"Ghost Ranch Icon" - Oil - 11" x 14"
NOTE TO ARTISTS: This piece evolved into a more experimental application of paint as I worked. If you see something good happening in a work, go with it!
Showing posts with label New Mexico. Show all posts
Showing posts with label New Mexico. Show all posts
Monday, June 10, 2013
"Ghost Ranch Icon"
NOTE TO ARTISTS: This piece evolved into a more experimental application of paint as I worked. If you see something good happening in a work, go with it!
Thursday, April 04, 2013
"Santa Fe Garden" - Auction Starts Today On eBay at 6 PM PT
"Santa Fe Garden" - 8" x 6" - Oil
"Adobe walls are everywhere in Santa Fe and they glow with color whether they are in sun or in shadow. While visiting friends there, I set up my easel on the patio and painted this portion of their garden framed by the patio wall. The contrast of light and shadow enhanced the bits of color sprinkled through the beds." --- SFG
NOTE TO ARTISTS: It's difficult to paint when you are traveling. Usually, I don't want to miss any of the fun the others are having, or I'm tempted to read or nap, or I don't want to interupt our sightseeing, but I'm never sorry that I made the effort. Not only do I have a painting to show for it and skills are reinforced, but I have a bit of a diary of the trip. I may forget other things we have seen, but I never forget a painting location.
Thursday, February 26, 2009
"Laundry Day"
"Laundry Day" - Oil - 14" x 18" - $700
"I shared models with other artists on a trip to Ruidoso, New Mexico. This coy model kept a lively expression and was a delight to paint as she and her compatriot pretended to sort and hang laundry. It made for a colorful subject and pleasant work for all of us." --- SFG
NOTE FOR ARTISTS: To compose this work, I used the natural bands of light, dark, and light again. The shadow of the trees, formed the natural dark which set off the sunlit hat and apron of the main figure. Note the location of that figure. She is off center, a bit to the right. The chair on the right helps anchor that edge and balances the larger light and smaller figure on the left. Sunlight is represented by the value contrast and reinforced by warm and cool colors.
"I shared models with other artists on a trip to Ruidoso, New Mexico. This coy model kept a lively expression and was a delight to paint as she and her compatriot pretended to sort and hang laundry. It made for a colorful subject and pleasant work for all of us." --- SFG
NOTE FOR ARTISTS: To compose this work, I used the natural bands of light, dark, and light again. The shadow of the trees, formed the natural dark which set off the sunlit hat and apron of the main figure. Note the location of that figure. She is off center, a bit to the right. The chair on the right helps anchor that edge and balances the larger light and smaller figure on the left. Sunlight is represented by the value contrast and reinforced by warm and cool colors.
Tuesday, June 17, 2008
"Bridge at Arroyo Hondo"
"Bridge at Arroyo Hondo" - Oil - 12" x 16" - SOLD
"Popular with outdoorsmen and artists, Arroyo Hondo is wonderfully picturesque. As the light changes during the day, there are countless subjects for the outdoor artist."." --- SFG
ALL SALES BENEFIT NEW ORLEANS HABITAT FOR HUMANITY
Work in progress...
This painting of will be of Arroyo Hondo showing the water in the foreground and the bridge I crossed to get there. The background slope will be to to right and the orange bluff in shadow falls to the left.
As my second painting of the day, I'm taking a broader, faster approach to it. I won't be so deliberate, letting my subconscious work more than I did in the morning painting, "Morning Magic." Awareness is important as you learn to work. For me, there is a distinction between paintings that work best because I've been more deliberate and careful, as you saw in the painting described in the previous post, and the ones that I let my subconscious take over. They are usually the second or third alla prima painting of the day and often it is the best one. The subconsious is most capable of juggling all the elements necessary in painting. Call it muscle memory, if you could call the brain a muscle.
When you premix colors, as I did earlier today, it sometimes feels like using pastels, because you simply dip right into the correct color with a fresh or freshly wiped brush. All of the colors are better related to each other...especially if you use a bit of the previously mixed pile to start the next one.
By the time I get to this point, I'm to the stage of adjusting the painting, often by simplifying. I changed the direction of the brushstrokes following the contours of the background hill.
"Morning Magic"
"Morning Magic" - Oil - 8" x 10" - SOLD
"Color in shadow can be surprising and delightful. Here, at Arroyo Hondo near Taos, New Mexico, I enjoyed the shadow color as much as the light." --- SFG
"Color in shadow can be surprising and delightful. Here, at Arroyo Hondo near Taos, New Mexico, I enjoyed the shadow color as much as the light." --- SFG
ALL SALES BENEFIT NEW ORLEANS HABITAT FOR HUMANITY
Work in progress...
This morning's painting will be a small 8" x 10" of cliffs at Arroyo Hondo, near Toas, New Mexico. My reference photo offers a lot of possibilities.
