Categories
Berkeley Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Mustard Grass Meadow, Albany CA

Mustard Grass meadow

Oil on panel plein air (mostly), 12×9″ (Larger)

After working at my “day job” most of Monday, a day I usually don’t work, I grabbed my painting gear and headed to this field covered in brilliant mustard grass. I’d driven by the field the day before and was desperate to paint it. By then it was about 4:30 and the sun, which had been shining brightly all day, had disappeared behind clouds on its way down. A chilly, foggy breeze blew in from the nearby Bay but the mustard grass was still glowing.

I set up in the parking lot of the Ocean View Elementary School in Albany, looking through a chainlink fence at the field. It is part of U.C. Berkeley’s Gill Tract, a 14-acre agriculture research field owned by the university. Until recently the field was a pine forest, but the university just cut down all 314 Monterey Pines because they were infected with pitch canker and were deemed hazardous.

Several children who were being picked up from after-school activities dragged their moms over to see what I was doing. One little boy told me that my trees looked “so realistic!” He made my day because I’d been thinking they were awful. Another little girl said she liked to paint too. I asked her what she liked to paint with (thinking watercolor? acrylic?) and she said, “purple….and orange….and yellow…you know, colors!” acting like I was really dumb to be asking that question.

With the light fading fast I packed up and went home after about an hour and a half. Tonight, with the workweek finally over I returned to the painting. From memory I made a few adjustments, lightening the hills a bit, adding more dimension to the field and trying to do a little something with the trees, which maybe I should have just left alone since they looked better before like the little boy said.

Categories
Art theory Faces Figure Drawing Oil Painting Other Art Blogs I Read Painting People Portrait Sketchbook Pages

Figure Painting Workshop Sketches

20080310_0131-Meri

20 Minute Sketch: Oil on panel 12×9″ Larger

I thought I would scrape off and reuse this panel but when I photographed it I found there was something about the rawness that I liked. It was the second sketch of the first day of my “Weekend Warriors” figure painting workshop with Randall Sexton, a talented and kind teacher. The model, Meri, was the best I’ve worked with…beautiful, voluptious, charming and a real professional. She is originally from Argentina and came to the SF Bay Area after working with artists in New York City for 10 years.

Below is another 20 minute sketch from day one. Again, I thought I’d wipe and reuse but since I kind of like the energy in it (and didn’t like the cheapo Aaron Brothers panel — way too smooth a surface) I think I’ll hang onto it. (Which means it joins the big stack of “learning opportunities” in my closet until I’m ready to dump them).

Oil on panel, 12×9″ (larger)

20080310_0136-Meri

Oil painting from a live model is sort of like plein air painting: time is limited and there are so many elements that need to be right (drawing, color , value, likeness etc.) for the painting to work. There is so much to see, discover, understand and interpret in 20 minute sprints of painting.

The model’s breaks between poses afford an interesting opportunity to walk around the room and see what others are doing. I was struck by how different each artist’s work was. There were some very accomplished local painters in this weekend class. I had the good fortune of setting up beside Iris Sabre, a local painter whose style and technique I greatly admire.

I started the larger painting below at the end of day one, with two 20 minute sessions. When we returned on Day 2 we had 3 more 20 minute sessions to “finish” up. This is nowhere near finished (but I wish I’d at least gotten around to fixing those giant hands!)

Oil on panel, 20×16″ (larger)

20080310_0125-Meri

This was the 20 minute warm up sketch at the beginning of day two:
Oil on canvas panel, 12×9″ (larger)

20080310_0128-Meri

This was the final painting on day two, about 2 hours and again, not close to being finished and suffering from chalkiness and my exhaustion:
Oil on panel, 20×16″ (larger)

20080310_0121-Meri

Categories
Art theory Oil Painting Painting Plein Air Still Life

Citrus and Camelia Plein Air

Citrus & Camelia Plein Air

Oil on panel, 9×12″ (Larger)

You really have to work fast to do a still life outdoors in the afternoon. In less than two hours the sun moved overhead far enough that I had to stop because everything was in shadow. I’d gotten all the objects and their shadows well blocked in and probably should have stopped there, calling it a sketch or a study. But of course I couldn’t.

I had to bring it into the studio to “just touch up the edges.” Then I was going to do another quick painting. But I spaced out and before I knew it, overworked areas that I’d originally painted very freely, made more problematic since I’d forgetten exactly what the pattern of light and shadow was on the objects.

Someday I’ll learn to stop while it’s fresh. Nevertheless, I think I did capture the feeling of a bright sunny afternoon, which was my main goal.

