48 by 60 Sycamore: Completed

Completed commission piece

Here it is: 48 by 60 inch Sycamore is complete and I am scheduled to deliver it to it's new home this week.  I am celebrating by starting a new piece and will post what's on my easel before week's end.  Happy painting!

48 By 60 Sycamore Process: Layering Sky & Shadows

Layering the Sky with Ultramarine Blue, Ultramarine Violet and Titanium White

Process Detail 1

Process Detail 2

Process Detail 3

Layering the sky trying to capture a smooth value change of deep blue on top to pale blue below.  Also, I have started working in shadows among the branches using Cobalt Blue and Phthalo Green Blue, which I think is a nice push of color on top of the Van Dyke Brown wash.  My medium is not quite half & half linseed oil:stand oil as I have a little more linseed cut into the mix.  It's starting to come together and I am heading into my favorite part of the process; detailing.

48 by 60 Sycamore Process: Under Painting

Tonal under layer

Detail of tonal under layer

Tree and sky under painting

Starting with Burnt Sienna, Van dyke Brown & Raw Umber on my palette, I worked over the graphite sketch creating a tonal layer.  At this point I am using straight refined linseed oil as my medium.  I have used straight Turpinoid as a medium for this primary layer in the past, but after reading Sadie Valeri's blog it seems it's better used for cleaning brushes than as a straight medium.  By the way, I've never met Sadie, I found her painting school/studio site while surfing for techniques.  Ah, the magic of the internet.  The sky is Ultramarine Blue.  Not really tonal, maybe a little Pop Art like.  Chalk it up to "artist license".

I can't say that this is how I approach all paintings.  I seem hardwired to what a former professor called a "global thinker".  Reading between the lines; I'm messy and often take different routes to get the same means.  Takes all kinds to make the world go around.  Paint on.

Process for 48 by 60 inch Sycamore Painting

48x60 inch gallery wrapped canvas crafted by Gary Grubbs, Black Mountain, NC

1:50 scale drawing for 48x60 inch Sycamore painting

Using a grid; free hand graphite sketch onto canvas

 Currently on my easel is a 48 by 60 inch canvas, my largest piece to date.   I have fallen in love with the sketch, thrilled to be working large again and trucking along with this commissioned piece.  I will be posting more process images in the coming days, so stay tuned... 

I want to plug the work of craftsman and neighbor Gary Grubbs, maker of custom art canvasses.  He crafted this canvas and a few other sizes for me last week.  The frames are kiln dried to %5 (preventing warping), gallery wrapped fine tooth canvasses with a triple gesso application.  I found Gary going through the archives of Ursula Gullow's blog 'Art Seen Asheville' here.  Gary is kind, does quality work (at affordable prices) and is happy to share a bear story or two.  He can be reached at (828) 669-5562. 

Sketch for Water Series

Sketch for Little Falls on Glenn Creek, graphite on paper

I have been busy with a new series focused on water.  I am working with smaller pieces on board, layering colors, building thin to fat.  Previously, I worked oils solely with linseed oil or way back with only turpinoid.  Now using a thin base layer cut with turpinoid and subsequent layers cut with turpinoid/linseed or linseed.  This means starting a number of pieces together to allow a bit of drying time.  The change in approach keeps me moving with sketching and planning.  A good discipline.

Fall Leaves on Flat Creek

Fall Leaves on Flat Creek, 16x20" acrylic on canvas

Every so often I return to test the waters of acrylic medium.  I struggle with acrylics, it's the plastic texture I think.  Perhaps I'm using old paints that are separating and stringy.  Whatever the case, there are elements I love about this piece: the light reflecting on the water surface and the bold colors of the leaves which are what inspired this piece.  It will be nice to revisit this with oils for more fun.  Happy painting.

This painting is currently available at Atelier Gallery Asheville.

Over the Dunes

Over the Dunes,  9x10.5", oil on wood panel

This was one of the small quick paintings from our week on Hatteras Island.   Our morning commute; a walk over the dunes to some serious surf fishing.  There is a very special feel to the Outer Banks; bare bones, vulnerable, raw nature...it's a stripped down version of life that is at the same time a very full life.

Under Avon Pier

Under Avon Pier, 10x10", oil on board

I feel so fortunate to be working from the Outer Banks this week.  A refreshing change of scenery and subject matter.  I did a painting of the Avon pier last year from a different angle.  There is a wonderful, dramatic contrast between the white sea foam, the deep tones of the pier posts and the long shadows cast on a sunny fall afternoon.  I feel like I am there.

White Oak, Horizontal

White Oak, Horizontal 24x36", oil on canvas

I completed this second white oak painting a little more than a week ago.  I worked with a red under painting on the trunk and layered with blueish grays that I mixed from cobalt blue, indian red, burnt umber & siennia... and white.  Some areas I splashed with violet.  The greens in the leaves are a mix of viridian green, chromium oxide and a chartreuse hue I can't recall the name for with cadmium orange blended at the edges.

Vertical Oak

Development of "Vertical Oak"

Vertical Oak, 24x48" oil on canvas 

SOLD

This white oak piece is a commission I had been working on this past month.  I worked with a red under painting and layering with complimentary colors.  It has a stain glass mosaic look that developed on it's own.  That's the mystery of creativity.  It's wonderful when you can let go and learn from what flows through you.

Afternoon Nap

Afternoon Nap, 12x12" oil on wood panel

Looking back over some sketches I thought this would be fun to paint.  I wasn't anticipating the rug and all it's details, but ended up really enjoying and learning from this one.  The perspective is skewed and somewhat harsh about the angles which I think adds to the dreamy impression.  Plus I got to concentrate on two of my favorite subjects.