Laurel Daniel Blog: St. Simons Island

Anderson Fine Art Gallery

When I spotted this boat up on its stand, I loved how the light was hitting it and all the shapes around it. But I had two obstacles: it was behind a chain-link fence, and I forgot my easel's tripod. What to do? Too far away to go back for the tripod, and the light would change anyway if I tried. Well, you know what they say about necessity is the mother of invention... One problem solved the other... I ended up sitting on the ground with my easel leaning against the fence (which I could easily see through). AND, I really loved the angle I had of the underbelly of the boat! It all worked out... a good lesson in not giving up.

Please join me for my fall workshop at St. Simons Island, on the Georgia coast! (C'mon, c'mon... one last hurrah before the holidays hit!)

Call to register with Mary Anderson 912-634-8414, Or click below for info:

St. Simons Island, GA

Wednesday, August 18, 2021

Summer Flight

Nov 3-5, 2021 - Autumn En Plein Air - Anderson Fine Art Gallery

Oh, the glad freedom of summer! Don't we all look forward to those lazy days? (It's not just the kids.) Here in Texas, school started back up this week and it feels like summer is over.... even though it will be hot for months. There is always something about that first day of school that signals an end, AND a new beginning. I like the new beginning idea better... may it be a good one!!

Join me at a workshop in GA! Click for info:

Wednesday, August 4, 2021

Hidden Turn and a Feedburner replacement!

This piece is a plein air study from the spring... I was in Georgia after teaching a workshop and found this dramatic tree, in full curtsy mode! What a lovely dance to capture!

You may have noticed that your email delivery with this post looks a little different today. Here's why... I've been blogging since February 2008, and my emails have always been delivered to my followers by Feedburner. Sadly, Google has announced that they are dropping Feedburner! After much research, I found what I hope will be a great Feedburner Alternative. Today is my first run with it... If you see anything totally off, please be patient. I am having to learn a whole new process. :)

For my blogger friends out there who are also worried about a Feedburner Replacement , I recommend you take a look at Follow.it. It has more features and options, and I think it's going to work great!

Thursday, February 25, 2021

The Perch and the crazy month of February!

What a weird few weeks I have just lived through!!! Had COVID (mild case, all good), came home to broken water heater (wood floors ruined), endured the Texas Snowpocolypse (78 hours without power and survived!) I happy to be back and thinking about art again! :)

So, let me tell you about this painting from St. Simons Island in November... These Wood Storks showed up at my workshop, and I KNEW I had to go back and paint them!!! I just loved their long, pointed beaks and ancient looking bodies! They are known for building nests in trees hanging over or next to water (like a marsh). They also seem to find large dead branches for perching on and keeping watch over their surroundings. I don't think they miss much!

Upcoming workshops:

St. Simons Island, GA - April 8-10

Austin, TX - May 14-15 (full w/wait list)

Tuesday, February 9, 2021

Marsh's Edge - Demo with Process Shots!

One of my students pointed out that I had never posted the demo from my last workshop on St. Simons Island. Of course, I am HAPPY to oblige! MORE than! And by the way, if you are looking for an "in person" plein air workshop this spring, join me back in Georgia in April (the week after Easter!)

Upcoming workshops:

Compose with Lines and Shapes.

Create an "envelope" to contain shapes using ultramarine and burnt sienna.

Block in dark value pattern of large shapes.

Keep marks loose and expressive. Still using only ultramarine and burnt sienna.

Mass in Upright Planes.

Paint "shadow family" first, using best average value (not highlight value).

Mass in Ground Plane and Sky Plane.

Paint around uprights, "cutting" and "carving in" for details and sky holes.

Final Marks.

Break up large masses by adding "light family" in all the planes, and final highlights.

Monday, January 25, 2021

Mossy Veil

SOLD

The Low Country is known for its Live Oaks dripping with Spanish Moss. They are huge, and beautiful, and a challenge to paint! In my workshops, we have long conversations about what color that moss is. Why? Because it is ever changing as the light hits from different directions. Sometimes it looks grey or grey-green, and almost blends in with the color and value with the foliage. Other times, like this one, it becomes a yellowy gold because the light is coming through it. Discovery requires observation in real time.

"It just depends" doesn't seem like a good answer, but sometimes that is the ONLY answer! :)

Upcoming workshops:

St. Simons Island, GA - April 8-10

Austin, TX - May 14-15 (full w/wait list)

Thursday, January 21, 2021

Boatyard Shadows

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It's almost always about the light and shadows for me. I absolutely love how light defines objects and the resulting fantastical shadow patterns. With this one, it was the light, the shadows AND that yummy turquoise! As the afternoon progressed, the color of the light kept getting warmer and more orangey (see below... is "orangey" even a word?) It was so much fun to watch... And paint!

