What I love about being an artist is the opportunity to continually learn and explore. My focus recently is learning to use new and different materials. Royal Talens sent me a set of Cobra solvent-free oil paints to try, and these are my first results. The benefit is I don’t have to use solvents, which even though labeled “odor free” really are not, and it’s nice so nice to clean up with soap and water!
As I explore how to work with this paint, I’m find myself painting with a much thicker impasto technique–and I’m enjoying it! Trying new materials can push artists in new directions and open up new possibilities. I hope you enjoy these studies, all done in San Francisco.
After a great week of painting (although, lots of work and some tough, 100-degree weather), my paintings for the San Luis Obispo Plein Air 2012 show at the SLO Museum of Art are ready to go! I need to choose three of these five for the show. I’ve listed them in order of my favorites first. What do you think?
Avila Cove (Late Afternoon), Oil on Linen, 11×14
[Update 10/5]: you’ve all convinced me, the last painting below (sunset) is in the show! Thanks for your feedback. It’s really difficult to judge my own work.
I’m so lucky to live in a city with so much beauty to paint! I’ve neglected it too long, often looking for inspiration in Carmel, the Central Coast, and elsewhere. I may eventually paint citiscapes again, but for now, enjoying the beauty of the coast. The only work not from San Francisco below is from Alta Lake, a friends home in The Sierras we get to visit a couple times a year. Enjoy!
I will be participating again this year in the San Luis Obispo Plein Air festival at the San Luis Obispo Museum of Art, October 1-7. I usually choose one area to focus on…not sure what it will be. In year’s past, I’ve focused on Avila Beach (cove) and the Rocky Point area (see below). Any suggestions? Let me know!
Here are works from previous years in this show. The painting below “Glowing Bluffs” will be my featured painting in the museum the week leading up to the show.
Sunset Ragged Point. CA (October 4, 2011, Oil on Linen, 12×9
I think this is the longest period of time I’ve gone without blogging! Feels weird. I’ve a a busy couple months: started a remodel at home; and was hospitalized for kidney stones. No fun! Remember to drink lots of water…apparently, that’s how you can help avoid them.
This is my first painting after being out of commission for a couple weeks. Feels great to get back. I like this enough that I can see painting a larger studio work from it. Hope you enjoy it.
It has been an exhausting but inspiring and productive week preparing for the San Luis Obispo Plein Air show at the San Luis Obispo Museum of Art. The show opened today and runs throughout Sunday. Here are some of my works in the show. It was a week of dramatic weather, so I focused on that, particularly the clouds.
One more Big Sur painting as I prepare to paint the central California coast for San Luis Obispo Plein Air next month. It was fun in this painting to abstract the distance obscured by fog. Let’s hope it’s not foggy when I’m there (although, hey, I’m getting lots of practice). I’m headed to The Sierras tomorrow, where the temperature is scheduled to range between 85-95! I plan to test out water color a bit more, to prepare for my trip to Sydney in November. Cheers!
The California coast delivers weather that varies from bright sunshine to fog–all in the same spot, the same hour! This foggy day version of Big Sur is the other side–the foggy side–of my last sun-lit coastal painting.
As I start to prepare for the San Luis Obispo Plein Air show in October, I’ve been referring back to photos from my recent plein air painting trip to paint studio work. What struck me about this scene was the strong contrast between the sea and sun-lit land, much as represented in by Sorolla in his incredible works of the Spanish coast (like this one). It’s a meeting of two worlds, which is what interests me so much about seascapes.
This was pretty difficult to photograph, by the way. The water is deeper and more varied with subtle greens. It’s seems it’s difficult for the camera to pick up both those details and the subtle land colors at the same time.
In these two studies (painting at Asilomar, just north of Carmel) I was focusing on the use of dark transparent colors to represent the ocean. click on the paintings to see the detail. Notice how the use of transparent Ultramarine Blue gives it a nice watercolor-like glow. Even though it’s a dark color, it reflects the white board underneath, so it gives it the feeling of both being dark and light at the same time. To create the reflection of light on water, I wiped away more of the paint to show the white ground, rather than paint a second color on top. BTW, pure Ultramarine is too intense to represent the Pacific, so I deaden the color, generally with a Cad Red, or sometimes with Gamblin’s Chromatic Black–a great transparent Black that will reduce the chroma of any color.
Davenport, CA (just north of Santa Cruz) has some really dramatic bluffs that make great subjects for a painting. The light/shadow colors of the bluffs are interesting because they are light colored, and so reflect light from many different sources, including the sea, land, other rocks nearby, etc. It’s a fun subject to paint, and a somewhat common theme in my work (eg, 1, 2, 3, and 4). As always, comments welcome. Enjoy!