HOT !

"Hot"

oil on linen on panel, 6" x 8"

Getting out of the house to paint on some days just isn't possible. This pepper was in the grocery bag a few days ago and begged to reside on canvas. So I obliged.

This is the last post of the month . . .the 38th post! Frankly, with all the goings on here, I am surprised to have been able to paint as much as I have been. Am looking forward to the next few months to see what comes in my painting explorations. . . .so far, I am very happy to have had this chance. Thanks to all you visitors who stop in, look and sometimes comment. Still looking to put some of these on Ebay . . . .soon, I hope.

Gotta go to work now . . . (yes, I have a jawb!) ;-)

Mike

Gray Day

"Soup Stock"

oil on linen on panel, 8" x 10"

Painting on gray days is VERY different than on sunny days. There is no shadow . . .at least discernible shadows. Then there is the insipid magnetism into the details of the rocks! EeeGads I got lost on this one. Then, out came the palette knife . . .not accustomed to using it . . . to see if I could do something with this painting.

There are some who love this painting. I guess you can't please everyone all the time . . . . . .........especially the artist!! But, I remind myself, this is practice . . . .a means of learning . . . . . . . . ....... . . .trying new stuff . . . .and one cannot expect glorious results every time.

No Parking

"No Parking"

oil on linen on panel, 8" x 10"


Recently, in another post comment, Ed Terpening mentioned that he used a scanner to photo his plein air pieces. This one used a scanner, too. I had to buy a fax, scanner combo for business purposes, so this is a trial. The accuracy of this image is disconcerting because one can see every thread of the canvas! And one can see how thin the paint is.

This brings up a question . . .I need help from you readers . . . .I slobber on the paint (or so it seems) only to have it later absorb into the weave of the canvas or linen. Apparently, I am not putting it on thick enough. What do you artists do to get such rich texture and paint thickness? A palette knife? I see brush marks in all of Terpening's work, why don't mine come up the same? Do you first seal the surface in some way? Does toning the canvas set up a seal so that the brush marks appear and the paint sits on the surface? Comment, please!

This piece was done a few weeks ago and was dry enough to put into the scanner. It is titled no parking, because of the sign in the painting. In life, there are parking places just outside the frame of the painting. This is a common scene here in Santa Cruz . . . .cliffs, ice plant, surf and sand. And, yes, this is exactly how it looks . . .colors and all! Not a baaaad place to live and paint, eh? :-)

Mother and Daughter

"Mother and Daughter"

oil on canvas on panel, 12" x 16"

Happy Memorial Day! If you read my last post under the radishes, you read about my disappointment at not being able to paint two gorgeous trees. I had to go elsewhere. Sometimes, misfortune is the best way to steer ourself away from a certain kind of trouble. I had a 'scene' in mind that afternoon. Now that I think of it, it was way more complex than I should have been painting . . .too many ideas and not enough emphasis of one thing.


This painting and I were out in the field for four hours . . .and I came away disappointed. I had an epiphany in the shower this morning about making some key changes in it so I ran to the studio to implement the changes. This is the outcome.


For you painters out there, these eucalyptus trees are absolute rascals to paint. I am beginning to understand the nuances I must build into these beauties to really set them off and it seems those nuances and subtleties must be laid in first. Next time, I 'll be wiser. Already, I can see progress from the first of this month. We may only gain inches, but we learn best by hard won experience.


Hope your weekend is wonderful!

Diappointed !!

"Radishes"

oil on linen on panel, 6" x 8"

Yesterday, after scrambling around in a real estate transaction, I headed back to the site where I had painted on Thursday afternoon. I couldn't wait to get there and try again to paint in that gorgeous light those incredible Eucalyptus trees . . .two of them with 8 foot diameter trunks stand on the edge of the little road, dwarfing everything in sight. These two trees, I estimate, are appoximately 125 feet high!

When I arrived, the road was blocked off and a crane with a crew of men were cutting down the trees!!!! I was sick to my stomach! I had formed a strong attachment to those trees, as you could tell from my previous post. I chose another set of trees close by, and struggled for nearly 4 hours to bring some control to that painting. More dissappointment!

Today's painting is another color challenge. These radishes actually change color to purple when left out to come to room temperature! In their own way, they offer a change of pace of shape and color . . . .especially when massed together like this.

Have a great holiday week end! I won't be posting tomorrow . . . . .but I might find my way to a paint brush. I just can't stay away.

