Friday, March 28, 2008

"Sun at the Mission"


"Sun at the Mission" - Oil - 12" x 16" - SOLD

"I started this painting in Santa Ynez, but the wind that day was untenable. After losing my hat several times and, finally, having the easel blow over, I retreated. When I resumed work in my studio in northern California, I found that my reference photos were not sufficient to describe the scene precisely. Instead of an exact representation, I painted what dominated my impression of the scene...the brilliant sun on the walls of the mission. It works as a depiction of a historic icon of southern California." --- SFG
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Wednesday, March 26, 2008

"Spring Day at Dry Creek"



"Spring Day at Dry Creek" - Oil - 12" x 16" - SOLD

”This creek usually lives up to its name, but recent rains had provided a melodic flow. I painted in the warm spring air and gentle breeze of this overcast day until a cloudburst forced me to pack up. Finished in the studio, I'm still happy with the result.” --- SFG
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Tuesday, March 25, 2008

"High Sierra Lake"


"High Sierra Lake" - Oil - 14" x 18" - SOLD

The chilly air kept this lake near freezing and snow patches intact at this lake above Bishop, California. I used the complicated network of diagonals to move the viewer's eye through the piece and enjoyed the contrasts and brilliant sky.” SFG

DEMONSTRATION:


Here's my start, a toned canvas and lines to establish the shapes and angles. I can tell at this stage if the viewer's eye will move through the composition as I planned and whether the masses will balance.



The darks go in first, the shadows and the dark part of the water. I decided, at this point to lay in the surface of the water, making sure it would lay flat.



Then, I moved to the areas in light, preserving the shapes drawn earlier. Notice how the angle and placement of the cloud will contribute to the "eye control".


Going to the lighter areas last, I put in the sky and its reflected shapes in the water. When you compare this shot to the final work, you'll see that I later decided that the sky was too light, and gave it more color.


Since the snow was to be the lightest area, I saved it for last and brushed some over the foreground boulders. Before calling the work complete, I cooled and varied the temperature of the lighted areas of the mountain and added detail.
Over halfway through painting this one, I noticed that I had used the same #8 brush, except for the line drawing at first. As a self-assigned exercise, I finished the painting with it. It's a good trick because it forced me to experiment with ways to vary brushstrokes and I found some that I wouldn't have used otherwise.
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Friday, March 21, 2008

"Last Snow"




"Last Snow" - Oil - 12" x 16" - $500

”I was delighted with the fresh feel and colors of this little landscape. The mix of warms and cools set off the light and dark contrast of the snow and stream. As you can see from the photo, this was a studio painting by a fair weather plein air artist.” SFG
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Thursday, March 20, 2008

"Path to a Sierra Lake"


"Path to a Sierra Lake" - Oil - 8" x 10" - SOLD

”With patches of snow still visible, this lake near Mammoth, California, is picturesque and very accessible. A great place to paint a little one.” SFG

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Tuesday, March 18, 2008

"A Beginning"



"A Beginning" - Oil - 20" x 24" - $1200

”Life is a matter of perception. I used this painting of the setting sun's evening light to describe, not an ending or time lost and unrecoverable, but the beginning of peace and a new period of quiet reflection and its opportunity.” SFG

DEMONSTRATION:

I started with my usual toned canvas and linear sketch.



Next, I laid in the major darkest masses, varying color as needed.



To continue the darker area, I massed in the sky-lit, curved slope and the darker vertical area of the bluff that dropped precipitously in the foreground. I kept them related in value, that is, lighter than the sky would be.



Knowing the sky would have some rosy areas and using its influence, I filled in the bare area of the foreground bluff.



Once the darker values were established, I laid in the sky and softened the edges of the tree to give it dimension and atmosphere.



If you compare the step above to the finished painting, you'll see that I decided to darken and reshape the clear area of the bluff. Then I refined the drawing of the tree, making sure there was a variety of shapes and edges. Lastly, I reinforced the drama of the light coming through the branches and placed the dark accents to balance compositionally. Be sure to look at the large image in the "More info about this painting" link.




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Tuesday, March 11, 2008

"California's Golden Coast"


"California's Golden Coast" - Oil - 8" x 10" - SOLD

”That wonderful, golden light of California is especially evident in this sun drenched rendition. The site is along the Pacific coast below Monterey, though I couldn't tell you which turn it was on that windy road. What freedom artists have to wander and paint or 'photo sketch' and not care where they are...until they get hungry.” SFG
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Saturday, March 08, 2008

"Purple Robe"


"Purple Robe" - Oil - 14" x 11" - $400


"It was just good fortune that this model brought the perfectly colored robe that set off her delicate skin and backlit hair. I took advantage of it when posing the model and had her turn her head so that the light came through her short tresses." --- SFG


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