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Metal Prints, Framed Prints
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Field in Late April
Trees in the distance still hold on to the gray-browns of winter but the first pale-green leaves are beginning to open and grow—even lighter and fainter than appear here. The grass is a mix of coming-in greens and last-year’s browns and tans.
Acrylic on paper, 8.5 x 5.5 in.
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Notan Landscape
In this painting, I wanted to eliminate all but a couple of colors, focusing on the interplay of lights and darks and a strong composition. I can see I'll have to do more like these to learn from them, if for no other purpose than just to play. . .
In this notan painting, I wanted to eliminate all but a couple of colors, focusing instead on the interplay of lights and darks and a strong composition. I can see I’ll have to do more like these to learn from them, if for no other purpose than just to play with the paint and not worry about a finished piece.
Acrylic on paper, 8.5 x 5.5 in.
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line-000378 (processing-py render)
This is a clip of a video I created using a Python-based graphics tool. I use it to draw shapes, run random versions of a drawing, and then save some of the images.
Done in processing-py, 800 x 783px.
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A Trying Path
I’ve been looking at a prepped 15 x 30 inch canvas, wondering what to do with it, and used Procreate to try out a composition with elements of sunlight, shadow, and atmospheric perspective. First I did an underpainting and then covered it over with complementary colors. Looking to hazy clouds to create space and distance. Now for the real thing. What will that be? Procreate is good for ideas;…
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Single Rose
Trying to keep things loose, I painted around the rose first to form its shape and then built up the petals, some in light and some in shadow. Rewarding and fun but challenging!
Trying to keep things loose, I painted around the rose first to form its shape and then built up the petals, some in light and some in shadow. I tried integrating it into the background by softening some of the petals’ edges, and I emphasized dimension adding shadow colors as needed. Rewarding and fun but challenging, a skill-building exercise.
Acrylic on paper, 8.5 x 5.5 in.
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Accumulations
I've seen some Constable studies of clouds, and that's what I had in mind.
Some of the initial sketch in water-soluble crayon still shows up in the sky and clouds. I wanted to remove eye-level details and just focus on the sky, the trees, and the clouds. I’ve seen some Constable studies of clouds, and that’s what I had in mind. If I really wanted to, I could go back and desaturate the sky a little, but I don’t mind the interplay of the the blue and orange.
Acrylic on…
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Cloud Study
There’s always something to learn from studies like this. Using wet-on-wet allows for reworking, but it's hard to highlight the cloud tops as the wet paint soaks up some of the brightness of lighter colors.
There’s always something to learn from studies like this. Using wet-on-wet allows for reworking, but it’s hard to highlight the cloud tops as the wet paint soaks up some of the brightness of lighter colors.
Acrylic on paper, 8.5 x 5.5 in.
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Hawk Hollow, December
Late last December one of the first heavy frosts hit. On that misty morning, the frost glowed under hazy skies. I took many pictures; this is one of the views of a new trail where the grass was still green!
Late last December one of the first heavy frosts hit. On that misty morning, the frost glowed under hazy skies. I took many pictures; this is one of the views of a new trail where the grass was still green! A beautiful day and not too cold—but gosh I’m glad it’s not December.
Acrylic on canvas, 12 x 12 in.
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By Silver Lake (41.83 -88.17)
Not too far from home for regular summertime visits.
Not too far from home for regular summertime visits.
Acrylic on canvas, 9 x 12 in.
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Detail, Sea and Sky
Squeegee-scraped acrylic paint. This is a detail of art I scanned, a composition of a composition.
Acrylic on paper, 9 x 12 in.
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Easter Egg
Mixed media. Done in food coloring and egg. By guest artist.
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Near and Far
Working with atmospheric perspective in this piece to add depth and distance.
Acrylic on paper, 8.5 x 5.5 in.
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Sundays Unending
From one of the views along the West Branch trail, this piece puts me in a place I visit often throughout the year. No matter what time of year it is, I only need to close my eyes to see its fields and trees.
Acrylic on canvas, 18 x 24 in.
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Descent from the Cross
By artist Rogier van der Weyden, 1435
The Descent from the Cross c. 1435. Oil on oak panel, 220cm × 262 cm. Museo del Prado, Madrid
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Grand “Little” Teton
Inspired after looking over vacation spots near Grand Teton National Park, I went back to a smaller painting area to depict greater depth and distance. That way, I can make large chunks of land with a single brushstroke and complete the piece in one sitting. Pure fun!
Acrylic on paper, 8.5 x 5.5 in.
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Over and Over
Somewhere—maybe in a parallel universe—there is a field like this nearby under summer sun. Here, it’s too early in spring to feel summer warmth coming on, so the imagination leaps ahead or lingers, basking in it.
Acrylic on canvas, 9 x 12 in.
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