Art for the People Gallery in Austin has included 2 of my new paintings in their Winter 2023 group show “CELEBRATION”, running January 28th – March 24th, 2023. I’m very excited to be included in this VERY talented group of artists! If you’re interested in original artwork by Austin artists, check out AFTPG either in person in Austin or browse their online store.
If you’re interested in any of my pieces, I’m happy to answer questions or better yet, go to the gallery and check them out in person!
I’m learning a lot more lately en plein air, painting outside essentially. In 2023 I intend to get in at least 30 days outside – I’ll keep track and post updates against that goal… more to hold myself accountable, but perhaps it will entertain all of you as well.
There is a great artist group in Austin called Plein Air Austin (www.pleinairaustin.org), which organizes multiple outings monthly for members – non members are encouraged to come join us to see what it’s all about, too. This particular outing was what we call “Urban”, where we get together in an area of town that has great architecture and buildings, as opposed to nature-based landscapes, and try to capture the scene. This particular outing was on South 1st near Mary Street, which has plenty to work with in terms of urban scenes. I tagged along with one of the other artists who had scoped out these great blue green umbrellas at a restaurant called The Soup Peddler.
The weather was ideal, a little chill in the air, but the clouds cleared out around 10 and gave us plenty of sunlight. It was tricky to simplify this scene, an ongoing challenge for me with plein air compositions, so I tried focusing on the umbrellas first and building the painting outward. Having just painted umbrellas in a recent studio piece, I was able to quickly get the bones of this piece on the canvas before the lighting changed. Luckily the lighting was steadily improving all morning, so I never panicked due to major shifts in value.
In terms of compositional challenges, I got most of it worked out in the field because I was happy with the umbrellas themselves. I also got very lucky in getting the structure of the building, sign, and patio details on the first try. Sometimes those architectural details trick me and I have to make a few attempts to get it right, or at least avoid having it tank the painting before it even begins. The updates I made in the studio were pretty straight forward, building on what I had already started, but I did leverage some artistic license. Most notably I opted to exclude the cactus coming out of the metal planter, in large part because it was nearly the same color as the umbrellas, and even a deviation from the coloring would have been a distraction. And while I don’t love the final look of the metal planter it serves as a good balance for the composition. Maybe I’ll add some other plants in the future, but for now I’m calling it done.
The weather and views were so fantastic, frankly I didn’t care how this plein air piece turned out. The vantage point was from a hillside trail in the shade looking out across Casco Bay. I had originally setup along the water, but had to move due to the rantings of a homeless guy who felt me and another guy nearby had infringed on his oceanfront property.
The boats were tricky to paint because the scale was so small – this was the first time I’d painted a seascape with various boats on a small canvas. I realized I had to pay more attention to giving the impression of details with singular brush strokes, almost dots in some places. The other challenge with boats, maybe it’s just in this particular bay, but the vast majority of them are white, the entire boat, not just the sails.
Overall this was a successful study and I’m looking forward to future compositions, both in plein air and studio refinements. There are also some great hues to work with in the sky, water, and the backdrop of green forests and islands. What’s not to like?
I’ve been traveling a bit this summer and managed to get in some plein air work! At first it was mostly drawings of coastal scenes – lots and lots of boats and beautiful coastline. But lately I’ve managed to get in some solid time with the paints and I’m working a few pieces in parallel.
I still need to return to a few of the plein air locations before I can finish with studio refinement. One basic change I’ve tried with the recent plein air compositions is essentially simplifying the focal areas and zooming in so there’s less to tackle. That’s been hard for me because I typically want to capture as much of the landscape view as possible in any given composition because it’s so damn beautiful.
Next projects will be some very photogenic coastal lighthouses. I’ve done a few practice sketches to get a feel for how I want to approach the works and not self-inflict panic during the speedy reality of painting on site. What’s really apparent, at least in my drawings, is that the lighthouse is going to be a piece of cake – it’s the rocky seaside that might well drive me insane. But I believe if I keep it “fast and loose” and focus on the lighthouse, the rocks will be simplified in a supporting role.
Hopefully I’ll be able to post a couple of completed pieces in the coming week.
A few months ago we took a trip to indulge in wines of Paso Robles, California. This is a beautiful area, a little hard to get to, and the wine is fantastic. Don’t get me wrong, I’m no wine snob… my palette is worth a $40 bottle of wine at best. However, over the years we’ve done a lot of travel around the world and there is no better way to find wines you like than to be in the actual region and explore. Again, we tend not to go to places for the purpose of doing wine tastings, but what else are you going to have with dinner?
We took a beautiful drive from Paso Robles, CA to Morro Bay. Along the way we came across this stunning view, giving a first glance of the ocean as we wound through the hills. As you can see from the reference photo, it’s beautiful, but as an artist you see a whole lotta green!
I chose to do this piece in colored pencil instead of oil paint for two reasons. First, I’ve recently started experimenting with colored pencils and the investment in a new pencil set needed some return. Secondly, it gets brutally hot in my upstairs studio during the summer, so having the pencils setup downstairs is an easy way to get my creative fix for the day if I don’t feel like running the AC for 3 hours in the middle of the afternoon. Pragmatism, go figure.
