Sunday, June 29, 2014

Fairy Friends

Title: "Fairy Friends"
Medium: Colored pencil, with ink touches, on gray toned Strathmore 400 series paper.
Size: 5x7 inches on 5.5 x 8.5 inch paper (margin left for a mat). 
Genre: Fantasy

Seems like I'm all over the map, what with all the experimenting I've been doing lately. Looking to find a 2nd medium besides acrylics, so that's what all the wandering about is about. I really like colored pencil on toned paper, and it translates well into acrylics, as well. 

Thursday, June 05, 2014

Moth Fairy

Title: "Moth Fairy"
Medium: Acrylic on Raymar panel
Size: 9x12 inches
Genre: Fantasy

Friday, May 02, 2014

Morning Fog Study

This is another landscape study. It's from a photo I took at a plein air outing-- I confess to doing more photography than painting at those meetings. I'm getting faster at painting, which is great. I'd like to integrate this kind of speed into my fantasy painting. I'm sure this practice will help.

Oddly enough, no matter what genre I paint there is an element of whimsy to it. Perhaps painting reveals the soul.

Title: "Morning Fog Study"
Size: 8x10 inches
Medium: Acrylic on wrapped canvas, sides painted
Genre: Landscape

Thursday, May 01, 2014

Landscape study

Fantasy painting demands that an artist be good at everything, not just one kind of thing, and I want to get better at landscapes. Also been working on speeding up my painting. This is one of several studies done in order to accomplish all that. So yes, I'm continuing my fantasy art, and finding small studies like this one to be a lot of fun!

Title: "Spring, Central Texas" 
Medium: Acrylic on stretched canvas
Size: 8x10 inches
Genre: Landscape

Wired and ready to hang.

Saturday, April 05, 2014

Iris Lady

Title: "Iris Lady"
Genre: Figure, portrait
Medium: Acrylic on Centurion linen panel
Size: 8x8 inches

This was an experiment with glazing. Every time I try glazing I end up concluding I like it in part, but not completely. I like to put down an alla prima composition, and then enhance it wth glaze or with scumbling. Acrylics layer beautifully, but it's always a question of doing it one's own way.

This was also an experiment with a new palette, and to see if I could wrestle that unruly cerulean blue into civility. Also a color I hadn't used in a long while: dioxazine purple. Both colors are extremely strong and can completely overwhelm the composition, so I had to be on my guard with them. The other colors are cadmium red light, yellow oxide, Matisse red light (cold and similar to napthol crimson) , burnt sienna, and ultramarine blue. 

Tuesday, April 01, 2014


Title: "Moonflowers"
Medium: Acrylic on Raymar museum quality panel
Size: 12 x 12 inches
The copyright notiee does NOT appear on the original painting.

This is a newer version of my painting "Moon Garden" which was only 6x6 inches. I wanted the moon and the fairy to be engaged in a conversation, while the second fairy is off thinking her own thoughts. The fairy's wings have been purposely blended in to her body; after all it's not just a costume. The 2nd fairy has more conventional wings; you can't tell whether they're really growing out of her back, or not.

Since the moon presents such a strong diagonal, I put in the fairy's flowing hair and the floating pansies as a counteractive thrust. I'm using glazes more, which allows for more richness and depth in the color.

Monday, March 10, 2014

"The Moon Underwater"

"The Moon Underwater"

Size: 10 x 10 inches
Medium: Acrylic on Raymar panel

The Moon and the fish are definitely having a conversation. The Fish is feeling insecure, and has asked the Moon for advice. Some of the advice, the fish is willing to take and agrees with, but he's unsure about the remainder of it.

About my use of color:

People ask me about my color sense. It's intuitive. Also I use a limited pallette. Very, very limited. For example the Moon Underwater piece so far has only 3 colors: thalo blue (red shade), burnt sienna, and cadmium red light. With such a limited palette, it's easier to tune in to my intuition. I can feel it more distinctly. For example, I may get a definite urge to introduce another specific color. Since there aren't very many colors there already, a fourth color isn't going to cause too much disharmony. However, if there is too much color disharmony, I get a definite feeling of discomfort. I don't know if that helps anyone. I think that intuition is a wonderful tool for artists.

The palette for the above painting is: burnt sienna, cad red light, thalo blue (reddish) and a touch of cadmium orange, along with some black and some white. 

I'm pretty comfortable with color but when it comes to values I feel that is my weakest area, and I need to keep plugging away at it.