Quick Draw at Montage with the Laguna Plein Air Painting Association Invitational

Greg Larock greglartock.com  a half hour into the two hour quick draw.  I was surprised that so many of the local painters picked inferior locations to paint.  There were quite a few of the painters facing south.  The view was rather simple and nondescript.  I can only surmise that this was done so that they would have a simple composition that they would have no problem finishing within the time they had.

John Brandon Sills www.johnbrandonsills.com painting was thick with atmospheric perspective.  The entire painting seemed to be filled with early morning haze.

Michael Obermeyer www.michaelobermeyer.com

It was impressive to see how far Michael had come in such a short amount of time.

Rita Pacheco www.ritapacheco.com was next in the long line of painters.  You can see from her canvas that she is still working on the bones of her composition.  It was interesting to see so many versions of the same seascape.  The differences in their approach and their individuality in style were interesting.

Debra Huse www.debrahuse.com  has a gallery on Balboa Island. There was a constant line of interruptions by well-wishers.  Most of the painters did a great job at interacting with the patrons of the event.  

There were several painters on the beach that I did not get to visit because I brought my gear with me.  I had to park about a mile away and my gear weighs about 50 pounds.

One of a thousand great compositions at Montage.

Suzie Baker brought a model to the quick draw.  A lot of the artists were trying to get an edge on their competitors by having a different approach, subject, or composition.

Scott Prior scottprior.com  was the best of show winner from the year before.  I really like his larger paintings.

The view Scott Prior was painting.

Murderer's row-Paul Kratter, Jim McVicker, Ibrahim Amin, and James McGrue painting the key hole.

April Raber www.aprilr.com

Billy O'Donnel billyoart.com won best of show two years ago.  The way he lays down his paint on the surface is fascinating.  He begins by using a painting knife.  He then works it with a brush.  You may be able to see the edges he carves with the knife on his canvas. This is how his painting looks just before he works it with a brush.
Randall Sexton rcsexton.com

Paul Kratter www.paulkratter.com got his spot by getting there early.  He worked out some compositions before the event got started.  He did his ball point pen sketches so he could get a jump start to his painting.

Paul Kratter painting the key hole.
Ebrahim Amin  www.aminart.com

Jim McVicker www.jimmcvikerpaints.com Out of all the painters, I liked Jim's colors the best.  

James McGrue jamesmcgruefineart.com James was putting in a lot detail with a small brush when I came up to see him paint.  When I commented that there was a lot of detail in his painting he said "Sometimes it is the detail in the subject that draws me to paint it." I thought this was refreshing to hear because there is so much talk about simplifying everything.  

Ibrahim seemed to be painting to beat the time deadline.  Because I have painted with him a couple of times, I noticed the difference in the way he was putting down his brush strokes.  His brush strokes seemed short and choppy instead of long and steady.

Jim Wodark jimwodark.com  was painting a nocturne to capture the judges interest.  He was looking through his hand like a telescope to get the lighting he wanted.

Lori Putnum www.loriputnam.com

Thomas Jefferson Kitts www.thomaskitts.com

Clarke Mitchell cgmitchell.com  is a fellow pastelist.  I was amazed by how limited his pallet of colors was.  It seemed like he was painting with a twentieth of what I paint with.  Clarke had a information sheet posted on his easel so that he would not be bothered by questions.  I was not a fan of this approach.  As an artist I understand that concentration and focus are key but these people who bother you are your potential customers.  I like talking to the people who have questions.

April Raber's landscape had some interesting texture that she created with a knife.

I thought it was interesting that April was painting on her lap.  She said she never got used to painting on a easel.  This is amazing because April paints some really large industrial landscapes.

Suzie Baker www.suziebakerart.com

Jacobus Baas jacobusbass.com