"Street Weaver", Makes the BoldBrush painting competition`s FAV 15%.

Step 1.

The beginnging and sometimes the most important stage. A bad start, wrong placement, inaccurate drawing, etc. can color the whole effort negatively from the start. So, I`m trying not to make to many big mistakes at the beginning.

Detail of 1.

Step 2.
The figure and some of the environment around starts to appear. This is direct painting. I`m trying to have as few adjustments to make as possible later.


Step 3.

When working in this manner, where one finishes one area, and moves on to other parts of the painting, the whole composition must still be kept in mind. One can`t paint the entire painting at once. When you place a piece of paint down, at that moment you are making a judgement based on what is next to it, and not necessarily something in a distant part of the painting. One must step back then, and judge the overall. Then, other adjustments might have to be made.

Step 4.
Nearing the finish. At this point, it is a matter of making little value and temperature adjustments. Hopefully at this stage, shapes do not have to be changed dramatically.

Step 5.Finished Painting

"Street Weaver" 12x16 oil on linen. This is a smaller and slightly different painting based on another larger 20x20, "The Basket Weaver". I am pleased that this painting got some popular votes. It is always nice, and encouraging to be recognized in a group of good work. I think the most useful thing about shows and competitions is that even though a top award isn`t garnished, it does validate ones effort, and it is always fun to compete.

Two new Studio paintings

"The Herd" 6x9 oil on linen panel.

This small painting was painted in a direct alla prima method completed in one morning. Although this painting was painted in the studio from reference, the intent here was to try and achieve the spontaneous immediacy of a location painting.

"Moonlit Creek" 12x16 oil on linen panel

This is a Texas creek near Fredericksburg. I painted a larger version of this same location with a couple of horses crossing near the Tin Star Ranch. I can`t wait until my next trip to this area. It will be interesting to see the change, if any. The time of day was late and low light. The beauty of this kind of subject is it looks totally different in different light situations.

"On the Easel- a work in progress"

This landscape with horses is 22x28 oil on linen, and is a work in progress. In this first stage, I debated whether or not to use more than one animal in this scene. As one can see, at this stage it is easy to add or take away.

I felt the two figures in the middle ground of the painting added something that was needed to break up that long run accross the middle of the painting. I am hoping that was the right choice. If not, they can always be taken out.

Here, all of my big shapes have been chosen and probably will not change much. Just need to build up paint and correct values and adjust temperature a bit.

Nearing the Finish. Just need to tweak here and there. Will post the finish later. Need to let it sit for a while and look at it with a fresh eye later.

"My recent Plein Air Easton Painting Event Experience"

This is the beginning of a painting I did of the Sculpture in front of the Armory, on the corner of Harrison and South St. in Easton Maryland. This was probably the hottest day of all the extremely hot weather we all experienced. The heat was the only negative thing about the total event. There were over fifty artists invited to participate, and the field was so strong, that I feel fortunate to have gotten the opportunity to paint in this event. I met artists that I respect and have known of, but never met, so I have many new artists friends.

Here, I have developed the painting a bit more, while being thankful for my umbrella. It didn`t help much with the heat, but it did protect me from the sun.

This is near completion. Looking forward to some kind of air conditioning at this point.

This is my View from Perry Cabin Inn looking towards the Maritime Museum.

This is the spot I chose to paint the Produce stand on the way to Oxford. This was a neat little place to paint, and the produce stand owner, Mr. Eason was a heck of a nice guy. Many of the artists painted at this location. He had a field of sunflowers, that I considered painting, but was a bit overwhelmed by the thought of it. I think on this particular day, I made the right choice for me.

This is the beginning of "Eason's Produce stand".

Nearing the finish! Another hot day!

Painting the Grain Silos in Easton!

Begining of a painting of two great looking old barns in Oxford. I was in the shade on this one, and although it was hot, I was not uncomfortable on this day.

Nearing finish!

This is a location that I really liked. I wish I had spent more time there. I painted this little scene one morning at the Maritime Museum. There is certainly a wealth of material to paint there if one likes water and boats etc.

Here is a closer shot of the Painting.

This is an old rusty hulled boat at the draw bridge entrance to Tilghman Island.

My effort at another great spot called Cutts and Casts. Lot of boats water and interesting old buildings inside and out. I liked this place a lot, but many of the vantage points are on narrow docks and percarious spots. Part of the outdoor painting experience.

Here I am painting the Crape Myrtles in the Museum garden in Easton. The garden was full of painters that day.

A beautiful morning on the way to Oxford. This is along side of the road by a fenced in pasture that had a herd of Belted Galloway cattle, and also belted Goats that had the same markings of the cattle. Never seen that before.

Here one can see the way these cattle are marked. I have seen these cattle in Maine also.

This was Quick Draw Day, and my main concern was to position myself in shade. It was an eventful day with tons of people coming out, despite the uncomfortable weather, to support the Plein air Easton annual paint out.

Someone felt this was photo worthy.

Another great spot to paint is the Yacht Club in Oxford.