Still Concerned With Simplification

"Quail Hollow"

oil on linen on panel, 10" x 8"

Good Morning! I am reeling a bit from my plein air outing yesterday.

While I believe I captured the feeling of the place, I am still a little cranky about how I manage to paint Eucalyptus trees. These guys are magnificent labyrinths of light and shadow and have a personality all their own. The traditional California Landscape artists painted these gorgeous beauties in a way that completely mystifies me. The shapes alone are enough to arouse! They stand close to our roads here and I sometimes nearly drive into the ditch while staring at them. Scary! There is a mezmorizing and dazzling array of light coming from inside the tree and the long, slender silver-ish trunks and branches.

I am trying my darndest to paint them . . . .with simple strokes. But I am not following my own teaching . . . ."Don't paint things! Paint Shapes, Textures, Color and Values." Instead, I catch myself trying to paint "trees" not spots of color or making strokes of light and shadow. Yesterday, I came closer . . . . .but I am still cranky about the attempt. See for yourself.

Oh, and there is more to say. But I fear there will be no readers if I go on. I'll save it for another day.

Last Night's Class Lecture

"Carrots"

oil on linen on panel, 6" x 8"

Sold

Last night, I spent 90 minutes jumping through hoops, showing charts, wheels, paintings and scribbling on the white board about the four aspects of color: Hue, temperature, intensity and value.

It is always amazing to watch the looks on peoples' faces as the truth unfolds that few painters are willing to face: It takes work and study to fully internalize these aspects and be able to mix colors well. The blank looks and twisted brows say much about wanting the 'quick secret.'

There are countless hours under my belt doing these studies about intensity and how that differs from value. There is as much or more study about how temperature changes imply light and shadow and can reveal depth much more so than a simple value change. I received an email from a long time friend this morning which said, "To be a great artist you have to work harder than other artists. . . .and that isn't so difficult! Most aren't willing to put in the work."

I have much more to master with color and much more work to do to really make it become second nature. As I painted this subject, two hours into it and nearly done, I happened to actually see some new colors in the shadows that I hadn't noticed all morning. A small little dark shadow edge, right under the edge of the carrot, showed up as violet suddenly! Why didn't I see this two hours ago, I asked? It must be that my observation powers click into gear after spending a LONG time looking. Or is it that after almost 30 paintings . . .and a dozen more practice workups . . . .I am beginning to see? It that possible?

And someone in class, last nite, said that shadows were gray! I wish they could have seen what I saw this morning!

Changing Type Color?

Just a quick note to let you know the type color here needs to change. Email subscribers cannot see the light blue type on their email pages.

Am going to try this and see how well is goes over.

Mike

Today's Studio Work

"Partners in Pink"

oil on linen on panel, 6" x 8"

No chance for plein air work today. Real Estate duties beckon . . . .actually they are screaming! . . . . . . and I have to teach class this evening.

This piece is that little vinegar jar again. It has a beautiful glaze on its surface with all manner of blues, greys and violets. The textures and reflective surface makes for an interesting lighting challenge each time I attempt it. As for the geranium . . . .this time, I wanted to simplify it down to its essence . . . one or two simple strokes of color for each petal, then leave it.

The end result made an interesting abstraction of contrasting sizes from multiple tiny shapes against the larger negative shapes. Just another in the endless string of 'experiments.'

G'Day!

The Creative High

"Facing West"

oil on linen on panel, 8" x 10"

SOLD

Aaaaah!! A nice dose of vitamin D was gathered yesterday. I got out into the beautiful day and painted en plein air! Whooopppeee! It has been three long weeks!

What is it about the successful painting experience that gives us artists such a high? After a day standing at the edge of our lovely town, looking at the waves and foam, breathing the fresh, misty air . . . and making a painting that sings when in a frame, I am so high I can hardly sit still!! And that is no exaggeration. I feel like singing at the top of my lungs!!

I can remember when I was first learning to paint and how I carried frustration most of the time (this is years ago) . . . . but when I got one that spoke to me at the finish, I was high for a full week. There must be a huge endorphin release when we have a successful experience. Maybe that is why we artists are on a continual chase for more paintings!

This little painting took but 90 minutes and really feels like the conditions of the day . . . .a slight mist hanging over the cliffs as the sun penetrated in and the glare from the water bleached all color from everything near it. Wooo Hooo!! I feel good!!

