Radiate

 

 "Radiate"

8 x 8 inches, oil on canvas

$250

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For this one, I did a quick study with black sharpie and grey Pitt pen on white paper - just three values. When you have your composition all planned out before you get to the canvas, painting is even MORE fun!

Pink Ladies

 

 "Pink Ladies"

12 x 16 inches, oil on canvas

$500

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Pretty in pink - and white! There's some luscious thick paint on those apples. Click the image to zoom way in! 

Here's my sketch - sharpie, ballpoint pen, and white marker on tan paper. These really help me plan my composition and value structure.

Color Swoon

"Color Swoon"

10 x 10 inches, oil on canvas

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My eyes pretty much want to live inside the color of this ribbon all the time. It's like the feeling of exhaling a deep breath - your body relaxes. 

That's how my eyes feel when they're full of this color.

Happy ❤️ Day!

 

"Red, White, and Goo"

10 x 10 inches, oil on canvas

$350

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It's been a few years since I attempted to bite one of these cherry cordials in just the right way to make the goo ooze out like this, but I'm happy to report that it's like riding a bike.

It only took a couple of tries.

So...Happy Valentine's! I'll be spending it alone with my sugar high.

 

Special offer for blog readers! Buy "Red, White, and Goo," and I'll throw in my sketch, which is 5 x 5" on thick tan paper, mixed media (aka, ballpoint pen, sharpie, and white ink). I'll send you a 2018 Calendar too! Because it's a beautiful day, and I ❤️ all of you. 

XXO.

Long Shadows

 "Long Shadows"

8 x 8 inches, oil on canvas

$250

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The 30 in 30 painting challenge I'm doing this month is already giving me a lot of food for thought - and not just because I'm painting apples and oranges! 

I wanted to revisit daily painting because it's how I got my start with this blog - ten years ago this month. The concept was incredibly freeing to me, that every painting didn't have to be a precious investment of time and materials, that tomorrow could be a new day. 

I'm hugely grateful to artists like Carol Marine and Duane Keiser, who inspired me early on - and continue to. Before I discovered daily painting, I had been out of art school for almost seven years, and was starting to believe that I might never actually get back into painting. Today, I plan to paint for the rest of my life. Maybe not EVERY day, but on the good ones!

Here's my setup and sketch:

A lot of people on Instagram have been curious about these black-and-white sketches. They are made with ballpoint pen (mine's from the Marriott, fancy), black sharpie, and white Pitt Pen, which is a permanent India ink marker made by Faber Castell. The sketchbook is Strathmore Toned Tan, 6x8 inches. You can check out some of my favorite materials here. 

And, as always, thank you for reading!

Avocado and Lemon - and My Very First Newsletter!

 "Avocado and Lemon" 

8 x 8 inches, oil on canvas

$250

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This is my painting for day two of the 30 in 30 February challenge. It's yesterday's painting. I'm not going to be blogging every single day's painting, because I anticipate that some of them will be less impressive than others, but for now, here ya go! 

...And speaking of impressive! After procrastinating for almost ten years, I just published my very first email newsletter. Check it out here, and click subscribe to be entered into my Blog Anniversary Giveaway. Because, yes, my blog will be TEN YEARS OLD in just a couple of weeks! That feels awesome.

Just subscribe to my email newsletter to be entered to win! It's a teeny tiny pool right now - so share with a friend! Your chances are excellent.

Tangerine Tumble

 

"Tangerine Tumble"

9 x 12 inches, oil on canvas

$350 

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Here's this one in-progress, from sketchbook to underpainting to color. The sketch was fun - ballpoint pen, black sharpie, and white Pitt pen on tan paper! Here's the sketchbook I used. 

 

I recently did a little interview for the blog #artcrushxo. Kim shares so many diverse and interesting artists, it was an honor to be invited to contribute! 

 

(Read the interview here)

Go Green... and Yellow!

 "A Dish of Green Olives"

10 x 10 inches, oil on canvas

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Interrupting my stream of residency paintings to post a piece from one of March's Still Life Open Studio sessions. Is it a coincidence that I'm posting this very green-and-yellow painting on the eve of the big Oregon Ducks final four basketball game (green and yellow being the U of O's school colors)? 

 Yes, it is. 😉

These two daffodils took a turn as daily sketch subjects the next morning, looking fresh and rested, even after their rigorous evening modeling session. The lemons, too. Troopers!

Change and Experimentation

 "Two Oranges (Blue Scrap)"

8 x 8 inches, oil on canvas

Click to bid in the online auction!

The last of my 8x8 orange paintings from Playa, and the only piece I made there that I'll be auctioning online. 

