Spring Planting and Figures on Friday #3

Spring Planting, 7 x 5, oil on panel, L. Daniel © 2021

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One of my goals with these figurative studies is to see ONLY the big shapes. I'm trying not to get caught up in details, which is such a huge temptation when painting people. Instead I'm trying focus on where the shadows and light are interacting, and how they are defining form. (Hmmmmm... just like in landscape, I am looking for planes of light and dark, and comparing, comparing, comparing.) ;)

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Join me at my last workshop of the year! Three day Art Immersion!

Register with Mary Anderson 912-634-8414, Or click below for info:

Autumn En Plein Air, Nov 4-6, 2021, 9am - 4pm, $495

St. Simons Island, GA, Anderson Fine Art Gallery

Garden of the Lion - with Process Shots!

Garden of the Lion, 18 x 18, oil on canvas, L. Daniel © 2020

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Revisiting this handsome lion with bigger brushes and larger canvas was so much fun. I love this guardian of the flowers. This one is fresh off the easel and available now at the Anderson Fine Art Gallery in St. Simons Island, Georgia! 

Here are process shots to show how it came together...

BLOCK IN - SKETCH

I began with an underdrawing (ultramarine and burnt siena). This allows me to check placement and scale of all the elements, and its a good place to make adjustments to the basic design before I get too far along.

BLOCK IN - VALUES

I established a "roadmap" for my values by indicating the shadow areas of the scene. Putting my darks in early and accurately gives me a structure to build on. I also stained the canvas with spots of alizarin crimson as place holders for my geraniums that would be painted last. 

STARTING WITH THE DARKS

Working dark to light allowed me to hold on to values. It is also the best way to build a painting... so much easier to add lighter colors on top of a strong base.  

ADDING THE LIGHTS

The key to keeping clean color is to use a light touch with subsequent layers. With alla prima painting, it can be tricky and "scrubbing" turns everything to mud. Beware.

Final Marks and Highlights

Once all value areas were established, I was able to suggest detail with final marks and highlights using slight value shifts. So important to save these until the very end, when everything else is working. I also painted the geraniums last to keep their marks clean and fresh. 

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Click Here to register for PleinAir LIVE!

(I'm honored to be teaching in the Pre-Event Beginner's workshop! Please look for me there!)

Backyard Rest Stop - Fix It Friday #17

Backyard Rest Stop, 16 x 12, oil on panel, L. Daniel © 2020

Todays makeover is one from the archives, and it's a good lesson in composition (on what NOT to do). I was drawn to this cozy scene in my backyard for it's familiarity, good vibes, and simple one-point perspective. I also wanted some practice observing perspective and architecture, so I gave it a go. (It was also raining and this was the only place to paint, and stay dry.)

BEFORE

AFTER

CHANGES:

Problem 1 - All the perspective lines led the viewer's eye right past my subject.

Fix - Added a railing to contain the eye within the porch area.

Fix - Made the coffee table edges curvy, to slow down the "racetrack" effect.

Fix - Lushed up my subject (added more flowers, warmed up color, added more suggested detail.)

Problem 2 - Overall tone was drab and flat.

Fix - Popped some warm light onto bricks.

Fix - Warmed up white window frames and siding.

OBSERVATIONS:

Lines of perspective can have a very strong directional impact. They can be like pointing arrows. In this case, my goal was to create a scene that the viewer would sit down in, and want to stay for awhile. Wouldn't it have been great if all the lines were pointing to my sitting area?? That wasn't happening. 

We want to use built-in lines of perspective (and other elements) to take the viewer TO our focal point... NOT away from it. What I learned from this one is to pay attention to where the "lines" are pointing, and be intentional about how I use them. 

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Click Here to register for PleinAir LIVE!

(I'm honored to be teaching in the Pre-Event Beginner's workshop! Look for me there!)

Lion Planter (study)

Lion Planter (study), 8 x 8, oil on panel, L. Daniel

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This lion fountain at the Jekyll Island Club Hotel completely captured my imagination... They just don't make things with such care and detail any more! Here's what I found out about the meaning of lions in architecture... they depict nobility, power, valor, bravery and prosperity... well, no wonder they wanted this guy!!! Now the fountain is a planter full of beautifully delicate geraniums, and the lion is still there, keeping watch as his garden grows. 

