Most of my works get posted immediately to Instagram these days, so I apologize for not keeping this website up to date.
To see all my fresh paintings follow me on Instagram @adam_Leveille
Most of my works get posted immediately to Instagram these days, so I apologize for not keeping this website up to date.
To see all my fresh paintings follow me on Instagram @adam_Leveille
Winter vacation wasn’t as productive as I’d hoped. The blast of cold weather and a lingering head/chest cold had me focused more on Netflix and the couch rather than painting.
But with a new year in place I tried to shake off the cobwebs and get back to work.
Incidentally, this is also the first time I’ve ever tasted a twinkie.
Since Somerville Open Studios back in May I’ve been lax about painting…anything. In August I finally got motivated and packed up my plein air kit and went out to work. The results were generally meh. Once again I’ve struggled with greens, with values, and with drawing. It took about a month to recognize the problems and work to correct.
I’ve been pushing myself towards accurate drawing and slowing down as I paint. The results have been slow coming, but things have been steadily strengthening.
This strongest paintings were the ones where I was slow and deliberate, and based on an accurate drawing and careful color mixing.
The weakest paintings were the ones where the greens/value/drawing got away from me.
And then there were a bunch in the middle.
Its that time of year again! I hope to see as many of you as possible at Somerville Open Studios. Brickbottom Artists Building will host 3x as many artists as last year! We are number 95 on the map, and the trolley stops right outside our door.
I’ve been steadily plugging along at the large scale paintings. Somerville Open Studios is about a month away and I want to have a cohesive body of work showing.
The first of the big candy paintings is done. I’m happy with the piece and learned a lot in the process. Just like the cans, everything gets a little more challenging when it is scaled up. I’ve been using more glazing techniques and multiple layers to get the reflective and color qualities that I want.
A few more weeks of work and I have finished Dreams #2, the second of the large scale can paintings. Damn they are challenging! In smaller paintings there is the ability for much more gestural and abstraction, but on a larger scale all that needs to be refined much more. Particularly of issue on this painting was the fine print near the recycle logo. I chose to move towards abstraction rather than pushing in the direction of photo-realism. It is very important to me that these remain paintings, not a slavish photographic representation.
After a couple dozen studies of soda and beer cans I launched into a large scale painting. It took several weeks to finish. As I’ve mentioned in the past, scaling up paintings exponentially increases the working time.
The idea for the series has slowly come together. At first the cans were an exercise in color mixing and painting reflective surfaces, but as I worked on them I saw a deeper meaning.
1) Revisited the gold candy with the dark background. The candy paintings have been on a white background, giving them a bright, almost clinical appearance. I wondered if using a black background might change the feel. It did, and I don’t immediately love with the look. After looking at the painting for a couple weeks I pushed the background darker. I also lightened up and solidified some of the highlights and added a glaze of Indian Yellow over the transparent foil ends. All steps in the right direction. (sorry for the truly shitty photographs – a new camera needs to be in the future)
2) Painted a can on a black background. Again testing the idea of darker backgrounds for the solo objects. I like this one better than the candy. I also went back in after it was dry and glazed some of the reds to make them pop more. This is using a direct studio lamp to light the model instead of daylight as on the past cans.
4) Bake pie, paint pie, eat pie. Prodding the idea behind the Substance series I expanded from donuts into pie. Mostly because I had pie in the fridge. Surprisingly challenging to paint the simple surfaces without seeming boring. Not quite as colorful, but I think Wayne Theibauld would enjoy.
5) Freeze my f**king ass off. At the Harvard Art Museums I came across a Monet painting of a snowy road with the quote: “We glimpsed a little heater, then an easel, then a gentleman swathed in three overcoats, with gloved hands, his face half-frozen. It was M. Monet, studying some aspect of the snow.”
6) Work on a sunny landscape/beach scene. Which, for reasons I cannot discuss I cannot yet post.
7) Painted a can on the white background with direct light. The direct light on the model significantly changes shadows and highlights. It may be what I use for the larger scale paintings.
8) Annual New Year Studio Cleanup! Lastly, I spent January 2 cleaning up and streamlining my studio space. Fresh start to a new year!
Brickbottom Open Studios are always interesting and fun! Over 1000 people came through the building, according to our counters. And, with over 100 artists between the Brickbottom complex and nearby Joy Street Studios there was a lot for those visitors to see.
A good chunk of those folks came through my studio – engaging in conversation, enjoying my work, and buying some too! I sold over a dozen paintings overall.
I can’t express enough gratitude to everyone who came out to talk, look, and buy. The investment in my passion gives me a boost (mentally and monetarily) to keep painting. The conversations I have during these events also provides insight and fresh perspectives about my work.
Among those sold:
And special thanks to Lance, who puts up with 3 days of furniture moving, curtain hanging, labelling, and a steady flow of strangers marching through the house.
Catching up on posting some work that’s been in the works. The past few weeks have seen the completion of a new painting for Echoes, a commissioned painting for a wedding present, and scrambling to get everything organized for Brickbottom Open Studios!
Since I haven’t finished the commissioned landscape or photographed the Echoes painting, here are a few new pieces of candy:
I haven’t posted in a couple weeks because I have been plodding through a larger piece. It’s coming along, slowly and with effort. I’m at the point now where I wish it finished for the sake of it being finished; I know if I set it aside and work on something else I will likely never return to it.
Also, in advance of open studios I have been ramping up my painting on days that I don’t work my full time job. Normally, on a day off, I will putz around the house, and paint for 2-3 hours in the afternoon. In the past two weeks, however, I have spent a total of 5 days off, painting for a 2-3 hour stretch in the morning, and another 2-3 hour stretch in the afternoon. That’s a lot of standing in front of the easel!
But it pays off! This week, in addition to the work on the larger painting, I completed two smaller works. Thanks to the urging of friends, what started out as exercises have developed into small series.
Two paintings from the weekend exploring reflective surfaces again. The PBR can was a lot of fun – the amount of detail work made it challenging in the best way. The blue candy was for my friend Zachary, a photographer from NYC who is pushing me to keep going with the cans/candy.
The candy was done with 3 colors: Ult. Blue, Burnt Umber, and Cad Yellow (plus white). The can was done with the same, plus Cad Red Lt. I love working with a limited palette!
For several years now, my plein air set up has consisted of a lightweight aluminum easel, an art-bin with my paints in it, a modified picture frame for carrying wet panels, and various accessories – all stuffed into an old backpack. It was heavy and cumbersome, and while it worked for some time, I decided it was time for an upgrade.
