Amber Glow

Amber Glow, L. Daniel, 8 x 8, SOLD

I found these two old beer bottles on a ranch this summer when I was out scouting for paint sites. They were dusty and filled with dirt and bugs, but I loved them instantly. Their wonderful, weathered patina and rounded edges made them wildly compelling as painting objects for me, but when I held them up to the light, well, "delicious" is all I can say. 

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Amber Glow Mosaic Study, 6 x 4, NFS

a quick pre-study for shapes and color blocks, 

and loose simulation of block-in method

Garden Delight

Garden Delight, L. Daniel, 12 x 9

On Saturday morning I painted at Mayfield Park, a lovely, local garden spot. We have been having the most beautiful weather and as I painted, the park began to fill up with photographers taking family photos. (Christmas card shots, perhaps? Some people are so organized!) I could hear moms clapping and dads chirping to get their babies to laugh before moving on to the next pose. It was totally entertaining. :)

Lessons from the Colorists

Mission Light (finished piece), L. Daniel, 12 x 9

Mission Light (color block-in/start), 12 x 9

Daniel Pinkham Workshop - Block-in Process Notes:

Squint down to see at least three large masses in the darkest value.

Compare differences between each massin color and temperature.

With turpentine color washes - block-in large masses.

Repeat for mid-values and lightest values until canvas is covered.

Hold onto the values and temperatures as color is added.

(Wow - that sounds so logical, but easier said than done!)

  

I spent two days at the Masters Weekend studying with teachers from the Colorist tradition. Daniel Pinkham studied with Russian master Sergei Bongart; and Camille Pryzewodek studied with American master Henry Hensche (who studied with Charles Hawthorne). Both of these traditions find their source in Impressionism, specifically in the work of Claude Monet. It would be impossible to sum up each of these approaches so I will simply relay how they got us "started", both with a painting and with learning to "see" color. These two painters have devoted their artistic pursuits to understanding the color of light and the color of air (light filters through air and both affect everything we see). Please click on their names above and see their work - you will love it.

  

Mission Color (finished piece, palette knife), L. Daniel, 9 x 12

Mission Color (color block-in/start, palette knife) 9 x 12

Camille Przewodek Workshop: Block-in Process Notes:

Sketch composition with light blue pastel pencil.

Observe patterns of light and shadow - organize into flat planes.

"Hues on first" - paint spots of color in correct temperature and value.

Keep color spots separate until canvas is covered.

Compare and correct temperature, value and hue relationships.

When relationships are correct, add color nuance and subtleties.

Bring shapes together; retain value & temperature of large masses.

(Palette knife is important for avoiding detail too soon!)

Afternoon Overlook

Afternoon Overlook, L. Daniel, 8 x 6

This is my afternoon painting from my session with Frank Serrano at Weekend with the Masters in California. At the end of day the light moves quickly, and Frank emphasized the importance of painting with a sense of anticipation. This means blocking in the shapes and composition, but holding back with the color that will change as the sun does its thing. On that day, a wonderful glow lit up the whole hillside. I was so glad I had waited!

Just FYI - Frank Serrano is a great painter and generous teacher. He came early, stayed late, and did three demos for us (which can be so stressful)! He is also really down to earth and fun. Check out his work here. I will tell you about my other painting teachers when I post my work from their sessions.

There was not a minute to spare at the Masters Weekend - it was chock-full of not-to-miss events! I watched still life demos by David Leffel and Richard Schmid, a duo portrait demo by Scott Burdick and Daniel Gerhartz, and I listened to a fabulous panel discussion about technology and art. All of this brought about stimulating dialogues... such an enriching experience!

Beach View

Beach View, L. Daniel, 9 x 12

Well, I am still basking in the afterglow of the 2010 Weekend with the Masters! We had four days of non-stop workshops, demos, panel discussions and all around joie de vivre! It was a fabulous time with so much to take in. Of course the highlight was being able to paint under some plein air teachers I greatly admire: Frank Serrano, Camille Pryzewodek and Daniel Pinkham.

In Frank Serrano's class we focused in on atmosphere. He is from the California coast and is exceptionally good at catching the subtle tonal shifts caused by fog and salty air. Frank had us start with the sky first - really getting color and value right. Then we keyed the rest of the values off the sky as we worked our way down into the painting. This is just the opposite to what I normally do! The idea here is that since the light in the sky affects everything else, it's important to get that correct first. I definitely found it very helpful. This was my morning painting from that day; a view looking down at the Dana Point Beach.