Categories
Landscape Oil Painting Outdoors/Landscape Plein Air

Briones Regional Park, Plein Air

Briones Regional Park take 2

Oil on wood panel, 8×10″ (Larger)

Briones Regional Park take 1

Oil on wood panel, 8×10″ (Larger)

The last time we painted in this spot I had a terrible time with my paints and then stepped in dog poo as I was leaving (which of course I didn’t notice until AFTER I got in my car and drove off). Since the painting I did that day was total crap, it was a perfect end to a frustrating day. To make the suffering even worse, I continued to unsuccessfully work on that painting again and again at home (see post “Learning to Stop“]

Needless to say I was not overjoyed facing the same scene today, especially after only a few hours sleep last night. I’d gone to see The Diving Bell and the Butterfly, a wonderful movie by artist Julian Schnabel, which I highly recommend. I’d come home feeling inspired and messed around in the studio, finally going to sleep around 1:00 a.m., with my alarm set for 8:00. For some unknown reason I woke at 6:00 instead (grrrr).

Expecting little, I just let myself just play with color, using a palette knife to push the paint around. I made these two paintings and enjoyed the day tremendously. The weather was beautiful: sunny, breezy and fresh. Friendly people, dogs, cows and horses wandered by as we painted. As usual in Elio’s class, I gathered new nuggets of oil painting plein air wisdom. I know I still have a long way to go, but it feels good to know that I’ve made progress too.

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Lake Temescal in oils, plein air

Lake Temescal, Oakland, CA

Oil on masonite panel, 8×10″ (Larger)

Sunday my painting class with Elio painted at a beautiful spot in the Oakland hills. Lake Temescal is actually a reservoir surrounded by trees, hills and park, just off Highway 24 and perched right on the Hayward earthquake fault. It was a lovely foggy morning when we arrived, and as the day progressed, the sun peeked out from behind clouds. Joggers, families, dogs and fisherman wandered by, also enjoying the springlike weather.

I’m happy that much of what I’ve been studying and learning about oil painting, perspective, color, landscape, composition, etc. is starting to make sense and I’m finding ways of working that feel good to me. I got a lot bolder with color in this painting, starting off painting freely with really strong colors, knowing that I could adjust and tone them down once I got everything blocked in.

I tried to make myself finish the painting within a 2-3 hour window so that I wouldn’t be painting a scene that had completely changed as the time passed and sun moved overhead.

Then Elio did a demonstration and explained how he using color temperature (going from a warm yellow green to a medium green to a cool blue green) to create the illusion of form and depth on a tree. The greens were pretty close in value but their color temperature changes really moved the warm part of the tree forward and the cool part back, making it look very round and full. The really cool part was that I understood what he doing and saying; previously it just seemed like magic.

Categories
Art theory Oil Painting Other Art Blogs I Read Painting Photos Plein Air

Learning to See Color

Color study with blocks and food

Oil on panel, 9×12″ (Larger)

On Monday mornings I’m taking a painting class from Camille Przewodek in Petaluma. I first read about her on Ed Terpening’s blog and when I saw her absolutely stunning work I was thrilled to be able to study with her.

As I understand it, the focus of her class is learning to develop one’s ability to see light, atmosphere, and their effects on the subject one is painting and to develop the ability to interpret that in paint. Camille bases her teaching on Henry Hensche‘s, with whom she studied and then spent many years further expanding upon his work. Hensche was a student of Charles Hawthorne who was a student of William Merrit Chase, an American Impressionist who developed his color theories via his study of Monet‘s groundbreaking work.

Camille’s paintings are simply stunning. A slide show of her paintings brought tears to my eyes with their beauty…something that has only happened to me once before when I saw Renoir’s Luncheon of the Boating Party in person.

Newcomers to the class begin by doing plein air still life color studies of colored blocks. Using blocks simplifies the subject matter in order to focus on using changes in color hue and temperature to create the illusion of form and depth. There’s an explanation of this process in the book, Painting the Impressionist Landscape: Lessons in Interpreting Light and Color by Lois Griffel, who took over Hensche’s art school after he died.

Color Study plein air with blocks

Oil on panel, 9×12″ (larger)

Above is the first block study I did in class while everyone else was painting beautiful marshland. The process for doing the studies is to block in the masses with a palette knife, leaving white space between color areas, breaking each shape into two values: shade and light. You start with one color and move to the next, focusing on the relationship between each color and the next.

Elio Camacho, my other wonderful painting teacher, also strongly emphasizes the importance of the relationship between contiguous colors. They both explain that there’s no such thing as a “muddy” color—that the appearance of muddiness results from the relationship not being right between a color and it’s neighbor.