More Schmutzing on Canvas

"Wilted"

oil on linen on panel, 6" x 8"

Schmutz? Whaaaat? You don't know what schmutzing is? Well, doesn't the sound of the word sort of suggest what I'm doing? Making little schlimey schpots! ;-)

Well, after yesterday's vow to go out and paint, the world caved in here. Never made it out. Maybe today. Nevertheless, I rose early to insure that today received its creative beginning.

I am feeling more comfortable with the paint and the techiques, but I still have a long (and exciting) journey of discovery ahead. Glassware is a major challenge of observation and subtlety of paint. Jeff Hayes arouses envy in the way he makes use of color and value in his glassware paintings. I have much to learn!

Also, thanks to Ed Terpening for the suggestion about photo images. The shine is driving me nutz! I'll have to explore that, Ed.

Cabin Fever !

"Spritzer"

oil on linen on panel, 8" x 6"

I am actually enjoying looking after my wife in her temporary crippled state, but I have to admit that cabin fever has set in and is gnawing away at me. Today, I am going out to paint something . . . . . . .ANYTHING OUTSIDE!!!

Also, for the rest of you folks out there who are painters, having a mate who is as supportive as Diana is . . . .even in this trial of hers . . . makes painting successes much, much easier . . .and certainly more joyful when she shares the "high" with me!

Today's piece . . .more glass. Hope you like at as much as Diana does. BTW, in spite of a polarizing filter, I can't seem to eliminate the galre/sparkle from the oil surface. Will have to try something else.

Sunday . . . .

"Uncorked"

oil on linen on panel, 8" x 6"

Oh, I know. I am not supposed to paint today. But what if I wanna paint anyway?

Old habits never die. I did four sketches of this flower and vinegar vase in my sketch book trying to decide on a good layout. I like every one of them. So here is another.

I used a neutral background on this painting to set off the tints in the flower. A little bit of Naples Yellow in the foreground and graded back provides a warmth and adds depth, too.

There Has Never Been . . .

"Cantilever"

oil on lined on panel, 6" x 8"

SOLD

Today, I caught myself looking at a geranium blossom and admiring the colors. "I should paint that," I said to myself. Then I heard a whisper, "You can't! it's too complex!" Having never painted a blossom like this before, much less in oil paint, I listened to the whimpy little bugger who lurked back there somewhere talking to me. I picked another, less complex blossom. Then, I thought to myself, "I just caved in to That Insistent Little Voice!" (here after to be known as TILV.)

As I walked into the house with the lesser, and less colored, blossom, I found myself hearing some voices from my class participants last week: "I can't" . . ."if I wasn't here I wouldn't" . . .. "It's always been that way. I just can't." That attitude of giving up before trying . . .or giving in to TILV . . .just gets my goat! And here I was falling for it! Right on my own turf . . .where absolutely nobody was watching.

"Enough Already," I chided myself! It isn't that I C-A-N-T . . .it is that I don't have the experience, YET! And how does one gain experience?" Well . . .I guess there is only one method . . .and I sure as hell know better than to fold before the game is played!

To my knowlege there has never been a painting, or any monuments, or any statue, or bronze plaques, anywhere in the world, dedicated to the victory of the CAN'TS ! . . . . EVER!

Personal Symbolism

"Pals"

oil on linen on panel, 8" x 6"

This piece speaks very loudly to me on a sentimental level. The wine vase belonged to my parents and was an always present ornament in our house when I was a child, fifty years ago. The other piece was made by my daughter while in high school. The two vessels, side by each, hold generational symbolism for me. . . . my oldest daughter and her grampa caring for each other. For you, maybe these are just different pieces of pottery. For me? Well, I know you understand.

Thursday . . Already!

"Scallions"

oil on linen on panel, 8" x 6"

We are headed for the doc for a follow up visit today . . . . .it's beginning to look like Diana will be permitted up and about. That'll be good! Obviously, still life painting is nice, but being outside is even nicer. I gotta see my girl through this, in spite of the cabin fever.

Today's painting is another glass piece. Ed Terpening commented yesterday about how fun glass is to paint. He's right! There is something about painting glass which really shows up . . . .one MUST develop the skill of truly looking and seeing shapes, values and colors. Then one must paint what is seen . . not what we think is there. And it ain't easy. Never having done glass paintings before, I really admire those who do it well. My sense is that painting glass is a terrific training ground for learning to see other subjects well.

