Courtyard Color

Courtyard Color, 8x6, oil on panel, L. Daniel © 2020

SOLD

I do love a garden courtyard! This is another piece from my plein air excursions in Georgia. After a picnic lunch in a shady spot and a bit of recon on Jekyll Island, we discovered that this courtyard was open AND empty! (Usually, lunch is being served under these porticos, but it was still shut down due to COVID.) There was even music playing! Truly Divine!

In these times of unrest, I share this moment of peace with you. May we all find pathways to healing, individually and as a nation.

Fix It Friday #5 - Spring Wildflowers

Spring Wildflowers, 6 x 8, Oil on panel, L. Daniel © 2020

SOLD

It's spring in central Texas, and the wildflowers abound! Sadly, we are all staying inside and are not getting to see much of the glorious display. Today, I am showing a small painting that started out in the field, and got changed (A LOT) in the studio several years later. 

Meanwhile, I hope you are all managing in this crisis. It's hard. I'm trying to stay focused with my studio work, but...finding a new rhythm is challenging! Wishing you great clarity and productivity in these days... 

BEFORE

AFTER

CHANGES:
Problem 1 - Small shrub overpowers the wildflowers.
Fix 1 - Removed Shrub.
Fix 2 - Made flowers more dominant (and changed them).

Problem 2 - Muted sky feels dull.
Fix 1 - Dragged a pop of color into sky to liven it up. 

OBSERVATIONS:
When I painted the original, it seemed important to include the shrub to fill out the scene. Later, I could see that it dominated, but wasn't very interesting. Then I removed it, well... turns out, the flowers were not quite "enough" to carry the scene either (I guess that was why I included the shrub in the first place.) I realized that I needed the focal element to become more important and to pop above the horizon line. That is when the flowers just evolved into a whole new variety! 

Sometimes the fix needs a fix! ;)

Click Here to see Fix It Friday #1

Click Here to see Fix it Friday #2 

Click Here to see Fix it Friday #3

Click Here to see Fix it Friday #4

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? 

___________________________

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!

Tropical Overflow - Starting with a Preliminary Sketch

Tropical Overflow, 24 x 24, Oil on canvas, L. Daniel © 2019

From solo show, "Beaches, Birds, and Botanicals"

SOLD

When I received this gorgeous flower arrangement from my sweet husband, I knew I would HAVE to paint it. I loved how the orchid blossoms bent and wandered freely into the light, while the many plant stems were tightly compressed in the shadow of the jar. As is often my practice, I pulled out a sketchbook to capture the parts that interested me...

Tropical Overflow, graphite sketch, 10x10

Doing a sketch helps me get the shapes and essence of a subject in my eye. Sometimes I'll make several sketches, until I find the composition I like best.

 Moving with wet paint onto the larger canvas, I first try to capture the profile only of the smaller image I want to paint. I keep my first marks light and outline-y (avoiding all detail) until I know I have positioned the whole subject correctly. 

Within that profile "envelope", I build out the values of the various elements of the subject. Having this underpainting as my block-in helps me hold on to the darks and lights as I add in color. 

Final painting, "Tropical Overflow", 24 x 24, L. Daniel

WORKSHOP INFO:

Fall Plein Air Workshop at Contemporary Austin Art School, Nov. 8-9, 2019

FULL - Register for waitlist Here 

Southern Beauties

Southern Beauties, 18 x 18, oil on canvas, L. Daniel © 2019

Sold in solo show, "Beaches, Birds and Botanicals"

Anderson Fine Art Gallery

Great news! St. Simons Island was spared by the hurricane. So grateful! However, it did go on to smatter those farther up the coast, so prayers for safekeeping continue. Here are some southern flowers in honor of friends down there who have weathered the storm. Hydrangeas are everywhere in the south... they are such a happy sight! 

Join me for an upcoming workshop...

Fall Plein Air Workshop at Contemporary Austin Art School, Nov. 8-9, 2019 - Register Here

Trailing Color

Trailing Color, 8 x 6, oil on panel, L. Daniel © 2018

SOLD

I started this painting as a demo at my last workshop, but didn't finish it in the class. Sometimes that happens. It was one of my favorite gardens that we painted in and I did love the scene, so I finally got back to it this week. The flowers pouring over the sides of that turquoise window box were deliciously abundant, while the sunlight angled in just perfectly... it was a fun morning to revisit! 

Garden Pond Reflections

Garden Pond Reflections, 9 x 12, oil on panel, L. Daniel © 2018

SOLD

I am always grateful when people open their personal spaces to me to paint in; and my week painting on St. Simons Island was chock-full of kind generosity in that way. This lovely garden pond is situated at a Bed and Breakfast on the island, and thanks to Debi, I was able to spend a morning there. It was quiet, shady, and offered shimmering reflections that were delightfully irresistible!! 

