunday night.
I arrived late, so only had time for one quick study. Drove around a bit, then found these dry-docked boats at the Stanford University Marine Center. Late-afternoon light, my favorite. I think I regret putting the sky in. I’ll have to live with this a couple of days to determine whether it was a good idea or not. What do you think?
Dry Dock Twins - Oil on Linen - 9×12
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March 12, 2007 at 2:42 am
· Filed under Landscapes, Plein Air Painting, Art, Plein Air
Wow, what a FANTASTIC day in San Francisco. I believe it was around 80 degrees (F). Mike and I had breakfast with good friends Sam and Phil, then we spent a few hours looking at open houses. We’re thinking of pulling up roots in Redwood City and moving to San Francisco, somewhere around Castro or Noe Valley. We find ourselves in the city a lot anyway, and had been thinking about buying a small weekend condo, but now thinking bigger.I was eager to get out and paint. I drove a bit around home and ended up at this favorite spot behind La Canada College. There’s a service road there that leads between the school and La Canada Road. The light was GREAT. So clear and warm (about 5PM, after we “sprang forward” for DST, so actually 6PM).
I’m going to start selling studies like this, unframed, from my blog. If you’d like this one, let me know ($150).

Off La Canada Road (Woodside, CA)
Oil on Linen - 8×10 -
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March 9, 2007 at 7:33 am
· Filed under Learning, Landscapes, Technique, Plein Air Painting, Art, Plein Air, Sketchbook, Top Observations
“Think in black and white, but paint in color.” -
George Post
“I want all my senses engaged. Let me absorb the world’s variety and uniqueness.”
Maya Angelou

In every workshop, there are usually just a couple of things I come away with remembering forever, that really stick in my sieve of a brain. From
Camile Przwodeck, I learned the concept of “
color separation“. I don’t think she ever called it that exactly, but the idea is somewhat analogous to value separation: The uneven distribution of and planning of values (from 3-5, generally for me) is used to design something pleasing to the eye. In my
“Observation 2: Design in Abstractions” post, I wrote about my use of
Notan Sketches to abstract a scene into a limited number of values, and to keep one value dominant, the others supporting (see the Notan Sketch on the right).
Just as you need to have a clear separation of values to make a design work, so too color. Just as the eye responds to abstract value shapes, it apparently does the same with color. In my
recent post about the physiology of the eye,
Margaret Livingstone describes our
visual system in which different colors are handled by
different cell types. The reason
complementary colors create a sort of visual “vibration”, is because the two visual systems/cells in the eyes are actually competing with one another to see the scene. That “fight” causes the vibration. The book describes many other types of effects like this that I can see myself experimenting with for years.
In practice, here’s what color separation means:
If you think you see two greens that look about the same, exaggerate the difference between the two, to separate them easily for the eye. For example, in this plein air sketch of ice plant in Pacific Grove on the right, to create the greens in light and greens in shadow, I used completely different base colors. For the green in light in the bushes on the left, I used Hansa Yellow and Cerulean Blue, and Ultramarine Blue and Hansa Yellow Orange (and a little Alizarin Crimson) for the shaded side.
- Don’t use the same color to represent two different objects in a scene. For example, if I’m painting a red barn, with a pot of red flowers, I will use two different color combinations to create the two reds, with no colors in common . So I may paint the barn with an Alizarin Crimson base color and lighten with a Cadmium Orange, then paint the flowers with Fire Red and lighten with another color, such as Cadmium Yellow Medium.
- Avoid lightening colors with white, especially if you want them to be vibrant. White KILLS color, but is very effective in a gray-day painting! Use the next lighter value and warmer color on your palette. See my previous post on gray-day vs. full-sun painting.
- Just as I would design a value plan with a Notan Sketch, I design a color scheme with a dominant color, and then limit the number of supporting colors. For example, the painting above is basically a green dominant painting with reds a close second, followed by light pink/yellows.
- After a basic drawing, I will often start with small color spot tests to represent each object, and see how they work together (harmonize) before painting the entire area. This is something I learned from Barry John Raybould (see Virtual Art Academy) when painting landscapes, and Jim Smyth taught this technique when painting the figure as well, in which we’d paint tiny (2″ square) color spots to represent the figure in light and shadow.
- With a full palette of paint, and trying this technique, it’s really easy to go overboard and create a painting with no color harmony or with no color shapes that hold together to create a coherent painting. I see this a lot in florals. Although I have 13 colors on my palette (plus white and black), I won’t use them all in the same painting! If you’re a beginner and just learning how to get basic values accurately, I would not use this technique. Save it.
In summary, while you’re in the design stage before you’ve laid down a stroke, analyze your subject and think ahead about a color plan. Use color separation to create paintings with a vibrancy that will challenge the human eye.
This is the 5th in what will be 10 total “top observations” of mine as a plein air painter. Click here for an a list of the others.
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March 2, 2007 at 6:45 am
· Filed under Seascapes, Plein Air Painting, Art, Plein Air
I painted this last night…felt good to paint as I took a bit of a break after the Gay Faulkenberry workshop in Scottsdale, and instead wrote about other stuff. I’m not sure if this is done. It’s still in my studio, so I’ll take a look at it in the morning, or put it on my “drying mantle” a couple of days. What do you think?

Pacific Grove, Morning - Oil on Linen - 12×16 - $300 AVAILABLE
Oh, and I got some good news/bad news today: I didn’t get into the Carmel Art Festival, but was asked to come back to Kumquat Art & Home in San Francisco, so I’ll be showing there this Spring. I’m also thinking of offering the studies I show here on my blog for sale via PayPal or eBay. I need to pay for some paint!
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