The challenge for today's painting was the constant aroma of onions in my studio . . .which added to the "realism," I suppose. ;-)

That Insistent Little Voice

"Hiding Jalapenos"

oil on linen on panel, 6" x 8"

Well, it showed up again today. That little voice which says, "Don't paint thaaaat. You don't have the skills for that. Impossible! Pick something else. You'll never be able to make this work. Etc. Etc. Etc."

I battle the voice day after day. Every day. It comes in shouting and is as unwelcome as an escaped felon into my house. But it comes anyway.

This is one of the reasons I believe art to be a great avenue to 'finding one's true self.' By standing up and not listening to the ever present doubts . . .and gradually overcoming 'the little voice' . . . .one begins to develop a confidence . . . .an attitude of "Shuddup, already! I can do this!" We all have the voice. That is to say we ALL have one; The nay sayer who sits back and tries to sell the idea of accepting failure. The difference between people is how they respond to the dark sniping negative that chases us everywhere, no matter what we attempt.

Here's my response to the voice: Shun it and do it anyway!

This morning's painting said a thing or two to that voice. Nuff said!

Found Em In A Drawer . . .

"Dad's Darts"

oil on linen on panel, 5 1/2" x 8"

SOLD

Yikes! The produce drawer was empty following a big mother's day dinner. I needed to go shopping. There was 'nothing to paint.' Looking for something, I opened a drawer that is rarely bothered and stumbled onto these little guys. My dad kept them in his desk at work and apparently used them on recalcitrant (izzat how you spell it?) employess when their back was turned . . . Wait! . . .That is meant to be a stab (get it?) at humor. Seriously, these were his when he was alive. By themselves, the composition didn't do much for me, but shadows brought the painting to the level of 'facinating.' They do look terrific in a frame and would go well in someone's family room, den or bar. Or even an office (with a warning to employees under the frame ;-) ) . . . .Ahem!

Today's Painting

"Vinegar and Onion"

oil on linen on panel, 6" x 8"

SOLD

Today's piece is a slight shift away from food by including a decanter. The onion was very interesting to paint . . .a boring shape, it is. So, I had to use the light to give it some life . . .AND . . . .as is always the case when we paint something, I noticed a LOT of different colors in the skin I had never seen before. How many onions have I handled in my life and never seen the colors? All of them!!! I hope you enjoy this piece as much as I did creating it.

I have to break outta the house today. Gotta go to work! Nursing my wife has been a good experience for both of us . . . .but cabin fever and the need to answer my clients is compelling. A short day at the office then back here to insure all is well.

The Garlic . . A Closer Look

"Garlic Roaster"

oil on linen on panel, 6" x 8"

So, here is a better photo to see the detail a bit easier from a few posts ago. Every painting is a trial . . . . .an experiment . . .this is one subject that I will probably do again and again.

I had a quick thought about the subjects I have chosen for still lifes . . . Diana and I spend a lot of time in the kitchen together . . .there is something universally appealing (besides just hunger!

;-) ) about food. So many ways to cook . . .so many ways to use the different tastes of the ingrediants . . .cooking is indeed an art form, too!

Mother's Day

In the course of blogging (and all else) one must pause to pay homage to those who gave us life . . . and life's lessons . . . our moms. I am formally tipping my hat to all you moms out there. IN so tipping, I also bow to you because you ladies have a presence here on earth like none of us males. You manage patience and hold to a code of protection that is so consistent. We males could learn much by those special blessings you wield. Were it not for our moms, we would be but mere animals! Eh, Guys?

On another subject, my webmaster phoned late last nite to inform me that the blog is now a link on my website. So, now there is a synergy between the two places in cyberspace. For those of you in Europe and other parts of the world who visit my site, let me say thank you and welcome here to my blog. This is a little different than the site, because it is mostly devoted to oil painting and a painting a day in that world . . .sometimes watercolor . . .but it is intended as a place for sharing knowlege. If you have a comment or two, please feel free to make note of it here. Another point . . .you might want to consider subscribing by using the link in the uppermost left corner of this blog.

If you are a mom who is visiting, know that all of us here in the USA honor you and all that you have done for us! Happy Mom's Day!!

(Incidentally, I will post a close up of yesterday's garlic painting for you who would like a better look-see.)

Saturday's Painting . . .

