This Blog has moved...

This blog is archived and continues HERE

Betsey Nelson

Small Designs

Small prepretory paintings are a good way to discover if a full size painting is going to work. sometimes i do these in one stretch over a week sometimes just one at a time just before the actual painting. The more experience I have painting, the more I try to distill into the essential, trying to let go of the story and just PAINT. Especially when I do the small sketches I start to grasp what a painting can actually be and I get closer to the painter I want to become.
Betsey Nelson is offering a weekend workshop in the landscape painting as design this "Art Experience" is offered through the Sedona Arts Center Jan 23 & 24, 2010. For details click HERE.

Margaret Dyer

When this friend of mine needs a little extra cash, she'll pose for me. We'll open a bottle of wine, she'll take her clothes off, and I'll get lots of photos for reference to work from for weeks ahead. Fortunately for me, some people are comfortable without clothes. I, however, am the extreme opposite. Funny that I should make my living painting the figure.
Margaret Dyer is teaching a workshop with the Sedona Arts Center this spring, "The Figure in Pastels" March 22-26. Details here.

Adrian Grenier Paints a "Loving Bowl"

Adrian Grenier – star of HBO’s “Entourage” visited Dennis Ott, the Ceramics Dept Head, at the Sedona Arts Center to paint a ‘Loving Bowl’ for the charity event. “Celebrity Artists” bowls are being sold in a silent auction on Dec 4 starting at 5pm and ending at 7:30 at the Sedona Arts Center’s community exhibition gallery. Over 400 one-of-a-kind ceramic bowls will be sold during the two day event benefiting the Sedona Community Center, Sedona Arts Center and Cottonwood’s Old Town Mission.

Dennis Ott teaches ongoing ceramics classes at the Sedona Arts Center as well as a 5 day Clay Immersion workshop each May.

Susie Reed

Roses at the Farmer's Market
© Susie Reed

PHOTO TIPS
by Susie Reed
Photography creates a window through which we can view and learn about the world. No matter what the subject matter or software - it’s the photographer’s decisions about how to use their camera and photo software that makes the biggest difference. All the sophisticated, modern, digital technology in the world can’t surpass the judgment and keen eye of a good photographer.
The decisive moment when a picture is taken is the most important part of the photographic process. It’s what all else in photography revolves around. Today’s cameras and software offer so many automated options it seems they can do a lot of thinking for us, but they don’t have the instincts and sensitivity people do.
One of the best photo tips I can offer is to get familiar enough with your camera that operating it becomes second nature. This will enable you to concentrate more fully on your subject, resulting in better pictures. Some photographers get so wrapped up looking at their LCD screen and fiddling with camera settings they miss what’s before them. As much as possible you want to engage with whom or what they’re photographing. You don’t need to just focus your camera; you need to focus your attention as well.
If you’re photographing people be quick, take both posed and un-posed shots. Sometimes the most interesting, revealing interactions occur while you’re setting up pictures.Take a lot of pictures. It ups your odds of getting good photos. People often calm down after the first few shots, which can enable you to capture more natural looking shots.
Photography is an exercise in seeing and reacting.
Autofocus on cameras is great feature, but it doesn’t always work to a photographer’s advantage. A camera sensor can’t necessarily distinguish what in the picture you want to focus on. It’s not a mind reader... If your camera isn’t focusing where you want, switch it to manual focus and adjust the lens yourself. Remember to switch the camera back to autofocus when you’re done so you don’t continue to take pictures thinking the camera is utilizing autofocus when it is not. You can find how to turn on and off autofocus in your camera manual.
You shouldn’t place yourself in a position where you need to apologize nor should you be too timid. Treat your subjects with respect. How you approach them will be reflected in your photos. If you make picture taking a fun, comfortable experience you’ll get better results.
I continue to learn and push the boundaries of my photography, even after being a photographer for over 30 years. I always find there’s more to discover from my subjects and equipment. For me, deepening my knowledge of Photoshop is like a painter adding colors to his pallet. It gives me more options to choose from to enhance and enrich my images.