After some research I settled on Guerilla Painter‘s 9×12 Laptop box. Guerilla offers a wide range of products and has an extensive number of add-on accessories, all consistently getting solid reviews.
There are plenty of junky mass-produced boxes, and a few high-end paint-box makers out there, notably Alla-Prima Pochade, which are gorgeous, but a little outside my price range for the limited amount of plein air painting that I do. Guerilla fell right in the middle.
Guerilla accidentally sent me the 9×12″ Pochade box first, then sent my correct order. I had time with both boxes to compare, and I’m convinced I made the right choice in the Laptop. My review of both is below.
1) Size. Plein air painting is about being portable. The Pochade is almost 6″ deep including the feet. Both are meant to hold 9″x12″ panels and possibly smaller/larger with add-ons and modifications. When open the Pochade has an awkward lip jutting up 2″ from the palette. This was one of the biggest turn-offs for me as I can imagine it getting in the way of my knife and brushes.
The Laptop is considerably shorter, clocking in at 3″, which means less storage, but also less weight and less bulk. The palette is almost flush with the edges and there is a much shorter lip on the front.
2) Construction. Both boxes are solid, but have way too many screws. I’m not sure why, as gluing the panels together would give sufficient strength. They probably won’t add much weight, but they clutter an otherwise streamlined look. The Pochade has a beefy aluminum armature to control tilt. The Laptop armature is smaller and doesn’t have as many washers, which makes me wonder if it will slip with repeated use. Time will tell.
3) Tripod mount. Both boxes come with a built in tripod mount. The Pochade has a deeper rubber foot, keeping the tripod mount from touching a table surface. It also has a leather handle. The Laptop has shallower feet, which means you need to either remove the tripod plate each time you use the Laptop on a table, or add deeper feet. I’m planning on that, plus adding my own handle.
On the Pochade the mount is centered, but on the laptop it is set on the back edge. (see below about tripods)
4) Internal storage. With the additional depth the Pochade offers almost double the storage. This might be good if you want a whole studio-in-a-box, but my kit has always been as lean as possible. Even without modification, the Laptop can easily hold 10 tubes of paint, several brushes, palette knife, medium, turps, brush cleaner, palette cups etc, and still allow the palette to slide into place. Once my brush handles are trimmed down and a divider put in I will have room for another 8-10 tubes of paint.
Guerilla Painter claims the Laptop can fit 4 wet panels. I’m not sure how this is possible. It appears you can get one backed against the lid, two back to back in the clips – but that is only 3 paintings, and I struggled to get a panel cleanly against the lid. It seems the clip is set too far back, causing it to scrape against the edge of the panel. The lack of storage won’t bother me – it’s rare that I do even two paintings in a day. But still, Guerilla should either clarify or update.
The Pochade has much larger clips that allow for multiple panels, or even a thin stretched canvas. It also has grooves in the storage box for additional dividers and what appears to be a shelf. The Laptop has a single groove, but I plan on adding my own divider later.
Both boxes are set up to paint 9×12 in a landscape format. I’m sure a little modification could easily fix that. Stay tuned.
5) Tripods. The trend in pochade boxes is to include an integrated tripod mount. This allows you to screw in a quick-release plate that comes with most camera tripods. But a pochade box is not a camera. It is bigger, and usually heavier, and has physical stress being applied (pushing brushes against your palette and your panel). I purchased a $19 Amazon basics tripod that would work just fine with a standard camera. However, the quick-release plate was plastic, and the receiving port was also plastic, which meant a LOT of flex and bounce on the Laptop, and almost complete instability on the heavier Pochade box.
I did more research and purchased a $100 Neewer carbon fiber tripod. Everything is sturdier than the cheaper tripod – the legs had less flex, the clips tightened securely, and the quick release mounting plate and port were both cast aluminum: no flex at all when mounted to the box. Neewer also makes some aluminum versions in the $60-$80 range. They all appear to come with metal-on-metal quick release plates for a rock solid mount. Do yourself a favor and splurge on a good tripod with a metal on metal mounting plate.
This month I spent a week in Maine painting landscapes (images coming soon!). The experience once again drove home how challenging landscape painting is for me: from siting locations, to handling trees, to edge control, to atmospheric perspective.
So as a treat to myself when I returned home I spent this weekend doing studies of hard-edged, candy-colored, shiny things.
The cans were painted in 3 and 4 colors with a large brush – again, pushing myself away from the detail work I normally do. The red candy was 3 colors, but I did allow myself to use a small brush.
It’s been a couple weeks since my last post – not because I wasn’t painting, but because the painting wasn’t done. I’m planning another larger scale landscape painting and I spent a week working on a smaller study. It was helpful in assessing the areas that will be challenging on the larger scale: keeping the ground transparent and textured, being aware of temperature relationships, and figuring out how to paint a goddam tree without leaves on it.
I’ve also been ramping up my landscape painting in general because I go on vacation NEXT WEEK! We’ll be back up in Acadia park and I will be scrambling over hill and dale trying to find a place to paint. Every year past has followed a similar routine: the first day out painting is like learning to ride a bike all over again -usually resulting in a wasted day/painting.
This week I did a one-half-plein-air painting of the billboard next to my house through an open window. And yesterday I put on my go pack and biked out to the Charles River to complete a mediocre painting. Just as predicted above it was a bit of starting from scratch. Hopefully that will all be gone by the time I get to Maine.
Another week, another beer can study. I returned to small brushes and returned to my normal style after last week’s experiment. Next week I may take the experiment in the opposite direction and do a layered/glazed painting of a can. The printed aluminum is an ideal candidate for glazing and getting really deep, rich colors.
Another shiny beer can. I think I’m going to attempt a different sort of back drop next time. For the past several paintings I have spent an hour or two on the main subject, then mixed a greyish white with a bunch of medium to quickly paint in the background. It leaves the objects hovering in some weird non-space. I like that at some points, but I think it may also feel a bit formulaic.
Cons: the shadows on the white can were hard to get the color temp just right.
Pros: It was surprisingly fun to paint the calligraphy upside down.
Tried again with Alizarin and once again it was challenging. I was also cranky and tired from a long walk in the sun, which resulted in the first attempt at this painting being wiped away. I went back at it after a little nap and felt much better about the painting.
I used natural light this time, which gives much softer shadows than the bright overheads.
Once again I’m reminded that Alizarin Crimson is a cruel lover when painting directly. I was able to overcome the transparency of the pigment, but the lower reflected lights came out a little hot-pink and a little to bright in value. Welp… I have half a bag of cherries left so we’ll see what happens next time.
