color chart 5 - bluff

This is a custom color by Varsari and part of the Scott Christensen palette. It is called Bluff. Very nice mixtures.

color chart 4 - permanent bright red

The fourth chart, permanent bright red

color chart 3 - ultramarine blue

Here is ultramarine blue mixed with the rest of the palette and tinted.

I love this video. Wish there was a school like this where I grew up.

scene in: duke ellington school - Google Videos

color chart 2 - cadmium pale lemon

This chart shows Cad Pale Lemon mixed with the other colors of the palette then tinted down four steps.

color chart 1 - full palette

This is a chart showing each color of the palette as it comes from the tube followed by four tints.

a new venture

A week or so ago, I learned that one of my paintings was juried into the American Impressionists Society annual exhibition that will take place in Denver, Colorado–my former home. It will be strange to go back after all these years and even more strange to be exhibiting there. All the same, I'm very excited for this opportunity and very much looking forward to spending a week in Colorado.

In conjunction with the exhibition, AIS offers a couple workshops. I've decided to take the Scott Christensen plein air workshop. I wasn't cheap and what was more shocking was the cost of the supply list. The workshop is an OIL painting workshop and I am not an oil painter other than a few times a year when it's too cold or wet to paint outdoors with pastels. Why am I taking an oil painting workshop? Lots of reasons. First, Scott Christensen is an amazing landscape artist and whether or not I continue in oil I'm sure I'll learn many fundamentals of painting that are relevant for any medium. Second, I like a challenge. Scott's palette is different from anything that I've used before with the primaries, white, and eight grays (custom mixed for him by Vasari). It is a beautiful palette and from what I understand an extraordinary paint.

The paint arrived yesterday and I excitedly opened the large shipping box. Inside I find three smaller boxes. Two simple corrugated boxes containing the primaries and white and a larger box with beautiful gold embossed VASARI label. I open it and find eight tubes where the labels are marked with actual paint samples... works of art. Now, those tubes of paint displayed on my workbench and I wonder, "Where do I begin?" Logical as I am I tell myself, "At the beginning, goofy." And, from the bookshelf I retrieve Richard Schmid's Alla Prima. I thumb through the pages until I find what I'm looking for—Color Charts. That's where I'll begin.

With the paints displayed, I begin applying gesso (two coats each side) to 1/4-inch acid-free foam board. When it was dry, I began applying black artists tape (trimmed to 1/4-inch strips, approx.) to create 1-inch squares. I have 11 tubes of paint and I need 12 boards. I'll keep you posted as this project progresses.

a work in progress continues

I started laying in color with the idea that the final piece will focus on the house and the azaleas. I'm painting on a Wallis Belgian Mist and I used a size that is larger than what I expect the final piece to be. My client asked that the house be bright. The architecture and landscape don't show much of the home except for the roof which isn't very interesting. When I first painted the roof it seemed dominant so I toned it down and accentuated to light on the bricks. The light is not exactly realistic but I hope it's believable and meets the client's request.



This is one of the images that I sent to the client for review. I think the painting is about 90% complete. I'll put it on the rail for a while and wait for feedback from my client. Before I sign it, I may—or may not—make some adjustments and call it resolved.

a work in progress

I'm working on a commissioned house portrait and thought it would be fun to post images as I work through the piece.


This is one of the photos that I was give as reference. There are several photos taken in various seasons and times of day. I like this one because I can see much of the structure and was able to work our the proportions of the house using this and the other photos.



The thumbnail with the proportions from which I made my larger drawing. When breaking the building down to a grid I figured the house is two squares high by 13 squares wide. When dividing each square into thirds, I learn that size and placement of windows/doors fall in those thirds.



This is the drawing done from the thumbnail. From here I'll begin applying pastel. This gives me an accurate rendering of the structure before I begin painting. This seems a little tight but I'm sure it will loosen up as begin the painting.

no thanks, i'd rather walk.

Rush Hour Subway

thanks to the maryland pastel society

Today, I was honored and humbled to critiqued for the Maryland Pastel Society. Honored to have been asked to serve in such a way and humbled to provide constructive criticism for such fine work. Everything I saw was deserving of praise. Moreover, there were works--in my opinion--that needed little more than a frame. Bravo, MPS!

[Posted with iBlogger from my iPhone]

my new studio

A view of my new studio.

Here's my green chair and my office. Notice the giant paintbrush in the corner.

The Door of Fame and my office. Sorry about the garbage on the floor. I haven't taken it out yet.

A wall of paintings. I think you need one on your wall. Don't you?

My easel with the beginnings of a new piece.

studio lighting

By July 1 I'll be moving into a new studio space within the Columbia Pike Artist Studios in Arlington. I've been there one year--time flies--and quickly outgrew my 170 square foot studio. My space is about double in size. Unfortunately, my new space is an interior space without windows or natural light. To light the space I'll replace the current fluorescent and incandescent bulbs with full-spectrum tubes and CFLs (compact fluorescent bulbs).

At this point, I think I know more about lighting than I ever thought I would or cared to know. However, it is all very interesting. The way I understand it is: the color temperature of light is measured in kelvins (K). The thing to remember is a lower number equals warmer (yellow) light and a higher number equals cooler (blue) light. Sunlight at noon on a clear day is approximately 6500K and a standard incandescent bulbs measures around 3000K. Full spectrum lighting measures at 5000K and higher. So if that isn't enough to think about, we need to talk about the color rendering index (CRI), which a rating that measures the rendering ability of light on a scale of 1 to 100. Sunlight at noon measures 100.