Award winning Sedona photographer Susie Reed over 30 years experience as a fine art and commercial photographer. She’s taught at San Francisco Art Institute, California College of Arts and Crafts and is currently on the faculty of the Sedona Arts Center. As the recipient of a Sedona Arts and Cultural Commission Artist Project Grant, some of her critically acclaimed photographs of Southwestern rock art to be permanently displayed in Sedona Visitor Centers. In addition to taking pictures of prehistoric rock art Susie Reed also loves photographing landscapes, flowers, vineyards and Farmer’s Markets.
Susie Reed will be teaching a photo workshop
at the Sedona Arts Center on January 23, 2010.
Click here for details or to register online.
To visit her website click here.
To view Susie Reed’s new 2010 Southwest Rock Art calendar click here.

© Susie Reed

Polly Cullen

Fishing Net 12x18 watercolor and pastel

I worked from a photo I took in the early morning light. I enjoyed the glow on the foreground, the nets and the fisherman. i stayed quite literal with my charcoal drawing, adding the cross and enlarging the trees in the upper right quadrant to add balance and interest to the composition. next I applied a washy watercolor underpainting with lots of pinks and oranges to hopefully glow and shimmer through the pastel layers. I then worked the entire surface with layers of pastel. I wanted to emphasize the contrast betwen the cool offwhite building and the warm glow of the white boat. My goal in the early stages of pastel application was to set the stage for the mood of the sky, the translucence of the nets and a morning glow throughout the piece. I worked back and forth between warms and cools and further established values. The final layers are so much fun! I finally let the extreme lights, the highlights and the flourishes have their way. It was a fun painting process from the first charcoal to the last pastel stroke.

Airport Lines 18x24 Watercolor and Pastel

Polly Cullen is known for her ability to capture everyday life in rich color. She teaches a 4 day workshop using watercolor underpainting and pastels on a variety of surfaces. "Shimmer and Glow with Pastels" occurs in December at the Sedona Arts Center. See the details HERE.

Susan Pitcairn

"Stepping In" 24x24 oil on canvas

Deepen Your Landscapes with Poetry

Living in Sedona, Arizona, it’s easy to become enchanted by its magical landscapes. Sedona's towering red spires, mystical panoramas and dramatic skies are an ever-fascinating inspiration for painters. When I first moved here to return to art full-time, I took a plein air landscape workshop with John Cogan. He emphasized that every good painting tells a story, and that every part of the painting must support that story. One day at Red Rock Crossing he asked me to reflect on the question, “What is it about Sedona that inspires you? What is the story that it tells you?” Until then I had never exactly thought about why Sedona (or any place) was so inspiring. It was just, well… beautiful. But here was an intriguing question, one that every artist, poet or musician should ask themselves about those things they find inspiring. So as we gazed at the spires of Cathedral Rock reflected in the autumn waters of Oak Creek, I paused to consider the question...
and before I knew it, out of my mouth poured a stream of spontaneous insights about how this landscape spoke to me:

“Well, we know that opposites on the color wheel create harmony. And here in Sedona the rusty orange rocks and turquoise skies are a naturally perfect harmony."
I paused again to consider the beauty before us.
“And just look at the textural contrasts here! There are vast skies with soft clouds, versus rough, hard rocks. And look at the directional contrast between the hard vertical spires of the rocks and the horizontal, reflective surface of the water right here at this place that draws so many people. Wow, what perfect opposites!”
“Really," I continued with the excitement of discovery, "such contrasts and opposites, and the balance between them, are the underlying essence of the universe. They are everywhere: night and day, warm and cold, male and female, protons and electrons, right and left, plant and animal. It goes on and on!"