This weekend was a bit weird and emotional losing Rocket. However, there were some bright spots: On Friday evening I sold the large of waves paintings to a gentleman who saw my work at Open Studios. I also handed off An Old House to it’s new owner.
And I wrapped up a new painting on Saturday, and did a little sketch on Sunday. The red house painting is finished – I think. I wonder if it needs more detail. I’ll have to revisit it in a week or two to see if I feel the same then.
19 years ago Paul and I rescued a tiny kitten from the MSPCA. I liked his weird blue fur. For three weeks he didn’t have a name, until his habit of endlessly sprinting the length of the hallway prompted us to call him Rocket.
He ruined shoes. He stole food off the counter. He obsessively hunted q-tips. His demeanor alternated between quietly regal and goofball spastic. His favorite perch was either draped across your shoulders, or in the middle of whatever you happened to be working on. Relentlessly mischievous, Rocket was never malicious, except the time we brought home another kitten to keep him company. Then he shat in the center of our bed.
After Paul and I moved apart I didn’t see Rocket as much as I would have liked. But any time I did visit I was greeted like an old friend. Yesterday Paul called to tell me that Rocket did not have much time left. Kidney problems and old age made him frail, sometimes confused by his surroundings, and in pain. I was able to visit one last time and sit quietly on the porch as he leaned against my leg, trying to appear aloof, but gently nudging my hand when I stopped petting him.
Today there is a little furry blue-gray hole in the world.
This is something new. Partially inspired by the cans and candy paintings, but also more of an idea forming in the background. This particular study was extremely challenging, and is not exactly what I was going for, but is headed in the right direction. Perhaps there will be more.
Still continuing the sweets theme this week. A couple more donuts added to the collection. I’m happier about the surface of these two: the jelly had to be wiped off and repainted at one point to better understand the sugary texture on top.
However, both suffer a bit in the shadow area in the bite. I’m not sure exactly what to mix to convey shadows that are both cool, deep, and yellow… every time I mixed up the colors I came out with something of a grey green approximation. Maybe the next study will be a focus on just that part.
The flexibility of painting small allows for a variety of subject matter without a huge investment of time. Last week someone at work brought donuts… this weekend I decided to paint some.
The first painting I did was the chocolate glazed, and it clearly is the best. I was distracted and running late while painting the pink donut, so it had to be partially wiped off and re-painted later. And the plain glazed was painted under a rapidly changing light, which was also distracting.
These were a fun group. For each one painted I bought an additional 2-3 ‘models’ which Lance and I promptly ate… I might be done with donuts for a while.
One of my interests outside of art-making is modern design. I’ve studied and collected modernism for a number of years. This February I was honored and excited to have my essay chosen by the Eames Office and the Barbican Centre as the winning entry in their “Your Eames Story” contest.
The essay below describes my introduction to, and subsequent obsession with, modern design through the work of Charles and Ray Eames.
FROM THERE TO HERE
Sometime in the mid 1980s, my father was perusing the offerings of the swap-shack, a common feature at rural garbage dumps in which folks leave usable goods for others to take. Our family was pragmatic and not wealthy, and we had acquired any number of practical items from the swap-shack: Ice skates for me and my siblings, blenders, picture frames, farm equipment, etc. On this day, my father brought home two treasures. One was a life sized Halloween decoration—a ceramic bust of a witch, complete with a built in light bulb to illuminate her clear glass eyes. The other my father later described as “the ugliest chair (he) had ever seen.” Naturally, he had to have it.
Both items ended up unceremoniously tossed into the upper hayloft of our barn, a catchall place that was the backdrop to my childhood adventures. Through the years, the black plywood chair sat quietly in the background, tucked between the wall and a dusty stack of old window screens. The witch’s head received far more attention and play, eventually suffering a spectacular fall (or was she pushed?) that shattered her into a million pieces.
In the early 2000s, I returned home from college to store some belongings in the barn. As I tucked my mountain bike against the wall of the loft, I moved aside the black plywood chair and was struck by its form. What was it that I was seeing? It was a shape that was almost familiar, but that I couldn’t quite place.
When I returned to Boston, I typed “plywood chair” into a search engine, and there was the very same piece from my father’s barn. Or was it? There seemed to be two models of this particular chair: A lounge chair and a dining chair. I was uncertain which one I had encountered, so I began reading. Through various websites, blogs, and forums, I discovered the chair in my father’s barn was an Eames DCW (Dining Chair Wood). It was a design icon. And just like my father, I had to have it.
The next time I spoke to my father was Thanksgiving, and when he asked what I wanted for Christmas I mentioned, as casually as I could, the chair in the loft.
Christmas arrived. There was no chair. My father seemed surprised when I asked about it. “Oh that?” he said, “You can just take that… I didn’t think you were serious.”
I hesitate to use the word fate, although I can’t think of another way an Eames chair would end up at a garbage dump in a rural New Hampshire. My town, with a population of less than 5,000, was not exactly a hotbed of modernism. But the chair was there, and though dented, chipped, and paint splattered, having clearly lived a long life, it sparked a design obsession.
I devoured everything I could about the Eameses, and through them was introduced to the other great designers of modernism. Countless hours were spent combing Craigslist and eBay for vintage pieces. I went on shopping sprees, voraciously collecting dozens and dozens of chairs—not just to own and use, but from which to learn. I observed and catalogued the minutia of glides, shock-mounts, chair bases, and wood varieties; each new chair brought fresh insights and understanding of the design process and how profoundly small changes affected the interaction of the user and the object.
Seeing and touching the pieces taught me things I could never have learned otherwise. My collecting also earned me some strained relationships. Late one Saturday night, I pleaded with a friend to borrow his car—and his ATM card—to pick up a set of vintage plywood chairs. Thankfully, he obliged. A pair of roommates were less understanding, and they politely asked me to move out after I had acquired upwards of 50 chairs in the course of two years.
But, eventually, my obsession became a focus, and then a career. In 2006, I began working at that glittering temple of modernism: Design Within Reach. I slowly whittled down my collection of chairs to those I used every day. I expanded my knowledge about other designers of the modernist movement. My enthusiasm was channeled into teaching clients about the nature and flexibility of modernism. The recession of 2008 sharply brought into focus the need for practical, timeless designs, and naturally the work of Charles and Ray Eames rose to the forefront.
My obsession also moved beyond furniture and became a way of living. I learned from the Eameses that the world is never perfect, but is always improvable. They taught me that work should be playful and that play should be taken seriously, no matter the application. Their process contains a brightness and optimism that can just as easily be applied to social justice or environmental sustainability as it can be to chairs and tables. It is seeing hope emerge through the clouds of fear and war, as relevant now as in the 1950s.
