Boone Park Bridge

Oil on linen panel 10x8

Painted en plein air this morning at Boone Park. I have not retouched or added to this piece in the studio. Picture shows some sky-reflection, but it's the best I have at this time.

Analysis

• Used #4 & #6 flat synthetic bristle brushes - larger than I usually use
• Liquin is very thixatrophic - need to be aware of that - can thin to washes unexpectedly
• Working quickly w/o a drawing on canvas - the result somewhat "Cezanne -esque"

Elements to consider - Exuberance of the act of painting in this piece trumped the need for detail and correction of color or composition once the original composition was established.

Boat Channel II

Second Image 2:15 pm

First Image - 8:30 am

Work In Progress
Picture of work as it stands as I begin this morning as I begin work.
I wanted to get a picture up so I have a reference as I begin work on the reflections in the water.
I also see some other areas that need more attention, but one of the things I find sometimes are easier for me to see in a photograph of the painting than in the painting itself.
Second image has middle distance reflections painted. Trees still a WIP. Start now on foreground, especially the grass and tree on the left.
This is the stage of a work that can scare me. What I've done pleases me, and I am fearful of ruining a good start with a bad finish.

Boat Channel II WIP

Had to walk away - passage on the right was turning to "mud." Wanted to think about the direction and colors.

Took some pictures and decided to post them as a means of interrupting my frustrations.

Added the page from my notebook for reference. See my "note to self" on the bottom. I think you can read it.

Boat Channel II WIP

Acrylic on Masonite - 20x16

I have worked the deepest shadows in the middle ground and distance and added first coat of blue to the water. The reflections of the grasses and trees will be painted over the blue, but I'm planning to let some blue show. The broad areas of water in the foreground will remain a reflection of the sky with some rework and intensification of the color.

The trees in the back and middle distance will need to be made warmer and more articulation will be added.

Boat Channel II

Acrylic, 20x16 Masonite

I started another effort at the Boat Channel - larger work on gessoed Masonite.

I want to track and document my progress. The first image shows the undercoat of ultramarine purple and permanent rose. The basic forms - the deepest values - have been sketched in using burnt umber.

The sky was added using ultramarine blue, phthalo blue red shade and white. I like the way the undercoat shows through, and I think I will leave that alone. It seems to add "sparkle" and interest to the sky.

Boat Channel in Winter

Acrylic on Archival Canvas Panel - 12x9

To purchase, click here

This is a view of an old, unused channel dredged in the salt marsh next to the Atlantic Boulevard causeway. This is one of the views of the salt marsh that has intrigued me for some time.

The morning I stopped to get the reference photos and sketches and notes, the strongest impression for me was the golden color of the marsh.

This painting was executed using mostly primary colors in multiple glazes over a deep mauve base. The warm under paint was left in places to add "sparkle" to the final painting.

I am considering that the water in the foreground needs something.

Boat Channel WIP

Tracking my work in progress.

I'm not satisfied with the reflections, but I'm moving on to the other passages. Will come back when I have more to balance it against.

Notes to self

Photo from my notebook. I find that keeping notes helps me remember and keeps me focused. One of the little tricks that I need in order to deal with the MS.

1. If you can't paint a line fine enough to be in proportion to the rest of the painting, leave it out, or paint a broader line in more indistinct detail to represent a group of lines. For example, the branches of a tree should either be individual lines in proper proportion to the trunk or else just a "smudge" to indicate the presence many branches.
2. Use color not detail
3. Put the brush down. Don't go looking for other places to put the left-over paint.

Boat Channel

WIP - 01-12-2011

Acrylic on archival canvas panel 12x9

This is a new approach to acrylic painting for me - working from a "vibrant" undercoat. This panel was first painted with a mixture of Ultra-violet and Permanent Rose. The idea was for this blaze of mauve to bleed through into the dull greens and golds of the salt marsh and live oaks.

Again, I need to keep in mind, acrylics dry darker than they go on. Most are transparent unless white is added to the mix.

Put the brush down when you've finished the stroke you intended to make. Don't keep "strokin'" - that way leads to the dark side (mud).

Colors on this photo are not exact - taken under florescent lights.

December Road

Pastel - 21x15 UArt

I signed the work and took another picture in the daylight - outdoors in shadow.

I will leave my previous posts as history of the progress and concept in this painting.

December Road - færdig

Pastel on UArt - 21x15 - mostly Rembrandt Pastels

9:45 pm - put some "final" corrections in and calling this piece finished. I haven't signed it and am holding back on that till I see it in daylight tomorrow. I need to let the work rest for a while, and then I'll make the final determination. If I sign off, I'll take another picture and replace this one with a note of what I've done.

Overall, I do like this very much. I plan to keep this painting for myself.

December Road - WIP

Above image is correct - looking west




This image is reversed - "looking east"

Just to make sure I am getting the design, shadows, values, contrasts, and feel the way I want it, I took a picture and flipped in Photoshop. Here are the results side by side. Instead of looking west the flip is looking east, if that makes any sense at all.

I have been taking extra time with this piece because of its emotional significance. I had taken my dad for a ride in the country near Harlan, and we stopped here to spend a few minutes reminiscing.

December Road WIP

After several days away from my easel, I found my progress today was slow and painful. Two things were clear.

1. I need to do some "warm-up" exercises to refresh my eye-hand coordination. I found my hand was not always doing what I thought I wanted to do. This is one of the residual effects of MS that comes and goes at its own will and time.


2. Concentrate on the shadows. When working from a plein air sketch, make sure that the shadows are consistent and have not moved over the duration of the plein air work. Make sure that the shadows - darker masses - are consistent and work the composition from that.

I think I have made the correct adjustments to the shadows, so tomorrow I should be able to finish this piece.

Garage Studio - Ready to go

This is what happens when my part of the garage gets shoved aside to make room for Christmas decorations. The decorations have all be boxed and stored in the attic, the floor swept, and I'm ready to drag my easels and equipment back out AND GET TO WORK.