I’ve done a few practice sessions with colored pencils after taking a workshop from Jenny Granberry, who is a great artist and instructor, a rare combination. This piece was a challenge and intended as a massive practice exercise with the goal of something “completed” in the end. This composition was a challenge for reasons beyond my lack of colored pencil experience. First, I can’t remember the last time I’d done a drawing-based landscape, and secondly, the greens!
What I find the most interesting part of this piece is the fact that I worked from the top down (far to near), and I don’t know about you, but I can definitely see that the bottom part of the drawing is notably better than the top. I can hear Jenny now… keep your pencils sharp and go slow. I hear you Jenny, I hear you, it just took half a page to get there.
As to the greens, I focused on blending variations of blues in the more distant hills, segueing to stronger yellow in the foreground. I wasn’t excited about the final look initially, as it lacked warmth from the sun, so I drank some wine to work up some liquid courage to grab an orange/red pencil to add an overlay to the foreground hills. Unlike oil painting, you can’t just wipe off pencil – true, it can be erased, but then you’re compromising the “tooth” of the paper, and at some point I hope to be good enough that something like that matters.
In the end, Central Coast – Morro Bay was a great learning experience and provided a wealth of knowledge through trial and error. I also think I’ll return to this subject matter in landscape perspective for a larger oil painting.
Art for the People Gallery in Austin has included 3 of my compositions in their Summer group show “ABUNDANCE”, which runs July 2nd through August 26th, 2022. I’m thrilled to be a part of this talented group of artists! If you’re interested in original artwork by Austin artists, check out AFTPG either in person in Austin or browse their online store.
The following paintings are part of the show (links lead to previous blog posts about these compositions):
This is another morning plein air session along Barton Creek just down from the base of the Hill of Life. This was the first session at this particular spot, which I originally chose for the water chute between the rocks, but the lighting wasn’t very good for the water, so I opted to focus on a cool tree on the other side of the creek.
I brought along my trusty plein air sidekick, Zip, to help keep the squirrels in check while painted. The heat was pretty bad today, so we had a hard stop at 11am so Zip wouldn’t get overheated on the way back up the trail. She made sure her temperature wouldn’t be an issue by instantly jumping in the water once I let go of the leash to setup my easel.
I somehow made this piece more difficult than expected. I think the problem was a lack of structure in values and simplification of the greenery from the get go. I used to hate painting trees, but over the past year I’ve managed to get the hang of it and they’re not as frustrating as years past. That said, this composition was tricky because the focal point is a tree within a sea of trees. But I was outside with my dog painting, so I didn’t really care.
The progression gallery below illustrates the various artistic detours I drove along before finding the finish line. The biggest singular challenge was the lack of foliage on the “real” tree, as you can see from the reference photo, so I improvised some leafy bits in amongst the long, spindly trunks. Initially I balked on the vines, thinking they wouldn’t translate to the viewer, looking more like spaghetti, but after a few failed attempts I managed to weave them in convincingly.
The last design decision was using a palette knife for finishing the trunk. I didn’t like the blended look using a brush and invariably a palette knife can add texture, which is ideal for rendering bark on a tree. If you’re curious about the specific location of this plein air site, I’ve been dropping POI pins on a Google map so I can find my favorite spots in the future. This particular one is located at 30°16’11.0″N 97°49’42.5″W.
PLEASE NOTE this part of the Barton Creek Trail is severely overrun and trashed, especially during the Spring and Summer months. I found tons of trash, especially beer cans, throughout the area. The stretch of the waterway from Hill of Life Dam Falls (northwest) down to Sculpture Falls (southeast) will continue to suffer environmental degradation at an accelerated rate if the City Council and the various environmental groups in Austin (@SaveOurSprings @sosalliance @austinparksfdn @austintexasgov) don’t institute some level of admission controls. Police enforcement and citations for infractions are helpful, but they don’t address the primary issue which is too many people on this sensitive waterway. And last, but not least, the City of Austin needs to honor their legal commitment with the neighborhood to close the Hill of Life trailhead, which they legally agreed to do when a temporary easement was granted by the neighborhood in 1999.
Painting is truly a never ending learning process, which is what makes it so intriguing and rewarding, no matter one’s skill level. However, there are times when you pivot to a new thing – subject matter, tools, medium, etc – and realize the education could be a seamless experience, while there are other times when it’s more of a slap down. This portrait of one of my beloved pups, Wolfy, was indeed of the latter variety.
I’m pretty sure I had a couple things working against me on this one, but let me know what you think in the comments. First, it’s exponentially more difficult to paint (or draw for that matter) a dog that you know really well; getting the expression just right is nearly impossible. Secondly, the reference photo I used was, well, not the best. Wolfy does not like the paparazzi and therefore a workable pose from the furry prince was hard to come by. The third and final challenge was the recognition that Wolfy’s hair and color patterns were new to me and frankly very difficult to figure out.
