4 Reasons Why I Love to Demo

I had the opportunity of performing a landscape painting demo for a local art club this week. Last year I judged an art show for them, and they invited me back so I could share my thoughts and process regarding painting.

The demo was well attended and was full of enthusiastic kindred spirits.  I thoroughly enjoy the entire demo process because of a love of meeting new people, telling related stories, sharing what I've learned on my artistic journey thus far and because art is a somewhat private activity teaching and giving demos helps me connect with the creative community.

My subject was a location that I frequent that never falls short of being inspiring. I chose this particular scene because it had unusual shapes, appealing light/shadow patterns and excellent depth due to aerial perspective.

I worked from a photo displayed on a tablet beside my easel. Among the many points that I covered, I explained how and why I chose to redesign a landscape formatted image into a square format.

Given the brief demo time allotted, this painting remains in a "work-in-progress" status. You'll see this one again in a future post upon completion.

One Thing I've Learned from Painting in Extremes

The record triple digit heat of summer in the desert has finally ended. The cooler fall temperatures are moving in, and it's safe to paint outdoors again without the risk of burning flesh and heatstroke. 

As much as I love plein air painting, I'm not an extremist when it comes to pushing boundaries to get a painting. I know and have seen plenty of artists who present themselves as performance artists or daredevils painting on the edges of sheer cliffs, under hurricane conditions, in sub-zero temperatures or the opposite. Kudos to the artists who can and do. They may reap high rewards if they make it back safe without incident.  

I feel these examples are opportune times to break out the camera, take a picture and head back to the studio. I enjoy the ideal, quiet breezes, comfortable temperatures, blue skies and cotton ball clouds.

Not to say that I haven't painted in snow, rain, and wind before because I have.  What I learned from working under those conditions is that overall, the more comfortable the environmental conditions, the more likely I am to produce a winning painting.

The photos above are from a very recent second day out in this plein air season. As you can see, it was a beautiful day, and I was able to lay the foundation for another potential gallery piece. 

I'll post the finished piece after some adjustments back at the studio.

Time to Reflect

Reflective light is light bouncing off one object or surface onto another. In this example, the sunlight is bouncing off the ground plane warming the shadows that face downward.

As the height of the cactus becomes too far away from the reflective light of the ground plane to reach there begins a shift from warm to cool in temperature within the shadow shape.

Soon, the cooler blues and blue-violets reflected from the sky above will influence the color temperatures within the shadows.

Title: Desert Texture
Painted on: Centurion Linen Painting Panel.
Medium: Oil
Dimensions: 12x12 inches.

New Beginnings

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"New Beginnings" was painted en plein air at the White Tank Mountains, Arizona. The warm glow of the morning light was the inspiration for this painting. Each layer of this scene helps support the overall mood.

The strategy for this piece was to work from background to foreground. Morning and late afternoon light change very quickly. Knowing this, start with the areas of the scene that will disappear in moments.

First, the sky is laid in followed by the mountains and hills.

Adding incremental amounts of detail and contrast to each layer. The values and color temperature of the background elements set the tone for the entire painting.

With the stage set, the cactus and foreground can be fully realized.

Title: New Beginnings

Painted on: Ampersand Gessobord

Medium: Acrylic

Dimensions: 8x8 inches

Status: Available

What's your plan? Part 2

Picking up from last weeks post - Another popular method among plein air painters as well as studio artists is to develop the entire painting all at once. The artist tries to mix the best average value and color temperature for each shape in the scene then progresses onto giving each shape more recognizable three-dimensional forms. This method allows the artist to monitor the painting as a whole and can make mistakes easier to catch and correct early on.

The grisaille has been an approach that has stood up over the centuries. It allows the artist to fully separate value from color by first completing a painting in monotone. Typically, this tonal underpainting is left to dry fully. Then the addition of color is applied in opaque or transparent layers over the corresponding values already mapped out by the underpainting. This method does add one more step to the process and may not be the optimal choice in fleeting light situations.

Since there isn't a single best or any hard fast rules here, you can combine different approaches if you wish. The important thing is to have a plan before laying paint to canvas. Your strategy choice should reflect the working scenario presented and what makes sense to you at the time.  

Is Red Rock Red?

One of my first attempt studies in painting red rock. This subject was so new to me being an east coast artist. I'm very familiar with dark, slick moss covered river stone and the jagged rocks of the New England coast.

Sedona red rock offered a few challenges. One being, trying to understand the forms and structure of the rocks themselves. Secondly, what color was I actually seeing? Just because it's called "red rock" doesn't mean I can apply a brush full of red straight from the tube and expect it to look correct in the painting.

In this scene, the "red" was more orange in color. A yellow-orange in the light and a darker more burnt sienna color in shadow. Using tiny amounts of blue, blue-violets and white helped desaturate the yellow-orange rock in light. Similar blue-violet mixes (excluding white) were used to make the rock in shadows the correct value and saturation.

Depending on the ratio, mixing the complements blue and orange can result in Burnt Umber or Burnt Sienna-like colors. For this reason, I don't always bother carrying or laying out burnt sienna on my palette. It's just too easy to mix from scratch.

Title: Sedona Courthouse Butte
Painted on: SourceTek oil primed linen
Medium: Oil
Dimensions: 6x8 inches
Status: Available

Desert Trails



Here's another 6x6 inch painting I recently delivered to the West Valley Arts HQ Gallery. Desert Trails started out as a color study meant for a larger painting. The study started to look great on its own so I brought it to a finish. The larger 12x12 inch version is already posted on my website under the "Studio Paintings" collection. I am considering doing one more version at 24x24 inches or larger.

 

I personally love the gradation of color temperature in this painting. Blue/Greens in the foreground, Red/Violets in the mid-ground and finally, Blue/Violets in the background mountains.

 

For purchase information please contact: West Valley Arts HQ Gallery 

16126 N. Civic Center Plaza

Surprise, AZ

Phone: 623-584-2626

Desert Light - SOLD


This 6x6 inch piece recently found a new home via the West Valley Arts HQ Gallery. More of my work can be found on display at the gallery if you're interested in starting your collection.

HQ Gallery website: http://www.westvalleyarts.org/wv-arts-hq/