Spring Plein Air

It's obvious I've gotten way behind on posting so I'm going to combine the three plein air events in Augusta, Neosho and Cotter. These were done back-to-back-to-back from April 19th to May 4th with no days off and over a thousand miles driven.

We'll start with the Augusta Plein Air Event. It seemed like each day was alternating between sunny and raining but it was mostly cool with Spring about a month behind schedule.

Sunset at Balducci's, 10 x 12, oils

Awaken, 9 x 12, oils. This piece received a 3rd Place in Oils at the awards ceremony.

Methuselah, 11 x 14, oils. This received an Honorable Mention.

Just the Two of Us, 8 x 10, oils. This received an Honorable Mention and also sold.

Next was the Jaeger Festival and Paint Out in Neosho, Missouri. For this two day event the weather was full on summer with brilliant sun and highs in the upper 80's.

Lazy Stream, 8 x 10, oils. SOLD.

Leaving Big Spring, 8 x 10, oils.

 

Hickory Creek Bridge, 9 x 12, oils. Took 3rd Place on awards night.

Finally we have the White River Paint Out in Cotter, Arkansas. The weather took a mean turn with heavy rain and a record low temperature of 32F with even some snowflakes.

Captain of the White River, 9 x 12, oils.

Midnight Fog, 8 x 10, oils. This nocturne from the first night captures the cold front pouring in.

View From Under the Bridge, 8 x 10. This won 1st Place in the Richeson Small Works Competition.

Adding Drama to a Scene

Broad Shoulders, 10 x 20, oil on canvas.

This piece was based on reference photos from a painting trip to the Sawatch Mountains of Central Colorado. It was right after sunrise and I believe the peak is 14'er Mt Shavano but am not certain. I include my reference photo below. In composing and painting this piece, I wanted to go way beyond my reference and instead capture the feeling I had looking at this colossal mountain with the ragged clouds rolling by. I've exaggerated both the height of the mountain and the intensity of color to that effect. I also played with how to handle the tree line until I arrived at a composition that pleased me. Finally, I added the dirt road for perspective, scale and to really emphasize the summit.

Reference photo

 I'm proud to share that this painting has been accepted in the Oil Painters of Americas Salon in Petosky, Michigan this month. It's my first piece to get in an OPA show and hopefully the first of many.

Making Sure Your Painting has "Pop"

    When I was a kid we didn't keep soft drinks in the house. They were reserved for special occasions and there was none more reliable than a visit to "Nana and Papa" at the Valley Service Station. (My grandparents had retired and my Uncle Phil bought a gas station/general store outside of town for them to run. It was a brilliant move that gave them something to do, was easy work and kept them engaged in the community.) Each visit, Papa would tell us to pick out anything we liked from the pop fridge, which was a big horizontal box with a metal sliding lid on top and a bottle opener on the side. The options seemed endless and included all six brands pictured plus many more. Yes, Soda pop was a big deal back then.

    About ten years ago I started noticing old pop bottles at flea markets. Of course the name brands were well represented but the real nostalgia factor came with the brands I had forgotten, names like Nugrape, NEHI, Suncrest, Vess and Grapette. The bottles were still relatively cheap so I started picking them up and eventually had a crate full.

   It was just a matter of time before I got around to painting these. This composition was inspired by the wonderful still lifes of Diane Massey Dunbar. She also has a thing about soft drinks and paints everyday things that we take for granted and giving them dignity and beauty. It's like seeing them for the first time. I expected to paint a row of similar bottles and then have the label designs set them apart and was surprised at the different textures in the glass that gives each one it's own personality. I hope to have been able to capture some of that here.

Glassmates, 9 x 12, oil on hardboard.

Happy President's Day!

A little something from the archives. I've always love caricature and was glad for the opportunity to do these back when I worked as a greeting card artist for Hallmark. Black and white prisma pencil on canson paper.

Painting a Nocturne from Daytime Photos

"Konza Prairie by Moonlight" 14 x 18, oil on canvas.

   I recently spent a cold afternoon photographing the Flint Hills for painting reference. The most dramatic region I've found is along I-70 between Topeka and Manhattan, Kansas. There are some big vistas and surprisingly few trees. My search took me down gravel roads with names like "Deep Creek" and "Old K-18." In the dead of winter and without snow, all the color seems drained out of the landscape. Everything is warm gray in the foreground and cool gray in the distance. I was hoping the golden hour before sunset would saturate things a bit and it helped but only a little.

My photo reference. Note how I have also changed the composition.

   When I got home and went over my photos, there really wasn't anything that inspired me. Then I imagined what that barren world would look like under a full moon. I have painted a lot of nocturnes both from life and in the studio and have also heard of artists painting nocturnes from daytime scenes. It seemed like a worthy challenge. 

