Midday Tree Shadow

We got to the park at about 3 in the afternoon and the light was grey and a little flat. Pam asked if I could get anything out of the light. My response was that I could work in any light...as long as I have some shadows I enjoyed the light in the background because it challenged me to see the various greys in the atmosphere.

Tulip Grace 2

I always enjoy purple tulips. The petals have beautiful shades to them. I made this painting about three days after purchasing this bunch of flowers. By then each tulip has its own posture and personality. Each bloom to me is a portrait.

Water Works

When I saw this image on the screen, one of my first thoughts was about how the water worked in this painting. I allowed the water to be its on brush in many passages. I experimented with various stages of moisture and really liked it.

Tree Reflection At Sunset

The sun was going down and I noticed the reflection on the water. This is the resulting painting. I am on day two of an art challenge from a Facebook friend. My intent is to nominate people who don't think they are artists and have them share their work.

Afternoon Tree Shadows

I did the drawing and under painting onsite in black, white and grey paint. I allowed the oil stain to dry and then added the pastels. I tried to stay within the original value scheme that I established with the oil paint. The surface was the arches paper that accepts oils. I worked primarily with Terri Ludwig pastels.

Robust

Tulips don't last as long as the daisy. I got in some sketches before I had to throw this bunch out. I tried to get more of a purple in the tulips on my scanner. The original is a little different in color. When I made this painting the tulips were scattered all over the place. I focused on single blooms as I was working with black 6 by 6 inch Art Tiles.

Fishing The Rocks

I was sitting on the sand on the beach part of Point Richmond. The people to the right were fishing and enjoying the day. I added them in. I liked the various shades and values in the rocks too. When I work from this study I will identify the fishing line better. I worked with a different version of Canson watercolor paper for this piece. It didn't work as well with the pigments as the Moulin du Roy version. That paper is amazing.

Jilted

I love painting the Gerbera daisy. I wish they came in variety packs with regard to color. The last a long time too. The title "Jilted" came to mind because the smaller more decayed flower reminded me of a jilted lover. The surface is an 8 by 8 inch piece of Wallis paper. I started out with a watercolor under painting and used a variety of pastels including Sennelier's iridescent colors. I added some purple highlights to the flowers to give it a bit of a bounce.

The Tunnel

We usually go through this tunnel to get to Point Richmond. I always enjoy the light at the end of the tunnel. I used Arches rough textured paper and worked from a photo. The initial drawing was in ink which was covered with the watercolor.

He Likes Hats

This is my youngest nephew from my siblings. He is now getting taller than me and the voice is changing. I would call this stage the contemplative stage that I assume we all go through. I was sitting around my sister's home after Christmas dinner and Casey sat down. The initial sketch was in ink on Canson paper. I covered that sketch in pastel while on vacation in California. I took liberties with colors because I can.

Where Are The Birds

Another painting from my time spent at Point Richmond. I first did a value sketch in my book and proceeded to draw the image onto the paper in graphite. I wet down the paper and went to work after it had time to dry a bit. My first thought in seeing this painting on the screen was "where are the birds". When I use this study for a larger painting I will include birds. My trend lately is to let the paint make its magic and not fight it as much.

Daisy Waning

I enjoy painting from life and I also like to make the most out of my money. I have been known to keep flowers for three weeks to paint. Each stage of the life of a flower or piece of fruit is interesting to me. As to background colors I am experimenting a bit with color and color theory. I guess all art is experimentation with color and color theory.

Pond Reflections Point Richmond

For years I have heard of using oil as an under painting for pastels. This was my first foray into it. I worked with black and white oils to establish the values and under painting. Once dry I added pastels. I have noticed that some of my values changed when I added color. I really think its best to adhere to the original value map. Fortunately I can make adjustments because I photographed the under painting. I was at Point Richmond and happy to be free of obligations for a while when I painted this. I used Fisher400 Art Paper as my surface. As to pastels I used Terry Ludwig and Rembrandt's. My desire here was to focus on the reflections in the pond and the limited foreground shadows.

Golden Gate From Richmond

I painted this watercolor at Point Richmond in northern California. I first did a sketch in my book in conte and charcoal on site. I then drew my composition onto Canson's Moulin du Roy watercolor paper, wet it down and charged in the color. I used this technique for my watercolors during this holiday season. I used a variety of papers. This surface was the most interesting for me. I loved the way the paint worked on the paper. I have to say that this product is the best watercolor paper that I have ever worked with. I found it in Fort Bragg, California a year ago. When I was there for my birthday this year I bought their entire stock on the shelf.

Bay Side Rocks

I was sitting facing the water trying to find a subject. I looked to the rocks.

Yellow Earrings

This is another sketch from the Thanksgiving Holidays. My aunt Mary Lou was wearing the earrings. People are watching television in the background. My shoulder is again in the foreground. The others are watching the domino game. The initial drawing was done in graphite. I later added the watercolor with an eye towards leaving evidence of the drawing.