Color Study, cloth lightened

Oil on panel, 9×12″ (Larger)

The one above was done at home under a bright light, trying to simulate sunlight on a dark and rainy day. When I brought the original version of this painting to class for critique, Camille pointed out that blue cloth was too dark because in the bright light it shouldn’t be darker than the shadow on the white block so I worked on it some more, lightening the cloth. If you want to see how it looked before, and the steps in getting there, including the photo of the blocks, just click “continue reading” below.

Categories
Flower Art Oil Painting Painting Plants Still Life

Daffodils Again

Daffodils 2 - Finished (maybe)

Oil on panel, 12 x 9″ (larger)

In between a million (well, maybe 25) other things this weekend I made another attempt at painting these daffodils from life. I don’t think I’ve nailed it yet, and was amused by how the flower on the right turned into anything but a miniature daffodil like it’s sisters on the left. It just kept growing and growing but I let it because I liked it.

There’s a lot I still need to learn and figure out (having to do especially with the effects of light but also how to set up a still life with more interesting background) but I’m happy enough with my progress. If you’d like to see the steps of painting this, click “Continue Reading” below.

Categories
Art theory Drawing Flower Art Oil Painting Painting Plants Still Life

Miniature Daffodils in oil

Finished oil painting

Oil on canvas panel, 8×6″ (larger)

I’m happy to report that my computer is back up and running but I lost a couple months of email messages in the crash.
If I haven’t responded to an important message you sent me, please send it again and I’ll reply quickly.

Early last week my boss gave me this charming little pot of “Spring Brite Mini Bulb” daffodils for me. I couldn’t wait for the weekend so I could it home and paint it. I experimented with using a palette/painting knife. It’s so much fun — a lot like sketching in that you can work quickly, easily replace colors, add to them, or scrape off and re-do sections or the whole composition. It also forces you to be less concerned with details (at least at my level of skill in handling the palette knife). I used a small diamond-shaped knife for this.

Below is a progression of my steps, working backwards: (click Continue Reading to see the rest)

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Viano Vineyards in Martinez

Viano Vineyards, Martinez

Oil on masonite, 9×12″ (larger)

Disclaimer: Elio made those lovely brushstrokes on the big tree on the left when he was showing me how to rescue its dorky shape that I was complaining about.

We were grateful to have been given permission to paint in this lovely private vineyard in Martinez. The fields were covered in bright yellow-green mustard grass and the constantly changing and moving clouds made the light very dramatic (and chilly, even in the weak winter sun).

I had a few celebratory moments when an area of this painting worked right and I felt like I was really getting it. And then of course there were the sad moments when I ruined a perfectly good passage, and the hilarious moments when I tried to make marks indicating the rows of vines which were just plain laughable (gone now).

For now I’ll take the improvement of the painting above over the two lame plein air paintings below that I did the previous few weeks:

Oakland Inner Harbor Park

Oil on canvas panel, 9×12″ (larger…but why?)

I painted the one above from Chappel Hayes observation tower in the Western Pacific Mole area of Oakland Middle Harbor Park at the Port of Oakland, right beside the docks where huge container ships are loaded by giant cranes that look like creatures from Star Wars. It’s a great new park with wonderful views, walking trails, and a perfect place to bring active kids to watch all the activity. An old Railroad man stopped by to chat and explained that the area where we were painting used to be where the railroads went all the way up to the ships to load the freight. We could see the rails now embedded in the grass and paved trails.

Crocket from Benicia State Park

Oil on masonite, 9×12″ (larger)

This one was painted on a hill in the cold fog at Benicia State Park’s Glen Cove. I’m pretty sure that’s the C&H Sugar Factory across the Carquinez Straights in the little town of Crockett but I’m not positive. It was a fun couple of hours on December 30 when Elio and I joined the Benicia Plein Air Painters for this paint out. It was a small gathering due to the cold, mud and fog and I didn’t last too long.

Categories
Oil Painting Painting Still Life

Honeydew melon in oil

Honeydew melon in Oil

Oil on Raymar Panel, 9×12″ (larger)

I’ve been working on this painting in dribs and drabs between being sick and plein air painting all day Sunday and Monday. This poor melon wasn’t going to hang in there much longer and I’m back to work tomorrow. So tonight I gave myself an hour to finish it and I’ve called it done. It’s not great but it (and I) had a few nice moments in the process.

Now I have clean up and get ready for the work week. Next time I’ll post the great stuff I learned in class this weekend, including a color study I did today and a cheat sheet/checklist I’ve made for myself to follow while I prepare for and execute (a weird word) a painting. But not tonight because I’m off for a good night’s sleep for a change!