Field View

Field View – Oil on Oil Primed Canvas Panel – 8″ x 16″

Still on “doggie hospice” as our dog, Clawed Monet recovers from illness, I am relegated to painting carefully (so as not to stain or damage the flooring) in our house (that is, not in the studio). Trying to paint faster and looser, I came up with this design. I used the barn design as a lesson in our Advanced Watercolor class and played with a wider horizontal format. Put myself in a good mindset and painted this as if I was working en plein air.

When I started the painting, I had decent light from outside. Unfortunately,  it got overcast as I was painting. Forged ahead and had this work thoroughly blocked in within about twenty minutes. I was working adjustments as my light source changed. Stopped at a good time. Came back the next day, under more favorable lighting conditions, and made a few minor adjustments. I worked to keep from overworking this aiming to maintain the fresh feeling of the brushstrokes.

Shortly after completing this work, one of the galleries contacted me. They wanted this work for their gallery display. The work has just been delivered to them. Hopefully, the work does not return to (i.e. I hope that the gallery finds a new owner for this work).

From the Classroom – Bucket with Apples

Quick demonstrations for my Open Oil Studio students. Too many students spend too much time trying to get each and every stroke “perfect”. Unlike watercolors or acrylics, oil paints allow manipulation long after being applied to the canvas.

Bucket with Apples – Direct Painting – Oil on Gessoed Paper – 8″ x 6″

After using my palette knife to create some piles of colors, I applied paint with the intention of getting as much area covered as quickly as possible. I also aimed to minimize “fiddling” with the strokes until I had color applied to the entire design. This particular design required less than seven minutes to apply this initial block in.

I did add some  Bucket with Apples – Tone and Remove – Oil on Gessoed Paper – 8″ x 6″

In this second demonstration, I applied a very fast, loose, thin application of burnt sienna to tone the canvas. While this initial application was wet, I utilized a paper towel and mineral spirits to draw the design onto the canvas by removing some of the burnt sienna. Again, a very easy way to quickly establish the design and enable students to spend time refining their paintings rather than laboring over with their works. In this example, after I had the initial design mapped out, I did add some dark tones to help the shadowed areas and a little bit of white to help establish the light on the table top.

Along Limestone Road

Along Limestone Road – Oil on Canvas – 36″ x 36″

I used a plein air sketch and the small painting titled, Clouds Over Limestone, to create this work. The sky proved to be more tricky than I had anticipated. The task of constantly stepping away from the painting to examine the progress and judiciously adjust as necessary, is especially important when working the larger canvases. This work is on its way to a gallery. Wish us luck.

Summer 2019 Workshops

My Rock Valley students have inquired about painting workshops for this summer. Unfortunately, the classroom and facility we would prefer to utilize is not available until August. So, we are looking to provide the following;

Basket of Blossoms 2 – Watercolor on Arches 140# CP Paper – 12″ x 9″

August 5, 6 and 7

Dynamics of Shadows and Light: A Bolder Approach to Watercolor

Gain insight to energize your watercolors by creative, strategic and decisive utilization of exaggerated light and shadows. Demonstrations and discussions will focus on planning your design and composition as well as sparking your imagination. Discover methods for pushing negative space to yield positive results in your artwork. Exercises will concentrate on developing your creativity and daring to create more dynamic paintings.  Students should already be familiar with basic watercolor techniques. In addition to your supplies, please bring a couple sheets of Arches 140# CP paper and a few reference photos with subjects of interest to the student. Students will have the opportunity to work independently on their own paintings.

Patti’s Hen House – Plein Air – Oil on Linen Panel – 12″ x 16″

August 12, 13 and 14

Ideas for Creative Studio Painting in Oil and Acrylic Painting

Expand your ability to translate and capture imagery on canvas as you strengthen your observational skills, build a reliable process for planning and develop your unique voice. This workshop will help you to identify a focus for creating your art and developing a pattern for success. Demonstrations and discussions will focus on planning your design and composition as well as sparking your imagination. This workshop requires basic experience and training in oil or acrylic. Students should be competent with the techniques and tools of the medium, developed drawing and design skills and the ability to work independently.

Assuming that the weather cooperates, I plan to do a couple outdoor demonstrations at the facility.

Clouds Over Limestone Road

Clouds Over Limestone Road – Oil on Canvas – 12″ x 12″

Fall of 2017, I did a small plein air painting of this scene. The roll of the road along this farm is what caught my attention. The original painting stopped just above the trees. Soon after I completed the plein air work, one of the galleries requested this work for display. Unfortunately, the work sat at the gallery never to find an owner.

Rise on Limestone Road – Plein Air – Oil on Linen Panel – 8″ x 10″

I retrieved the original work late summer. I left the work on display in my studio where I could see it. I thought that the design might be interesting if I played with a more dramatic sky. I am currently working on a larger version of this for the galleries and have already thought up another idea for this design. More to come.

 

East Field at Beaver Creek

East Field at Beaver Creek – Plein Air finished in Studio Oil on Canvas – 16″ x 20″

Entering the property at Beaver Creek, you drive about 100 yards through thick woods. As you clear the woods, the barn comes into view. This morning, as I cleared the woods, I pulled onto the tall thick grasses at the edge of the bean field. I trudged through the grasses, raising a few mosquitoes, and found this view. I set up my equipment and painted.

What I have identified as a red barn has actually been converted to a home and workshop for a ceramicist. The current structure has dark brown siding and numerous windows. You can still see indications of the original structure. I felt that this design would read better as a red barn. A bit traditional, but helps avoid viewer confusion.