Nocturne by Frank Tenney Johnson

 There is a long tradition of nocturnes in western art, going back to masters Frederick Remington, C. M. Russell and Frank Tenney Johnson. Carrying on the tradition are contemporary artists  Bill Anton, Phil Starke, Michael Untiedt and others. I poured over their work for tips on how to get the effect of moonlight. I also went to a remote location and let my eyes adjust for about 15 minutes. I made a serious effort to note what color temperatures and values I was seeing. The truth is there is very little color but I was able to discern that the sky was cooler and the midtones in the foreground were warmer. Still all highlights registered as cool. With my photo, art reference and observation notes, I felt ready to start painting. The biggest challenge was that I had never done a painting with such a narrow value and spectrum range. It's amazing what you can do even with such constraints and the amount of mood that is created. Also I'm convinced there is no absolute right way to paint a nocturne. It's up to each artist to interpret their impression of a scene. I'm pleased with how this one turned out.

Salinas Missions 2.0

"Mission Ruins at Quarai" 12 x 12 oil on canvas

Like my previous entry, I've painted this image before (over a year ago) but it has really stuck with me. I love the stark separation of the shadow and highlights and how they are connected as a continuous shape. My first attempt was 8"x 8" and I felt like a larger treatment was in order. I also was not satisfied with how the shadow areas turned out the first time around. I'm much happier with this one. Note: this piece has been accepted in the 2013 Salon International Exhibition at the Greenhouse Gallery in San Antonio, Texas.

It reads easily as a black and white value statement.

Taking One to the Next Level

FALL COLOR • BIG CEDAR • DOGWOOD CANYON

"Autumn Portal" 18 x 18, oil on canvas

When I was painting this scene from life at the Big Cedar Paint Out, I knew it was one I would want to do larger when I got back to the studio. The original sold at the event so I was left to work with a couple of photos of the plein air piece and the scene, neither of which did it justice. The rest would be up to memory and imagination. It's one of my most ambitious paintings to date. After the block in of the shadow areas I finished it in sections so that I could work wet in wet throughout. Besides the natural harmony of the scene, I tried to use the fall leaves to connect it all together. I also reserved the lightest lights, darkest shadows and most intense color for inside the archway and upstream.

Winter Still Life Retreat

 After a couple of months painting alone in the studio, I gladly accepted John Lasater's invitation to join him and Jason Sacran for still life painting in his studio near Siloam Springs, Arkansas. They are both outstanding artists and I was hoping I could bring some encouragement or advice to the table also.

John liked to set up complex scenes and then crop in on them.

John's most ambitious painting still in progress. The photo does not do it justice.

Jason's first piece. His work defies labelling as either traditional or contemporary.

Jason finishing up his second painting, a daring composition.

For my first piece, I chose a traditional setup with complimentary colors.

My second painting, "No Cream, No Sugar" 9 x 12, oils.

To see more of John's work: http://home.centurytel.net/Lasater/home.html
To see more of Jason's work: www.jasonsacran.com

Getting Even Looser

SUNSET •  IMPRESSIONIST • AUGUSTA • MISSOURI

Transformation, 8 x 10, oil on canvas.

This is part of a series of paintings that I'm doing to force myself out of old habits. This time I did most of the painting with a palette knife but also added soft sable flats for modelling the paint. I photographed this spectacular sunset back in April and when I looked at my photos thought that it was too dramatic to paint. It took six months for me to even consider trying, which I guess makes it the perfect candidate for taking chances. First I toned the canvas with burnt sienna and wiped that down. I then painted the shadows in the lower portion with thin paint. Time to get crazy with the palette knife and all the brightest colors in the sky. After all that it was a push/pull of finding/losing edges and the play of cool vs. warm. I'm pleased with the moody, impressionistic results.

A Palette Knife Study

PALETTE KNIFE • HAY BALES • AGRICULTURE • HARVEST

Hay Bales, 6 x 8, oils

This little study is part of a series I'm starting to shake myself out of my comfort zone. I still tend to fall back on my illustration skills when a painting gets tough so I needed some exercises that make that harder to do. That's where the palette knife comes in. I've used one before to help lay extra paint down but I would always do the initial block in and then finish with brushes. This time I used the knife as my primary tool. I also made it an emphasis to not over mix paint on the palette. With paint this thick I found myself editing by scraping paint down or picking it up in one area to put it somewhere else. Try doing that with thin paint!

Big Cedar Paint Out 2012

DOGWOOD CANYON • BRIDGE • OZARK STREAM • AUTUMN • FALL • PLEIN AIR

Sunlight Portal, 10 x 12, oils.

