In a pickle

Last summer we grew we grew a few vegetables in our little garden. Including these cucumbers. Early on they were great but then can a blistering hot dry period. Our well could only handle a little bit of watering.. so the early guys were the best of the season.

I painted this on a panel with Geneva oil paint. Which is a very loose paint with high pigments content. For me it's been hard to paint with. I found a material called Cold Wax Medium from Gamblin and thought I'd try to add some body to the Geneva paints with it. It worked!

Here's an iPhone shot off the near finish. Waiting for it to dry and then a layer of glazing.

 In a pickle  O/P 6 x8. 2018

In a pickle  O/P 6 x8. 2018

The Tractor Barn

Finally completed. It's been about 6 months of false finishes. The color is pretty much dirivitive of Sloan's color wheel. Mostly what he called Semi Neutral or Bi Color. With a little bit of what he called Hues. The hues are derived from the secondary neutrals. These are colors that I have tubed so that when I need them they on the palette and working for me. Mixing time is more focused. More time to see. I've been gradually moving into this neutral color zone  for over a year now. As you can see these neutrals are pretty colorful. There are occasionsl full strength accents that pin the colors down. There will be more of this color technique for sure.


Finding paintings

This weekend I attended Peter Fiore's 3 day painting workshop. I have been doing this over the past few years. My paintings have improved. I can thank Peter, Judith Reeve and Johan Sellenraad equally for any improvement. You just can't do it alone. 

Peter's workshop is geared to those of us who like to work find paintings in photos. This weekend I looked for paintings in three or four paintings and found 2. The process is simple and in the tradition of inkspotting an image the I learned from Norman Baer out of the Brandywyne illustration tradition. Make some rectangles and with a big brush make some abstracts from the photo.. Work a selection up to a rough. Maybe you found a painting. Not a photograph. Sometimes its close to the photo mostly only influenced by it.

Here are the 2 potential painting I found this weekend. These will be painted or at least attempted over the next couple of months. 

 Looking back east   

Looking back east


 Rock tumble

Rock tumble

Damascus Red

Not it's not a Syrian folksinger. This is a painting of an apple that I picked next door in the Damascus Town Forest. Damascus PA not Syria, It is of unknown variety. This area of northeastern Pennsylvania was covered in orchards at one time. Some time over the last 50 years or so most orchards were abandoned for one reason or another. Some years there are so many 'wild apples' that you can pick to your heart's content and have apples of many varieties for months. This year not so much.

Anyway I painted this as a challenge to myself to paint with Geneva Paints all by themselves. Geneva paint are a slow drying very fluid paint developed bu Mark Carder. Several years ago i did testing for them during their development in conjunction with my regular paints. I never really got the chance to build a palette from the limited color set of Ultramarine Blue, Roso Corsa (red) and Cadmium Yellow. So I mixed a spectrum palette; Red, Red Orange, Orange, Yellow Orange, Yellow, Yellow Green, Green, Blue Green, Blue, Blue Violet, Violet and Red Violet. Very nice color. All from the original 3. Color is amazing.

Recently I have been learning how to build a working palette from the spectrum. Mostly from Judith Reeve* one of my life painting group. A working palette of semi neutralized color. More true to the real world of color. And faster to mix to match real world color use. This painting took about as long as most of my 6 x 6 Kitchen Art pieces. Somewhere around 2 hours. The Geneva Paints were a challenges though the colors mixed beautifully. Fast and predictable. The color blocking was very quick. The finish was difficult. The body of the paint is somewhere between liquid and very heavy cream. It stands up but doesn't have every cohesion to bring a mongoose hair brush to a point. So toward the end I swapped out Geneva White for my white. Much better.  

All in all a successful attempt. I'm sure theres a way for me to boost the body in Geneva Paint.

On to the next one

* Judith Has a fascinating web site full of magnificent paintings and incredibly brilliant study of color and composition.

Damascus Red  6 x6 oil on panel 2017

Justin #2

The is is Justins 3rd pose with use. It’e His third pose ever.. He’s a great model it turns out. He hold a pose for a half hour and gets right back in after a break. Long distinct features and a unique look. This pose is a serpentine hind of thing. Resting back on a stool in extension. Foreshortening, backlit, and the changing lighting condition of a pose over three sessions. 

It’s not finished very much to do but I very much like the direction. For over a year now I’ve been trying to understand the Sloan Triangular color wheel. The concepts of semi-neutrals and hues produced by using the triangular configuration. I and starting to get it enough to apply a bit of the knowledge on the fly. 


 Justin #2 Wip  30 x 24 o/c 2017

Justin #2 Wip  30 x 24 o/c 2017

A New Pear

A little addition to my collection of ‘Kitchen Art’ paintings a colorful and yummy Bartlett.  

 Pear 6 x 6 oil on panel 2017.  

Pear 6 x 6 oil on panel 2017.  

Justin in the studio

The past few weeks we painted Justin standing In Johan's studio. Everything about the pose was terrific. The gesture, the light. the environment and Justin's unique body expression. This is a departure point for me. I started this painting not drawing but blocking in the masses with a biggish 1 1/2 inch varnish brush. Its a 24 x 30 canvas. Over three weeks I worked up to the drawing. I't a bit unfinished but I like that. There are a few things, direct light, reflected light planes. When I get to it.