Upcoming workshops:

St. Simons Island, GA - April 8-10

Austin, TX - May 14-15 (full w/wait list)

See what I mean??? Orangey!

Tuesday, January 19, 2021

The Lighthouse

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The St. Simons Island Lighthouse is the subject of books, legends, and many, many paintings! I have personally painted it several times, and felt an itch to give it another go during the holidays! The afternoon light on its circular form was just too pretty to pass up.

A little history... the Lighthouse was built in 1872 to replace the original one that burned down during the Civil War. It's one of five surviving lighthouse towers on the Georgia coast, and it still protects navigation in the St. Simons Sound. Its beam of light travels as far as 23 miles out to sea! Besides that, it has a beauty and romance that is just so alluring... Never gets old! :)

Upcoming workshops:

St. Simons Island, GA - April 8-10

Austin, TX - May 14-15 (full w/wait list)

Thursday, July 23, 2020

Flying High - Fix It Friday #21

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TGIF!! Or, should I say, TGIF-I-F!!! I do love fix it Friday.

This is a painting from last fall that kept catching my attention. I liked it, but something was off and I didn't know what it was. That "nudge" became crystal clear after my last post about finding depth in a painting. (Be careful what you preach... it may come back to haunt you!) ;)

Here's why...

BEFORE

AFTER

CHANGES

Problem - The sky plane was... flat! The cloud layers all had the same treatment of light, shadow, shape, and color.

Fix - Created scale shift between foreground clouds (made bigger) and background clouds (made smaller).

Fix - Removed contrast from background clouds (made them more muted, less highlights).

Fix - Added contrast to foreground clouds (gave more color, stronger highlights).

Fix - Increased gradation of blue sky from muted at the horizon to more intense at top.

Problem - Ground plane was also a bit flat.

Fix - Added marsh creek into layers to create a sense of space and depth. (It breaks up the marsh grass and reflects the sky.)

OBSERVATIONS

I remember this day, I was in the moment, responding and having fun. It is so easy to forget principles when we are in the thick of things. And, sometimes it takes awhile for awareness to catch up. Now, I can relax into the scene when I look at it! Ah...

Thursday, June 4, 2020

Distant Shore - Fix It Friday #14

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This was another large-scale "make-over" project... As I shared a few weeks ago, changes can can be scary, particularly when I have worked long and hard on a distinctly large piece. My fearful voice whispers, "leave well enough alone", while my bold voice cheers and cajoles, "don't be a wimp, go for it!!"

BEFORE

AFTER

CHANGES:

Problem 1 - The scene lacked the sense of depth I was going for.

Fix 1 - Enlarged the foreground clouds. This not only brought them closer (which helped push back the distant shore), it also provided the "reason" for such extensive beach shadows.

Fix 2 - Defined the distant figures to help reinforce the sense of scale.

Problem 2 - The sky lacked movement and drama.

Fix 1 - Gave the clouds more action by breaking up the edges.

Fix 2 - Added more layers of stratus clouds in the distance to enhance sense of movement.

OBSERVATIONS:

So what was I going for?? I wanted to capture that expansive, immenseness of nature's elements. I think I got a little closer in the second version, but it's a never ending pursuit. Creation is wonderfully grand.

Click Here to see Fix it Friday #4

Click Here to see Fix it Friday #5

Click Here to see Fix it Friday #6

Click Here to see Fix it Friday #7

Click Here to see Fix it Friday #8

Click Here to see Fix it Friday #9

Click Here to see Fix it Friday #10

Click Here to see Fix it Friday #11
Click Here to see Fix it Friday #12
Click Here to see Fix it Friday #13

Thursday, May 14, 2020

Bait Shop Morning - Fix-It Friday #11

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This plein air painting has been sitting in my studio for a couple of years... just waiting for some attention. It depicts a long-standing bait shop out in the middle of a marsh in the Golden Isles of Georgia. I love the dancing trees along the road that leads to it, and I have painted it several times from various angles and in different lighting. When I painted this one on location, I just didn't quite "get" the light and ambience of the day...

So, years later, here are some fixes...

BEFORE

AFTER

CHANGES

Problem 1 - The horizon line and row of trees was smack-dab in the middle of the picture plane and divides the painting into halves.

Fix 1 - Dropped the horizon line, the base of bait shop, and the roots of the tree trunks.

