Watercolor study after Winslow Homer

9 x 12 "

Watercolor on Paper

Winslow Homer, one of my all

time favorite artists. I picked up a book

about him at the library the other day, that had

some nice examples of his watercolors.

Here is my study of the Pumpkin Patch.

Acrylic Underpainting Study

9 x 12"
Pastel on paper

The warmth of this pastel
was achieved by painting the
paper with red acrylic paint.
Not only did the paint help
with unifying the color
palette, but it helped give
the paper some tooth, which
helped the pastel adhere.

River's Bend

8 3/4" x 8 3/4"
Pastel on paper

Done from a reference photo
that I took while on vacation
in Colorado. Done with
soft, buttery Ludwig pastels.

Flag Mountain

14" x 17"
Pastel on paper

A couple of years ago, my family went
on a camping trip to Colorado.
This is my rendition of
Flag Mountain.

Caribbean Blue

9 x 12"
Pastel on sanded paper

Blue ribbon winner at the Benton County Fair 2008

View of Sedona

9 1/2 x 12 1/2"
Pastel on sanded paper

WIP

9 1/2 X 12/1/2"
Pastel on sanded paper

WIP

9 1/2X 12 1/2"
Pastel on sanded paper

WIP

9 1/2 X12 1/2"
Pastel on sanded paper

Work in Progress

9 1/2 x12 1/2"
Pastel on sanded paper

Today I started a painting
that is more involved than I usually do.
It's time to move on to more challenging
subjects. I am going to do work in progress
shots, so you can see the progression.

The first thing that I did, was draw a
pretty detailed drawing with charcoal.
From there, I started working the sky,
and then on to the background mountains.
This is more of an under painting in pastel
than anything. No details, just trying to get
the colors right.

Pastel Study

8x10"
Pastel on Canson paper

Poppy Field

5x7"
Pastel on 300 lb paper

This was another experiment.
I underpainted with purple watercolor,
let it dry then layered on pastels.
I covered all the purple, though,
because it competed with the red of the
poppies. If I had decided to make some
purple flowers in the field as well, it
would have worked out leaving the
underpainting.
Another lesson learned!

Blue and Green Color Study

4x8"
Pastel on archival paper

Limited Palette Study

6x6"
Pastel on 300 lb watercolor paper

I painted my paper with green watercolor paints.
After it dried completely and started to layer on the
hard and soft pastels but only with a limited
number of hues.

Pastel Study

4x6"
Pastel on 300 lb paper

Somewhere in New Mexico

8x10"
Pastel on 300 lb paper

Field of Gold

8x10"
Pastel on 300 lb paper

Bogle Park

8x10"
Pastel on 300 lb paper

Today's painting was done on site
at a local park. It was sunny and 67 degrees
but windy as could be. My easel blew
over twice, some of my pastels were
shattered, but not my spirit!

I think it was mother nature's
way of saying, "you can capture me
on canvas, but I am still in charge, here catch this!'
as my easel blew over.

My goal was to capture the light on the arch and
on the tips of the bushes. They had a nice glow
about them this morning. One thing about
painting en plein air, is that the light is
continuously changing. By the time the group
was breaking up, the light was overhead and
there were no apparent shadows.

I enjoyed my painting time today, but next time
I will lug a big rock or a brick with me to
tie down my easel.

Farmland

8x10"
Pastel on 300 lb paper

Tomorrow will be my first plein air session
with PAPO (Plein Air Painter's of the Ozarks).
So, today I did a dress rehearsal
to make sure I have all of the supplies that
I will need for the paint out.
The weather is supposed to be sunny and in
the 70's. The park we will be painting
is lovely at this time of year. So it
should be a good day of painting and fellowship
with other area artists.

Here is a little history about En Plein Air.

Plein Air (French for "open air") painting became popular
in the early nineteenth century in both
Europe and America when paint manufacturers
made a wide range of pre-mixed oil pigments
available for the first time, and the easily transportable
box easel, or pochade (quick sketch) box,
was developed. Artists could finally take their
work into the field with ease. The artist could, as Monet wrote,
" paint the air in which are situated the bridge, the home, the boat."

These artists paint natural light, using color to define form.
Plein Air artists generally paint "ala prima,"
laying down a scene with quick broad,
colorful brush strokes, foregoing the
typical 'building up' of paint. Depending on the
light and weather, Plein Air paintings are
generally done in one session. Artists often
add final touches to their work once back in the studio.

Small Pond

2 1/2 x 3"
Pastel on archival sanded paper