   It was late October and I was in shorts and a t-shirt with the AC on. An unseasonable 82˚F as I drove through the Missouri Ozarks on my way to Big Cedar Paint Out, the perfect exclamation mark for the end of the plein air season. (Eight events in five states over a period of seven months, I probably overdid it this year.) During the three days at Big Cedar Lodge, we were hit with a wet cold front that brought temps down to 26˚F before all was said and done. It sent some artists indoors to warm fireplaces but many of us stuck with it.
   I ended up with five paintings, entering two in the nocturne and quickpaint competitions and two more for final judging. The painting pictured above was executed during two mornings in Dogwood Canyon. When I came upon the scene, the glow under the bridge was intense but only lasted a few minutes. As I continued it became overcast and I had to abandon the sunlit areas but could still work on the shadows. The second morning was cloudy and 40 degrees colder. Eventually the sun came out and I could proceed with the sparkling creek and glow under the bridge, painting for a few minutes at a time before having to warm my hands in my pockets.
   The painting took Third Place Best of Show in competition and was purchased by Big Cedar owner Jeanie Morris. I also sold another painting from Dogwood Canyon but was unable to photograph it before the sale.

Accepting Third Place Best of Show with judge John Budicin.

Painting an Urban Canyon

DOWNTOWN • KANSAS CITY • SUNSET • 12TH AND MAIN

Equinox, 12" x 16", oil on canvas

I've had this idea in floating around for over a couple of years to paint the sunset streaming through the streets of downtown Kansas City. I quickly realized that this only happens around the Spring and Fall equinox when the sun sets due west and not too far north or south. I've been there on a couple of occasions and still haven't caught what I'm looking for but at least it was close enough to work from. I did everything I could to make the warm distance the center of interest but the couple in the foreground is giving it some serious competition. I underestimated the power of the human figure.

Six Inches by Six Inches

RANDY HIGBEE SIX BY SIX • MINIATURES • ROCKY MOUNTAIN NATIONAL PARK • SQUARE

Windows Made of Sky, 6" x 6",  oils

   I had so much fun painting for last years Randy Higbee Six Squared show last year that I got a head start on it this time. I spent six weeks in Rocky Mountain National Park in the last year and all four paintings are based on that experience. The first is from near an old logging road in the foothills. What attracted me to the scene was the sense of air between the trees and the ridge across the valley. Pallette knife was used extensively to really lay some paint down. I kept thinking of Monet's poplar series while working on it and even looked them up for pointers on getting the value and color temperature of the trunks right.

Storm Over Chapin Pass, 6" x 6", oils

   The second piece was supposed to be a plein air painting at Horseshoe Park but as soon as I got set up and ready to paint the storm hit. Then I was breaking it down and racing to the car as fast as I could. I did manage to snap a couple of pictures though. On this one I wanted to tell the story with colorful grays of similar value.

Reflections, 6" x 6", oils

   The third painting is from the trail to Mill's Lake but it could be so many places. The highest contrast and brightest color would place the center of interest where the water flows past the footbridge. But it's not what excited me about the scene. For me the "holy grail" was the reflection of the sky on the water in the foreground. I've seen a few painters capture this and I wanted to try it for myself.
   For my fourth submission I revisited that '55 Chevy from Estes Park. Update: Three of the four were accepted in the show. Only "Reflections" missed the cut.

'55 Chevy, 6" x 6", oils

Plein Air Rockies 2012

The Big Thompson River runs right through downtown Estes Park.

I was again honored to be juried into Plein Air Rockies. In previous events I've spent most of my time painting pristine nature in Rocky Mountain National Park. This year I decided to change it up and feature more architecture and man made elements.

Big Tom's Lazy Side, 9 x 12, oils.

  I started by painting the Big Thompson River as it meanders it's way through downtown Estes Park. The light kept changing from sunny to cloudy but I feel like I captured the it pretty well.

Upon this Rock, 12 x 16, oils.

I also challenged myself by attempting a 12" x 16" painting which is big for me. I chose the complex architecture of St Malos Church. It took three mornings to finish this piece.

The Spirit of '55, 9 x 12, oils.

I'm really not into old trucks. I have to ask the owners what the year make and model are. I do like painting them though.

In the Shadow of Stone's Peak, 4 x 6, oils.

Once again we were given a 4 x 6 Sourcetek panel to submit for a miniature competition.

A Show for the Old Man, 9 x 12, oils.

This year they added a competition to paint Mrs. Walsh's garden across from the Cultural Arts Council gallery. I chose to setup inside the garden but paint a vista featuring Old Man Mountain with Deer Ridge in the distance. The piece won an award of merit. This combined with some sales helped make the trip worth all the effort.

Summer Studio Work

Heading for the Light, 12 x 16, oils.

