Moonset, Dawn's Early Light. June 12, 2010

I don't know why they call it the corn moon but the Moon set in May looks nothing like an ear of corn. It may resemble it's color...but...

(I know it's probably because it was high time to plant corn for the fall).

This was the last of five sketches I produced one morning down the street from my house. It was a productive morning indeed, but when you have a beautiful setting in your back yard, such as Carpinteria Beach, one can hardly go wrong; especially when there is a big beautiful moon as a guiding light.

Moonset, Dawns Early Light
8x8 oil/canvas 2010

Collection of the artist

Lesson on Perspective June 9, 2010

What a great day to be at the Mission in Santa Barbara.

Today's demonstration dealt with drawing in perspective; both one and two point.

After toning the canvas, the drawing begins. I started with seeing the parameters of the format (in this case, 22x28). I began by drawing the contour lines of the fountain, then moved to a perimeter outline of the cupolas of the church to make sure my relationships would allow them to fit on the page. (often times the top of the cupolas don't quite make it on the canvas).

Next comes all the lines in contour moving to two vanishing points on the horizon line. While I am drawing these in I am relating the shapes and angles and negative spaces to my original lines of the fountain.

I use my brush as a tool, to measure the angles, and distances of each line and/or intersection of shapes/points, etc. to all other angles, lines, shapes and points. Every mark has relevance.

Drawing this mission is itself a master class. A trained eye can tell which lines may or may not be off in relationship. It is unforgiving, which is why I choose to depict it as a subject. However I notice many of my students fall away from this particular class cause it is a monster to take on.

From this toned drawing, I will work in a limited palette and produce a mellow, antique feeling to the painting.

I won't be afraid to ruin it, so chances of survival are pretty high.

Art for Art's Sake June 8, 2010

I recommend to my students they should not focus on making money as an artist; although making money is fine, the intention behind creating their art should be pure. They need to strike a balance. Create both art for arts sake, and art for commerce sake.

They should paint and hope to sell, not merely paint to sell.

This was a little 9x12 oil painting I painted up at Ray Strong's Birthday celebration in 2009. It is on the top of East Camino Cielo. We'd gone to paint and celebrate Ray's life (Most OAK Group artists were present), and the brilliant day was soon fogged in.

I only had so much time to paint, so I quickly made a decision to paint a section of the mountain road, meandering behind Montecito Peak. The fog was looming like a monster; billowing up and over the ridge, allowing the sun to filter in only now and then.

It is a somber painting, but it says, "California Landscape" for sure. I never though I would sell it because it is so unusual a composition. None the less, it did sell to a very fine architect in town, and it looks great on his wall.

I guess in this case my art for art's sake blended to become my art for commerce sake.

I have no complaints.

Looming Fog, E. Camino Cielo.
9x12 oil/board 2009

Private collection

Moon Over the Moor, June 7, 2010

In 2004, I was granted my first solo museum exhibition at the Carnegie Art Museum, Oxnard, California.

As part of the exhibition I performed a slide presentation on the history of nocturne painting. After the show, while the lights were off I turned on my book lights and headlamp, and spent approximately forty minutes demonstrating the night painting techniques I use to paint out on location.

This painting, was purely from imagination: I designed it, first, from a small sketch. I gave the composition a low horizon line, showing the moonlit road (lead line) sweeping up to some Irish type cottages.

I left a few lights on in the structures to give it a sense that somebody may be home. (A human touch sometimes adds warmth and mystery to a painting). However I didn't want too many ambient light sources denoted, for they would distract from the painting's main focal point; the moon.

I began with a green under painting, which, when mixed with the cool blue gray tones of the night, offered an interesting contrast. It is an overall cool painting.

I am still intrigued by this painting; It gives me this desire to visit and paint in Ireland some day; to not only paint, but Howl at the Moon...

Walking Amongst Masters, June 6,2010

When I went back to school to get my Master in Arts Degree in 1997, I sought out my teachers. I found a book in an art store by the contemporary master artist, Harry Carmean, who's proficiency and skill with line and form have astounded many art officianatos.

Fast forward to last night at the four seasons Biltmore in Santa Barbara; the Bottoms Gallery hosted a one night salon, exhibiting the artwork of Harry Carmean, for one evening.

Walking in to the salon I was very still, taking in the beauty before me. All the paintings were hung and lit well, and framed nicely. What a treat; to be in the presence of such masterworks, of an artist I'd only heard about, and studied, years before. There's nothing like the real deal.

As the evening went on I introduced myself to Harry, who was conversing with another contemporary Master Artist, James "Bud" Bottoms. (I show my work at Bud Bottom's Son Joseph's gallery)

This was just a brief orbit of us three artists. I was all ears as Harry and Bud shared their WWII stories: Harry was in the 2Nd Wave of U.S. forces on Omaha Beach, firing anti-aircraft, Bud operated radar on TBF's in the Pacific.

The rest of the evening was spent in dialog on art and masters of the past. The flow was extraordinary; always placing things in context. I feel it could have gone on all through the night.

I left there, feeling grateful, and appreciative for that which is to come.


Photo:

"Harry Makes a Point"
Left to Right: Harry Carmean, Myself, James "Bud" Bottoms

Night Shift. June 5, 2010

Just spent this last week finishing, framing, and hanging my paintings at the Santa Barbara Tennis Club. It is a group show called, "Night Shift". I am exhibiting my plein air (open air) nocturnes along with fellow noctural painters Cyndi Burt, Filberto Lomeli, Doreen White, and Paul Cumes.

The show is up, it looks good. Come to the opening if you can on Friday June 11 from 530 to 730. The show will be up until July 6, 2010.

I'm pleased to say I have sold two of the four paintings sold thus far, in the pre sale hours before the event.

This is one of my paintings sold, and it is a fine thing to know people are willing to buy art in this Economy.

It is a great neighborhood in which to exhibit.

Moonset, Carpinteria Bluffs
6x9, oil/canvas, 2010
Private collection

Casa Dahlias, June 4, 2010

Been kinda scattered these days with Graduations et el.

But no mind, when it gets like that it's important to enjoy the simple things in life, like fresh cut flowers. Ah, simple pleasures.

These flowers were cut and placed in the beautifully designed home by Master Architect George Washington Smith, called, the Casa del Herrero, in Montecito California. I painted this still-life for a fund raising event to benefit the Casa del Herrero, in 2008.

Its nice to paint flowers. I view it is an artist's way of honoring and immortalizing their lightness- in their beauteous prime.

--Thoust wilt capture them before they wilt!

Ironically, in the end, their death was worth it.

Casa Dahlias
12x9 oil/board 2008

Private Collection