"Garlic in Roaster"

Oil on linen on panel, 6" x 8"

You saw the post two days ago about the shadow box. And you saw the subject and how it was lit in the shadow box.. Here is the resultant painting . . .and this was a challenge! The subject is all one color! Well . . . .not really . . .but it seems so, at first. I had to look hard at shadows and reflected light as well as the direct light to gain a sense of the subtleness of color and value changes. This painting will be shown without the frame when it goes to EBay later. This photo is shown to give you the viewer an idea of how these little jewels look in a frame. And they look classy !!!

Tomorrow is Mother's Day. Because Diana is down and out, the family is convening here for a big dinner. My sense is that there won't be any painting tomorrow. . . . . at least I don't think so! Look for something on Monday.

I have to admit I am suffering from cabin fever while I look out the windows at the gorgeous weather. It will be good to get out in the air and be part of the scenery.

In Spite of Discouragement

"Mushrooms"

Oil on Linen on panel, 6" x 8"

Some days I start out wondering if I can make it happen. Others seem like a snap. Today, it seemed like my patience was closing in on me. While I painted these little morsels of edible fungi, I wondered if it was ever going to come out right. At one point I remember my thoughts, "This just isn't working! I should throw this one away."

I often recall, when those words come up (and they often do), that 'somehow' it will work out if I hang in there and keep working the challenge. I hung in. This is no masterpiece, but each of these that I do confirms there is more to learn and more to master . . .but these little paintings are great big lessons. This, all done in shades of white and tans, was an exercise in using the light and shadow to suggest shape and form. And they look like I could eat em right now! Every day is a learning experience!

My wife is doing better, but is still flat on her back . . .visitors come and go . . . .this daily exercise is definetely a test of the depth of my commitment. And I am moving ahead . . .at least I am today. In spite of the doubts that show up, I just put one foot in front of the other.

Today's Painting

" Tomatoes"

Oil on linen on panel, 5 1/2" x 8"

This daily painting idea is terrific! I have always done something in the studio nearly daily. This just confirms my belief in compressed experience. This was a fun one!!

The Value of Blogging

A few weeks ago I dug through the archives of Jeff Hayes' blog (link in the list). Jeff had photos of a shadow box he built for the purpose of painting still life.
This was a revelation to me!! I could not believe I had never heard of one of these tools before. I looked very carefully at his photo and tried to find out more about the tool . . .but, alas, all he had was one post. Another artist also picked up on it and set up a temporary arrangement with foam core boards 'n stuff. I was fascinated.

After looking carefully at Jeff's set up, I made an emulation from a cardboard box painted flat black. Here's a photo.

Mind you, this is not intended to look like the Taj Mahal. Its purpose is to regulate light . . . . . . . . . ..especially reflected light and light coming from other sources. My studio has can lights in the ceiling and track lighting . . . .thus providing MANY shadows and no discernable pattern of light. As you can see here, the flood light shining into the slots above the subject and the ceiling of the box (and walls) make for one source of light and shadow. The recessive darkness into the back of the box gives the subject more depth and interest. Above is a photo of how the subject looks from my easel.

You can see that the subject receeds nicely into the dim light and the portion of the subject that I wish to emphasize is lit up like a Christmas Tree. Wow! No guessing here.

All I need to do is move the flood light (you can see the lip of it in the upper left corner of the shadow box photo) to the side, or the rear or forward to gain the kind of light I want.

I have spoken here of making the mundane extraordinary . . .and this tool does it! Thanks, Jeff, for being so generous with your information. Apparently, other artists have used similar arrangements if they paint still life paintings, but I sure had no clue!! There is a ton of vital information about almost any subject in the blogshpere. . .art in particular. Aren't we lucky to be granted this privilege of these accesible resources on the internet ?!

There Are A Few Of Us . .

"Sourdough"

Oil on linen on panel, 6" x 8"

I am one of those guys who has had multiple jobs and careers in my life. Most recently, teaching art / painting and being a realtor. Before that it was business owner, hi tech manager, salesman, marketing guy . . .all kinds of stuff . . .most of which had nothing to do with art. At a late age, the bug bit me. Age 46. And now, 18 years later, the bug still chomps down on me. Art is the only thing that has ever held my interest for any length of time beyond 2 or 3 years. Or, should I say that art is my compulsion.

