Christmas Wreath 01

First Wreath of Christmas

 Watercolor and ink on cotton paper, 4x6

This was my first new work for Christmas.  I started with an ink drawing, added broad washes for the wreath and background, then the watercolor in multiple passes with increasing depth of color.  I finished the painting with a few touches of gouache to deepen the reds and add highlights.

Wind Rising

Wind Rising

Watercolor and Ink on Paper, 4x6

As the autumn storms move in, the dunes fall into darker colors, the wind rises, and the pounding waves drive the birds into the air seeking shelter inland.

Memory in Passing

Memory in Passing

Pastel on Watercolor Paper, 7x5 

Some years ago I passed this scene in my car.  I was so impressed at that time, that I painted it as soon as I could.  Over time, the painting was given away, but I saw it again last month when visiting relatives, and the inspiration flooded back, and I painted it again mostly from memory.  I selected a cool palette to convey the sense of distance and dreamyness of the mountain lake and stream.  I started this as a watercolor, but the intensity and width of the value range led me to turn to pastels.  Since it is on cold pressed paper, the texture of the paper dictated the looseness of the execution.

On-Shore Breeze

On Shore Wind

Ink and Watercolor with Pastel on Cotton WC Paper, 5x7

In the mid afternoon when the on-shore breeze takes over, the sea oats hold their heads and bend with the wind.  A few seagull sail by waiting for the wind to drop and tide to go out.

Pastel saved this small painting - when the watercolor gets out of hand, I call in the cavalry - pastel cavalry, that is.

My Tern Yet?

My Tern Yet?

Pastel 12x16 on Wallis Belgian Paper

The tide has gone out, and the waves have left the broad sand to dry a little before they return.  Most of the seagulls and other birds have moved on, but this lone royal tern captured my attention.  He is standing as if waiting for something.  Perhaps he's next and is waiting he tern, or turn.

Refreshing

Refreshing

Pastel on LuxArchival 9x12

Here is the result of a morning's correction of a painting I started a week ago.  From the beginning, it went completely wrong.  I wiped out the whole painting, and started over with a different composition, deferent, palette, and a whole new attitude.  I call that "Refreshing!"

Invitation Window 1

Invitation Window 1

Ink and Watercolor on cotton paper

I have been inspired to do my own renderings of stained glass windows.  I had planned to use them as the foundation for a series of downloadable files for print for greeting cards.  I have received so much encouragement , that I will be offering the framed original paintings through Georgia Nick Gallery (GNG) in St. Augustine. 

"Coming In"

Coming In

Pastel on self-sanded "gator board"

I have been going through boxes of  paintings that needed something, and I found this one.  I have retouched the color and values, made the image more crisp, and refined the context.  The "new" painting accomplishes all that I wanted to gain originally. I have removed the horizon and any reference to the waves, and I have reduced the foreground to a few streaks of foam. The palette is limited to blue, white, and black with various combinations.  A few touches of lavender, pink and green were added to the foam for structure. Once again, I changed its name - I now catalog it as "Coming In."

Coming Through the Fog 2

Coming Through the Fog 2

Pastel, 9x12 - Rework of an earlier painting.

The original painting was done to examine a "green" landscape by replacing most of the green with purple and blue. The painting had little appeal, and the composition had no true focal area or eye-path. These are my main goals in reworking the painting.

For the rework, I used lighter, more "natural" colors and higher key to suppress details. I used soft edges and larger shapes to draw interest in the treetops in the foreground, and to create paths for the eye to travel through the painting. I wanted to add a little tension with the branches hanging without detailed support, and I repeated that theme in the background to add continuity.

If you are interested in purchasing this painting or would like more information, please see my website:

https://www.rickpetersenartist.com/workszoom/5352205/coming-through-the-fog#

Below is the original painting as it was before I started the rework.