I still work for Design Within Reach, having managed the Cambridge studio since 2009. My enthusiasm for modernism has not waned. Each day I work among some of the most beautiful designs in history. I get to share my passion and enthusiasm with my coworkers, and help educate my clients. For the Eameses and their little plywood chair—and for my father—I am ever grateful.
You can visit the Eames Office here:
and the Barbican Centre Blog here:
I started this series as an exercise using a couple of pieces of candy from works by Felix Gonzales-Torres. They are oil on 6×8″ wood panels. My friend Zachary urged me to push the idea a little further, so I perused the candy aisle of the grocery store, bought a few models, painted the ones I liked, and ate those I didn’t.
The allure/challenge with these pieces was reflections and transparencies, and the rich colors. Reflective surfaces are difficult to map out and depend a great deal on subtleties of value. However, when done correctly, I find them rewarding.
I also enjoyed that I didn’t have to think much about the idea. I had a pile of candies to choose from, and a pile of painting surfaces ready to go. But the danger I see in pushing this series much further is falling it a groove of formulaic repetition.
The sweet-hearts was a one-off done on Valentine’s day.
Did three more small paintings over the weekend. The nude was the most difficult again. If you ignore the weird face and the misshapen hand on the right I’m happy with it.
The landscape was fine, just an exercise to jump start me painting.
The still life was done fast and poorly and was so offensively uninteresting that I wiped it off as soon as it was done.
Ive decided to keep up the small painting projects. I find them helpful in learning about color, composition, and value. Also they aren’t quite as intimidating as a 4 foot expanse of canvas.
This weekend I did a flurry of paintings over 4 days. I started with looking out the window at the view of east Cambridge. The lower half of the painting is somewhat lost, but I’m happy with the courthouse tower and the trees around the tall building.
The second painting was from a photo of Maine. I am both pleased and annoyed with this painting. While the underlying structure came out correct, I was in a hurry when I painting the light plane of the tree trunk in and it feels generic.
On a snowy Saturday I tried out a portrait experiment, once again working from a photo. While the resemblance from the model is definitely off, I like the looseness of it. When I paint I tend towards tight control of detail, so relaxing a bit was both exciting and frustrating.
I followed up the portrait with a botched figure study that was so bad I’m not even including it. However, Sunday night I came back to the easel to try again and am somewhat satisfied. As I said to Lance: Once I figure out color mixing, values, and anatomy, I might be a decent painter. 😉
Fresh into the new year and I have completed – I think- another painting. This one was difficult, sitting on the easel for about 2 months before getting to this point. Of course things like Christmas and New Years got in the way, but this was also one of the first times I’ve really wanted to just abandon a piece and start over.
But I plowed through it and am somewhat satisfied with the results.
A part of the large landscapes series, this piece is sort of about a sense of inevitability. I tried to capture the aspects of the wave building, cresting, and crashing back down. I also painted the sky moody to keep the piece from looking like a vacation photo.
Its been a random week painting-wise.
I did a rainy landscape city view – unfortunately the light was fading and the strongest part of the painting is the top facade of the supermarket.
I did two obligatory fall leaves paintings which are probably the strongest of the group:
And I did a very quick nude dude sitting on a couch. Like you do.
Two weeks ago I made a series of small (5″x7″ paintings) using a limited palette of red, blue, yellow, brown, and white. This week I made another set of paintings using the same limited palette, but adding a warm and cool version of each color, and removing (mostly) the brown.
In some instances it made a much clearer painting. See how much more pink the teddy bear is when I can use Alizarin Crimson instead of Cad Red Light. In other areas it added some frustration since I had to both focus on color mixing, as well as color temperature. Also – I’m learning that a concrete floor is not the best surface to work on. I see some rubber pads from Home Depot in the near future.
The strongest paintings are Teddy and Cowboy. The weakest is the evening Embankment. The evening light was fading fast and I was rushing.
Another wave. Learning more about ways to frame and compose the images to get the best possible impact. I think I am going to need another trip to the beach to get some more source photos and do more studies.
On this painting, instead of mixing greens I used viridian, which is correct in terms of color, but the transparency of the paint makes it really frustrating to use.
I’ve been interested in waves and the ocean as part of the larger landscape series. It feels like a good fit with some of the emotional content behind the work. A few weeks back I took a trip to the beach that was sunless and windy – but provided some great reference shots!
I’ve started working up some ideas for sketches – the first is below. Despite the day being cool and grey the painting still came out a little sunny… I’ll need to work on that in the future.
Color mixing is, perhaps, one of the hardest elements of painting for me. I can see (most) color accurately and know exactly what color I need for the painting… but how to get that color? That’s a little trickier.
Many painters advocate using a limited palette. That is, giving yourself only a few colors and mixing all else from there. In the beginning of an experiment/practice program I started this week using only four colors: Cad Red Light, Cad Yellow Light, Ultramarine Blue, Burnt Umber (brown) and Titanium White.
It is at once liberating and maddening. As you can see in the paintings below I’m able to get reasonably close to certain colors. Some – the pink in the teddy bear – were virtually unmixable given the 4 colors were all fairly warm colors.
Next week I will add 3 more colors – giving myself a warm and cool version of each color. As the colors above are mostly warm I will add Alizarin Crimson (cool red), Hansa Yellow Light (cool yellow), and Cerulean (warmer blue).
As for the subject matter… I looked out the window and around the studio for random things to paint. I’m still working on a lighting solution for the new studio. The overhead lights are halogen and very yellow – making it virtually impossible to see what a color will look like when it goes from palette to canvas.
Its August, which means another trip up to one of my favorite places: Acadia National Park. If you’ve never been Acadia is this weird mixture of almost primeval landscapes, early 20th century industry, and New England charm.
We stayed on the quiet side of the island, and I did 5 paintings in 6 days. The weather was a bit uncooperative but that’s how it goes with painting in the wild.
First Day : Blah.
One of the biggest pressures I find is choosing a spot to paint. I’m so seduced by the beautiful views that I want to paint them all, but that risks being repetitive. I stopped at a dozen places before settling on this one. The day was muggy and hot with a blazing sun, no shade, and no sunscreen. I was rushing and things fell apart pretty quickly. I’m happy with the blues and browns in the water, and the olive green rocks to the edge. Everything else is a mess. Unless I was emulating Marsden Hartley, in which case it’s great.
Second Day : Blah-er.
The fog in Acadia is almost a living entity. On Wednesday it rolled in and didn’t leave until Saturday. This was off a little hike and while there are some areas that I really like – the almost impressionistic trees – the foreground is really bland. I had meant to leave room to add in some dark pine boughs to frame the piece, which may help.
