Sandstone Ranch in Acrylics

Sandstone Morning, acrylic on board, 8x10, plein air

This is only my third attempt at painting in acrylic, and the first acrylic done en plein air (done on location at Sandstone Ranch park in Longmont on Friday). It was quite a departure from working in watercolors, but the same challenge of rushing against the hot, dry weather.

I used Golden Open acrylics in five colors: Titanium white, phthalo blue, transparent red iron oxide, yellow and naphthol red light. I covered the board with a thin warm orange layer, drew the main large shapes with red oxide, blocked the darker shapes of color before applying the middle and light tones. I must say I really like the Rosemary & Co brushes from the Ivory line that I am using.

I wish I had done a thumbnail value and composition study but I was concerned about the time and wanted to start right away... it would have helped me improve the design, by avoiding lining up the foreground rocks with the cliff, and making the grass line at the bottom less repetitive with the one farther back. Well, working my way through a new medium is hard enough, I think this ended up pretty nicely all things considered.

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A Gate of Opportunity, watercolor on paper, 12x9

This week I painted on site at Harvard in Cambridge, MA. I set my tripod easel in a tight corner in front of the tourist information office, about the only spot protected from the rain and from the groups of tourists. I painted directly, without a preliminary sketch or any drawing in pencil.


Many artists and students have concerns about using M Graham and other honey based watercolor brands in plein air work, especially those who have folding palettes with wells on the lid... But I used a folding palette and M Graham colors on this painting and even though it was a warm, very humid day, the paints did not run or spill. I stored my palette vertically in the bag, and kept a wet brush inside it, and it did not cause any problems. The paint was tacky in the wells when I reopened the palette at night in the hotel, but there were no spills. One reason is that the paint had been poured in the pans much earlier; if I had just added fresh paint the night before I may have had problems. At any rate, the only M Graham colors I have tried which have cause spills at all have been cobalt teal and cobalt violet--I no longer carry those colors in my plein air kit for that reason.

 

A snapshot of me with my two pieces at the opening reception of the Plein Air Artists Colorado National Exhibit last night in Boulder. 

The Mary Williams Fine Arts Gallery was packed with artists, guests and collectors. It was exciting to see so many friends and get to meet so many top level artists, whose work I had admired in magazines, books and videos. In fact the whole experience was that of walking through the pages of the Southwest Art magazine. It is such an honor to be included in this show. The exhibit is open until August 30th and is well worth seeing--and prices are very reasonable too!

Crested Butte Revisited

Generation Gap, watercolor on Yupo paper, 14x11

This is my studio piece from my plein air study done in Crested Butte (see my previous post). It was good to revisit this scene while everything was still fresh on my memory.

Crested Butte on the 4th of July

We had a wonderful trip to Crested Butte to visit our friend and great artist Peggy Morgan Stenmark. What a beautiful place, and so many subjects to paint! After the 4th of July parade, I did a couple of sketches and completed this 12 x 9 inch plein air study on Elk Avenue. I set up in the only quiet, shaded spot I could find amidst the buzz of the tourist crowd. The stage with the band and the food court were only a half block away... The shade did not last long, a couple of families congregated on the same spot, and there were many passers-by who stopped to view, ask questions, comment and tell me about their own home towns. And I did not realize I had been painting in front of a gallery until artist Ann Sharkey came out to introduce herself! I did not do any planning and just tried to capture a bit of the scene and ended up overworking it, but it was only meant to be good practice and fun, and so it was.

RRWS National Exhibit Bronze Medal

 

June has been full of nice surprises. The latest was the Bronze Medal at the RRWS National Exhibit in Moorhead, MN. I was not able to attend the opening ceremony last Tuesday, but did have a chance to see the show before it opened and the worker in charge of setting up the lights was kind enough to take this snapshot of me by my painting "No Left."

This piece retires from exhibits with a nice history. Initially, it was not successful and collected several rejections at shows, until I revised it by darkening the building and shadow on the right, and created a lead into the painting with the spatter on the foreground. After the adjustments, it was accepted into a local, a State and two national shows, and won an Honorable Mention and a Third Place Award.

It is a painting I love, not only because it shows one of my favorite places, San Francisco, but because its overall realism is undermined by the abstraction in the shadows and details, and I find the interplay of the two very intriguing.

Shadows of History at the LAG Exhibit

Shadows of History, watercolor on paper, 9x12

Finally back home from a long trip... I was unable to attend the Longmont Artists' Guild 2015 show, but heard it was very successful and learned my painting Shadows of History won the second place award for watercolors. It was great to have a chance to display some of these smaller paintings, as a lot of other shows have size restrictions.

This was one of the first paintings I did without the use of a pencil drawing. I was really pleased a how well the straight lines ended up, and at the positive/negative design of the fence, which prevented it from being too conspicuous and restrictive. I am very glad juror James Whartman saw merit in it as well.

The subject here is a view of a farm setting at the Littleton History Museum during a paint-out. I did a different scene en plein air and captured this view with my camera. Years later, I did this painting from that photo but could still remember a lot of the light and atmosphere of that bright summer day.