Orange 1

 Pastel 6x6 on Sanded Paper

This still life study of an orange is another painting that began as a timed exercise completed in 3 4-minute segments with a 1 minute wrap-up.  The result was worthy of some finishing touches and a signature.

Apple 1

Pastel 6x6 on Sanded Paper

This still life study of an apple began as a timed exercise completed in 3 4-minute segments with a 1 minute wrap-up.  The result was worthy of some finishing touches and a signature.

Fruit and Twigs

 Pastel 12x12 on UArt

"Fruit and Twigs" pastel on UArt 12x12. Signed and finished. I did this as a an exercise to see what could done to create balance between details and negative space. I connected the details of the fruit and the dominant blank space by inserting the twigs to complete the composition.

Apple and Vase 1

 Study 6x6 in Pastel on LuxArchival paper

This is the result of my first still life in quite some time.  I have set a goal to improve my painting by regularly doing a still life and doing it quickly.  Here is the process I intend to follow with the result from this first exercise.

1.      Get the proportions and position right, Set the underpaint.

·         Locate your viewpoint in relation to the subject, mark that spot, and always return to that point to look at the subject.

·         Mark the shape of your object(s) first by marking its proportions within the picture frame – top, bottom, right, left.  Mark or sketch significant point within the object to get position and spacing correct.

·         Block in underpaint color / values for object, background, foreground, shadows – reserve white space for highlights.

·         Set block in with denatured alcohol, mineral spirits, or other

2.      Block in the object

·         Set the values and value relationships – darkest darks and lightest lights.

·         Set the broad form with values by color – define the object within the space marked.

·         Set the “accent” color and value relationships.

·         Add color to the whole object and adjust values.

3.      Complete the whole picture

·         Look at the object as a whole and complete the shading, edges, and reflections.

·         Add only the Necessary details.

·         Complete the background and foreground color and value.  Use background and foreground color to define the shape of the object not to be noticed of itself.

·         For this exercise, limit background and foreground objects – stay with abstract shapes or no shapes at all. 

4.      Finish it up

·         Adjust final details and edges.

        Remember, you are an artist not a camera.  Make the image your own.

        I post this message for myself - to keep me from becoming bogged down in detail rather than making my expression of the subject.

Broken Surf - Study

 Pastel - 5x7 on UArt 600

When the winds come from on direction and them move to another, the waves can get confused and broken.  They come in and break across each other and the surf becomes choked with foam and breaking waves.

This is the final image of a process that started with a limited palette and a 20 minute timer.

I began with a simple line drawing to guide my composition.

Once I was satisfied with the basics, I selected a limited palette of mostly greens, blues, and grays of different values and intensities.

With my drawing in place and my palette selected, I set my timer for 20 minutes - 20 minutes with 20 pieces of pastel - and this is the result.

As you can see, I did very little revision from this initial painting other than to add some color and texture to the waves and foam.  

Cloud Patches

"Cloud Patches" 9x12 pastel on UArt

I've been cleaning our the mess in my garage studio, and found this painting in a stack of rejects! It had promise, so I took this old painting that failed, reworked it and basically started over. I think I'm getting the "cloud thing" going again.

My plan was to create a "path" with the clouds that would keep the eye in the painting and use the foreground marsh to direct the eye to the center of attention - lower left - where the brightest, most intense color is next to the darkest value in the painting.

Painting was revised and updated 5/7/21. Added more value and color separation.

Silver Water Marsh

Pastel on UArt 400

In the early morning before the wind comes up across the marsh, the water reflects the sky giving it a slivery sheen.  The broken, puffy clouds are the remnants of the morning fog, and hold the deep blue of the sky at bay for a few more minutes.  I wanted to capture that sense of stillness and silvery light by using cool greens and blues augmented with dashes of purple, red, and pink.  In order to keep the sense of stillness, I deliberately reduced the details in order to emphasize form and color.