Third Day : More Fog.
I dragged Lance along on another short hike out to the coast. He set up a chair and read a book, I painted the only thing I could see through the fog – this stark dead tree. I started thinking in terms of color temperature and I think it helped, although not much could save those poor plastic rocks in the bottom.
Fourth Day: More Tree
After I paint I often find myself staring at the painting or a photo of it and wondering what I could have done better. In the case of the tree I was really unsatisfied with the rocks, and I felt the branches in the earlier painting didn’t convey the shadows properly. I also thought the tree to the right side had gotten muddled and lost.
So I went back again and set up in the same spot. I trimmed the composition a little closer and tried to be as careful and deliberate as I could. It’s a much better attempt, but those goddam rocks still feel plasticy and amorphous.
Fifth Day : More cliffs.
This is from the same area I hiked all week. I was tempted to go back and do more dead trees, but honestly it was getting a little depressing. This was an ambitious piece – two panels side by side, and completed in the time it normally takes me to do one.
I’m very happy with the interplay of colors on the cliffs. I struggle a lot with the rock colors becoming too chalky or too orangey (see above). I think these are one of the best representations I’ve done so far. The tree line is a little too swoopy and the water got away from me.
I was on an exposed part of the trail, which meant I had a lot of audience for much of the painting, which can be a little distracting. There was also a potential thunderstorm on the way which urged me along. I finished painting just as the first drops of rain fell.
As some folks know Lance and I moved at the beginning of July, and both the build up to it and the aftermath have been quite intensive. Suffice to say there hasn’t been much time for artwork.
However, after a month in the new apartment I have my studio set up and I have finally finished some painting!
The past two weeks have been devoted to the Echoes series, something I’ve strayed away from last year. I stumbled onto Russian artist Isaac Levitan who’s work is truly inspiring for landscape painters. His work provided an emotional touchstone and inspired me to rethink where I want Echoes to go.
I pulled out some reference material and returned to a field that I’ve painted in some smaller pieces. This time I went larger, colder, and tried to balance the mix of impression and realism. I’m quite happy with the result. What do you think?
What an incredible weekend! I am fortunate to live in a community that appreciates and engages the arts as much as Somerville does.
A huge thank you to the dozens of people who came through my space to view, buy, and best of all – talk about art!
Talking to people about my work is the most valuable part of Open Studios because it opens me up to many new ideas. It is a profound experience to create something that – to me- can only mean one thing, and then observe ten people engage and relate to the same painting from ten unique perspectives.
Another big thank you to the patrons who like my work enough to buy it. I’m sad to see these paintings go – but I know they are all going to good homes! I hope you enjoy them as much as I enjoyed creating them.
Somerville Open Studios is Happening NOW! Come on by and say hello!
It is a great way to see and support the thriving local arts scene in Somerville (and it’s a gorgeous day to get outside)
My house is the one plastered in day-glow yellow signage!
Thursday: Brickbottom Gallery show opening reception 6-8.
IN (BOUND) SIGHT features sketchbooks from more than 20 artists, including yours Tim Fish, Pier Gustafson, Adam Leveille, and more! The gallery is set up reading room style so you can voyeuristically look through our sketches, works in progress, journals, and to do lists. Stop by if you can!
1 Fitchburg St
Somerville, MA 02144
As I was poking around on Sunday trying to find something to paint I stumbled onto a drawer filled with cellophane wrapped candies. They were pieces that had been given to me and that I had picked up from exhibitions of Felix Gonzales Torres, one of my all time favorite artists.
Felix was diagnosed with HIV in the early nineties and both he and his partner died from complications related to the virus. His artworks are poignant and simple and beautiful. They evoke the temporal nature of life, and the tragic loss associated with being gay in the 80s, and 90s when so many lives were lost due to fear and inaction surrounding HIV.
His candy pieces are simple: a pile of candies weighing as much as one of his friends is placed in a gallery. Visitors are allowed to take pieces for themselves, resulting in a steady decrease of the original weight until there is nothing left. It is a powerful metaphor that I contemplated as I worked. Was my piece the one that tipped the scales? Did it matter? Now several years old, the original artwork was certainly gone – all that remains is a memory.
This was intended as a quick study, but ended up taking about an hour for the drawing and about 2.5 hours for the painting.
I need to go back in and add some details once the main painting dries.
And here it is with the final details added: trees, street light, lettering, some extra windows, and some power lines. Adds a little more depth and texture.
I promised that my next painting wouldn’t have any snow in it! The references for this painting were pulled from a day in the middle of last summer as I was on my way to the beach. Can’t get much better than that for warm inspiration.
One of the reasons I returned to this image was the contrast between the blazing warm sun in the background, and the cool, subdued colors in the foreground. I think it gives the composition a dramatic contrast and was very fun to paint.
Eh…in many ways this was a fun painting to work on. I really liked being able to use some brighter colors, and of course I love the light and architecture of Somerville triple decker houses.
But I also love it when windows are all the correct size, placement, and relatively vertical. Im not sure why but I had a really difficult time getting the windows to sit properly on the faces of the houses without feeling cartoonish.
I may go back and re-work this… or I may just add it to the growing pile of panels that will some day be repurposed… time will tell.
One of the (few) benefits of the recent barrage of snow storms is that I’m stuck inside being productive. I’ve spend several weeks now working on another one of the larger landscapes. This one is about 3’x2′ and was fun and challenging to work on. The larger challenges are still controlling the color temperatures and working more loosely. All in all they are fun and stimulating!
The next piece I work on will have much more sunlight and warmth – I need it after all this snow!
Please note: I’m a lousy photographer and these larger paintings are exceptionally difficult to shoot properly! I’m sorry for the lousy image quality – but it will have to suffice until I get these professionally shot.
The larger landscape that I worked on yesterday needed time to dry so I embarked on what I thought would be a quick sketch. Four hours later this is what I ended up with.
Last week I showed you the first painting of 2015 – one of the new larger landscapes. However, I’d forgotten to show you the first of the large landscapes, which I completed back in November.
Technically most of the work was done in 2014, but I spent several days of the past week finishing up details on this painting. I’m not sure what to call them, or where they are going, but I’m definitely enjoying working on the larger scale landscapes.
They are challenging because of the amount of (or lack of) detail I want (am able) to put in. Keeping color temps balanced across the whole composition is also tricky. This painting – more than the large marsh painting – felt like a learning experience. I’ve already got another large canvas primed and ready to go, so we’ll see how much of the learning stuck!
