Sunstruck

Sunstruck 16x20 oil on gesso board.

 Following this new counter intuitive painting process. Building values from light to dark. 

Throwing down thick paint and scraping away.

This painting was inspired by John Cosby. I was painting in Heisler Park.  I was approached by another plein air painter and was told John was painting at Rockpile.

John Cosby cranking out another masterpiece.  I must be honest I did not see his painting.  I finished my plein air painting, packed up  and then walked over to check in. John had just packed up his painting...but John is a master so I am sure it was amazing.

This was the view that captured my interest after visiting John.

Two Sundays ago Plein Air in Laguna

A great day of painting.  The colors were deep and the light was sparling.  Everything was influnced by the clear sky after the rain.

 Usually, I won't be able to produce two strong paintings on the same day.  The second painting usually suffers from not being able to deliver the same amount of focus.

This was a great week for plein air painting.  I was able to complete 5 paintings.  The results were solid and I could really feel the rust falling off.

Low Tide

Low Tide 12x24

From the wall of unresolved paintings to the easel for a shot at redemption.  My original attempt left me knowing this painting could be more.  Yet for some reason I had no idea what that was.  There are about 10 of these paintings.

The painting where I left it.

The painting reworked.  A subtle change in colors with a focus on trying to establish atmospheric perspective.
 

A further adjustment in values and adjustment in color.

The final result

The value shot.

The detail shot.

After Glow

A quick start is usually a good thing for my studio work.  Here the whole idea is already down on the canvas.

Color harmonies and values are being developed at the same time.

Making sure to get the sky on the horizon correct first will let me build the bluffs without having to go back into the painting.  Put it down and leave it alone is something I have been working on.

One change in my process has been to change from using walnut oil to saffron oil.  I was told it would interact better over time with the Gamblin oils I am using.

A stylistic development in this painting has been the overall smoothness of the paint application.  

Although there has been a reduction in the swatches of color and an overall simplification of the subject, I do not feel like there was a sacrifice of detail.  

After Glow 24" x 36 oil on canvas

The value shot

The detail shot

Pelican Point at Crystal Cove

SCPAPA was painting at Crystal Cove by the cottages.  I got there a little late.  I decided to paint at Pelican Point because I am drawn to the beauty of the bluff, rocks, and ocean.

As I continue to evolve, you can see there is a lot less drawing in the beginning part of the painting.  I did have to correct the drawing because I was trying to get what should have been a long and thin composition into a squat rectangle.

I had to make some adjustments to the composition to get the rocks and the bluff into the painting the way I wanted to.

I am still working on getting the painting filled with the darkest colors quickly.  I want to read the value and temperature more accurately so that I can put down the colors quicker.  

The block in is just about finished here.  I am trying to leave markers within the painting that clue me into where the lightest parts of the painting are.  As I am blocking in I am trying to keep in mind what colors I am going to go with over the base.  

The view facing the south was as appealing as the view towards Pelican Point.  This would make a great studio composition.

This part of the painting happened quickly.  I had to remember what was happening with the light on Pelican Point.  The sun was moving fast across the face of the bluffs.

Here I am trying to define the shapes more accurately before I add the lighter values.  I am also starting to add the lighter values to Pelican Point because I had the shape where I wanted it.

I put in the movement and shape of the water around the rocks to help define the shape of the rocks.  It was kind of a notan idea.  Things are defined by what they are and what the are not.  The value progression continues as I get lighter and lighter throughout the painting.

The tire tracks in the foreground are a risk.  The perspective and value lend a sense of distance to the painting.  The safe path does not lead to growth.  Every painting is just a step towards a fuller level of expression if you are willing to put yourself out there and take chances.

I am painting larger to force my growth.  I am pushing for a full expression in one sitting.  The size of the painting prevents me from over analyzing my choices.  By pushing the pace of the painting, I am forcing my creative and spontaneous decision making to the front.  When my creative side is in the forefront, my painting feels like a deep meditation with action.  The focus and concentration are like being in a dream or deep sleep.

I have been painting without an umbrella.  It can be challenging when painting with the sun on your pallet or your surface.  When the painting is in the shade there is always an element of mystery to the painting. The intensity of the colors is always interesting to see at the end of the day; when you finally expose the painting to the direct sunlight.

The changing colors on the rocks as the sun was setting were inspiring.  This would make an even more exciting painting than my earlier picture of this same composition.

So that is what it looks like!

It has to be finished at some point.  When it is time to stop, I get a feeling like some kind of internal alarm clock is going off.  It usually is taking into account the amount of time that it will take me to pack up and get back to the car.

"Pelican Point"  Plein air oil on board 24"X 32".

The value shot.

The detail shot.  I like using this shot because it helps me understand my brushwork, my colors, my mark making, and the abstract shapes within the painting.