Belle Meade Bridge - 11x14 - oil on Belgian linen
painted en plein air in belle meade, tennessee.
Belle Meade Bridge - 11x14 - oil on Belgian linen
winter plein air
At long last! Tennessee actually got some real snow. And it actually covered the grass. And it actually hung around for at least a couple of days. Here in Tennessee, weather like this is extremely rare and it shuts everything down. The pandemonium that ensues will never cease to amaze me. Having grown up in the north, I happen to love the snow—wish we could get more of it. But I love it even more now that I have done my first plein air in it. It was a lot of fun. Hope you like it. It's my first in the snow.
Winter Plein Air - 8x10 - oil on Belgian linen
Winter Plein Air — 8x10 — oil on Belgian linen
Pêcheur à Marée Basse - 24x36 - oil on belgian linen
new painting — january 2010
Pêcheur à Marée Basse — 24x36, oil on Belgian linen
A couple years ago, my wife and I traveled to Zegama, Spain to be used in some short term mission work with the Bonikowski's—missionaries to the Basque region. Some of our time there included an excursion just over the border into Biarritz, France, where I encountered real french crepes like my wife makes and this weathered fisherman on the Atlantic coast. At low tide, these pools were full of fish and other sea creatures, hiding in the shadows and clefts.
A little about the process:
I began first by giving attention to the composition and design of the painting. While it is based on a photograph, it is heavily edited and altered for color, lighting, and compositional interest. Next, I concentrate on solid form and drawing before any paint is applied. When the drawing is correct, i move into the painting, always attempting to paint with as much speed as accuracy will allow. Brushwork techniques range from thin scumbling to wet, alla prima brushwork. I aim to keep the edges and brushwork loose, then, around the center of interest, tighten up details. The materials are a range of oil paints of various brand and color, brushes ranging from medum and large bristle flats to langnickels and sable rounds for details.
new painting
Christiana | 16x20 | oil on linen
children's portrait - part 3
*see part 1 here* well, i neglected to stay on top of taking progress photos, so what you see here is the final painting. I think it's fitting to mention here that this piece is generally tighter than I am usually aiming for, yet appropriate, i believe, for a commissioned portrait. I am pleased overall with the results and i enjoyed even the small struggles and problem-solving situations that came with it. It is all part of the experience and constant growing process.
The first thumbnail (portrait detail 1) is one of my favorite parts of the painting, particularly the child's left arm. What i like about it is the broken brushwork and how few brushstrokes there actually are. I also enjoyed the color temperature subtleties in the shadows of the pillar.
Painting the faces 80-95% in shadow proved to be quite difficult. I've made a mental note to start photo shoots earlier in the day, which lends itself to lower angle, softer lighting.
Welp, on to the next painting.