Autumn Dunes

Pastel, 12x18 on UArt

In the autumn, the muhly grass seems to blaze with pink fire between the dunes and the sea oats are taking on their winter tones of burnished bronze.  The late sun paints the path to the beach with light and brushes the tops of the grass with touches of flame.

Dunes and Muhly Grass

First View - 6x6

Second View - 6x9

Third View - 6x9

Fourth View - 6x8

Dunes at St. Augustine Beach, October - reference photo

4 Pastels from one photo - various sizes.

These small paintings were the result of a personal project. I set myself the task to draw different compositions from one photo taking the liberty to add or subtract elements and color to support the composition.
The original photo is one of several taken the same day at St. Augustine Beach.  They were taken in October and the muhly grass was ablaze with color.  This particular view did not include the broad swathes of pink grass, so I took the liberty to add it in my own sketches for color and drama.
The results speak for themselves.  There are innumerable paintings in almost any photo if we take the time to dig them out and let our imagination run loose.

Conversation

Pastel on UArt - 16x12

I started this painting as an inspiration from a painting by John Alfred Arnesby Brown - "The Dutch Windmill," but I wanted my own interpretation of clouds and a broad, flat landscape.  I also wanted to explore the problem of a composition with two, relatively equal areas of interest.  In this case, I wanted the clouds to be prominent, but I also wanted the trees in the sunlight to hold a special place. As a resolution, I used the light to create a "conversation" between the two.

Sun Showers - Process

"Sun Showers"

Pastel 10x14 on Richeson Premier

The marsh lies wet and waiting as the rains pass and the clouds begin to break.  The sun suddenly bursts through and paints streaks and patches of the wet marsh in blazes of color, but the still-falling rain softens and mutes the reflections in the water.

The Painting Process

The finished painting came a long way from where I started.  I found the original picture in a pile of unfinished paintings.  It had good color and a pleasing composition with a few obvious problems.

Original painting from October, 2012

I had began this painting in October, 2012, in a Maggie Price workshop, but it was never finished.  I do not remember much about the original intention except that the focal point was to be a bent palm tree on the right that extended out over the water.  The unfinished trunk was still in the picture.

First Black and White Image

The palm tree was never going to work, so my first goal was to come up with a workable, interesting idea that eliminated the poor palm tree altogether.  I printed the picture in black and white to see the comparative values and design.

Black and white print of painting with gray pastel changes

I made some notes on this print and added some initial composition changes with gray pastels.  Four of the major changes were to (1) lower the horizon line by cropping an inch from the bottom of the painting. (2) raise the bushes on the right to break the line of the marsh grass, (3) to eliminate the palm tree. and (4) to punch the lighter values to show the areas of sunlight.

Making Notes About Thoughts and Ideas

Here are my notes on the idea that developed along with the changes in the composition.  I've added transcriptions since the photos are a little hard to read.

Notes from the first B&W print

"Idea - can't remember what my original idea was - Maggie Price Workshop - 10/24/2012 (6 1/2 years ago!)

I think I used NuPastels for the grass, browns, golds - It's like looking at a child's drawing on the refrigerator door trying to decide what it is.

- What is strongest interest in painting as it is? - contrasts in color and values, warm tone

- What are the weaknesses?

• Straight line of grass across the center of the picture
• no eye magnet - center of interest

- Idea / thought - add birds in flight, egrets"

At this point, I knew I needed to have a clear statement of my goal, so I wrote one that I used throughout the painting process.

Idea for the painting - written on one of the B&W prints

"Idea - sun breaking through broken clouds after a shower moves through

      Grass is wet

      Sun in spots

      focal point of painting - where [do] I want the eye to rest?"

The "Iterative" Process

I went through this iterative process at least 4 times with taking photos, printing them in black and white, and making changes with shades of gray NuPastels.  This process permits me to work with values rather than color keeping the composition elements consistent.  

