Along the Fence Line

Along the Fence Line, 9 x 12, oil on panel, L. Daniel © 2023

Available at the Davis Gallery - click for information 

This spring I was commissioned to paint on a private ranch, north of Austin. The final piece will be a gift to the patriarch of a kind and thoughtful family! It's always an honor to be part of projects like this one. I will share more details on process and the final piece later, but the piece above was one of the small pieces I did for consideration. One of my favorites! 

Blooming Hydrangeas and Spring Workshop Info

Blooming Hydrangeas, 24 x 48, oil on canvas, L. Daniel © 2020

Commission for Private Collection - SOLD

"Blooming Hydrangeas" is another commission piece I recently completed. My client had admired some other hydrangea paintings of mine (as you know, they are a favorite subject for me), but she wanted something very specific for her newly redone bedroom. It was such fun working with her, and coming up with that perfect certain "je ne sais quoi". I love it when collaborations take me in inspiring directions. This was a fun one. 

Painting large from a proportionally smaller still life. This is NOT a "sight size" situation (if you know the sight size method)! It REALLY helps to do a smaller sketch first, for placement and composition, and for overall management of the painting.

The small graphite sketch I worked from... foundational to the painting.

The painting, framed and "in situ"! Kind of makes you want to do a room makeover, doesn't it? 

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2020 SPRING PLEIN AIR WORKSHOP INFO:

March 30-April 2, 2020 - Wimberley, Texas

April 16-18, 2020 - St. Simons Island, Georgia

May 8-9, 2020 - Austin, Texas (full with wait list)

SEE DETAILS ON MY WEBSITE: laureldaniel.com 

Austin Country Club Commission... installed and unveiled!

Davenport Clubhouse, 4' x 5', oil on canvas, Laurel Daniel © 2020

Austin Country Club Commission - SOLD

(If you follow me on social media or get my newsletter, you have seen these photos already. Please forgive my repetition, but I feel compelled to share this story here as well, since it represents a big chunk of my time and energy over the last months!) 

Here is a little bit of the story...

I was commissioned last September to do this 4' x 5' painting for the Austin Country Club (ACC), in Austin, TX. So I cleared the decks and worked on it fairly exclusively until the end of the year. Though it was not a secret endeavor, I never feel comfortable sharing much about a commission until it's totally finished and approved. On February 4th, it was installed and unveiled (literally) at a champagne reception in the main lobby of the club. Such fun!

My painting is part of a larger project that highlights and celebrates the club's history. The master plan includes a painting of each of the three clubhouses from which ACC has operated in its 100+ years. Mine depicts the current clubhouse, while the earlier two locations were interpreted by Texas artists Tom Evans and Dan Blagg. There is a fourth painting, a portrait by Carol Ivey, of three of the club's most famous golf members (Harvey Penick, Tom Kite, and Ben Crenshaw.)

It is a huge thrill and honor for me to be a part of this expansive and local project! Many thanks to the ACC board and to all who made this happen! 

A real "unveiling"... my first ever! It was actually a little tricky to get that sheet off without yanking the painting right off the wall. As you can see, I did get some help to prevent that!

The classic grinning-artist-in-front-of-painting-shot (a must have)! ;) 

Left: Hancock Clubhouse by Tom Evans

Middle: Davenport Clubhouse by Laurel Daniel 

Right: Riverside Clubhouse by Dan Blagg

Such a pretty setting, right? I am simply delighted!

Texas Spring - Managing a Commission

Texas Spring, 24 x 30, oil on canvas, L. Daniel © 2019

Commissioned Painting - SOLD

As I shared in my last post, I was commissioned earlier this year to paint a classic Texas scene. It has all the usual suspects of the Texas Hill Country; oak trees, bluebonnets, a big sky and longhorns! Many thanks to my incredible client... she was a dream to work with!!

A word about commissions...

Commissions can be complicated, but I've learned to enjoy them. The key is communication. When I explain my process to clients and keep them in the loop, all goes well. It is important to establish a detailed timeline with achievable check-in points, and then to meet each deadline. Meet EACH deadline. I can not tell you how important this is (and really, it's true in every business!) Being reliable is almost as important as the final product. 