It felt good to have familiar subject matter to fall back on during my first week at the residency - in an unfamiliar studio, in an unfamiliar landscape...an unfamiliar landscape with schizophrenic weather, I might add! One morning, I wake up to a rainbow, the next, SNOW! These pictures were taken from the same spot - I was just reluctant to venture all the way out to the railing to take the second one. Can you blame me? (By the way, both shots were taken between 7 and 8 am.)

With nature in such a blatantly experimental mood, I felt inspired to try some new things myself. Here's a pencil sketch on Arches oil paper that I painted over - from memory. It's amazing how having the sketch underneath helped my recall of color details, even with the still life itself dismantled. 

I did spray-fix the graphite before painting on top. 

"Playa Vessels"

6 x 12 inches, graphite and oil paint on Arches oil paper

collection of the artist ;)

The Artist Returns!

 "The Owl Feather"

12 x 16 inches, oil on canvas

$400

 Click to buy

Wow! Well - I am home from an amazing sojourn at the Playa Fellowship Residency Program, in Southeastern Oregon - and how to even begin describing the experience? The shortest possible way would be to say I made as much work in four weeks there as I would have in four months at home. But luckily, we don't have to settle for the shortest possible way - I'm planning to spend the next few weeks posting my new paintings, and writing about my time there.

So, I'll begin at the beginning - packing! Playa is in a pretty remote location - 60 miles from the nearest grocery store - so in addition to my art supplies and warmest winter-weather sweaters, I had to pack a lot of food. My car was full!

 

 Playa isn't all that far from my home in Eugene, Oregon - a 3.5 hour drive in good weather. I had a much shorter journey than many of the other residents. Here's a photo from near Willamette Pass, crossing over the Cascades

I watched the landscape slowly change, from deep snow and tall pine trees to more open vistas of scrublands and chilly blue sky.

I arrived at my destination at last - after driving right past it. This place seriously flies under the radar. Aside from being in the middle of breathtaking nowhere, it doesn't announce itself. There's a small sign, a rustic gate made of tree branches, and group of unassuming, red-roofed cottages on the edge of a huge, shallow, half-iced-over lake. The atmosphere is down-to-earth and unpretentious - the focus is on quiet, and work- time, space, introspection. And, after unpacking my many provisions with a wheel barrow between car and studio, I attempted to settle in. 

I am a relatively quiet person, used to working alone, used to structuring my own days - but when you can do absolutely anything you want to do - where do you start? I actually showed up without a clearly defined plan of what to paint - on purpose - hoping to use natural light on my setups, paint whatever I found around the place - just see what happened. 

And, in the absence of anything happening, fall back on self-portraits. From life - not photos, as I usually do.

 I made a plan to do a self-portrait sketch every day - and I did it. Here's number one, the night I arrived. I still have that glimmer of civilization in my eyes....

 And soon, still life subjects started showing up. I found this beautiful owl feather practically on my front lawn, just out for a walk in the wind and mud.

 

In this studio shot, I'm just about to begin the painting; you can see my still life on the table, in afternoon light from that west-facing window:

 

 And so it began....

From Drawing to Painting

 "Squash Game"

14 x 18 inches, oil on canvas

$500

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Another painting, mining my maybe-excessive Hillsboro pumpkin patch lode.

I brought them all home from Still Life Open Studios and threw them on the studio table, where they were very conveniently waiting when it was time for my next daily sketch. As I was drawing, I began to see that there was a painting there, somewhere.

There are lots of reasons that artists draw - and there are plenty of artists for whom drawing is the main medium of creation. As a painter, there are several things that make drawing an integral part of my studio practice.

 For one thing, it keeps me in touch with my love of line. I'm always trying to paint more tonally, with fewer outlines, so junking out on lines and hatchmarks feels really good when I sketch. 

I've got a brand new workshop coming up October 29-30, here in Eugene called "From Sketchbook to Canvas: Drawing to Improve Your Painting." Despite that maybe-excessive title, it's going to be a simple class: we're going to draw, then we're going to paint. And we're all going to learn something about ourselves as artists, and our own unique artistic process. More info and online registration here!

In Which I have a Rockstar Moment

 "The Apple Barn"

12 x 24 inches, oil on canvas

Framed, $700

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I'm just going to say this at the outset: I'm really proud of this painting. We artists all know the feeling: a piece is working right from the beginning. I say, "It painted itself," "It fell off the brush," or "It was a rockstar moment," but I think the best description of this particular magic is that I felt in control the entire time I was painting it. And that doesn't happen all that often - maybe once every 20 paintings? 

As you can see, it was a heartbreakingly beautiful day - one of those fall afternoons that make you feel grateful to be alive.