My final effort was to manage the water in such a way that it had believable color, shade, and value without becoming a distraction while showing that the rain was still falling.

I'm satisfied that I accomplished those goals in the final painting.

Last Rays

Pastel, 12x18

After a cloudy, rainy afternoon, the clouds move off to the east and the sun breaks through as it sets.  A final ray of bright sunlight ignites the top of the dune setting the wet sand and grass aflame with color while the rest of the dunes lie in quiet awe to support the grandeur.

To purchase this work, please contact me by e-mail or click here to visit my web site

First Rays

Pastel, 9x12 on UArt

The idea and inspiration of this piece was the way that early morning sun kisses the tops of the dunes and paints the tallest grass with golden light. The air and the sand are still calm and cool, blue, and quiet, but the sun makes the promise of a bright, hot day ahead.

This painting is a rework of a previous piece, "Path 6."  I liked the first painting, but it had no clear central idea or focus, so I started reworking it.  I raised the horizon because everyone knows where the beach and surf lie.  I reworked the composition and cranked up the values and contrasts in color and temperature.  The more I worked it the less remained of the original painting - in fact the sky is the only element that seems to have survived, and that got a little more color.

Up and Over, Path 3

Pastel, 6x9 on UArt

This is another of my current path project series.
I have been often inspired by the memories of the old paths through the dunes to the beach.  Over the years, the dunes have moved, and boardwalks have been built, but the memories linger of those golden mornings with the sandy path lying pristine, clear of footprints, over the dunes leading to the expectations of the day.
To purchase this painting, please contact me.

Hot Sand, Path 6

Pastel, 9x12 on UArt

This painting is number six in my "path project," but it has been completely reworked under a new name "First Rays."  

I'm leaving this photo up for reference, but this painting no longer exists.

Expectations - Path 5

Pastel on UArt, 6x9

I am always inspired by the early morning fog that saturates the pines and woodlands through which I go.  The trees recede into mist, and the pathway ahead is shrouded in delightful mystery.

Path 1

"Path 1" pastel, 6x9

I have been intrigued by two ideas. The first idea is adding paths, trails, roads, and waterways to my compositions to draw the viewer through the painting.  The second goal is to make my paintings more impressionistic with the use of color, value, and shape; and by reducing my dependence on details.
For this painting, I drew in the path and major shapes, added color for definition, and called the painting complete before adding detail. I have discovered that I do not have to explain every element in the painting thereby increasing the power of suggestion.

Light Breezes

Pastel, 9x6 on UArt

The morning begins with calm and quiet.  A soft breeze hardly ripples the water in the bay.  The clouds are rising in tatters, but they will return when the sea breeze begins.

Unsettled

Pastel 9x6 on UArt

One thing I had to relearn with this small piece - be ruthless with things that may be good but don't advance your idea. My initial inspiration was the billowing clouds coming in over the marsh - the unsettled clouds contrasted by the vast, motionless marsh.
To purchase this painting, please contact me via e-mail or comment.

Refining the Idea

Mayo Reprise - 18x12

Sun Streaks - 9x6

Twin Groves - 9x6

Project for the New Year - Refining the Idea

I started with the original painting Mayo Reprise which I had done a few years ago. It was a nice painting, but it seemed to lack a something. I did not find in it a central idea, but many competing elements. At the suggestion of my friend and mentor, Lyn Asselta, I undertook to pull from the old painting the ideas I could explore and do a smaller painting to explore those ideas

These are the first two results.

Sun Streaks - I took as my idea the steaks of light from the broken clouds. In order to emphasize those streaks of light, I eliminated much of the detail of the painting and darkened the sky to support the idea of broken clouds and strong shadows. I punched the colors for emphasis.

Twin Groves - the two clumps of trees standing together but still separate has intrigued me for some time. In order to emphasize the trees, I changed their placement above the underbrush and reduced the definition in the trees and and marsh. I moved the shoreline back to provide space for reasonable and believable reflections. Colors and values were punched while reducing edges and definition.