Distant Shore Value Study

Distant Shore, L. Daniel, 8 x 10

This morning, I am heading off to California with my good friend Julie Davis to attend the Weekend with the Masters painting workshops! I went last year and learned so much; and this year's line-up promises to be the same. I have all-day sessions with Camille Przewodek, Daniel Pinkham and Frank Serrano - all painting masters in their own right. I tremble with excitement!! :)

In preparation for the workshops, I have been doing these value studies. It's been such good discipline (hard at times) and practice at distinguishing relative lights and darks. One of my readers asked a great question, would I suggest taking a photograph of my subject and changing it to grayscale in order to "see" the values? My answer was no...

The beauty of doing these exercises is that the more you do, the more your eye will learn to see subtle value shifts in real time. Using a photograph will rob you of some very important sensitivity training and the resulting muscle memory. I am not saying never use photographs for anything (never say never), but don't use them as a shortcut. They are no replacement for direct painting from direct experience; and they may slow down your progress in the long run.

Dock with Umbrella Value Study

Dock with Umbrella, L. Daniel, 8 x 10

My friend Cindy has a great lake house that her grandfather bought many years ago. Several generations have enjoyed the property, each adding new memories. I have been lucky to paint here many times, but painting it in black and white was a new experience. I really loved the brilliance of the sunlit umbrella and it's reflection in the water. (The big, fat #10 brush sure does keep me from getting fussy!)

Tree Reflections Value Study

Tree Reflections Value Study, L. Daniel, 8 x 10

I actually did this value study from a full color plein air piece that didn't work out. (No, I have not posted it and don't plan to!) Interestingly, I really fought with that failed piece but could just not pull it out. My problem was color. I love color... of course, we all love color. We respond to it emotionally, and because of that emotion we let it play tricks on us. We chase it's many iterations and forget the original context. Going back to the values allowed me to remember the simple relationships between the planes in the landscape I originally saw. It was all there in my memory once I set the color aside.

Sunflowers In Water - Color

Sunflowers In Water, L. Daniel, 16 x 12

I painted these examples for my still life class which met again today, where we continue to focus on water, glass and light. (I am sure you recognize the sunflowers from yesterday's value study - those flowers were just so paintable!!)

All my set-ups for class included glass vessels again, but this time each had something in the water. Though it seems a simple addition, it did complicate things! :) We started with the small "mosaic" study first; observing spots of color throughout the subject (and resisting the urge to connect and refine). The idea behind this warm-up is to identify shapes and placement and to loosen up before tackling a larger canvas.

Sunflower in Water Mosaic Study, L. Daniel, 6 x 4

Sunflowers In Water Value Study

Sunflowers in Water Value Study, L. Daniel, 10 x 8

Observation for today: white in the background is darker and more muted than yellow in the foreground with a spotlight on it. It's mind-bending because the brain "knows" that yellow is darker than white, but the eye sees something different (if you let it.) Color is deceiving.

Over-riding what the brain "knows" is a huge challenge: it requires seeing shapes (not nameable things) and simple bits of dark and light (instead of color). Then it requires a little nerve and a lot of trust to put the bits down where you see them. What is amazing though, is that if you constantly compare each value against the others and adjust them accordingly, the shapes begin to look like something.

Brass Urn Value Study

Brass Urn Value Study, L. Daniel, 10 x 8

Still focusing on values here. One tip? Squint way down on your subject to observe the relative values throughout. And do it often (otherwise, your eyes will adjust to the light source and flatten everything.)

I had one reader ask if I do anything special to my canvas for these studies. No, quite the opposite. These are just cut-up, white canvas sheets; actually from a canvas pad. I tape them on all four sides to a board, so that I can paint over the edge without getting paint all over everything. (And then when removed, the tape leaves a nice clean margin for handling.) Using the sheets - loose, unattached - keeps the work from becoming too precious. Just studies... just learning... this is what I am after.

Tea and Lemons Value Study

Tea and Lemon Value Study, L. Daniel, 10 x 8

In a couple of weeks I am going to the Weekend with the Masters workshops in CA. The 4-day event is put on by Amreican Artist Magazine. In preparation, I am devoting myself to value studies. One of my instructors, Daniel Pinkham, suggested that the best way to become a colorist is to study value (the relative levels of darks and lights within a subject). I know this is one of the greatest challenges for most painters, so no complaints on this assignment from me. I actually love doing these! Below you see my palette at the end of a value study. Yep, just black and white and one #10 brush (that is pretty big for an 8 x 10, keeps me from getting too caught up in details.)