After a nice long discussion with my client (which included looking at lots of my other work), we agreed on the subject matter. I try to really understand what the client wants and we get there with LOTS of visuals. After that, we agreed on a process that would include the following check-in/approval points: 1) a sketch of the proposed scene, 2) a color study of the proposed scene, 3) the block-in stage for composition placement on actual piece, 4) final image at completion.

It might be helpful to note that I WANT the client's approval at each of these stages when I do a commission. I don't find it annoying because truly, it's the key to success. And after all, my greatest desire is that the client will LOVE the finished piece! Changes are much easier early on, and last minute surprises are not good for anyone this process!

Here is how it went... 

CHECKPOINT 1 - The Graphite Sketch, 8x10, for composition. 

After discussing with my client, we agreed to enlarge the scene. She wanted more of our big Texas sky, and more reference to clouds... NOT approved, see fix...

Expanded Graphite Sketch, 10x13, modified composition.

Since my client loved all the other elements, I simply adjusted the drawing to include more sky (you can see the original edge.) APPROVED!

CHECKPOINT 2 - Color Study in Oil, 12x16, for color, value, and mood.

Note that this study is not in the correct proportions. Normally I would recommend staying true to proportions throughout. It's just easier. Since my client was able to visualize these colors in the expanded scene, she felt she had enough and did not require another study - yay. APPROVED!

CHECKPOINT 3 - Painting Block-in in oil, 24 x 30, for placement.

Hopefully, when I present the block-in to my client, it looks A LOT lite the approved drawing. However, if something is off, or bothers them, I would rather know and fix it at this stage. (I don't want to be moving trees or adding a longhorn after the painting is complete.) APPROVED!

CHECKPOINT 4 - Finished Piece, 24 x 30, oil on canvas

Usually, by the time I get to this point in the painting, my client has been so much a part of the journey that it feels like we have finished it together! I'm not saying there are never changes, but I find the changes are completely manageable when expectations are properly set. APPROVED! 

And there is nothing quite like that final approval! AHHHHHH! :)

Click HERE for another blogpost I wrote about commissions:  

"Top 10 Tricks for a Successful Commission Project".

Texas Spring (study for commission)

Texas Spring (study), 12 x 16, oil on panel, L. Daniel © 2019

Available - Click here for information

Back in the spring, I was commissioned to paint a "classic Texas" scene. What did that include? Well, live oaks and bluebonnets of course, but there was also a request for some TEXAS LONGHORNS! If you follow college athletics, especially football, you will have heard of Bevo, our beloved Longhorn mascot at the University of Texas. This painting was to be a gift for my client's husband, who is an alum. I totally "got it"... why it was important, why it had to be. This is Longhorn country and I am a fan, so I happily jumped right in! 

The first thing I did was to find a local ranch where I could study an actual herd, and take pictures from lots of angles. I had a lot of fun on that mission, and this field study became the jumping off point for the commission piece that came later. My next post will be all about the process of a commission, and how this one came together. Please stay tuned! 

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2020 PLEIN AIR WORKSHOP INFO:

March 30-April 2, 2020 - Wimberley, Texas

April 16-18, 2020 - St. Simons Island, Georgia

May 8-9, 2020 - Austin, Texas

SEE DETAILS ON MY WEBSITE: laureldaniel.com 

DETAIL SHOTS of 10-ft painting, and Reveal Party Pics!

Figure Detail 1 - Father and Son

from Tunnel of Trees (56 x 120), oil on canvas, L. Daniel © 2018

I had a lot of fun working the figures into each of these large pieces, and want to spotlight them a bit here (the image of the full painting doesn't quite do them justice.)  This father and son were an extra delight for me, because they are my son in law and grandson!!! I didn't actually have a picture of them walking on this specific Houston boulevard, but I DID have them walking in just the right direction and angle on another street. I was able to pop them into the scene just like they belonged there! Painting them was such a joy that now I want to paint all my kids and grandkids!

Tunnel of Trees, 56 x 120, oil on canvas, L. Daniel © 2018

3rd Commission piece for Methodist Hospital in Houston, Texas

I'm including the full painting here, so you can see where each figure appears.