You’ll notice the reference photo has a grid overlay, which helped tremendously and led to a few adjustments that were very helpful in terms of portrait accuracy. However, despite the grid and many hours of work on this piece, I feel like the final result leans cartoonish and for the life of me I can’t figure out why. I think it might be the length and width of the snout is simply off, but it might also be the plane of the forehead… or it’s his eyes. I don’t know. Thoughts?
Despite the challenges, I had a lot of fun with this composition. And although it was a slap down learning experience, I did educate myself alot about what works and what doesn’t. Some of the “what works” highlights that will carry over into future pieces are the brushwork for long fur, the use of reds in brown haired dogs (it’s there, it’s just hard to see), and the realistic texture of a palette knife for the tongue and nose.
I might have chosen the wrong year to ramp up my en plein air experience, case in point the month of May in Austin is already registering 100 degree days. Ugh! Regardless, the mornings are bearable and I had to break in a new pochade box called u.go. by New Wave Art… more on that later.
This session was at Bull Creek Park with a few other painters from Plein Air Austin. For those of you familiar with Austin, this is the northern stretch of Bull Creek near the Spicewood and 360 intersection. For the uninitiated, it’s ideal for painting outside because there’s usually some good water options along the creek and lots of shade.
The focal point of this composition was the rocks in both the foreground where the shade and light merge, and secondarily the larger rock bathed in sunlight. I was very happy with how this turned out even before I got back into the studio for refinements. I went into this plein air session committed to focusing on values, starting by driving the darks into darkness-of-a-bat-loving-cave kinda dark, then finding high contrast opportunities for the lightest lights. I took some artistic license in this area, fabricating some water movement that wasn’t there, but it made for a more compelling viewing experience in my opinion.
Additionally I muted the trees on the banks, especially the left side, so as to ensure they didn’t distract from the main focal points in the water. I had initially used much lighter, saturated yellow/greens on the trees, but that muted all the lighter values in the composition, which absolutely killed the scene. I’m pretty sure this is what I’ve done in past plein air sessions that has confounded me. I’ll keep my fingers crossed this will carry over into the next outing.
The use of olive green variations on the shadow parts of the distant water were also a change in approach. One of my fellow painters made this suggestion and it proved to work really well. Painting outside is fantastic! This particular outing was of note because I got to share ideas and chat with the other painters. We even treated it like a workshop and did a mini critique of our works at the end of the morning. This was particularly interesting because of the 4 painters, there were 3 different mediums represented – oil, water color, and gouache.
Lastly, my new u.go proved to be a great upgrade to my plein air armaments. Thank you to my awesome wife for giving me the perfect artist gift! The best part about the u.go is the portability. The length and width dimensions are almost identical to my EasyL pochade box, but it’s very thin, so it fits much easier in my pack. Very sturdy and compact design make it a must have piece of equipment for me.
I’ve been working on this piece off and on for the past few weeks. Sometimes I can get my head locked onto an idea that is not necessarily a bad concept, but I overlook the execution challenges, which are either a) well above my skill level, or b) something I forgot I hate doing. In this case it was the latter, specifically my reticence for painting anything with lettering. It’s so tedious, difficult, and frankly it blows my mind up a little every time I try.
The reference photo for Darwin was essential because it provided the actual Pfizer vaccine label details, and this particular photo was handy because it had that laboratory look and feel. I was drawn to the blue hues and the metallic lid, so I tried to emphasize those elements. Let’s be honest, a vial of vaccine is, well, not the most compelling still life.
From a technical perspective, there were a few challenges with Darwin. The most obvious was the lettering, which I did free hand in the hopes that it would have a painterly feel to it, as opposed to using a stencil with perfect lines and symmetry. However, even with a stencil, the biggest challenge would have been the contour of the round vial and the very subtle changes the letters make based on their positioning. Lastly, the sea of blues was very tricky because the source of the blue color is unknown and yet it permeates the table and the vaccine liquid itself.
It was also very important to point out that the “Darwin” name was replacing the vaccine manufacturer’s name, in this case Pfizer. I haven’t done a lot of compositions with alternative messaging, but this idea jumped in my head one day and it seemed to convey a number of thoughts and opinions, which could be open for interpretation depending on your own perspectives and beliefs.
For me, I’ve always said that Darwin was wrong, and the COVID pandemic is the poster child of this sentiment. Survival of the fittest doesn’t apply to humanity – it hasn’t since the Bronze Age. The “strong” are frequently challenged to counterbalance the obstinance, stupidity, incompetence, and most of all, the narcissism of the “weak” within our species. Would Darwin advocate for a vaccine? I think not – pretty sure he was a herd immunity kinda guy. But was he an anti-vaxxer? Or is Darwin actually right when it comes to COVID, namely that once the vaccines were rolled out, 99% (or something close to that figure) of deaths were the unvaccinated. Hmmmm… something to think about.
You gotta love the non-committal nature of messaging through art!