Abandoned Dock 2

Abandoned Dock 2, L. Daniel, 18 x 36

This is one of my favorite places. It's one of the first sights I see upon arrival at the Georgia coast; a sight that causes all those feelings of excitement that come with beach vacations and long anticipated getaways. It never ceases to inspire.

Available in my upcoming show at the Davis Gallery.

Please visit my website for a preview of all my paintings in the exhibit.

Read a review of my show in American Art Collector April issue (p. 104).

Help Japan Auction #2 - Marsh's Edge Study

Marsh's Edge (study), L. Daniel, 6 x 6, SOLD

I am so proud to share that the artists of Daily Paintworks, my online gallery group, has raised over $20,000 for aid to Japan in the first week of painting auctions!!! I am so excited that I am putting another small painting on the auction block. Click here: Help Japan Challenge to place a bid and help me make a difference in this great tragedy. 


This piece represents a "home away from home" for me. The marshes along the Georgia coast are a magical place that I have come to know and love over the last 32 years. It's the home of my husband's family and a true place of my heart. I don't know who lives this house, but they sure are lucky to call it home!


Proceeds of this sale will go to "Save the Children for Japan" recovery efforts.

Glorious Morning (enlarged)

Glorious Morning, L. Daniel, 18 x 36

This is a studio piece inspired by a smaller, early morning painting finished at the edge of Lake Austin. I did a series of sunrises back in November, and this was my favorite "moment" of the morning. This painting will be included in my upcoming show at the Davis Gallery.

Please visit my website for a preview of all my paintings for the exhibit.
Read my show review in American Art Collector April issue (p. 104).

Flying South

Flying South, L. Daniel, 30 x 30

This painting of the beach at dusk will be in my upcoming show at the Davis Gallery here in Austin. And yes, there is actually a flying "V" of silhouetted birds in the sky. I may have imagined the flight direction, but South seemed appropriate. :)


Please visit my website for a preview of all my paintings for the exhibit.


Read my show review in American Art Collector April issue (p. 104).

Help Japan - painting for auction

Hillside Wonder (study), L. Daniel, 6 x 8, SOLD 

My gallery buddies at Daily Paintworks are hosting an online art auction to raise funds for relief efforts in Japan, and this piece is on the auction block.


Please visit our site and click the Help Japan Challenge link to see wonderful paintings by participating artists and have some fun with the auction! Remember all the money will go to helping the people of Japan.


A little bit of background on the auction theme: Artists are invited to submit/donate a piece that represents "home" to them (it's not too late, artist friends). I chose this big sky of Texas because, for me, it represents both a sense of power and a feeling peace. This is my greatest wish for the people of Japan right now... power to rebuild and peace on the way. 

Proceeds of my sale will go to the Japanese Red Cross Society. 

American Art Collector Article!

Afternoon Overlook, L. Daniel, 36 x 18

I  am so excited to share the news that the April issue of American Art Collector magazine includes an article about my upcoming show at the Davis Gallery! This is a great honor for me; and very encouraging in my journey as a painter. My Barnes and Noble doesn't have it yet, but subscription holders are beginning to receive it in the mail, so keep an eye out. WOO HOO! :)

This piece was inspired by some plein air work I did in California this year. I was caught by the mass and scale of these trees that thrive along the coastline. 

Please visit my website for a preview of all my paintings for the exhibit. 

Read show review in American Art Collector - April issue (p. 104).

Exhibit Preview - Emerald Sunset

Emerald Sunset, L. Daniel, 30 x 40

My show at the Davis Gallery opens in April (reception April 9) and I am finally ready to begin sharing the paintings I have been working on these past few months. Most of the work will be larger studio pieces that were inspired by my painting experiences in the field. I am pleased to be joined by two fabulous artists and friends, Julie Davis and Stephen Parker.


Please visit my website for a preview of all my pieces for the exhibit. 

Pastureland, L. Daniel, 8 x 6, SOLD

I kind of fixated on these spindly trees... they were in the last painting I posted, but seen from another angle. They were just so quirky and full of personality.


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Misty Lake Study

Misty Lake Study, L. Daniel, 6 x 8, SOLD

This atmospheric valley, seen through the lone backlit trees, had a soft and completely irresistible glow to it. Misty edges always catch my fancy... :)


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Plein Air Demo - Garden Portal

Garden Portal, L. Daniel, 8 x 8, SOLD

Yesterday my plein air class started. It's a little bit early yet as spring is just beginning to make an appearance here; so finding this lovely green spot on the grounds of Laguna Gloria felt like a huge gift. This piece is the finished demo from class and below is an incremental record of the process. I actually painted the ones below ahead of time for easy reference, and promised to post them here for my students. Hope it's helpful!

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"Garden Portal" - Landscape Demo

(images below are 6 x 6)

1) Line and mass block-in

Using Burnt Sienna and French Ultramarine, I blocked in simple shapes and values. This dark underpainting established my composition, laid the foundation for my darkest darks, and gave me an overall map of where I was going. A big step back before moving on helped make sure the composition was working.

2) Shadow family in uprights 

Working dark to light, I painted the relatively darker areas of all the verticals in the upright plane. It's important to constantly compare one to another as all color is relative. Notice that the large, simple masses have no detail - this is very important. At this point in the painting, establishing temperature and value are the main goal. Save details for the end.

3) Light family in the uprights

Staying in the upright plane, I laid in the sunlit areas of my subject and began to break up the large masses with small value shifts. I purposely chose to work out all of the color and value relationships in the upright planes first. Once I got those working together, I knew where I needed to go with the sky and ground planes. 

4) Sky and Ground planes, plus final touches

I saved the sky and ground planes until the end so that the other values could help me determine how light I would need to go. Since the sun is in the sky, that will most often be the lightest plane in any painting. The ground reflects the sky and is the next lightest plane (thank you, John Carlson). I also went through and broke up the masses a little bit more, being careful not to overdo it. The highest highlights are the final touches saved till the very end. Yes, delayed gratification, but totally worth the wait.