After four back-to-back plein air events I retreated to the studio and it's beckoning climate control. Just like last year, I found that months of painting from life had improved my eye for color, values and brushwork when applied to studio work. I started by going over photos and studies from the last six months. I might spend a whole day playing with photos, re-cropping them and making notes to simplify or move elements. I was also eager to try a new canvas size: 12 x16. It is now my favorite. It's strengths are that it is large enough to take ambitious subjects and have impact on a wall but small enough to finish while the entire painting is still wet. This gorgeous effect is so prized that it has a couple of fancy names: Alla Prima (Italian) and Premier Cru (French.)

The two pieces I completed could not be more different. "Heading for the Light" was based on photos taken on a cold, January hike in Rocky Mountain National Park. It was one of the most spectacular scenes I have witnessed with my own eyes. I love how Hallett Peak is casting such a defined shadow on Flattop Mountain. "Darkness on the Edge of Town" is from Van Buren, Arkansas at the end of the hottest day of the year. It had hit 114˚F that afternoon and was still in the nineties when I did a plein air study of the side street. The two different colored street lights are the obvious center of interest but what drew me to the scene was the train overpass in the shadows. The final piece is based on the study and photos taken at the time.

Darkness on the Edge of Town, 12 x 16, oils.

Extreme Painting: Arkansas in July

I paint on a lot of cliffs. At least this one has a rail.

With temperatures going above 100˚F everyday, painting outdoors is not a good idea. Artist Jason Sacran and I tried to create a plan that would be safe and bearable. We would get up early and try to do a painting before the heat really kicked in. We'd spend the afternoons in the studio and end each day with a sunset or nocturne. The first morning worked like a charm. We drove to the top of Mount Magazine, the highest summit between the Appalachians and the Rockies. It was at least twenty degrees cooler on top than down on the plains. With a slight breeze, I was actually comfortable.

Cameron Bluffs, 6 x 12, oils.

That afternoon we headed for the studio where Jason finished up some in-progress paintings and I started my first self-portrait. The plan of attack was to paint just like doing a landscape, blocking in the major shapes and then breaking them into smaller ones and saving a few details for last. It was great having a portrait specialist around for feedback.

Fifty-Two, 11 x 14, oils.

For the evening we went back up Mount Magazine to paint the sunset. I ended up chasing the light and creating a piece that I will not post here. Hey, they aren't all winners. The most exciting moment was coming upon what we believe was a young mountain lion. We were within 50 ft. and got a good look at it. It was larger than a German Shepherd, had short hair, no stripes and roundish ears. The last three details don't match the description of the more common bobcat.

A Bit Drafty, 6 x 12, oils.

We had a stream in mind to paint the next morning but found it completely dried up and ended up painting at an old farmhouse near the studio. Jason painted Mount Magazine with an old fence line in the foreground. The composition required standing in full sun and Jason had to quit after only 45 minutes. He still pulled off a nice piece. I chose to set up in a shady spot and paint an old barn. I loved the yellow green light pouring through all the cracks. Still, it felt dangerously hot and when we got back to the studio, his outdoor thermometer read 105˚F in the shade. It would eventually reach 113˚F. We opted for a nocturne that evening but got caught in a thunderstorm after about 20 minutes of painting. The rain felt great and was desperately needed.

I'd love to paint in the Arkansas River Valley again but next time let's make it Fall or Spring.

Surrounded by Fire

ROCKY MOUNTAIN NATIONAL PARK • PLEIN AIR • LANDSCAPES

Fall River at Aspenglen, 9 x 12, oils

   My second week in Colorado was unofficial business and more of an opportunity to paint and shoot photographs on my own in the national park. The High Park Fire was in full blaze and more fires were popping up in Boulder, Colorado Springs and even one right in Estes Park that destroyed 21 homes. It felt a bit inappropriate to be painting at such a time but I have no expertise in fire-fighting and if people were afraid this would hurt tourism, then the best thing I could do was to continue my trip and support local businesses financially.

St Vrain Creek, 9 x 12, oils

After last weeks alpine vistas, I started out with an emphasis on painting water and it's effects. I'm sure I will paint it the rest of my life and never tire of it.

Horseshoe Park Haze, 9 x 12, oils

   OK, that was fun, now let's get back to some mountains. I was in Colorado and the snow in the high country was melting fast. It would not be there when I came back in August. The Highpark fire was creating a haze that made the mountains look even more distant than normal as you can see in the painting of Horseshoe Park. Thankfully it also created clouds which eventually brought us some afternoon thunderstorms.
  My last painting was from near the Cub Lake Trailhead. I've been coming to Rocky Mountain National Park regularly for most of my life and I just discovered this view! May the discoveries never end.

Spruce Canyon, 10 x 12, oils