 Figure Detail 2 - Dog Walker

from Tunnel of Trees (56x120)

Figure Detail 3 - The Ladies

from Tunnel of Trees (56x120)

THE COMMISSION REVEAL...
This past Saturday, we celebrated the completion of this 3-part commission project, with a reception at the Davis Gallery in Austin. It was a SUCH fun gathering... I loved being able to share the last painting, IN PERSON, with local friends before delivering it to Houston today! Heartfelt thanks to my friends at the Davis Gallery, and to ALL who came and/or sent kind wishes! 

Here are shots of the party...

Being introduced for Artist Talk by Kevin Ivester, Gallery Director

So fun to see friends...

from all walks of life...

old and new...

Thank you, Eddie, for getting an up close view of that brushwork!!! 

Tunnel of Trees - 3rd of Three 10-ft paintings, and a Commission Reveal Party!!

Tunnel of Trees, 56 x 120, oil on canvas, L. Daniel © 2018

Commission for Methodist Hospital in Houston, Texas

Third of three 10-foot paintings to hang in new North Tower

Hip hip hooray! I am finished with my giant commission project! Three 10-foot paintings... mission accomplished!!! This has been an incredible opportunity to stretch my wings and push the artistic envelope; AND, there is nothing quite like being done. It's an amazing feeling.

To celebrate, we are having a viewing party at the Davis Gallery in Austin, on Saturday. This third and last painting will be on display for one day only. If you are anywhere nearby, please join us... 

Commission Reveal - viewing party

Saturday August 25, Reception 1-3pm, Artist Talk 2pm

Davis Gallery, Austin, TX

Details! Close up images of a 10 foot painting!

Figure Detail from Bayou Bend Pathway (56x120), oil on canvas, L. Daniel © 2018

As I shared after Giant Painting #1... Giant Painting #2 ALSO needs to be experienced close up and personally! The camera just can not capture the brushwork and presence that this painting has. 

Have I mentioned that I really wish you would drive to Houston and see it in person??? Well, I know that is not practical, so these details are as close as I can get to showing you the brushwork and movement in the painting. Click on images to see them larger. 

Bayou Bend Pathway, 56 x 120, oil on canvas, L. Daniel © 2018

10-Foot Commission for Methodist Hospital in Houston, Texas

This is the big one again, just so you can place the close ups... ;)

Tree Detail 1 (top middle) from Bayou Bend Pathway (original piece is 56x120)

Oil on canvas, L. Daniel © 2018

Figure Detail 2 (right hand side) from Bayou Bend Pathway (original piece is 56x120)

Oil on canvas, L. Daniel © 2018

Azalea & Signature Detail (bottom right) from Bayou Bend Pathway

Oil on canvas, L. Daniel © 2018

Study for 2nd Large Commission

Bayou Bend Study, 8 x 16, oil on panel, L. Daniel © 2018

Study for 2nd large commission for Methodist Hospital in Houston

You might be interested to know that the idea for my second large commission was designed, submitted, and approved in the mini-version above. Through that study, my client was able to get a sense of the composition, color, and value direction I would take with the big one. Once approved, I stuck as close as possible to the overall "feeling" of the small piece.

Keep in mind that the study is approximately 50 times smaller than this larger, final piece. Just for comparison, here is the large one...  

One reader asked how I was able to keep the overall perspective correct on such a large piece. The short answer is that I backed up... often and a lot. Every time I worked an area or passage, I would back across the room and make sure it still "worked" overall. 

Another thing that helped was to use a projector to transfer the image of my approved study onto the large canvas. This allowed me to capture directional lines and outline major shapes from my design. Once those were in place, I could develop the painting with confidence that the perspective would be in tact. 

Tomorrow I'll share some close ups of the large piece so you can see the brushwork and detail... please stay tuned!

Bayou Bend Pathway - 2nd of Three 10-Foot Commissioned Paintings

Bayou Bend Pathway, 56 x 120, Oil on canvas, L. Daniel © 2018

Commission for Methodist Hospital in Houston, Texas

First of three 10-foot paintings to hang in new North Tower

If you have been following along with my blog this year, you know I have been working on a giant, 3-part commission for the Methodist Hospital in Houston. It's been all-consuming! The second 10-foot painting (of three) was delivered and installed in early June, but I got distracted by the third one, and life in general, so my posting about it got delayed! Better late than never, I say! 