A NEW WAY OF WORKING

Earlier in my life I’d had glimmerings of the symbolism in nature. But from that pivotal moment, I nearly always look for the deeper qualities in the landscapes that attract my attention. And often, I write poetry to help me explore that. In a way, every part of nature has a story to tell, one with complex and ancient origins stretching back to the beginning of the universe itself. Such a story is truly mysterious, forever beyond our ability to fully understand.
Nevertheless, nature speaks to us constantly and we can hear some part of its story if we but listen. The vastness of the sky, for example, may speak of life’s mysteries and the unfettered spaciousness of those moments in which our thoughts quiet down and we may sense a quality of the sacred. A towering tree may speak to us of inner strength, of endurance, or of balance, as it is both deeply rooted in the earth and reaching for the sky.
Grand Canyon scenes often speak to me of the process of surrender, the edge between structure and the formless, the beauty of the act of letting go. The inevitable processes of wind, rain, snow and time inevitably wear down layer after layer of the Canyon’s ancient rocks, carrying it piece by piece to a distant ocean. Likewise, life is a process of constant change, ultimately taking from us all that we try to hold onto forever.

One of my favorite poems, “Surrender” was written to accompany an acrylic that placed in the 2007 Paint the Parks competition. Both express the way that vast spaces invite us to let go of all that does not truly matter. A golden bluff of limestone clings tenuously to the South Rim of the Grand Canyon on a late winter afternoon. Though these rocks have existed for eons, gradually even they erode and wash into the mystery of the light-filled distance:

Surrender

So golden each moment,
So utterly clear
To stand on the edge of creation.
So joyous that surrender to eternity.
Love is not optional.
Love is infinite gravity.
Each moment we live on the edge.
Cling we may to the rock of will,
But its fate is written into its making:
Surrender is not optional.
Surrender to time and trust,
To wind and breath,
To water and soul.
Like rain we flow into
The greatness of Being,
Into the indigo,
Into the every,
Into the All.
It's love that pulls us,
Light that leads us.
Let us go
Let go.


Recently I compiled many of my Southwest paintings and poems in book form to share the inspiration and strength that I derive from nature ("The Poetry of Place," 2009) is just the start of much more to come. I also now offer a workshop on how to incorporate this process into plein air painting, through the Sedona Arts Center, "The Heart of Landscape Art").

THE PROCESS

There are no hard and fast rules to writing poetry or journaling as a means to deepen your connection with your subject. Mostly, it simply requires a clear intention and a passion for doing so. Sometimes I've just taken a break from my easel and waded into a creek, pocket notebook in hand, scribbling poem after poem, knee deep in water and literally "in the flow."

But tools and exercises can certainly help. For example:

1. Find something in nature that attracts you.
2. Quiet down and listen, pen in hand, with the intent to understand what draws you to this scene and what it may be showing you.
3. Write down the first words or phrases that come to mind, no matter how odd they may seem.
4. Keep writing, uncensored, until you feel done (later on you can polish the wordsmithing if you care to do so).
5. Invite inner guidance as to how to best use composition, line, color, direction, values and textures to emphasize and express the inner story or meaning you want to communicate (and it may also help to explain it to a fellow artist and get feedback).
6. Consider listening to inspiring music as you work. I find this very helpful and bring my IPod along when I paint outdoors.

You can employ this process before you paint, while you are painting (indoors or out), or even years after you have completed a painting.

In the latter case, just sit back in a comfortable chair with your pen and paper and ask yourself the same questions: “What speaks to me here? How does this inspire me?”

Finally, appreciate that whatever inspires you will usually inspire others. After all, we humans are much the same. In my own experience, I nearly always find that my most popular paintings and images are those in which I’ve taken the time to connect with my subject in this inner manner.

You need not be a poet laureate to play with this process, and you may or may not want to share whatever you write or think about the inspiration behind your work.

But if you play with this process I think you will find that it enriches your life as an artist. And ultimately, that matters far more than the outer rewards of producing a nice painting, getting praise, winning awards or making sales.

Art, after all, is really a matter of the heart, a matter of the spirit. Be true to that calling, and the rest will follow.

Betsey Nelson - Plein air class

Doni Suggs (artist)

This is another piece created during a plein air painting workshop.
This piece is an acrylic. Doni did several nice clean pieces. Getting her to pay attention to values and temperature was pretty easy. Sometimes a little of the right direction goes a long way.