Garden Cuttings - and a process demo

Garden Cuttings, 8 x 6, oil on panel, L. Daniel © 2017

SOLD

In a recent still life workshop, I promised some of my students that I would post a process demo to reinforce our sessions. It is so easy to be intimidated by a blank canvas, and I find that it really helps me to take a systematic look at my subject matter. First I look at the overall silhouette, then I study the darks and lights, and compare, compare, compare. How does the cast shadow compare to the form shadow? How does white in the shadow compare to black in the light? 

Below are shots showing my basic process of taking those observations from my eyes and head and getting them onto the canvas...

Rough sketch for placement and composition.

Using a mix of ultramarine blue and burnt sienna.

 Block-in of large masses, indicating a range of 3-5 values.

Still using the dark neutral mix of ultramarine and burnt sienna.

Mass in the dark family (including cast shadows and form shadows).

Maintain simple shapes and avoid detail at this stage.

Mass in the light family, keeping simple shapes and avoiding detail.

Break up large masses with subtle shifts in value (within value families).

Last - Add pop with spectral highlights and reinforced darks.

Tilting Faces - Radiant Group Show and process shots

 Tilting Faces, 18 x 18, oil on canvas, L. Daniel © 2017

SOLD

This is the third of four paintings that are on display in the Davis Gallery "Radiant" show. I have had several people ask for more details on the underpainting technique I used to achieve the glow in these paintings. SO... below are process shots of how I preserved the golden areas by laying in a stain of Indian Yellow. Unlike the cadmium family, this yellow is transparent and works well as an undertone without contaminating the layers above. (Cadmiums are opaque and tend to mix into and change subsequent layers, instead of glowing beneath them.) 

Below you can see how I went from my block in, straight to staining the "glow" areas. This allowed me to preserve those areas for later development AND provided a base tone that would glow through subsequent layers. 

Sketch and beginning of block in.

Block in with Indian Yellow applied to floral "glow" areas.

I painted the yellow in, then wiped it out leaving a stain behind.

Working dark to light, I return to the foliage... 

Darkest darks and highest contrast in foreground, muted and softer in background.

In the final stage, I add highlights to all the greenery and develop the flowers.

Perhaps the biggest development is how that front flower "tilted it's face" in these final marks. It's never too late to change things, and that was an important one. I thought it looked too rigid facing forward, so I used information from flowers behind it to change things up. I like the final gesture of that front sunflower so much better! It feels much more natural to me. :)

Personal GrandBaby Update: I am still in heaven with my daughter's family and their new baby girl, and so grateful for these days of bonding. Her name is Laurel Anne (she'll go by the double name), after me and her other grandma, whose middle name is Anne. What a great honor for us!

Sunflower Fields Aglow

Sunflower Fields Aglow, 6 x 8, oil on panel, L. Daniel © 2017

SOLD

Sunflowers are such happy flowers, don't you think? I just finished a series of larger sunflower pieces for an upcoming group exhibit, and this backlit field of the giant stalks was a little study I did in preparation. I love their brilliant color and saucer-like forms. Painting them brought me great joy! (I kinda became obsessed!) 

Please stay tuned for the larger pieces and more information on that group show when it opens in July!

Cottage Balcony - Georgia Coast

Cottage Balcony, 12 x 9, Oil on panel, L. Daniel © 2017

SOLD

The morning light on this Jekyll Island cottage added an irresistible warmth to an already charming scene. I can't help but think of Romeo and Juliet when I see garden balconies. They add automatic romance, don't you think?

Local Color - Georgia Coast

Local Color, 12 x 16, oil on panel, L. Daniel © 2017

SOLD

The Crab Trap, a restaurant on St. Simons Island, has been around for ever and ever it seems... through changing times and all the new trends. There is nothing quite like their fried shrimp and hush puppies. But besides all that, they have the best display of flowers! I love driving by and simply taking in all the colors!

Just as I was finishing up this painting, a sweet little girl and her dad came over to see it. She told me (quite confidently) that she will be an artist when she grows up. So, of course, she happily took me up on my offer to make a little painting right there on the spot. My apron was a bit long, but she had a ball! I believe she is ALREADY an artist!

Well done, my little artist buddy!

Warm Welcome - Fall Workshop Info

Warm Welcome, 6 x 8, oil on panel, L. Daniel  © 2016

SOLD

This welcoming entrance belongs to a friend of mine here in Austin. Her gardens and entire homestead is a delight to behold! In addition, she is such a generous soul, she allows me (and other painters) to come over to paint all the time. The gorgeous back lighting in this scene stopped me dead in my tracks! Many thanks for another sweet morning of painting, JM! 

Please join me at these upcoming fall workshops:

Still Life: Color and Form - September 16-17, 2016, 9am-4pm.