A while ago, I had my studio on the same floor as my office and bedrooms are. . . .near the bathroom. If the door to the studio was open, it was a rare thing to pass that door without entering the studio to fiddle for a minute or two. Time stood still in that room. And often to the detriment of everything else in my life. That sort of access fed my compulsion and taught me much. What I learned over time is this: There are only a few of us who can even tell the difference in two colors of red . . .there are only a few who study value patterns, or shape design, or who feel that it really DOES matter to be concerned about what is going on in the world of art. There are only a few who really 'get' why people paint or make art. There are even fewer who will give painting a place in life that has priority.

And when someone else recognizes the compulsion . . .and sees it as honorable (ahem!) . . . .it seems that someone becomes a lifelong friend. That someone knows our heart . . and knows how much art really does matter.

I celebrate those who paw a keyboard daily in search of good art . . .or make it their business to find artists and see their work in some other way. They may not be the reason we do this, but they certainly provide validation. They, along with the few of us, really do understand that bread alone does not nourish us!

What Would I Do If I Hadn't Made It?

"Red Onion"

Oil on linen on panel, 6" x 8"

Today's post is a painting of a red onion and shed skin. Nice.

My wife, incapable of much movement sits watching TV. I paint when I am not taking care of her. Usually in the late evening. I wonder: What would I be doing if I had not commited to doing a painting a day. It seems rather simple now that I am in the habit. Beforehand it seemed like a monumental decision. Paintings actually go a little faster now. Familiarity and being in the zone help tremendously.

Can't write much today, since I have to be 'on call' shortly.

My next project is to begin offering these paintings on EBay.

Till tomorrow . . . .

Mike

Look Only As Far As . . . .

"Red Bells"

Oil on linen on panel, 6" x 8"

I am one of those people who begins to get a little shakey if I don't create something. I don't know why or how that is. It just izzzz. That means that if I find myself getting irritable or grouchy, I probably need some time with a paint brush. When it seems the world is getting too close or crowding me or my time, I go to the studio for a while and schmear paint. If I read about it and don't do it, then the itch just gets worse.

People ask me constantly, "How do you find the time?" or "How do you do it all?" I suppose the answer is something to the effect of "How could I not?" This morning I awoke at 3:30 AM with my head buzzing with ideas. By 4 AM I was in the studio painting. Done at 6:30AM, my mind is now settled and I am ready to get on with the day while completely satisfied that all is right with the world. Nice ! :-)

I experience similar feelings about getting outside to paint, but when circumstance dictate otherwise, I look no further than my studio and the produce drawer in the refridgerator for something to paint . . . .or deep in an old cupboard, or a drawer, or my workshop. There is always something waiting for the honor of being promoted from 'ordinary' to a treasured piece of art.

Coping With Confinement

"Papaya"

Oil on linen on panel, 6" x 8"

Sometimes we have to do what's best for others. And right now, it seems that is what is called for. My wonderful wife injured her achilles tendon and is due for surgery in a day or two. Obviously, she can't move around, so I am the one to maintain life as we know it . . .cooking, cleaning and taking care of her.

In spite of the the confinement to the house, my studio is right downstairs. So, when she is resting and not in need (and the chores are done), I am in the studio fooling around. Well . . . . . . . .fooling around might not be the word for it . . . .would studying and experimenting be better? . . . . .I suppose that is what any artist would call it. Cuz, that is precisely what every movement in the studio is all about: trial and error and learning.

Thanks to Jeff Hayes and his archives, he developed a shadow box in which to control light in still life set ups. I cut up a cardboard box, painted it black and proceeded to paint little stills. What an amazing tool that is! Thanks to Jeff!! The light comes alive!

So, unless I can get out of the house for a few hours and Diana is cared for, I will be in the studio making these little wonders.

Please excuse the glare on the canvas. I haven't yet figured out how to avoid that while photographing a wet painting.

Every Attempt Counts!

"The Scent of Surf"

oil on linen on panel, 8" x 10"

Here is another of the plein air adventures. Caught near sunset, the light was bouncing off the white foam of the breakers behind this tree. What a terrific thing to paint! I can see I have much to learn about how edges behave in back lit subjects . . . .learn? Heck!! I am fascinated . . . . . . . .read: obsessed! . . . .by this stuff.


One thing I have learned in years of painting in another medium is this: While every painting doesn't show up at the end as perfect, every one counts! That is, each piece contributes to the success of subsequent paintings. It is all an accumulation of occurances, challenges, solutions, failures and successes.; Every painting matters . . .the results of that significance just doesn't show up every single time. And THAT is the reason for painting daily: to quickly accumulate experience and to stay in the learning zone.