Water Glass

Water Glass, L. Daniel, 12 x 12

My still life class entitled, "Water, Glass & Light" started at the Austin Museum of Art School yesterday. You guessed it, the whole focus is on painting transparent objects and it is going to be fun! (As the teacher, I guess I may be biased, but there you have it.) While this may sound obvious, the fact that glass and water are CLEAR is the most important thing to remember. One is really just painting what is seen THROUGH the glass and water. We painted very simple still lifes with just colored fabrics and glass. It's a great way to get the concept of "seeing through".

Warm-up Exercise:
Before painting a full sized canvas, we did little studies like the following to warm-up. We are using a block-in method that starts with simple shapes and color notes, almost like a mosaic. This warm-up is a mini-version of that block-in method and it allows the painter to identify and locate color and shapes spatially without getting too caught up in detail. Getting it "right" is always a stumbling block for artists, so this is very freeing.

Water Glass Mosaic Study - 4 x 4

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Explanation/directions (for those who want to try this at home):
Observe the important spots of color as they occur throughout the painting (really necessary with glass with all the reflecting and refracting) and put them down. No preliminary drawing - just use the color to block in shapes and negative shapes. Pay attention to how the colors are altered when seen through glass and water. Lay in color next to color but don't connect the spots - keep it loose. Resist the urge to "finish" it. It's a good reference for a larger painting.

This is a great exercise, and I think it helped my students as they approached their larger pieces with the same process. Of course, for the large one, they did get to follow the urge to finish. Great work guys!! :)

Country Pavilion

Country Pavilion, L. Daniel, 9 x 12

This wonderful pavilion is in the countryside south of Austin and was the location of our paintout this week. It is beautiful with rolling grass lands, a creek, and huge trees; the structure has a wonderful, well-loved patina.

AND, this is where my daughter will be getting married next June, so it's especially significant to me!! She will actually walk under this arbor and through the pavilion on her way to the ceremony which will be held at the creek side. It's going to be a beautiful, happy time.

Water Lily Patch

Water Lily Patch, L. Daniel, 12 x 12

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This painting is from another recent Plein Air Austin outing. We painted at Zilker Gardens, a beautiful botanical garden right here in our own backyard. This variety of water lilies always stops me in my tracks. The leaves reach up to the light, just like the lotus blossoms. They have such a dynamic quality!!!

Old Mill Revealed

Old Mill Revealed, L. Daniel, 9 x 12

A week or so ago Plein Air Austin met up to paint at the Zedler Mill in the small town of Luling, Texas. The original mill was built in 1874 on the banks of the San Marcos River and these old buildings are part of what remains. I loved how the low light of morning cast a giant shadow across the whole scene, and then slowly receded to reveal the rugged glow of the structures. It was magical.

Early Start

Early Start, L. Daniel, 8 x 6, SOLD

If you wake up early and walk down to Westlake Beach, you will see the sun rise behind the distant shore of the lake. I don't get going that early very often, but I managed it for this painting. I loved seeing the silhouetted forms of the dock and tied up boat against the bright light of dawn. It was kind of blinding... in a good way. :)

This will be my last Westlake Beach painting for a little while. I will keep going and am excited to do a batch of fall paintings there. It's such good discipline to revisit one place over and over again. Meanwhile, I have some other work to share with you.

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Sunlit Vine

Sunlit Vine, L. Daniel, 6 x 8, SOLD

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This is another quaint little shed at Westlake Beach (so curious about what's inside and will have to ask next time I get a chance.) What really caught my eye was the way the dappled sunlight struck this bountiful vine that is reaching over the fence... it so wants to be on the inside with all the beach fun!

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UPDATE: Turns out that this little building started out as Grandma Depwe's "Lake Cabin"; and this is where she cooked up many one-skillet sensations for her children and grandchildren. It later became "David's Refreshment Center" offering visitors everything from Dreamsicles and Fudge Bars to bamboo fishing poles and 25 cent inner tubes. When David went off to college, it became a storage shed, but apparently it still houses two old refridgerators that were spray painted blue back in the day! (Who knows, maybe the refreshment center will make a comeback!)

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Pier Sparkles

Pier Sparkles, L. Daniel, 6 x 8, SOLD

An early, cloudy morning at the lakeside reveals a silhouetted pier sparkling with glints of brilliant light reflections. I have to say, it's pretty contemplative at Westlake Beach when there is no one else around. A set of wind chimes drums out a soft, continuous call just to listen and enjoy. Otherwise, all's quiet.