En Plein Air: Shape and Movement - November 4-5, 2016, 9am-4pm. 

Contact: The Contemporary Austin School of Art 512-323-6380, or click HERE.

Farmer's Flowers - Show Tip #21

Farmer's Flowers, 24 x 30, oil on canvas, L. Daniel © 2016

Sold in Solo Show, "Chasing Color, Finding Light", Davis Gallery

In this painting, I revisited a favorite plein air day from last year at Boggy Creek Farm. This local, natural farm is always welcoming to artists and is a fabulous place to paint. They also have a beautiful farm stand with all organic, delicious vegetables. The day I was there, these rows of zinnias were ready for picking, and painting! I loved the scene, especially with the little yellow house at the end of the row. 

Show Tip #21 - Frame Incrementally
I am a painter who pretty much frames everything. I do it all myself and it's a big job. Here again, I recommend tackling this in small batches. When I try to frame a lot of pieces at once, I inevitably hurt my wrist or tweak my shoulder because it requires repetitive movements and muscles I don't use every day. To avoid that pain and the subsequent weeks of recovery, I try to space the task out (it's a great weekend job). This works well with my other systems... after the paintings dry and are varnished they land in the framing queue. With the show just 23 days away, it feels very good to see my "framed and finished" pile growing! :)

Here are links to other Show Tips:

Tip #1 - Stock up on Supplies
Tip #2 - Set up Deadlines
Tip #3 - Determine Subject Matter

Tip #4 - Work in Series

Tip #5 - Establish a Schedule

Tip #6 - Be Kind to YOU

Tip #7 - Follow your Heart

Tip #8 - Stay Flexible

Tip #9 - Whistle While You Work

Tip #10 - Fight Through Fears

Tip #11 - Take Notes

Tip #12 - Know when to Quit

Tip #13 - Stay Updated

Tip #14 - Balance Effort and Ease

Tip #15 - Assign Tasks

Tip #16 - Step Back

Tip #17 - Sign As You Go

Tip #18 - Take Your Best Shot

Tip #19 - Celebrate Growth

Tip #20 - Varnishing Day(s)

Painters - join me at this Plein Air Workshop:

April 28-30, Anderson Fine Art Gallery, St. Simons Island, GA

Contact Info: Mary Anderson, 912-634-8414

Garden Beauties

Garden Beauties, 8 x 6, oil on panel, L. Daniel © 2015

SOLD

This weekend we had some gorgeous days... a delicious hint of fall, with cool air and bright light. I headed out to paint, and ended up in my back yard enjoying the color and growth in my own garden. (Be it ever so humble,) there's no place like home! 

Please join me for my last workshop of the year...
En Plein Air: Strong Starts, November 6-8, 9am-1:30pm
Register @ The Contemporary Austin Art School

Garden Path - Kerrville Outdoor Painting Event

Garden Path, 12 x 9, oil on panel, L. Daniel © 2014

Available at the Kerr Arts and Cultural Center

The first morning of the KOPE painting event began with overcast skies. I chose to paint at a garden shop, and was delighted by the intensity of the garden's color in muted light. Intermittent appearances of the sun gave me the best of both worlds… color AND shadows!

Ashantilly Wildflowers

Ashantilly Wildflowers, 8 x 10, oil on panel, L. Daniel © 2014

I so enjoy discovering new places to paint and explore, and this is one of those places. Ashantilly, or "Old Tabby" is a historical homestead in Darien, GA. It was originally built in 1820, and was the "mainland" home of Thomas Spalding, an early Georgia planter, legislator and landowner. It sits right on the marsh and was quite elegant in its day. A group of historians are committed to seeing the place restored, and hopefully that will happen. It's quite a gorgeous setting. I chose this intimate side yard as my subject… the garden had gone to seed, but the wildflowers were stunning. 

Overflowing and a Demo

Overflowing, 10 x 8, oil on panel, L. Daniel © 2014

Workshop Demo - NFS

This is the second demo I did for my work-shoppers last week. Several of you have written to ask about my process and what I was teaching. Although I didn't get process shots of either piece I painted in class, below is a series of paintings from my handout that show my general approach. Of course, this is greatly simplified (you have to come to the class for the long version - wink, wink) but hopefully, you will get the gist.

Under Drawing Block In

Consider this a road map of your composition.

Identify and separate shadow family from light family.

 Establish Values in Color

Paint SHAPES of color and light.

(SQUINT DOWN for large masses.)

Add Subtle Shifts

Break up major shapes with subtle value and temperature shifts to suggest detail.

Add Highlights, lowlights, calligraphy

These are the finishing touches - Save till last!

I do love still life work and believe that painting from life in the studio is incredibly good practice. DO try this at home! :)