The studio also got a clean up and re-org. Over the past 6 years plenty of stuff has accumulated and it felt great to purge things that were just gathering dust. I picked up two new lamps and two daylight bulbs, and figured out a more secure mounting for them.
Im very fortunate to have some of the Echoes series showing/up for sale at Simon’s Too in Cambridge. It’s a cozy little coffee shop just outside of Harvard Square.
Simon’s Too : 983 Massachusetts Ave, Cambridge, MA.
I hope you’ll stop by and take a look. And definitely try the coffee!
As promised, here is Traveler #5. Again, photographing this painting was extremely frustrating. Whenever there wasn’t any glare the softer details – like the texture of the coat on the woman to the right – get lost. In the end I settled a little bit, but I still need to have the whole series so far professionally photographed.
It’s taken a while (I first started this piece back in May) but I’ve finished two more paintings in the Travelers series. I love doing these pieces, but boy do they take a lot of time!
They are also very dark, and very glossy, which makes them damn near impossible to photograph well. Apologies for the glare.
This weekend I worked a little bit on the Travelers series. The layering and underpainting take a really long time – then they need to dry thoroughly before the next layer of painting can go on. I usually work a few paintings at a time. I’m working one from early May, and below is the start of #5.
I also did a short study of some oak leaves as an exercise. The drawing needs some work, and the highlights of the leaves came out wrong, but most everything else I like.
Two paintings to start the week. First is a little 8×10″ sketch that is almost finished… you may notice that there are shadows of electrical wires… but no actual wires above. Once the sky dries I’ll paint in the rest.
Second is a larger scale piece I’ve been working on for a few weeks. It was a long process getting here, but I’ll detail that a little bit more on Tuesday’s post.
I had done this horrid little sketch while up in Maine. While none of the paintings I did there were spectacularly successful this particular one stood out as particularly bad, for many many reasons.
After staring at it for a few days and making notes of all the disastrous errors I decided to try again; I would consciously and carefully rework the idea.
I photographed the process and the results are interesting (at least to me). Stepping back from the immediacy of the situation allowed me to understand what went wrong the first time, and to actively correct it (for the most part) this time.
First was the drawing. I had rushed the drawing on the sketch, and my brain pulled one of those classic tricks: it said “wow those hills are dramatic” and instructed my hand to make them very dramatic. The result is a cartoonish exaggeration of what my eyes actually saw. Yes, the hills had a sharp rise, but that was visually tempered by distance and atmospheric perspective.
Last week was another vacation in Acadia national park up in Maine. As usual I brought along my painting supplies because there are a million gorgeous and inspiring views. Last year I’d completed a few paintings that were nice little studies. This year the results were mostly mediocre and I’m trying to ascertain why.
1. Seawall. (Tuesday morning) I was drawn to the scene by the interplay of the back lit rocks with the sparkling of the ocean. I also wanted to capture a sense of depth with the soft coloration of the peninsula in the background.
Good: First time painting out of the studio since 2013.
2. The Point. (Wednesday morning) The next day I decided to visit the ocean cliffs which had provided some good paintings last year. By and large I think this is the best painting of the trip.
3. The Sound. (Wednesday evening) After the success of the last painting I was eager to go out again…but I wasn’t really sure where. I drove to a couple spots I thought might work, but each one was problematic – too public, the wrong lighting etc. The sun was on it’s way down and I was getting frustrated when I spotted a pull-off near a private beach.
4. Trees. (Thursday morning) Lance suggested I take a break from the ocean painting to try something new. We spent an hour hiking the interior of the island looking for a spot to paint. I finally settled on this view with a pair of large rocks and a tree sitting just off the path.
5. Cliffs. (Friday morning) I dragged Lance back to the ocean side on Friday to work on some more cliffs. I found an incredibly steep path that gave me a gorgeous view of the dramatic cliffs rising up from the ocean, with a backdrop of the Beehive and Gorham Mtns.
6. Little Long Pond. (Friday evening) I left Lance at the hotel Friday night and set out to find one last spot to paint. I stopped at one pond, but wasn’t moved, and so dashed over to Little Long Pond to catch the sunset on the meadow and Penobscot Mtn. The cloud cover killed any dramatic lighting and I was left with a peaceful, cool scene that (thankfully) stayed the same for an hour.
Overall it was a great trip, and I think I’ve figured out much of what went wrong. The rest is just practice, practice, practice!!
We took a little camping trip this weekend and I brought along my watercolor pad again. The first piece isn’t really good. The whole thing is kinda muddy and indistinct which is frustrating. I think part of the problem was sitting in direct sun, which made the colors seem much brighter and vibrant than they are in normal home light. Also, the greens in the background were tricky – warmer on the sunny side of the mountains, cooler on the shade, but both sides blued out because of the atmosphere. Something to work on.
The second piece was a quick sketch of the rocks where I was sitting. It was half the time and miles better than the original piece – even if the composition is a little un-interesting.
Wait a minute…strike that; reverse it.
This summer has been incredibly busy and I haven’t had much time to get into the studio. I was able to get away to the beach for a day and brought along my watercolor pad.
This is a quick little study of the rocks off the beach. I like the quality of the paint, but I need to work on the composition – it feels a little stage set.
This past weekend I did a little cloud study from a photo and some notes that I took when we visited Salem, MA a couple weeks ago. I timed myself at an hour and the results were good, but feel kind of… eh.. to me.
So I picked up a few of my books on color theory and began reading through some of the key points again,and I think what really sticks out as good advice is to consciously make a decision about what the colors in your paintings are going to be. Yeah – sounds obvious and an artist has to do that anyway right? Kind of. If I’m painting a sky initially I’m going to respond to the color I see before me, and the colors that are in the photo reference. Except I don’t have to. With some forethought and decision making I could make the same sky purple, yellow, or red and still have the potential to have good results.
So as an exercise I painted out a Munsell color wheel and value chart to keep around the studio. Munsell forwent the traditional color wheel of Red, Yellow, Blue (primaries) and Green, Orange, Purple (secondaries). His color wheel has five primaries and five secondaries, allowing a greater nuance of complimentary coloring. The tints in the middle of mine are a bit dark, but it is a useful tool to keep about.
After a very successful Somerville Open Studios I kind of dropped off the artmaking map.
But finally – after a full month of not painting – I have finished another painting.
The goal of this piece was to capture a bit of the anonymous beauty of living in Somerville. I’m quite taken with the way the light rakes across the buildings at sunset, and the simple repetitive geometry of the triple decker houses.
I did a one hour study of Side Eye Teddy Bear this weekend. Lots of fun trying to get the texture of the plushy fur correct.