I've cooled the slope on the left a good deal to make it recede, but kept it darker than the foreground surface. The warmth of the foreground color sets the areas further apart, as well. I'm still using that #12 brush.
Finally, I've switched to a #8 brush. I've returned to each area, especially the shadow area to work the warms and cools of its surface. I've adjusted the intensity of the slope on the left and added some green of the vegitation there. Softening the top edge, helps it roll back rather than looking cut and pasted to the sky. I added the cloud, carefully assessing its value in relation to the other lights in the painting.
I'm nearly there. I've better described the foreground rocks and added interest to the ground plane.
This morning's painting will be a small 8" x 10" of cliffs at Arroyo Hondo, near Toas, New Mexico. My reference photo offers a lot of possibilities.
I have pre-mixed my colors to get some of those wonderfully vibrant warm and cool colors in the shadows of the rock. I will start with the #12 brush shown (even on an 8" x 10" ).
I've drawn in my composition and at this point I've become pretty excited about this subject. It will be a lot of fun distributing those colors I've mixed across the work, putting them in the right place. I fairly well defined the shapes in the bluff, even though I'll be painting beyond the shapes, generalizing and redrawing throughout the work.
I started with the darks in the shadows of the bluff and the foreground shapes. Every shape you put down is a process of drawing. I consider the drawing stage, since I'm going to cover up all those lines, to be training the artist's memory. Because I will be painting beyond the edges of the shapes, I will be concentrating on where those shapes join, how soft the edges are and how detail will fit in at the end.
I've cooled the slope on the left a good deal to make it recede, but kept it darker than the foreground surface. The warmth of the foreground color sets the areas further apart, as well. I'm still using that #12 brush.
Now, I've added the curlean sky typical of the area and started the mid-tones in light of the bluff that catch the grazing light of morning. I've still left enough value range to add those spectacular areas that glow. The blue notes in the foreground are to remind me that some of the sky's color is naturally present in the ground color. From the thickness of the paint, you can tell that I'm applying it directly and paying attention to paint quality.
Finally, I've switched to a #8 brush. I've returned to each area, especially the shadow area to work the warms and cools of its surface. I've adjusted the intensity of the slope on the left and added some green of the vegitation there. Softening the top edge, helps it roll back rather than looking cut and pasted to the sky. I added the cloud, carefully assessing its value in relation to the other lights in the painting.
When working on the lit areas of the bluff, I painted more temperature changes in the midtones. After I had these value relationships established, I used the darker darks in the shadows to define the contours of the fractured stone. Note that they are still warm in color because the light bounces around within those areas and the redder wave lengths survive. If I had used a cooler color, the temperature key would be off and the whole area deadened. For some of the finer lines, I picked up a #4 brush. By making choices of which darker areas and lines to draw, I'm creating rhythm, design and interest.
I'm nearly there. I've better described the foreground rocks and added interest to the ground plane.
Friday, June 06, 2008
"Simple Eloquence"
"Simple Eloquence" - Oil - 11" x 14" - SOLD
"Snow scenes are a joy to paint. The clean, crisp air and brilliant light always make a dramatic
statement...simple eloquence. " --- SFG
statement...simple eloquence. " --- SFG
ALL SALES BENEFIT NEW ORLEANS HABITAT FOR HUMANITY
Work in progress:
I drew in my subject in a darker color this time just to provide more contrast in the painting. Also, it might photograph better.
At this stage, I'm playing with shapes... the shapes of the trees, the lay of the land, and the
snowdrifts, and the color of the shadows. I know I will not have the usual
relationship of values in a landscape. With snow, it usually takes over. It will
reflect so much light that the sky will not be the lightest element, as it
usually is. Also, I'm feeling my way, trying to make that background recede and
keeping the foreground in its proper place.
Here I've covered the canvas and established the big relationships of color as big shapes.
I like the big field of snow as the middle ground since it's painted well and I
will build on that and use it to serve as the center of interest and lead to the
mountains in the back.
Well there it is. Keeping it simple really worked for this painting. The
variations in the color of the snow, a little calligraphy, and careful
changes in the values kept it all together. It fell in place nicely.
At this stage, I'm playing with shapes... the shapes of the trees, the lay of the land, and the
snowdrifts, and the color of the shadows. I know I will not have the usual
relationship of values in a landscape. With snow, it usually takes over. It will
reflect so much light that the sky will not be the lightest element, as it
usually is. Also, I'm feeling my way, trying to make that background recede and
keeping the foreground in its proper place.
Here I've covered the canvas and established the big relationships of color as big shapes.
I like the big field of snow as the middle ground since it's painted well and I
will build on that and use it to serve as the center of interest and lead to the
mountains in the back.
Well there it is. Keeping it simple really worked for this painting. The
variations in the color of the snow, a little calligraphy, and careful
changes in the values kept it all together. It fell in place nicely.
Simple eloquence.
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