Today, I will begin by showing several process shots, so that you can see how the painting developed from the beginning to the end. I'll be sharing different aspects of the overall process as the week goes on (including close ups and the smaller study I worked from), so please stay tuned!!!!

I began with a sepia tone painted block-in. This first step established my composition and value patterns of light and dark. It became my road map for the rest of the process.

Because the canvas was so large, I worked in sections to cover the canvas. At this phase, I was trying establish the best average value and color range, and focused on large shapes and masses rather than detail.

The middle section... more large shapes and masses.

The last section... shapes, masses. As the canvas filled up, I started comparing areas and thinking about how I would adjust them.

In the final stage, I painted broke up the masses with subtle color and value shifts. This is when the details emerged and final pops of light were placed. The photos are painfully small for such a huge subject, so it's hard to see what I am talking about, I know. 

This gives you a sense of the scale... AND a sense of my joy at being finished! 

Click HERE to see painting #1 of 3.

Two David Sorg Easels set up side by side hold my 10 foot canvas.

Bayou Bend Pathway - 2nd of 3 Ten-Foot Commissioned Paintings

Bayou Bend Pathway, 56 x 120, Oil on canvas, L. Daniel © 2018

Commission for Methodist Hospital in Houston, Texas

First of three 10-foot paintings to hang in new North Tower

If you have been following along with my blog this year, you know I have been working on a giant, 3-part commission for the Methodist Hospital in Houston. It's been all-consuming! The second 10-foot painting (of three) was delivered and installed in early June, but I got distracted by the third one, and life in general, so my posting about it got delayed! Better late than never, I say! 

Today, I will begin by showing several process shots, so that you can see how the painting developed from the beginning to the end. I'll be sharing different aspects of the overall process as the week goes on (including close ups and the smaller study I worked from), so please stay tuned!!!!

I began with a sepia tone painted block-in. This first step established my composition and value patterns of light and dark. It became my road map for the rest of the process.

Because the canvas was so large, I worked in sections to cover the canvas. At this phase, I was trying establish the best average value and color range, and focused on large shapes and masses rather than detail.

The middle section... more large shapes and masses.

The last section... shapes, masses. As the canvas filled up, I started comparing areas and thinking about how I would adjust them.

In the final stage, I painted broke up the masses with subtle color and value shifts. This is when the details emerged and final pops of light were placed. The photos are painfully small for such a huge subject, so it's hard to see what I am talking about, I know. 

This gives you a sense of the scale... AND a sense of my joy at being finished! 

Click HERE to see painting #1 of 3.

Two David Sorg Easels set up side by side hold my 10 foot canvas.

Giant Commission DETAIL - with process shots of detail area

Roses in Hermann Park (DETAIL)

This is an approximately 24" x 18" section of 

the 10 foot painting seen below.

Roses in Hermann Park, 5 foot x 10 foot commission

Detail is of bottom left corner.

If you have not been following my recent blog posts, I painted this 10 foot painting for Methodist Hospital in Houston, Texas. It's the first of three, and all will hang in the lobby of the hospital's new North Tower. One frustrating thing for me is showing this work in such a drastically reduced, postage stamp size. While the internet is great, and without it I couldn't share at all, the painting is meant to be experienced in person. I wish, I wish...

So... these detail shots will bring you closer in, where you can see a little more evidence of my brushwork and color nuances that just can't be captured in the photo of the whole painting. The camera has to be set up too far away to get those details.

Below are process shots of the flowers on lower left side... I thought it might be interesting to document the roses as they emerged. (You will also notice that the figures changed at the very end!) 

Working so much larger requires a more deliberate and controlled approach than when working small, simply because of the scale. I wanted this area to have loose, expressive marks to indicate the flowers. Without getting too detailed, I treated them as a mass, with simple lights and darks. I stained the flower spots pink as place holders, to remember where I wanted to put them.

I built up the color with simple shapes, and loose lights and darks.

Developing a passage that would "read" and still feel expressive is tricky. In a small painting, a "pop of light" can be indicated by a single stroke. Not so, at this scale. That same pop of light requires many more marks to say the same thing.

An artist friend and I were discussing this challenge (sometimes frustration?) of adapting our mark-making for working in such a large format. We concluded that it's best to simply accept it as a completely different animal in that way. AND... these big paintings? They really do want to be seen up close and personal! ;)