Also – Mark your calendars: Somerville Open Studios is THIS WEEKEND: May 3+4. I am site number 30. Please stop by and visit – it’s a great weekend and loads of fun to see all the amazing artwork Somerville produces.
Go to my location page on SomervilleOpenStudios.org here.
I’ve been tied up with a few other projects so haven’t done much painting in a couple weeks.
However, I did have two works -including “Night Light” accepted into Salon 21, a juried show at the Nave Gallery in Somerville!!
Come by Thursday, May 1 for the reception. The show runs from May 1-11th and will span Open Studios weekend. Very exciting!!!
A peek at something I’ve been working on a for a while. This is the next in the Echoes series. It’s a little different than a straight landscape, but I like it a lot. Once this layer dries I’ll be able to go in and tweak a few details here and there, and clean up some areas, but overall I like the direction this is heading.
In a very quick study on Sunday morning I tried doing some more cloud studies. Meh… they look okay, but I think I went a little heavy on the darker shadows in the clouds themselves. Also, the water is a little more green and not that steely Maine blue that I like.
Still – a decent end to an incredibly productive weekend!
In advance of spring’s arrival – or maybe out of simple winter escapism – I worked on a couple of light fluffy cloud studies this past week.
Number 1 is from the ocean walk in Ogunquit, ME. It was maybe an hour and a half – two hours. It feels stiff by comparison to the second one, but I like both. They were helpful in understanding some of the structure and coloration of the clouds.
Number 2 is from the top of Cadillac Mountain in ME.
I’ve also been busy practicing perspective drawing again – perhaps I’ll post some of those this week too!
Just sold another painting! It is one of my personal favorite pieces and I will miss it. But I know it’s going to a good home. Thanks again to my generous patrons who support the work I do! It is very sincerely appreciated.
As with the landscape study I did last week I limited the time on these two paintings. I also added orange to my palette, which has added some much needed life and vibrancy to the pieces.
The full figure was timed at one hour, the back was timed at half an hour. The last figure study I did a couple weeks ago looks grey and pallid by comparison.
Last night I stepped into the studio for a quick landscape sketch. I’ve been thinking a lot about Andrew Wyeth (having just finished his biography) His father NC Wyeth used to tell him “paint the massive forms”. It seems odd, given Andrew Wyeth’s propensity for detail and texture, but it’s good advice nonetheless.
The sketch was done in an hour, from drawing to finish. It’s obviously rough around some edges, but I’m quite happy with the overall feel. Definitely more painterly than my usual work.
Also, in rearranging my space I stumbled across this painting from a last year. I’d posted a preview of it, but it never appeared in finished form. It’s a little heavy on the saturated greens, but I still think it’s a nice little painting.
Every now and then I’ll see someone on the subway who is interesting, and I will surreptitiously snap a photo. Not humorous or mocking or lecherous. Just…interesting.
As I have gathered these photos I began thinking about what an odd experience riding the subway (or any public transit) is: you are voluntarily putting yourself in a confined space with a bunch of strangers, all of whom – like you – are doing their best to avoid any sort of personal contact. It is public, yet private. Tedious, yet necessary.
At the same time I began to wonder what would happen if I applied a very traditional and personal medium – indirect oil portraiture – to a situation steeped in cold, impersonal observation such as surveillance cameras.
The first painting was published last year, and the more I thought about it, the more I wanted to explore. This week I published a new gallery on my website called Travelers.
I hope you enjoy! (click the link above for the rest of the series so far)
Trying to do one or two figure studies a week to get the knack of flesh tones and color temperature and all that.
The pale one is from 2 weeks ago and is fairly successful. Last week’s attempts were abject disasters and so won’t be appearing. And this week’s piece started out strong, and then I continued painting and it got real muddy, real fast. *sigh*…. will try again next week.
Just finished updating my profile for this year’s Open Studios in May!
Be sure to save the date – Open Studios weekend is a great time to walk around Somerville and explore some of the amazing creativity of the city. And to visit me!
My profile page is here:
Just to show I’m not slacking off I’ve added some teasers of three paintings I’m working on. In the meantime browse around, find that perfect gift for that special someone!
Black Friday is over! Its Cyber Monday! Want a great deal online? Well check out my newly Holiday Discounted Price Guide.
Do you know what makes a great, thoughtful, and unique gift? Original artwork. And what is this website is all about? Original artwork! I’ve got landscapes, portraits, watercolors, oils, drawings, and even a few tasteful nudes.
Flip through the galleries on the bar above – if an item isn’t tagged sold or NFS then it is available for sale!
And don’t forget to scroll through the Sketch Blog for lots more work that hasn’t been sorted into the links above.
If there is anything you’d like or you have any questions, don’t hesitate to email me.
With Thanksgiving just behind us it’s time for the mad rush through the end of the year. Sure, a 60″ flatscreen, HD television might make some people happy… but you can get one of those anywhere.
Do you know what makes a great, thoughtful, and unique gift? Original artwork. And what is this website is all about? Original artwork! I’ve got landscapes, portraits, watercolors, oils, drawings, and even a few tasteful nudes.
Flip through the galleries on the bar above – if an item isn’t tagged sold or NFS then it is available for sale! I’ve put together a handy pricing guide here.
And don’t forget to scroll through the Sketch Blog for lots more work that hasn’t been sorted into the links above.
If there is anything you’d like or you have any questions, don’t hesitate to email me.
It’s been over a month with no work… or rather, no posting. I’ve actually been working my tail off on a couple new subway people paintings. The problem is they are layered paintings which means they are slow. Very. very. slow. Each layer of paint is worked on, and then set aside to dry – something that can take a week or two depending on the pigment. Then the next layer is painted and allowed to dry… etc.
I promise some new postings soon!
Not sure what it’s about or what it means, but I painted it.
I started this painting a week or two ago. I’ve jumped up to a larger size: 16″x20″ and I like the flexibility it allows in painting greater detail if I want. It also takes more time – I think I’ve spent 3-4 sessions of 3-5 hours each on this painting.
The source material is from my last NH trip, and I was really trying to capture that oppressive summer day. There may be a few details that need tweaking as I move forward but I think it is 99% finished.
I’m jumping back to the Echoes series for this next one. The size is 16×20″ which is a jump up from the last paintings I’ve been doing. The source material is a photo of the old Kelly farm on my fathers road. The Kellys had once been a great big farming family, owning several parcels of land along the road my father lives on. They still own a few pieces, but most have fallen into disrepair. I believe this one belongs to the oldest matriarch of the family.