Betsey Nelson- plein air class

Roy Gould (artist)


Connie Willey (artist)



These are paintings done by two students who participated in two of the four plein air workshops that i taught. The first painting is an acrylic the second an oil. Due to unusually cold conditions we were forced to paint inside much of the workshop. Two days out of the four were warm enough to paint outside though for the way i teach it didn't really matter. All four workshops were full and all of the artists had a wonderful willingness to just go for it and try painting, thinking, seeing everything a bit differently.
These workshops were held in conjunction with the sedona plein air arts festival. and were all one day workshops.
Thank you to all the volunteer assistents for all their help and the m. graham paint company for providing the paint.
Please join us next year and through out the year as sedona arts center is always running day, two day, or week long or once a week classes in all media and all levels from beginner to advanced.

Michael Chesley Johnson - Stormy Autumn

I am now down to the final days before heading off to Sedona for the Sedona Plein Air Festival (www.sedonapleinairfestival.com). Besides tying up loose ends, I'll be going through my painting gear to see what I absolutely must take, and what I can leave behind. What with today's air travel restrictions, the less luggage I can tote, the better. I dream of someday flying unecumbered with nothing more than the shirt on my back!

A few days ago, I took some local students out on a one-day painting adventure. Rain never seemed far off, but they braved the raw wind to paint. On the lee side of the island, I found a sheltered nook near the Upper Duck Pond where we could paint. I did the above 5x7 demo in pastel. Bad weather aside, it was a beautiful day for clouds!

- Michael Chesley Johnson

www.MichaelChesleyJohnson.com

Carol Marine - "Foggy Cows"

Carol Marine - "Foggy Cows" - 6x6in. - sold

I was in Germany recently for 3 weeks. It was lovely but I got only one week of sunshine! After sulking a bit and feeling sorry for myself I realized I just had to get out in the fog and drizzle and make the best of it.

Michael Chesley Johnson - Mountain Shadows

"Sun & Shadow," 9x12, pastel

How do you depict peek-a-boo sunshine on the hills? Lately, here in New England and the Canadian Maritimes, we've had a lot of clouds. They make for some wonderful patterns of sun and shadow on the hillsides.

The trick with depicting this kind of sun and shadow lies in controlling the contrast of light and dark. We are so pulled in by the brilliant patches of sunlight that they seem brighter than they are. But if you paint them too bright, they will merge with the bright sky and no longer seem to be part of the hill. Also, watch the color temperature. Although there were some rich spots of fall foliage in this scene, they were cooler in temperature than sunlit trees closer by. As you can see in the painting, these were more of a red-violet than red or orange. To further enhance the light on the hills, I kept the foreground dark and mysterious. (9x12, pastel)

Michael Chesley Johnson - www.MichaelChesleyJohnson.com - http://mchesleyjohnson.blogspot.com

Betsey Nelson- End of the day Utah

Betsey Nelson - End of the day UT 8x10 oil on canvas board $485
Returning to areas, photos, or still life set ups that you once dismissed as material for a painting is always a good idea. You may very well change your mind either because your eye is better trained or your palette more comparable to the scene now or your other skills have improved to be able to do the subject justice. Returning again and again through the years may also improve enlightening.

Michael Chesley Johnson - Surfaces

"Ebb Tide" 9x12, pastel

Lately, I've been experimenting with grounds for oil painting, but this week I diverged and began to play with pastel grounds. I decided to salvage some of the hardboard panels that I had prepped for oil painting with three coats of Blick Master Gesso - it's a surface that, as I've said elsewhere, is too slick for my way of oil painting - by adding added two coats of Golden Acrylic Ground for Pastels. I ended up with a surface with a medium amount of grit to it.

It doesn't hold the pastel as well as Wallis paper, and because it doesn't have as fine a tooth, it is best suited for broad applications of pastel rather than detail work. Also, it "grabs" softer pastel better than hard pastel. For this one, I used mostly Mount Vision pastels. I really like the simple, large shapes and implied detail.