Some Days I Get Two . . .

"Tanner Heights Grove"

oil on linen 12" x 16"

SOLD

Oh, Yessssss !!!! Some days it just works out to paint more than one!

On the day it rained, my painting buddy and I (Bill) had to call off our get together to paint. And, as you see in my last post, I painted in the studio. Later, while at the office, the sun came out and I had the itch to be out painting. So, I cleaned up my work and started out the door at 5PM . . . .and Diana (my wife) called to tell me we would be eating at her mother's place. Perfect! I'll find a spot around her house and paint. Diana was surprised that I didn't need a big "scene."

So, I stood behind the house, looked down into a eucalyptus grove. . . . . and painted fast cuz it was getting late. I had to hurry . . .a spot of color here, a blotch of color there to set off the other color, a dark here and a light there . . . .a little atmospheric perspective . . . .next thing I knew a painting was taking shape and I was amazed that it came out like this!! Some days just about everything goes right !!

I am having a wonderful time!!

Mike

Some Days it Rains . . . .

"Eileen"

oil on gessoed masonite 6" x 8"

SOLD

I have read about guys huddled on their knees in the pouring rain under a poncho holding it up to let the light in on their canvas while they paint with their free hand. That is NOT what I do when it rains!

I work in the studio . . . .or go to the office . . . but if I have planned to paint, I paint. What's more, I have a commitment to paint daily. That is every day except Sunday.

So here is a little studio study. I have been watching intently while others paint. And I am surprised at how quickly I can see how they do what they do. A lady by the name of Karin Jurick (she is one of my links here) paint (most of the time) on black gesso on masonite. I could see it subcounsciously . . .then one night, I awoke with a realization that she paints on black . . .and the paintings look entirely different. So, never having done that before, I grabbed a little something mundane to paint, set up a spot light and painted it on black gessoed masonite. Kinda fun, doncha think? Let's just call this painting "Eileen." (Wait a few minutes and you'll get it! ;-)

This brings up an interesting point about painting. Choose anything! Yup! Anything for a subject. Then take the challenge to make it look interesting . . . .even extraordinary. So, here is a common ball point pen used as an advertising piece. Plucked out of a jar on my wife's desk, it flew to the studio ready for its mission to become extraordinary. I had fun with it!

By the way, It looks wonderful in a frame!

Mike

Stop the Hunt and L O O K !

"She Waits"

oil on linen on board, 8" x 10"

SOLD

Last week, while in the fray of a few exciting days of painting outdoors, I had decided to go down to the beach (about 10 minutes away from the house) . . .and it was on a weekend. I should know better than to try the beach on a weekend. Every tourist with wheels is there!


I did get there, however, and found the wind to be blowing a gale. Impossible to set up an easel of any kind . . .it would be a sail! So, I began looking for places to paint . . . .driving here and there all the while searching for a place "that would look good in paint." Whoops!! I could have gone on all day long!


What I really needed was a place that was wind protected ! I didn't necessarily need a fancy schmancy place that was pretty to look at . . .and probably already in hundreds of paintings! . . . . . . . .I just needed to set up my easel in a good, well protected place and find something there to paint. That's right. There is ALWAYS something. It just takes a little effort in LOOKING and SEEING.


This beautiful tree with silver bark was waiting all the time. I loved the light on its branches. It was a struggle (still unused to the techniques of oil painting!) But here it is . . .with her arms outstretched, "She Waits" . . . .

Confining The Subject

"Surf Watch"

Oil on linen on board, 8"x 10"




Yesterday was one of those rush rush days. Ran to the painting location on a beach here, set up and had to 'scram' fast. There was much going on there last nite. Beach visitors, houses on the cliff, nice sunlit patterns on the cliff walls and houses. Even three guys lounging around against the cliff on the beach. It would have / could have made . . . .well, um, now that I think about it . . . . .a rather trite painting. And besides, there was too darned much to spend time on with a small canvas. I had exactly an hour of light left.

So, it was cut to the essentials and get on with it . . .without dithering. This game is about putting down what you see, trusting that it is right, then moving to the next spot of color.

Let's see, what color is the color of sand? ? ? Gotta choose something! Better mix something. Whaddabout that shadow? What color is that? Can't name it. Just match it and move on to the next spot of color. (Under my breath I am thanking my stars for all the studying and experimenting I have done with color and mixing!)

