Crater Lake

oil on hardboard panel, 6" x 6"

An abstract palette knife color study done with a limited palette of ultramarine violet, cyan, cad yellow deep, and alizarin crimson. 

A Crossing

acrylic on canvas, 20" x 16"

This painting has been through several iterations, and this might not be the last one.  It's in the time-out room at the moment, where I'll pass it every day and wonder what it needs, if anything.  Update 1.29.2024:  I pulled this painting out of a box in my storage room the other day and found it pleasing.  I declared it finished, then signed and rephotographed it.  Time does give one a fresh perspective.

Lemon Bar

oil on canvasboard, 10" x 10"

Here's a semi-abstract imaginary still life using, once again, leftover paint on my palette from my previous post, Pink-necked Green Pigeon.

Pink-necked Green Pigeon

oil on wood panel, 12" x 12"

This is a work in progress, having laid down the basic composition.  I'm hoping to work on it more this week, but I'm attending a six-week workshop that is keeping me very busy learning another approach to painting, the indirect method.   In this approach, you first complete a tonal underpainting, then apply paint in layers as transparent glazes to get an overall translucent effect.  I've been painting in a direct method, or alla prima (one session), for the most part, for years now.  It involves painting wet on wet with opaque (non-transparent) paint.  I sometimes paint wet on dry simply because I can't get back to it for several days, but I've learned to work with that being the case.  I'll be posting a little less frequently because the paintings done in the indirect way take much more time, since each layer of paint needs time to dry before work can progress.  So, this new challenge is most welcome!  The teacher of the workshop is an incredibly talented young artist named Lindsey Kustusch.  Check out her work!  

Updated 9/20/17:  I've worked on this painting more and, for better or worse, consider it finished.  I wanted to render the foliage in semi-abstract leaf and flower shapes so as to draw more attention to the pigeon.  Not sure I accomplished it, but that was my intent.  I just love the rainbow of colors on the pigeon's front as they interact with the red berries directly below.

California Gold

oil on canvasboard, 6" x 8"

This is an imaginary landscape done with a palette knife, essentially amounting to a color study using a palette that is somewhat unfamiliar to me.  The "new" colors here are phthalo blue, cad red medium, burnt sienna, and yellow ochre, in addition to the familiar colors of ultramarine blue, Indian yellow, and cad yellow light.  I'm just trying to get more familiar with the mixing capabilities of this palette.

Oh, to See the Light!

oil on hardboard panel, 12" x 9"

This is a plein air painting of the south end of a rustic barn on the property where my art studio is located, which is now called Denman Ranch.  Robert, a wonderfully upbeat and creative man, makes high-end lighting fixtures inside that barn.  Ironically, the narrow opening in the lower left illuminates nothing of the interior space, rendering it all the more mysterious.  The barn is graced by irises, grapevines, and a privet tree, and the lawn in front is one of my dog Lola's favorite hangouts.  Denman Ranch is a special place for sure.

Purple Honeycreeper

oil on wood panel, 8" x 8"

This was meant to be a work in progress, but knowing that I won't be able to get back to it for a few days means I may have a totally different idea about it by then.  Or I'll just leave it as is, having done it in one session with the same palette, which helps with the overall harmony.  The purple honeycreeper is native to northern South America, from Colombia to Brazil.  Love his yellow feet  (yes, it is a male)!

Update 9/13/17:  I finally got around to working a wee bit on the background, so it looks more finished now to me.

Bodega Bay View from Doran Bluff

iPad art, 10" x 14"

Another perspective on another day at Bodega Bay, this digital sketch was done from the opposite end of the bay.  I had to work faster than ever, as it appears my dog is losing her patience whenever I whip out my iPad and lose myself in it.  This one took about 5 minutes, a record for me!

Labor Day at Bodega Bay

oil on wood panel, 8" x 10"

I came upon this enchanting but rapidly changing scene at Bodega Bay, and was glad I snapped a few photos before I had to pack up and leave so that I could add those fleeting elements in the studio later.  I was frustrated with the gessoed surface, which had vertical grooves left by the brush, but decided to use those grooves to help me create some interesting textural effects.  I loved watching this photographer pursue her labor of love in an area of low tide to try and capture in closeup a very large white bird, probably a great egret.  The fishing boats were returning from their day's outing and various smaller white birds were dotting the shallow end of the bay, an altogether charming scene.

Tomales Bay Triangles

oil on linen-mounted gatorboard, 8" x 10"

This is a plein air palette knife painting of a scene that I simplified in order to emphasize the triangular patterns I saw in the cliff, the trees, and the two sailboats floating on a quiet Tomales Bay.  I have to say, it's quite a challenge to paint boats with a palette knife.