Michael

www.MichaelChesleyJohnson.com

http://mchesleyjohnson.blogspot.com

Vince Fazio - Edge of the World

The title of this one evokes the feeling of the South Rim of the Grand Canyon and the series that I have been exploring in my paintings of this amazing place. This particular spot will be familiar to any of those that have hiked down the Kaibab Trail.

Please Email me for purchase information.

Betsey Nelson- Working for Design

Betsey Nelson- Working for design 16x12

Sometimes painting isn't about creating a painting. Sometimes it is just experimenting with color, line, value, temperature or a combination of all to bring to the fore front work on design. For me my painting needs to re-evaluated to strengthen my work. This is one of those 'works". A nod to simplicity.

Michael Chesley Johnson - Afternoon Delight

"Cobscook Bay Afternoon" 5x7, pastel

Now and then, when you find the stress of painting too much, you need to go visit a friend. Take your painting gear, so you can paint while you chat. There's nothing like it! While the verbal half of the mind is engaged, the artistic half can have a field day. I went out to visit my friends who were camping at Cobscook Bay, where I set up in the shade with a cool breeze and a folding chair to sit in. I chose pastel rather than oil because there's just a lot less fuss with pastel. All that, plus a glass of wine - what a perfect afternoon!

Michael Chesley Johnson
www.MichaelChesleyJohnson.com - http://mchesleyjohnson.blogspot.com

Libby Caldwell - Angel

16" x 20", Oil on Panel, $550

The mood I wanted for this piece was simple, classic, and calm. I chose 2 colors: raw umber and french ultramarine, and kept the paint thin and quite brushy. No re-working of any areas as it was painted on a slightly absorbent ground, giving me the fresco effect I was looking for.

Please Email me for purchase information.

Carol Marine - "Vibracolor Apples"

Carol Marine - "Vibracolor Apples" - 6x6in. - nfs

Recently I did an experiment with color where I put down random colors instead of the ones I saw. What I found is that as long as I kept the values accurate, I could make the colors whatever I wanted! This is something I had been wanting to try for a quite a while but something in me just couldn't let go of "reality".

Michael Chesley Johnson - Late Summer Hues

As we get closer to the end of summer, the color of things change. Reds begin to show in the deciduous trees, and yellows begin to show in the grasses. On Campobello Island, where I live in the Canadian Maritimes, the marsh grasses have already started to change. A decidedly yellow cast has appeared, but still some subtle greens show. Here's a little sketch I did in oil yesterday to capture this transistional time. If you click to enlarge and then look at the grasses below the large tree shapes on the left, you'll see what I mean.

"Late Summer Grasses" 5x7, oil/panel

Michael Chesley Johnson MPAC PSA PSNM

Michael's Blog

Libby Caldwell - Edge of the Garden

Oil on Canvas, 18" x 24"
As this painting evolved I painted out areas of background and foreground accentuating the figure. I wouldn't usually eliminate distance in a painting, but in this case I used the dark area as a sharp contrast against the sunlit flowers.

Michael Chesley Johnson - Painting Fog

On foggy days, what subject is best? Well, you certainly don't want to try painting a broad vista! When we have fog, I look for something colorful, like a boat or building, or a close-up view of the natural landscape. Even on the foggiest days, the world right at your feet often features a great deal of warm, exciting color.

Yesterday, we had persistent fog, so I took the workshop out to Herring Cove, where I knew there'd be some good color in the grasses. I did these two small paintings, playing with the composition but keeping the same palette for each.

Michael Chesley Johnson - www.MichaelChesleyJohnson.com

Betsey Nelson-The Look Back

Betsey Nelson-The Look Back 10x8 oil on canvas $475
Sometimes simple subject matter makes the best paintings. The less said in the painting and the better said is important.