Palm Bay

Palm Bay

Pastel 12x12 on UArt

I did this painting to express the sense of stillness and calm that surrounds the slow moving stream as it enters the salt marsh.  On the banks of the stream at the edge of the deep oak forest, the palm trees grow tall and straight.  It is as if these palms guard the entrance to the higher ground, and in the heat of the day, they appear to stand all that much taller.  As the clouds begin to form in the early afternoon, they diffuse the light and cast passing shadows over the marsh.

I updated and revised this painting - lightened some of the deeper areas, added some purple, and added blue tints to the distance.  The essence of the painting is the same.  I was also able to take a better photo.

First Visitors, pastel 12x18, beach scene, sunrise, after rain

First Visitors

Pastel, 12x18 on UArt sanded paper

The rain has passed, and the sun is coming up painting the sky and water with vivid colors. The first visitors on the beach are rewarded with a special display of color and the pristine surface of the sand.  Even the seagulls are content to wait and enjoy the beauty of the dawn.

Hummer Resting

Hummer Resting

Watercolor and Ink, 5x7 on paper

This Hummingbird was painted in response to a request from a friend.  After I've looked at it for a while, I plan to add a Bible verse in the lower right quadrant.
 

Promise - the Process

Promise

Pastel 6x10 

This painting is the result of several changes and makeovers.  My original motive was to paint a morning sky before sunrise - a day that hold great promise.  

I thought this might be a good painting to show my iterative process.  The first stage took less that half and hour, which may have been the problem, but the rest stretched in short sessions over 3 or 4 days.

Stage 1

I originally conceived this painting as at 6x8 so I could use the left 2 inches to test the colors and values.  I wanted the scene to be across a salt marsh that would reflect the sky through breaks in the grass at high tide.  This iteration was too broken, too jumbled and too dark.  I thought a softer execution of the grass would help.

Stage 2

The softer grasses with fewer edges and breaks in texture was an improvement, but the scene had no natural point of interest, and it was still too broken.

Stage 3

I softened the grass some more and added lighter greens but still wanted to emphasize the reflections.  The problem was that there is still not focal point, and I had no inspiration or reason to paint a larger picture.

Stage 4

This was a big step - I erased the salt marsh and extended the painting to the full 10 inches.  The horizon is still too green, but I now have a direction. The reflections on the water were a big relief when the green that was the marsh did not bleed through.

Stage 5

In order to create an area of interest, I had to remove most of the marsh and add some distinction in the trees on the horizon.  I was more pleased with this composition and colors than what I started with, but it was still not satisfying.  The grass and trees are still to dark, too green, and do not fit the color scheme.

Stage 6

Worked on softening the edges in the trees and grass, but it still has no focal point and it's still too green.  I realized that I really needed a low horizon to emphasize the sky, but that means I have to turn the painting upside down!  

Stage 7

Aha!  That's it!  I rubbed out the last of the green and replaced it with purples and grays. The focal area on the right was a natural.  I touched up the yellow and the pink in the sky and water, and I removed the idea of salt marsh and left it as whatever you see there between the water and sky.  I added some touches of white to indicate a few emerging clouds to break up the blue and pink.

Added a few more touches and signed it.

Radiance

Radiance

Pastel on UArt 12x18

I have always been intrigued by the colors and contrasts of the beach in the early morning. After the sun has come up it can often become partially shielded by the passing clouds.  As the sun peeks around the clouds, the colors come alive. The shadows in the dunes and among the grass and shrubs of the beach take on a glow of blue and lavender, and the diffused light of the sun casts a glorious radiance over the sky, the water, and the sand that lifts my thoughts and praises to the Lord my Creator.

I reworked this painting to "fix" some weaknesses in composition and soften some edges.

Quail Pines

Quail Pines

Watercolor and Pastel on paper

These broad stretches of open pines, palmettos, and tall grass evoke a sense of the old South.  In the early morning as the fog rises before the sun, the sense of time is lost and one might imagine walking this old, dirt road with a good dog looking for the quail.

This painting was done in preparation for a larger painting of the same basic subject.  My first pass of watercolor lacked purpose and movement, and the focal area was ill defined.  I added pastel touches to the pine trees and created the old roadway to lead the viewer into the painting.  I am satisfied with the result.

