I’ve been putting some final glazes on these flowers and foliage and really enjoying it. Some manners of painting don’t use glazes at all, going after that modern matte flatness, the truth of paint on a surface. In this type of painting I want the illusion of depth. I want the viewer to look right through the picture plane, with forward parts almost popping in front of the painting itself. It’s a dimensional composition leading your eye in, around and back out again. And when you are up close there is no doubt it’s just paint on a board. We always have to simplify, leaving out as apposed to leaving in. I’m leaving a lot in at this point, it’s consciously full. Now I want it even brighter… maybe the next one.
The weather is holding here in Eastern Washington, calm and cool as the long shadows fall across the drive. Leaves are starting to turn just in time to pull out the quinacridone burnt orange, sienna and gold.
With all the restrictions these days we are missing being able to travel. I was finished up this little oil yesterday and thinking of the folks affected by the fires all over the west. We are still under a smoky haze but the closest fires are gladly under control… for now. This painting is from a trip to Yachats Oregon, a beautiful small town on the coast that I hope to see again some day.
Working on a new composition with the flowers, fence and pathways. But the smoke is giving me a headache even with a mask on.
The fires are inundating us with smoke, so I’m in the studio finishing up some older paintings that didn’t quite make it on the first go. This one is inspired by the windy bluffs on the oregon coast.
I’m trying to spend enough time this summer to get a few garden paintings done. They don’t come easy. I have a tendency to put in way too much and not simplify enough. It’s one of the issues with working “Plein Air”. Nature has more than a simple painting can handle. Every place you look is beauty beyond belief. I’ll just keep trying and appreciate every moment spent outside observing. This painting is coming along, started while sitting in these flowers, then worked on for a while in my studio and now back outside. It’s changed so much in a few days that I don’t know it this will help.
I finally figured out that the most interesting morning shadows are off to the east from our house. This is looking from the north section of our east hay pasture. We planted these poplars …. hmm, a few years ago.
I’ve been getting up pretty early for me, and heading outside for the morning light. I usually have a piece of paper taped-off and readied on a watercolor block. If I get to it I might even do a wet into wet sky the night before so the paper will have time to dry and be ready to work on in the morning. After the initial layin out in the field I take it back to the studio to finish.
The spring has sprung and I’m finally getting outside to put down some paint. I took this back into the studio the next day to work out a few areas that I couldn’t see in the sun. Burned the back of my neck pretty good that day. It’s good to work out my kit again when I’m close to home…. where is that water bottle? What, no paper towels!
We are having a free, 2 day showing of the movie we made in 1989. It’s really fun appreciating the work of my younger self. All the creative energy that went into the 1 hour and 20 production is amazing. I did spend several months transferring old files, re-editing and readjusting the sound track in recent years and we had showings at the Ellensburg Film Festival last year. FertiliChrome is a crazy ride and I hope a whole lot of people get to enjoy it. Here is a link to the watch on YouTube.