The lighting I plan to use in my studio measure in at 5900K and 94 CRI. These are the closest to natural light that I can find. They're not cheap to purchase but the savings for switching to CFLs should be reflected on my electric bills. According to an online CFL savings calculator my electricity costs will be reduced by more than $20 per month saving more more than $2,000 over the life of the bulbs. Check it out, http://www.e3living.com/cfl-savings-calculator.

day two from the Frederick Festival of the Arts

This is the second day of the FFoA. It's a wonderful venue and the crowds are good yesterday. I had a lot of positive feedback that referenced, "old world paintings," Cezanne and Monet. Flattering but how do you compare your own work to the masters.

Here's looking forward to a great day with lots of collectors.

Mobile Blogging from here.

[Posted with iBlogger from my iPhone]

lots going on

The past weeks have been quite busy with preparations for shows, festivals and the move of my studio. Luckily, the move is just down the hall. As of July 1, I'll be in a larger studio that will allow me to do so much more in my studio. For those of you who have seen my studio know that it's quite cozy and when preparing for a show or festival I spread out into the hallway. That should be a thing of the past.

This painting is a new piece that I did for a show titled Washington, DC en Plein Air. It opens next week at American Painting in the District. The painting is of the Tidal Basin and bridge (Ohio Ave, I think) while the cherry blossoms are in full bloom. While the blossoms are prominent in the piece, they are not the focal point. I wanted to include them but my goal was to make them secondary to the bridge... more specifically the light on the bridge.

working

Wow. With jim's help, the framing for my Cumberland show is complete. I planned to have at least 30 pieces foe the show since i'm filling several rooms and the final count is 44. I can't believe it. And I wonder why I'm tired.

[Posted with iBlogger from my iPhone]

perfect weather

I love days like today. In my opinion, the weather today is perfect. I enjoy four a week with a little fog and rain mixed in.

[Posted with iBlogger from my iPhone]

explosions of color

For our monthly paint out, the Washington Society of Landscape Painters painted at the US National Arboretum in Washington, DC. This was my first visit to the Arboretum and I don't know what took me so long getting there. This is my fourth spring living in the DC area and I never discovered the place. Everywhere you turn there is a painting begging to be painted and it’s FREE.

I'm not a floral painter but as a landscape painter flowers are often element in my compositions; yet, today a flowering azalea bush became my muse. On a search for a suitable subject, I was hiking along the path in the azalea garden when I rounded the path and came upon an azalea bush that was glowing fuchsia in morning light—it stopped me in my tracks. The path before me was dappled sun puddles and the shadows were long. Going any further was pointless.

Knowing that the morning light changes quickly, I set up my kit choosing a smaller board (9x12). I began blocking in the piece and bypassed my usual underpainting because I didn't what to loose the light while the underpainting dried. The light was changing rapidly which spurred me on to paint faster.

Aside from the rapidly changing light, I was faced with the problem of not having the right value of pink for the highlights in the azalea bush. Instead, I chose a warm orange color in a similar value. Overall, I think it worked. How abut you?

If you've never been to see the azaleas in bloom, you must go and it's not too late to see them this spring.

the rebirth of spirng

Blooming flowers, longer days, cherry blossoms, sunshine, dogwood, sun showers, big billowy clouds against blue skies, drinking wine on the balcony with friends, and painting, what’s not to love about spring.

Admittedly, winters in the DC area are nothing compared to those of some of the other places I’ve lived, Chicago, Denver, and Milwaukee, but there’s the same sense of lethargic hibernation that occurs for me regardless of my domicile. Mostly, I don’t like to be cold.

So far this spring temperatures have been cooler and it seems to me that we’ve had a lot of rain. That hasn’t stopped the seasonal rebirth from occurring. The colors are spectacular as the budding trees glow their golden green in the sun and the recently barren earth bursts with a dappled array of color.

As I’m painting this spring, I reminded that my plein air kit needs an adjustment from a winter to a spring palette; swapping out the grayed hues for brighter greens and a larger variety of pinks, purples, and blues. It’s just another reminder of rebirth and growth. A time to venture into new landscapes and embrace the experiences that will shape who we are as people and artists tomorrow.

"All children are artists. The problem is how to remain an artist once he grows up." —Pablo Picasso

fine art reproductions

In recent weeks, I was approached by a potential corporate client that is interested in my work. Unfortunately, they do not have a budget to purchase original works for their offices and have asked if I have or would consider having reproductions done of my work. For some, this may seem like a no brainer; and for others, Giclée prints are out of the question.

As an artist and former gallery owner, I’ve maintained a mantra, “always buy original art.” Art is my livelihood and I worry that doing reproductions of my work may diminish my reputation and the value of my originals. However, as a small business owner—yes, artists are small business owners—trying to make ends meet in this economic climate, I understand the importance in meeting the wants and needs of my existing clientele as well as the need to branch out to other markets. Moreover, I understand the need to produce works in varying sizes so that I am hitting a variety of price points.

In doing reproductions, I will be reaching out to different markets. There is a market for fine art reproductions. In fact, I know a couple who are financially able to purchase original art but claim that by collecting reproductions their collection is extensive and diverse allowing them to rotate pieces and not feel too bad about getting rid of something if it no longer holds their interest. Included in this group of collectors are those art lovers with limited discretionary income. Buying fine art reproductions allows them to live with works with which they relate that fits within their budget.

So, now that I’ve justified why I should have some reproductions done, can I overcome my negativity and reach out to a broader market? I think so.

There is an interesting article by artist Mamata B. Herland titled, The Impact of Giclée: A shift towards digital print in future art on Lux Art & Design's website.