Sing with Me

"Sing with Me"

Ink and Watercolor Wash, 5x7

This bluebird in full song was inspired by observations of birds at my feeder and bird houses, and from a number on photos that I have taken.  The blue and orange of these birds set them apart, and their song is an inspiration to join in their praise.

This painting is available as a digital download from my ETSY site: https://www.etsy.com/listing/1441231035/blue-bird-inspirational-download-for

Pet Portrait Information

"Jake" pastel portrait

"Fiona" - Ink and Watercolor Portrait

Fiona - Example of ink and watercolor wash

I have received a number of inquiries about painting pet portraits, so for any who would like to have a portrait of your pet, here are some guidelines to consider.

1.   I will be painting from photographs, naturally, so here are the photos that work best for me:

• photos taken at "eye level" looking at the subject.
• photos should be taken from a reasonable distance from the subject - not really close up - so the proportions and perspective are not distorted
• multiple photos from various angles that show the color, patterns, size, fur texture, and "liveliness" of the subject
• photos taken in the pets favorite "haunts" are also special
• photos in different, normal lighting - flash photos are not much help

2.  I paint mostly in pastels and ink-and-wash watercolors.  My prices vary based on the size of the work, the media, and  amount of time and effort involved to produce the painting.  

3.  Before I can begin, we will need to agree on the subject, the photo material needed, the painting size, the painting media, the price, and delivery schedule.

As a rough guide, my prices range from $175 for a 5x7 ink-and-wash watercolor to $750 for a 12x12 pastel.  Prices may increase because with the complexity of the subject requested.  

Of course, I can do larger paintings, and we can talk about price if you are interested.

If you have any questions, please contact me or reply in the comments.

Fiona

Fiona

Ink and Watercolor wash - 5x7

This painting is a "portrait" of a shih tzu named Fiona.  I did this or a collector as a commission, and since she had passed, I created the image from photos and videos.  The customer selected the format and the verse.

Heading Out

Heading Out

 

Pastel on Multimedia Board, 9x12

When the tide comes in, the sea gulls take wing and head out past the breakers.  The surf is high, and the waves tumble over each other as they break.  The water turns green with the foam from the waves, and the sunlight paints the churning water with the delicate shades of blue, pink, and purple.

Putting Down

Putting Down

I have been going through boxes of  paintings that needed something, and I found this one.  I have retouched the color and values, made the image more crisp, and refined the context.  The "new" painting accomplishes all that I wanted to gain originally.  

The following is my original description for painting this seagull.

"On rainy days, I go through my old paintings, reference photos, and drawings looking for things that interest me.  For some reason, I often find myself drawn to sea gulls.  I admire their freedom and exuberance. 

"This particular gull is actually from a photo of a large flock, but his form and sense of presence attracted my attention.  I pulled him out for this study and first called it "All Alone" which is a little ironic because gulls are rarely alone.  "Putting Down" is more descriptive."
 

Winter Shadows on the Marsh

Winter Shadows on the Marsh

Pastel, 9x12 on UArt

As morning breeze begin to push in from the coast and the warm creeps into the shadows of the pines and live oaks that stretch across the golden marsh grasses, the promise of spring can be felt in the air.

What If 2

Sumi-e Ink and Gouache on Rice Paper - 10.5.9.5

This painting begins a series of imagined landscapes executed in sumi ink and watercolor or gouache.  My idea was to use colors and forms that would suggest an idea of a fanciful reality where colors are not static or "normal."

Spring Will Come

Spring Will Come

Sumi-e Ink and Gouache on "rice" Paper

This ink and wash sketch depicts the green that spring promises.

Sea Oats 2 - Sketch

Sea Oats 2 - Sketch

 Sumi-e Ink on Paper, 10.5x9.5 inches

I did this small work as a personal exercise with sumi-e ink and "rice" paper.  I wanted to express as simply as possible the fresh, open view of the beach through the sea oats.