So, here is what came out . . . . ."Surf Watch" . . . .

Staying True To The Reason We Paint

"Still Life #63" Watercolor on Arches Cold Press 15" x 22"

Last weekend I had a chance to do a demo for a good sized art group about watercolor painting. My philosophy is simply this: Have fun doing this! That was the reason we all started doing this to begin with, right? So, I have fun in the demo . . .and get everyone laughing and teach techniques and design ideas at the same time. This piece took 90 minutes with a 15 minute break half way through.





The painting is (I think!) number 63 of a series I have been working on of the same still life set up. There will be more about that in future posts. In short, series work is designed to open creative doors that the artist would not otherwise access if just painting one painting. Working in series allows us to take chances to find out what will happen if . . . .





The mood of the piece came out fun . . .eh?

Chasing the light

"Sunny Cove" Oil on linen on panel 8" x 10"

SOLD

Last post I spoke of painting "Late Shadows" . . .the painting is just below this post.

I have chosen to work the hard way. That is to go out in the late afternoon around 5PM when the sun is low and moving quickly toward the horizon. There are lot of hills around the area I live, Santa Cruz, California. So, while shadows get nice and long and the light becomes golden toward the hour of 7 PM, the sun finds a place behind a hill shortly before or after 7. That means I have two hours of painting time and am chasing the light as I paint. There is no time for getting stuck or sitting back to ponder for very long. This is immediate and urgent work.

I am amazed at how quickly it all falls into place. Mind you, I have done my share of studying, so I usually have a pretty firm plan before beginning. Believe me, it helps to have a plan!

The urgency of this approach makes for non-fussy work. And . . .you either get it or you don't. This is a good thing because I don't have any room to carp or complain if it doesn't come out well. It comes out like it comes out. Period. (Fortunately, most of them make it to "acceptable")

The nice thing about doing this daily is that EVERY PAINTING COUNTS! What that means is that each painting, failure or success, is contributing to all the successes. In other words, experience matters in painting. The more one paints, the better one becomes.

The piece for today was done two weeks ago right after work. I ran to the car, drove to a nearby beach cove and set up shop. This is an impression of the place just before dusk. Again, I get excited by the results and the process!

The First Plein Air Oil . . .

"Late Shadows" Oil on linen on panel 12" x 16"

Here it is . . .Not especially the best technique, but a two hour effort to capture the light through the trees. I had an absolute BALL painting this!!! 12 x 16 inches, oil on linen on wood panel.

The Time Has Come . . .

"Taking a Stab At It"

Watercolor on paper, 15" x 22"

The time has arrived after much deliberation, consideration and excitement . . . .to make the commitment. Yup! I have decided to commit to making a painting a day . . . .every day except Sunday.

This may not seem like much if you aren't an artist, but I can assure you that the commitment requires putting just about everything else aside in order to meet the promise.

Why, you ask? Simple! To compress a lot of experience into a short time. To force the learning process. To create new art. To GROW . . .and grow quickly.

You may know me as a watercolorist. In fact, that I am. But let me be very clear about something; I am an ARTIST before all else. Yes, I paint watercolors . . .and darned good ones. Some might say that they push the edges of the medium to an extreme. I agree.

Something has been eating at me over the last several years: The oil paints I have in my taboret drawer. I recently came accross Kevin MacPherson and a few of his delightful plein air pieces. As well, I had ordered a new set up for plein air painting with watercolor. The one I purchased happened to be almost the same set up that he uses. I took it out and tried oil painting with it one time. I was bitten!! And I was bitten hard!!

Then, while exploring the internet for plein air painters, I came accross a website featuring painters who had made a commitment to a painting a day . . . .and then my bite got much, much worse. I could quickly see how much growth these people had mustered in a short period of time. So, here I was. . . .madly going out to paint almost daily in the late afternoon and getting up early to paint in the studio.

Meanwhile, I was still going to class, teaching "Watercolor Beyond the Obvious" and doing my level best to continue in my still life series (another post for later) and creating some interesting abstracts for the more serious genre of studio born watercolors. I will use the one above as the piece to kick off this blog.

I fully expect to remain loyal as a watercolorist, you can see the work on the website by clicking here. But you can also expect to see me pushing into the next world of oil.

I'll be posting oil paintings daily here. Watch for them!