Moore's Barn

Acrylic on Panel (repainted in 2011 - this version is gone)

Trying to keep it simple, and get those warm colors in. I think there's too much going on in the foreground. It just steals focus from the barn, and it's still way too cool in the sunlight areas.

The Creamery

Acrylic on Canvas Board

Still struggling with the lack of truly warm colors in my palette, I sketched the white stuccoed out building, trying to keep everything in the sun "warm" with everything in shadow "cool". It actually looks better indoors than it did in the field. 

Barn Sketch

Acrylic on Panel

The first sketch out at the ranch in Nicassio. I didn't spend a lot of time with the forms/shapes, but rather I kept going back and adjusting the colors. I had this way too cool throughout, and even after some helpful nudging and mixing again and again, it's still just plain dull all over. I was glad when the lunch bell rang, 'cause I was not enjoying this at all.

Pool Lounge

Oil Pastel on Paper

Back from a great workshop weekend with Tim Horn, and boy did I learn A LOT! Turns out I just didn't have enough warm colors in my palette, and warm California landscapes is what Tim is all about. I was pretty well used to the idea of painting cooler shadows, but I didn't realize that most of everything I've been painting up until now has been cool throughout. Kinda shocking really. 

Actually, a lot of the photos I've been painting from were taken during our gray winter days, and sometimes even grayer summer months. (When asked what he does when faced with a gray day, Tim said "I stay home"). But now a whole new world of color values and comparisons has been opened to me. I ran right out to Blick's and got loaded up on some warmer yellows and oranges. (No wonder I could never get those tangerines to look at all appetizing).

I think I may have learned more than others in the workshop, because I was continually failing. One of Tim's guidelines for the weekend was to not to try to bring home any finished pieces but to rather practice what he was explaining and create a bunch of studies. I think I managed quite successfully to not bring home ANY finished paintings at all! 

So keep an eye out for some new warmth around here, soon. I will post a few of the stinkers I did in Nicassio this weekend, and you'll be able to see what he was getting at. In the meantime, have a look at his site and see the great colors and warmth he achieves in his work. 

Here's a little sketch I did before the workshop. New works to follow ASAP.

Golden Gate Park Lavender

Acrylic on Canvas Paper

I shot a lot of photos during the Bay to Breakers, and this is a painting of one of the few without any scantily clad people in it. 

The two shows I have going are being received quite well, despite not being on the art walk map. I've already sold a few (love those red dots!). Get 'em while they're hot (dry?). The Divisadero Art Walk had the best turnout I've ever seen. I hope this means they'll have many more.

There will be a pause in the postings as I'm off to attend a workshop with Timothy Horn in Marin this weekend. His work is truly outstanding and I've been a big fan for quite a while. Hope I bring back some winners. More importantly I hope to bring back the knowledge.

Have a great weekend.

Oh, and it is Gringo's official state birthday today, so I'm not only getting better, I'm also getting closer to getting discounts at museums and on bus fares.

Return to the Hills

Acrylic on Canvas 

I told Apollo Coffee I'd whip up another big one for the show, since everything else there is mostly 4x6 and 8x10. 

This one is 20 x 24 inches, and I wanted to try to recreate the quick sketch I had done of "The Hills" a while back. I'm still not used to using oversized brushes yet, but I have experience with knife painting, so that's what I did. I mixed up some big puddles (a LOT more paint than I'm used to laying out) and trowelled it on.

It's OK, but doesn't have the same immediate quality that the original sketch had. I may finally have to cave in and try this with a huge brush after all.

Off to the Divisadero Art Walk tonight. (see yesterday's post). I'd go in disguise, but fortunately nobody knows who I am anyway, so no worries. I hope.

Late April Fools'

Fake Gallery Image

I've finally finished hanging the show at Apollo Coffee, and will get my daily painting back on track. In the meantime, I thought I'd share a humorous diversion.

No, this is not a shot from the show. It's a little online fakeroo, courtesy of Museumr, and I couldn't resist. Someday....

For those in the SF area, tomorrow is the June 4th First Thursday Divisadero Corridor Art Walk. It's not exactly monthly yet, but it is fun to go see. And I'm actually exhibiting at both ends of the art walk, though not officially on the map (talk to my agent).

Japanese Roof

Charcoal on Paper

This is from an old photograph I took while in Japan. I liked the roof poking about the tangle of growth and wanted to try sketching it before painting it. I think the hard part will be making the roof the focus of the painting, while 75% of it is dominated by plants. How to get the plants to read as plants, without stealing focus? Hmmm. Maybe I better rethink the composition.

Final Rest in Japan

Charcoal on Paper

Another glass, straight out of the tube color from paint found at garage sales, applied with the palette knife.

Golden Gate Park Meadow

Oil Pastels on Paper

Was enjoying the sun in the park, and had my oil pastels with me, so I thought I'd see if I could make 'em render the colors that I was seeing. I may have over emphasized the dark blue/purple shadows, but they are kinda interesting. I'm used to having a limited palette, but I'm used to being able to mix colors from that limited palette, not having to apply just one of 6 colors!