Michael Chesley Johnson - Sketching in the Field

Most of us don't sketch as much as we should. In a recent newsletter, Canadian artist Robert Genn remarked that he doesn't sketch anymore. (Read it here.) I, too, rarely find time to sketch. Time is so taken up with painting and the business of painting. But when I teach outdoor workshops, I always have my sketchbook with me. Partly, it's for doing thumbnail sketches in preparation for painting. But when the workshop is small, I often have time between visiting students at their easels to do a little drawing, too. I also find it useful to illustrate concepts for individual students when they're having some difficulty.

Above is one page from my sketchbook.

After a Dusty Rain

Oil on canvas 18x24

This is from a spot on the South Rim where I found myself in the rain after a day of painting. I ended up waiting and waiting to see if the sun was going to make that one last appearance where it shoots a beam of light up the canyon from under the clouds. Just long enough in this case to get a couple photos to interprete.

Please Email me for purchase information.

Michael Chesley Johnson - Color Studies from Photos

Most of you know how I dislike to paint from photos. However, when I'm forced to do so because of the weather, I like to use a little trick to spice up the color.

Below is a grid of four small color pastel studies I did based on a photo. (These images are from an exercise I did with a student yesterday; you can click on the image to see it larger.) The top left photo (#1) shows a sketch that I did in full-color directly from the photo. This is how most of us, I suspect, paint from photos. I tried to analyze the color as best I could. It was OK, but the color is a bit ho-hum.

In order to find a process that would make the color more exciting, I stepped back a bit to basics. First, in #2, I did a simple value sketch in four values. Next, in #3, I analyzed my value sketch and selected cool colors for the two dark values and warm colors for the two light values. I purposely selected colors that I didn't see in the photo. Finally, in #4, I made a copy of #3 and then used the colors I did see (the "local color") to layer over these. In my mind, #4 has richer, more interesting color than what is happening in the cut-and-dried #1.

To be sure, this is a gimmick - but sometimes coffee and rock-and-roll just aren't enough to liven up a rainy studio day!

Morning Greys

Oil on canvas 12x16 $250

I'm exploring more greys and earth tones lately and feeling good about the atmospherics. This started as a plein air study and was taken further back in the studio.

Please Email me for purchase information.

Betsey Nelson - Parade Day

Betsey Nelson - Parade Day 10x8 $400

This a piece where the thought was more on color and flow than on subject.
Design should be the end all be all in painting.

Carol Marine - "Good Times Roll"

Carol Marine - "Good Times Roll" - 6x6in. - sold

This is the sort of thing I did when I first started painting small still life studies. Before I started buying panels, I was cutting up small peices of pre-primed canvas and taping them to a larger peice of plywood. I threw most of them away. I think that's a great, cheap way to paint when you're starting out and/or just want to experiment without feeling the weight of expensive materials and the fear of failure that comes along with it.

Michael Chesley Johnson - More Boats

"The Lucy B" 12x16, oil/canvas

Rainy weather drives us outdoor painters into the studio. When I'm in the studio, I sometimes find working from a single photo to be a dull exercise. I like to liven things up a bit by combining photos. Here are two photos I used for "The Lucy B," above. Can you spot the two elements I pulled from each?

Betsey Nelson - End Of The Day

Betsey Nelson-End Of The Day 7x5 $230
After a day of doing larger paintings it is nice to just quickly do a nice fluid small painting.
The thing is to keep it simple but strong.

Michael Chesley Johnson - About Boats

"The Simone & Rachel" 16x20, oil, en plein air

I've been painting boats lately. Boats can be complicated - they're full of compound curves. And boats can be undependable, because they go up and down with the tides, and they are likely to vanish when the fishermen show up for work. But I enjoy them. I like their shapes, especially when I have a big canvas and can let my whole arm swing as I sketch in their curves. I also like their proportions and consider them a worthy challenge. It's a good feeling when everything comes together just right!

The best boats to paint are the ones that are beached. If you can catch them at low tide, they will stay beached - it's not until the tide floats them that there's any chance of them being put to work. Today, I went over to Lubec, Maine, to paint en plein air the "Simone & Rachel," which is exactly that kind of boat. I've seen it at low tide several times, and I reckoned that at today's low tide, it'd be there again.