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Little Shady Greenhouse

Little Shady Greenhouse, L. Daniel, 8 x 6, SOLD

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This little greenhouse shelters the potted plants at Westlake Beach during the winter months here in Texas. It was handmade by the owner, David, and is a charming addition to this wonderful, vintage beachpark. In this very hot month of August, it's hard to even remember cold enough temperatures that would require using this little shed!

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Lake Light

Lake Light, L. Daniel, 6 x 8, SOLD

Light reflecting on the lake has a special quality all its own. This particular morning was especially still and the light absolutely shimmered off the shore. This peninsula marks the opening to the cove across from Westlake Beach on Lake Austin.

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Red Boat, Blue Boat

Red Boat, Blue Boat, L. Daniel, 8 x 6, SOLD

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Many boats are moored at the Westlake Beach Marina - it's a deep cove that looks small from the lake but is surprisingly large when you get inside. David, one of the owners, grew up on this property and remembers helping his parents and grandparents repair the docks as a kid. He tells how his grandmother would cook up chili in her small cabin for them for when they came in from working. Isn't that a wonderful childhood memory? This is truly hallowed ground.

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Morning Veil

Morning Veil, L. Daniel, 6 x 8, SOLD

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One morning I was painting at Westlake Beach, and suddenly I heard the strumming of a guitar. Then I heard a fiddle; and then I heard singing. It turned out that two musicians were at the water's edge practicing for a weekend gig. Could I have been any luckier??? They sang and played the whole time I was painting - it was pure joy.

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Beach Shack

Beach Shack, L. Daniel, 8 x 6, SOLD

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The thing about Westlake Beach is that it's really family friendly; and lake toys abound. They even hang from trees! And of course, after all of the frolicking, the inner tubes and beach balls are carried back to the Beach Shack to await the next round of lakeside joy. :)

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Marina Reflections

Marina Reflections, L. Daniel, 8 x 6, SOLD

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I live very near Westlake Beach, a wonderful, family-owned marina and lakeside park on Lake Austin. It's a charming piece of old Austin that has been around for 56 years - quirky and untouched by the fast pace of current life. Think about creaky docks, wooden picnic tables, beach toys and windchimes, the smell of boats and gas, and you may get the picture. This summer, the owners have granted me special access to come and paint there in the early hours before it gets too hot. What a peaceful way to start my days!! This is the first of my "Westlake Beach" paintings.

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Sycamore at the Springs

Sycamore at the Springs, L. Daniel, 8 x 6, SOLD

I love the swimming holes in Texas! There are so many really cool places to dip in the water and sit in the shade in this area. Today, my plein air friends drove 30 miles out of town to Krause Springs - a family owned campground and, well, swimming hole. This spring fed creek runs through limestone outcroppings and is complete with a cave and rope swing. Kids of all ages were having a ball!! And so refreshing after painting in the heat! :)



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Cabin Entrance

Cabin Entrance, L. Daniel, 6 x 8, SOLD

On Saturday Plein Air Austin met up to paint at the Barr Mansion, a wedding venue outside of town. The mansion itself is a cool old Victorian structure, but what caught my eye was this old cabin behind it. Here is the really sad thing... this entrance used to belong to a gorgeous ballroom that burned down this spring. I have seen pictures of the ballroom but can't actually imagine how this was connected. Maybe a service room or catering kitchen of some kind? I do know that many a wedding reception took place here and it is definitely being rebuilt. For now it's a burned out shell; literally, just to left of this scene. (Oh, the power of cropping!)




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Summer at Deep Eddy

Summer at Deep Eddy, L. Daniel, 12 x 9

This morning I met my friend Terri Wells for a "paint and swim" at Deep Eddy, a local pool here in Austin. On these warm, summer days we have to get out early and preferably have some water nearby to fling ourselves into! Deep Eddy Pool is filled with spring-fed water and stays a constant 68 degrees. It's so refreshing!

Marshland Study

Marshland Study, L. Daniel, 6 x 6, SOLD

I did this small study in preparation for the larger diptych that I posted yesterday. It gave me a chance to prethink some of the color relationships and play with the grasses. I am always trying to figure out how to make grasses look authentic without getting too fussy.

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Marshland Flow

Marshland Flow, L. Daniel, 24 x 48 diptych (24 x 24 each)

I love the East coast marshlands! They are such fuel for the imagination as they quietly surge with the tide. High tide, low tide, mid tide... each offers a new and distinct version of itself. My stay in Georgia offered daily trips over the East Beach causeway and this gorgeous view was there for the taking every time.