I started with a 3-value sketch - oil paint in my sketchbook. This was extremely helpful, especially when it came to painting mid-value areas like the grass and distant hills. Green just doesn't feel all that light to my eye - in general, it's a mid-to-dark value color, and it's very saturated and beautiful in the sunlight. But, referring to my sketch, I told myself to keep it as light as those rooftops. 

 

Understanding that color has value - and how that works in our paintings - is a huge benefit of practicing in black and white. So, if it's been a while since you went back to basics, give it a try....you might have a "rockstar moment" yourself!

Avocado and Tomatoes in Black and White - and More about Notan

 "Avocado and Tomatoes"

approx. 8 x 11 inches, oil on Arches oil paper

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After reading this post by James Gurney, I decided to try some notan sketches on brown cardboard as a warmup for this painting - and it was fun! It's so satisfying to put thick white paint over a midtone surface. Why? Who knows - but I'll be back for more. 

The idea with notan is that midtones have to get lumped into either dark or light - you only have two values to work with. These forced choices remind us that we are interpreting, not copying the subject; composition is something we impose on nature. Two artists will not come up with the same value scheme in a notan sketch. There is no right or wrong way to do it. 

Also, it looks cool!

Alla Prima Portrait Sketch; Limited Palette Workshop Demo

 

 "Sketch of A."

approx 8x11 inches, oil on Arches oil paper

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This month marks two years since my first portrait painting workshop. Amazing how time flies! And although I've painted this model quite a few times, it's always nice to revisit a familiar face - especially one with such lovely coloring. I've got pinks, peaches, greens, lavenders, and orangey-browns in those flesh tones - all mixed from three tubes of paint! 

My work-in-progress shows how I painted the face out beyond the contour lines, and then re-drew that edge with the darks in the hair. I also painted the setting of the eye before putting too much detail into the eye itself. 

And the ear - well, I got that on there early and then left it alone, because this.

Color Has Value

"Cantaloupe Slices"

9 x 9 inches, oil on Arches oil paper

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If there's one thing I say over and over again to my students, it's this: you can paint something any color you want, as long as you nail the value, it will work! 

The single most important element of realistic representational painting is value: how light or dark something is on the gray scale. And that's relative to everything else in the painting - so our goal as painters is to train our eyes to perceive that hierarchy of values. 

Sketching is great for this, but black and white oil studies are even better. You kill two birds with one stone, really - focusing on values, and also practicing your mixing and brushwork.

A Portrait Commission

 

"Untitled - Portrait Commission, May 2016"

18 x 24 inches, oil on canvas

It's cool how one thing leads to another, isn't it? The woman who commissioned this painting saw my portrait of a friend of hers, and decided I'd be just the artist to update a very sweet wedding-night portrait of her and her husband of 38 years! 

I really enjoyed spending time with these two, in their sunny living room surrounded by enormous house plants and blooming orchids. We had three in-person sittings, and then I completed the painting from photo reference.

I started getting to know them with a quick sketch:

Once I feel that a portrait is finished, I send an image to my clients for approval and suggestions. Here is my preliminary finish, on the left, and the final painting, including their suggested changes - which were all just right. Can you spot any of them?

 

 Framed and ready to deliver:

Do you have a portrait project you'd like to discuss? I'd love to hear from you!

Beacon

 "Beacon"

9 x 12 inches, oil on canvas

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Yep, more with the white objects! And looking around the studio at what I've got in-progress, I can say with confidence that you still haven't seen the last of them. 

Here's how this one got started:

And here's how it really got started...just another random morning sketch:

For more sketchbook stuff, check out my new board on Pinterest. Daily sketches....here!

"White Object, Lemons" Still Life, Work-In-Progress, and Black-and-White Sketch!

 "White Object, Lemons"

12 x 24 inches, oil on canvas

Available here

It's been a while since I painted this little plate, let's see - can I find any examples from the past to show you? Yes!

It's hand-painted, which makes reproducing the design with my own hands so much more enjoyable. At one point I actually forgot I was painting on canvas. I felt like I was painting a plate myself! This twisting floral style is common to decorative pottery made in Jerusalem, where my mother bought it in 1979 - when she was pregnant with me! Can't say I remember much about the trip.

Here's a progression. I didn't tone the canvas for this one, instead letting the underpainting create its own tone. The color is a neutral orange I had left over on my palette - probably a mix of alizarin, cad yellow, cad red, ultramarine blue.....you know, all the primaries. As long as there's no white in the mix, it works.

...And my black and white sketch. I love love love making these. If you're going to use Arches oil paper, I recommend brushing a thin layer of Gamsol (or your OMS of choice) onto the surface before beginning. Although this does tend to make the finished product dry at a snail's pace, it helps with the absorbent/chalky feel of the surface I've heard myself some artists complain about.

"White Object, Lemons (sketch)"

8 x 11.5" oil on Arches oil paper

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