This is a study for a larger painting finished this week... I loved the lion so much, I had to do him again! Sometimes that happens! ;)

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.

Trailing Color

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

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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

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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!! 

Beachview Garden

Beach View Garden, 8 x 10, oil on panel, L. Daniel © 2018

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While I was on the Georgia coast teaching, I had some free time to roam about and do some plein air work of my own. It felt good to be outside painting after so many months inside. I loved these little cottages when I came upon them... brilliant, colorful gardens in front, with the big, beautiful ocean in back. What a day!!

Iron Gate

Iron Gate, 8 x 6, oil on panel, L. Daniel © 2017

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This is another painting of the beautiful grounds at Laguna Gloria, where I teach painting in Austin. It's no surprise that this is a popular wedding venue, as well as an art school and sculpture garden. The main building is modeled after an Italian Villa. It is surrounded by gardens and just a few steps away from Lake Austin... one of my favorite places! 

This is my favorite sculpture on the grounds...

"Looking Up" by Tom Friedman, stainless steel

Me, standing at the foot of the giant!

Villa Cypress - Demo 3

Villa Cypress, 12 x 6, oil on panel, L. Daniel © 2017

Click to purchase $145 + $16 s/h

Choosing a subject... what to include, what to leave out? That is the question. This demo is about choosing between two interpretations of the same scene. The composition on the left is all about the statue as the main idea. The composition on the right is all about the tall cypress trees as the main idea. Both are valid, but I felt that they were two different paintings. 

To accentuate the cypress trees in today's post, I needed to focus on their height. Therefore, it was important to show that they were taller than the Villa (which has three stories). Using a tall, skinny format helped to further "push" the idea of height. I chose to leave out the sculpture completely, so that it would't distract from the main idea.

One scene, two ideas...

Garden Watch - Workshop Demo 2

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

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This is the second of the demo ideas I worked up for my recent workshop. (To see block-ins of all four ideas, click HERE.) I love this little angle on the garden and the sculpture adds an instant focal point! Below are several process shots so you can see how the painting developed. 

Blocking in with Ultramarine and Burnt Sienna.

 I tried not to worry about the details on the sculpture at this point... just the shape of a figure on a block. Keeping it simple at the start actually helps me avoid over painting it. 

Building the darks in the upright plane.

Depicting the statue was accomplished by painting both the shape itself AND its negative shape. In other words, I started with a general form and then carved into it with the surrounding background color. I go back and forth between the two (negative and positive) to help me hold the form.

Again, the finished piece. 

I wish I had taken more pictures showing how the sculpture element evolved. I just got going and forgot. :(

Courtyard Entrance - Demo

Courtyard Entrance, 6 x 8, oil on panel, L. Daniel © 2016

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A couple of weekends ago, I taught a plein air workshop at The Contemporary Austin Art School. The focus of the class was all about working smart in the field. It's easy to get outside and flail. What works best for me is to carefully invest in my initial block-in (see below). In this block-in stage, I focus on composition and the value placement. Getting a good foundation in the first sketch has a direct impact on my happiness with the final result. I try to resolve most issues in that sketch before moving on. 

This demo shows four different ways to interpret the same subject. It helps me to consider different angles before I begin. Selection of a subject can be hard when choosing from 360 degrees in every direction! I am often surprised and delighted, by a not so obvious second or third idea. 

Composition #1 - 6x8 Block-in

I chose this one for the finished demo because I wanted to include a few more details on the building. 

Composition #2 - 6x6 Block-in

I liked this one for its simplicity, and how it worked in the square format. 

Composition #3 - 8x6 Block-in

Another angle on the courtyard - same building, opposite side. 

Please stay tuned (next post) for the finished version of this angle! 

Composition #4 - 8x4 Block-in

Another format for second angle on the courtyard. 

Warm Welcome - Fall Workshop Info

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

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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.