Once I got it back to the studio, I spent the afternoon adjusting values and edges.

Libby Caldwell - The Brave Little Boxer

Oil on Panel, 18" x 24"
Had great fun painting this dog - especially his face. I handled the painting of the face with short squishy strokes - rather like the shape and feel of the face itself. The water was painted surprisingly fast using thin paint. I used a palette of 6 colors.

Michael Chesley Johnson - Using Greys

Lately, I've come to love the use of grey, whether it's in oil or pastel. I've started using neutral greys to moderate strong color, rather than that color's complement. We've always been taught how a complement can neutralize a color. In my experience, the complement doesn't quite "kill" the color and, in fact, can often lead to an unintended color that doesn't quite fit the painting. Using a neutral grey, however, does the trick. It dulls the color perfectly. I suppose this is obvious to anyone who's academy-trained, but for me, this was a discovery and a real eye-opener!

For my pastel greys, I've been using the greys from the full Polychromos set and the set of 12 greys in the NuPastels. For oil greys, try the Gamblin "Portland" greys, which come in three values.

"Two Boats" 5x7, pastel

"Bernard Harbor," 8x10, oil

Vince Fazio - A Palette Knife Experiment

Oil on canvas 16x20 $300

This painting is almost all done with the palette knife, though it is a Sedona scene it somehow resonates as a colonial sort of thing.

Please Email me for purchase information.

Betsey Nelson-Full Sun

Betsey Nelson - Full Sun 12x9 oil $625
This is a quick start-painting. I usually work on something with a lot if intensity and get almost done (or done). I then leave the piece and come back with a fresh eye and try to clean up, strengthen or restate. Sometimes it needs nothing but a signature.

Carol Marine - "Standout"

Carol Marine - "Standout" - 6x6in. - buy, $100

Recently my friend Qiang Huang, another daily painter, gave me several sheets of thin blue plastic that I taped to the front of my "daylight" spotlight lamp (a fairly yellow light, even though it's called daylight). This turns the light almost completely white - near enough - which I am really enjoying! If this is something you'd be interested in, Qiang's 10-yr-old son is selling them - just go to Qiang's blog and click on North Light Filter.

Carol Marine -

Vince Fazio -"Sisters"

Oil on canvas 10x10 NFS

This was done on Father's Day and depicts my daughters on a recent trip to Lawrence KS. A gift to my Dad - Happy Father's Day!

Betsey Nelson-Patient and Pretty

Betsey Nelson-Patient and Pretty oil 12x9 NFS
This is an end of the day start for a painting for tomorrows work session.
I often end a studio day (or plein air day) with a quick sketch for the next day.
It gets me right back into the game for the next day. Sometimes coming into the studio fresh with nothing on the drawing board so to speak makes it harder to get into the mood to paint.
This start is simple with no detail yet has all the information any painting needs. The challenge will be to keep it fresh and still do all that needs to be done.

Carol Marine - "Apple Pie?"

Carol Marine - "Apple Pie?" - 6x6in. - bid

This is one of my favorites of what I've done lately. I did a larger painting too with a similar theme for my opcoming solo show at the Wally Workman Gallery (opening July 11th).

Adele Earnshaw "The Other Side of the Fence"

I've been painting lots of cows lately. This oil is only 6" x 6". I find small pieces easy to paint...they aren't as demanding!

Libby Caldwell-Journal Pages of New York 2

Another illustration in the hand made journal I took with me to New York in May. On my way to the Museum of Modern Art, I passed this hot dog stand, and was attracted to the light shining through the bottles.

Adele Earnshaw - "Chow Down"

This quick 6" x 8" painting really qualifies as a 'painting a day' as it only took an hour or two.
It's hard to paint pups without it being 'cute', so I put my emphasis on my warm/cool colors and used the long shadows for a strong composition.

Vince Fazio "Riverside Park NYC"

Oil on canvas 10x10 $125

An evening walk at Riverside Park on the upper west side.

Please Email me for purchase information.