Problem 2 - The light lacked commitment and its source was undefined.

Fix 1 - Added color to morning sky.

Fix 2 - Darkened cloud bank.

Fix 3 - Added highlights to bait shop and trees to indicate light source.

Fix 4 - Darkened foreground marsh to focus light on the subject (the bait shop and road).

Fix 5 - Darkened distance uprights to help highlights in subject to pop.

OBSERVATIONS:

When painting the landscape, it's important to leave some of the details out. That can be hard because there is so much going on, and everything seems important. But we have to choose what is MOST important. It helps to keep asking myself, "what is the painting about?" I always do better when I stay "on message".

Notice everything, and then choose.

Click Here to see Fix it Friday #4

Click Here to see Fix it Friday #5

Click Here to see Fix it Friday #6

Click Here to see Fix it Friday #7

Click Here to see Fix it Friday #8

Click Here to see Fix it Friday #9

Click Here to see Fix it Friday #10

Thursday, April 30, 2020

Bending Sea Grasses - Fix It Friday #9

SOLD

This large piece is making its way to the Anderson Fine Art Gallery, in St. Simons Island, GA, as soon as the fixed parts dry. While it sat curing after the first go round, I started having my doubts. Why did I stop? Why did I think it was done? Well... you know what happened next... back to the easel it went!

Here are the before and after shots, with thoughts about the changes...

BEFORE

AFTER

CHANGES:

Problem 1 - The painting was cut in half visually, with all the action in the bottom half.

Fix 1 - Added height to the mass of clouds, extending them up past the horizontal midline.

Fix 2 - Added light reference into the top half with cloud highlights, connecting ground and sky planes.

Problem 2 - Same volume in the grasses and cumulous cloud mass is repetitive and monotonous.

Fix 1 - Added volume to the clouds to differentiate them from the grasses in shape.

Problem 3 - The "spit" of land on the horizon line was too dominant and contributed to the "cutting in half" issue.

Fix 1 - Muted down the spit of land in color and in highlights... Made it "blend" better with the environment.

OBSERVATIONS:

It's hard to completely change a painting this size. I'm not going to lie, I was scared. What if I was wrong? Why not leave well enough alone? But I knew I had to do it. I've heard it said that if we are not always on the verge of ruining everything, we are being too cautious.

How the change began... a few dark blobs... so scary...

Click Here to see Fix it Friday #4

Click Here to see Fix it Friday #5

Click Here to see Fix it Friday #6

Click Here to see Fix it Friday #7

Click Here to see Fix it Friday #8

Friday, March 27, 2020

Fix It Friday #4 - Dune Shadows

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I spend a lot of time on the Georgia coast and walking the beach is my favorite way to start the day. I love all of its sights and smells and sounds; and the peacefulness it offers is a daily gift. This week I heard this beach is closed! I guess it had to be done because people tend to congregate there (especially at spring break), but wow. So sad.

Since I can't be there... here is ANOTHER beach scene makeover for today's Fix-It Friday. This little plein air piece had some of the same issues as my last post!!! Hmmmmm... a recurring problem... this is a good thing to learn about myself!

BEFORE

AFTER

CHANGES:

Problem 1 - Another stagnant horizon line.

Fix 1 - Raised up the foreground grasses to break through the horizon line.

Fix 2 - Added some activity in the sky to break up horizontal bands.

Fix 3 - Varied water line on shore to break up horizontal bands.

Problem 2 - Focal point is off the page.

See how the line of grasses and the horizon line make a racetrack to the far right corner? They take the viewer right off the page because there is no other clear focal point.

Fix 1 - Enlarged and enhanced the first clump of grasses, making it the focal point.

Fix 2 - Enhanced sky activity to pull the eye back in.

OBSERVATIONS:

The first problem reminds me that even if the actual subject doesn't have what I need, I can change things. There are almost always examples of what I need all around - grasses farther up on the dunes, a wisp of clouds that can be enhanced. Use everything. Even memories.

The second problem was compositional. In this case, a little manipulation helped. The taller grasses help to keep the viewer traveling around the scene. NOW, the eye sees the large grasses first, travels up the leaning grasses, jumps to the clouds, and comes BACK to the large grasses along the dune line. (The goal is to keep the viewer in the picture as long as possible!)

Biggest take-away??? Apparently I like painting dune grasses at the beach. AND, making the same mistakes. Maybe, just maybe, I should remember these lessons and approach this subject differently next time I am outside painting it. How much better to get it right the first time!! ;)