Back Bay Plein Air Practice

 

8 inch squared

 These are the smallest paintings I have ever done.  They measure 8"x8".  I really have been putting off painting in smaller sizes.  I have to say I really enjoyed getting two paintings done in the same day.

These images are super glary.  The paint is very wet.  One of the things I like about painting small is the power of the brush strokes.  Each stroke is so much more important.  I look forward to more small paintings in the near future.  I entered these in the LPAPA 8" squared show. "Color may be expressed through texture. "-Robert Henri

Moody

Sunday Morning Painter

Plein air pastel 24x36. The morning  started sunny and finished cloudy.  By the time I finished the first painting the shadows in the foreground were long gone.

 Plein air pastel 24x24 second painting of the day.

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.

Pepper Light

This Pepper tree has been one of the more challenging paintings that I have painted.  The amazing light shining through the leaves and branches was the challenge.  My vision  surpassed my ability.  This did not stop me but it did slow me down.  

The following pictures are detail shots randomly selected.  I like to break down the context of the painting to see the abstract nature within the painting.

The black and white shot reveals the strength of the composition.

The detail shot reveals the truth.

 

Pepper Tree at CSUF Arboretum

The paint out location for this past Friday was CSUF Arboretum fullertonarboretum.org The SoCalPAPA www.socalpapa.com were spread out over the grounds.  I ran into a couple of them while I tried to find something inspiring.

I picked this Pepper Tree because of the shape, color, and the shade it provided.

I added a couple of colors to my pallet as I try to evolve my color mixing.  

Keeping it thin with large color washes with big brushes.  Moving to cover the open spaces.

Remaining light value areas are where some of the lightest values will be placed when the painting is completed.

Colors at this point in the painting are used to indicate values within the composition and colors that will react with the colors that I finish the painting with.

Lightening the painting to get a more accurate pattern of values within the painting while further defining shapes and adding the detail of the branches and the foliage.

Darkening areas and further defining the shapes within the painting in order to create the right contrast within the painting.

Darkening the values still further while adding additional shapes and detail within the painting.

Lightening and adding highlights to shapes that were being hit by direct sunlight.  I spent a lot of time with give and take between the shapes and the values within the painting.  It was like a negotiation on what aspect of the painting was going to take over.  Ultimately it ends up being a compromise. 

Further definition of shapes value and color-getting close.

Lightening and darkening one last time.  Touching up shapes.

 Finished! Pepper Tree 24x32 plein air oil on board.

The value shot.

The detail shot.

Back Bay

I got an early start after dropping my mom off at the airport.  She had spent the week with us.

My initial sketch to make sure that I can fit everything in the painting.  I really love the zig zag composition in this location.  I have been painting this size for a year and half now en plein air.  It is a weird size for me.  24x32 

I went to Newport Back Bay Newport Bay Conservancy which was about 5 minutes away from John Wayne Airport.  This allowed me to start painting much earlier than I usually do.  

The initial drawing done and the start of the blocking in of the painting.

The blocking is almost completed.  I am trying to keep the shapes within the drawing intact.  I put in the sky earlier than I normally would.  It set the value plan for the rest of the painting.

The block in completed.  The foreground is set up to react to the colors I am going to add to this area.  One of the time consuming things was having to rework the foreground.

I am working from the back to front to help establish the  areil perspective.

At this point I am ready to elaborate on the shapes, colors, and values within the painting.

The process of subdividing the larger shapes.

I waited for a moment when the sky was appealing to me.  I quickly responded to the shapes and values in the sky.

I wanted to make the foreground darker and warmer in value and color.  This would help create the feeling of distance within the painting and separate the foreground from the middle and background.

The early morning overcast conditions really saturated the colors.

The slow build up within the painting allowed me to chase the light as the sun started to break.  As the time committed to my painting continued to mount I felt this internal urgency to finish.  The paint grew thicker and flew faster as I knew what I wanted in the end.

The gully and brush on the right hand side of the painting had to be reworked to create the right base for my finishing efforts.  I had somehow been able to portray this the first time it would have probably cut off a couple of hours of painting.

Pushing the colors darker and warmer on the right side to allow me to create the feeling of the dried brush.  Some redrawing of shapes on the right also took up valuable time.

The sun had come out but it was still hazy.  It didn't change everything. Starting early allowed me to get a fuller expression.

One of the things about my painting that has evolved is the thickness of the paint I have been putting down.  For the last 3 months I have moved away from thin washes and worked at throwing down thickly applied paint.

The finished painting.  One last review for any last minute touches.

Plein air oil on board 24x32

The value shot.

The detail shot.