So I’m still working on painting skin tones in preparation for a series of paintings I’m working on. These are all done alla prima style. I’m getting a little bit better hang of recognizing that the skin tones on the palette are going to be 100X too vibrant on the canvas, so thats been helpful.
This weekend I spent a bunch of time tackling skin tones. I painted four figure studies and what I have come away with is : Skin tones are HARD!
Almost every single time I mixed a color on my palette to what I thought was an appropriate, pale, neutral skin tone that same color looked like garish clown makeup on the actual painting.
Overall, though, the process moved from clumsy, to awkward, to frustrating, and finally landed on “…meh.” On the last attempt I switched from Ti White which had been making things a big chalky mess over to Flemish and Flake whites. This helped enormously in brightening the colors without flattening them. It’s a shame that a tiny tube of Flemish white costs 3X the giant tube of Ti.
On the last day of vacation Lance and I once again went to the loop road and climbed out on the rocks. It was the perfect, beautiful, sunny way to end a long relaxing, exciting, art-filled week.
Best of all, I got a great painting out of it and I learned that, when standing in direct sunlight, your colors are probably darker than you imagine 🙂
Also, there were a few other sketches that I did from around the island.
Almost done with all my Acadia stuff. The last couple of days there I convinced Lance to come to the rocky side of the island with me and he hung out and read while I painted.
It was rather beautiful to be standing on the edge of the rocks gazing into the ocean. Until the ocean started getting closer as the tide came in. Lance nabbed this photo.
The painting was done on half of a 9×12″ board. It came out decent. One of the things I caught myself doing was compressing some of the elements to make them fit onto the board. The small hash marks on the top corners are from small bull-dog clips that I use to stack wet paintings without them touching one another.
If you’ve ever been to Mt. Desert you know that Maine fog is a mysterious and frustrating thing! On Wednesday I dropped Lance off in Bar Harbor, where the afternoon sun was dappling the lawn of the common. I made my way towards the ocean and upon reaching the rocks was immediately engulfed in fog.
The thin line in the back of the painting is the same beach we’d been to the day before. Suffice to say I’m glad we made it to the beach when it was sunny.
So before August of last year I hadn’t done much oil painting since I graduated college in 2002. As Lance and I were packing for Acadia in 2012 I decided, on a whim, to bring along my old box of oil paints and some masonite panels. The first full day of vacation Lance and I hiked along the edge of Somes Sound – the fjord that cuts up the center of Mount Desert Island.
After a few hours of hiking we cut down to the water level and I decided that if I was going to paint, that was the time. It was awkward and windy, and the first result was clumsy, but it started me down the path to where I am today. (click photos to enlarge)
Last week I revisited the spot to repaint it on the one year anniversary.
The Flying Mountain trail winds along the edge of a steep embankment a few hundred feet above the water. The trail is literally cut into the rock face in parts, and offers dramatic views up the Sound and across to Nuremberg and Parkman Mountains.
I was able to get a glimpse of my original painting site (the nearer of the two points on the right), which was under water due to the tide, so I decided to stop where I was, perched on the edge of a giant granite boulder tumble, and set up my easel.
I spent about 2 peaceful hours there. Almost no sounds except the occasional boat motoring up the fjord. I spotted an osprey hunting below me, and was visited by a remarkably curious/fearless red squirrel. The resulting painting perfectly captures the late afternoon feeling. It’s a little sweet, and the water on the right side got muddied with some stray orange, but overall I’m happy with it.
Earlier Tuesday morning Lance and I had gone to Sand Beach, on the eastern-most part of Mount Desert Island. The beach is a tiny channel with steep cliffs rising on either side, and a stunning view of the Beehive Mountain directly behind it. I spent a good amount of time sketching the cliffs.
August is incredibly busy at my job, and the month ended with a much needed, and much enjoyed vacation to Acadia park in Maine. For those who are unfamiliar Acadia is on Mt. Desert Island – a weird and beautiful place, complete with dramatic mountains, rugged cliffs jutting into the ocean, gorgeous boreal forests, a fjord, and truly breathtaking views.
It is a landscape that inspired artists such as Edward Hopper, Frederick Church, and Fitz Hugh Lane. And me. I brought along my painting kit and my sketchbook again this year and spent 5 of the seven days making art.
First up is Seawall, painted on Monday morning. Seawall is a cobble beach on the lower east side of the island, staring off into the Atlantic ocean and the outlier islands. Across the road are tall, eerie pine forests and quiet marshes.
Painting the ocean is challenging. It’s always moving. It was foggy one moment, and sunny the next. By the time I finished drawing, mixing colors, and started painting the rocks in the bottom of the painting had half vanished under the tide. An hour later they were completely submerged. And, of course, the composition is a little bland, with the horizon cutting just about halfway through the painting. But still, it was the start of a very productive week!
I drew a selfie and then I erased it…
Its difficult to photograph a wet painting and not get a bunch of glare so…sorry for that.
New idea I’ve been playing with. You saw the sketch last week. Here’s the finished (almost) product.
A pair of small drawings from my sketchbook. I usually do a value/composition drawing before I start a painting. First is the house across the street in the glow of a streetlamp. Second is a prep drawing for my last painting.
I haven’t been able to beat the heatwave we’ve been in for the past couple of weeks. Its tough painting when it’s 95 degrees. I paint in rubber gloves, and after about twenty minutes the sweat is trickling from the gloves down my arms. Nice, huh?
Despite the oppressive temperatures I did eek out this painting. I spent a lot of time mixing the base colors for the greens, the greys, and the blues ahead of time. I think that definitely clarified a lot of the forms.
It’s one of the small size paintings at 9″x12″ but it feels much more finished than a sketch. I may come back and revisit this idea on a larger scale. Hopefully the heat will have broken by Friday when I get some free time again.
So…how do I fix a painting that I don’t like? Easy! I just took the original painting and repainted over every single aspect of it.
The first round (top) was too muddy in the tree forms along the middle of the painting. The mountains, by contrast, were too flat. The greens in the field alternated between frosty mint and pure yellow ochre – only one of which was actually correct. And then there was the sky…the crisp blue sky that served as a reminder to me: unless I am in the Caribbean I am never, ever, ever allowed to use Pthalo blue in the sky.
The second time around I used a series of pre-mixed greens (really only slightly dulled down yellow ochre) and slowly blocked in the form of the trees. The field was flattened to get rid of the annoying random chatter. Then the sky was pushed back with a mix of Ti white, cobalt blue, and a bit of a home-made grey to give it that summer hazy feel that I was going for in the first place. There are still some issues with the painting – but miles better than the first time. (also, once again my camera is pulling the greens into the orange family)