Prints

After all these years, I've finally had one of my paintings successfully scanned and made into
giclée prints. This seemed to work well with the medium of watercolor, and the prints truly do look and feel just like the original.

Here are two images of my last watercolor painting, the first being the one professionally scanned and the second my own photo.  Anyone care to share their thoughts? I'd love to hear what you think. 

Here is a watercolor I've been working on for a while, but I've become frustrated with it. It just doesn't seem to have a big enough idea for me. I'm posting it but not putting it up for sale, because it's not all bad (just not all good!)

Street Scene from the South Side, Bethlehem, PA

watercolor, pencil and ink 12"x12"
purchase

Lately I'm thoroughly enjoying painting urban scenes in watercolor. The fine tip of a watercolor brush, or a sharp pencil or pen nib make for adding details of shape and line that I find much harder to achieve with oils. And I mustn't forget the wonders of masking fluid!

This is a revisit of a favorite scene in Bethlehem, PA. Here is a looser, smaller version from three years ago:

oil on board 6"x6"

Drive-By View, L.A.

pencil, watercolor and ink 11"x 12.5"

purchase 

I like the randomness of this scene, with criss-crossing wires helping your eye go this way and that. I also like the sense of great distance as well as the greenery- a sort of constant in much of L.A. 

Overgrown Overlook, Manayunk

watercolor 10.5"x 14.5"

I'm finding it so refreshing to work with the light touch of watercolor instead of oils, and will continue for a while.

This tight patchwork of rooftops in the Philly neighborhood of Manayunk is perhaps my favorite view found there so far. Such a terrifically satisfying composition of interlocking shapes!

Morning Light on Manayunk Rooftops

watercolor 11.5"x 6 5/8"

purchase

Over the last few years I've enjoyed working with sepia wash, and have become used to working with masking fluid, so I thought maybe I could give watercolor a try again. It's been years and years! Watercolor intimidates me, sorry to say. I'm kind of pleased with this, but would like to work on beefing up my colors next time. 

Study of Andrew

charcoal 10"x9"

I've become a new and enthusiastic convert to charcoal drawing. I never liked it until I figured out I can sharpen vine sticks to precise points (duh). 

Here is my brother Andrew, wearing one of his pleasantly inscrutable expressions. It's another study for the larger figure painting I want to start soon. 

Nancy

charcoal 12" x 9"

This is a study for a large painting. It's my mom. I'm afraid she might find it unflattering, but I don't. I find her expression complex and revealing. She's in her eighties, and I think she is still beautiful.  

Lost in Thought

oil on board 8"x6"

purchase

A certain brother of mine once told me that he is bothered by the way I often paint people looking away from me. He'd rather see a portrait of someone looking right back at me/the viewer. Well, I'm a sucker for the contemplative, introspective moment, and I always will be. 

This is a portrait of my niece Raven, who is normally lively and extroverted- and a gymnast. 

The Whites

oil on linen mounted on board 10" x 10"
purchase

These little white guys are afraid of the universe, and so they band together to make a tiny fortress.

I've always loved painting things that are white or light grey, but never realized just how subtle color variations can be found in such objects- that is, until I spent forever on this painting. The white gang sits on a sheet of fish-patterned paper that I found at The Paper Source. That store is a wonderful place for artists to find inspiration, and one sheet of beautiful paper can be very cheap. 

New Drawing and Painting Classes

I'm almost finished with a painting, I promise. In the meantime, here is my schedule of classes for the upcoming year.

Fall/Winter/Spring 2016-2017

I'll be teaching two drawing and two painting classes at Perkasie's Chimayo Gallery. If you are interested in signing up, please contact them.

Chimayo Gallery
21 N. 7th Street, Perkasie PA
Phone: 267 733-5012
email: chimayoperkasie@gmail.com
open hours:
Monday: 10 am - 6 pm

Tuesday: 10 am - 8 pm
Wednesday - Saturday: 10 am - 6pm

Here are the classes I'll be teaching:

FUNDAMENTALS OF DRAWING I
Sundays 2-4
Sept. 11, 18, 25 Oct. 2, 9, 16 (six weeks; Oct. 23 is a makeup date)

Class fee: $120
Materials fee: $25 (covers all supplies needed)

Have you always wanted to learn to draw? You don't need special
talent; you just need patience and perseverance. These six
lessons are beneficial for those who have never drawn
before as well as for those who desire a way to get back to the
fundamentals of drawing what you see.

FUNDAMENTALS OF DRAWING II

Sundays 2-4
Oct. 30 Nov. 6, 13, 20 Dec. 4, 11 (six weeks; Dec. 18 is a makeup date)

Class fee: $120
Materials fee: $25 (covers all supplies needed)

Learning to draw is a matter of learning to see your subject and then coordinating your eyes and hands to convey it on a two dimensional surface. In these six lessons you will build on your basic drawing skills by continuing to work with line and value while focusing on composition and rendering skills. Drawings will be completed in pencil, graphite stick and vine charcoal.

This class is the follow up to Fundamentals of Drawing I or for those with some drawing ability/experience. 

FUNDAMENTALS OF OIL PAINTING I
Sundays 2- 4:30
Jan. 8, 15, 22, 29 Feb. 5, 12, 19, 26 (eight weeks; March 5 is a makeup date)
Class fee: $200

Materials fee: $20 (covers cost of all prepared painting surfaces, hue finders, shared use of odorless Turpenoid, oil painting medium, paper towels, still life materials, lighting, etc.)

Students are responsible for supplying their own paints, brushes and palettes or can have the teacher order basic painting sets for them, which they will then reimburse me for. A supply list will be provided.

If you have basic drawing skills but are ready to learn to work in color with oil paint, this is the workshop for you. You will learn how to see color, how to use it, and how to mix and combine hues without losing sight of the primary importance of value. The importance of color balancing and harmony will be covered, with some discussion of the psychological aspects of color. This class will consist of demonstrations, discussion of basic color theory, and several exercises that range from simple to challenging.

FUNDAMENTALS OF OIL PAINTING II
Sundays 2-4:30
March 26 April 2, 9, 23, 30 May 7, 14, 21 (eight weeks; May 28 is a makeup date)
Class fee: $200

Materials fee: $20 (covers cost of all prepared painting surfaces, hue finders, shared use of odorless Turpenoid, paper towels, rags, still life materials, lighting, etc.)

Students are responsible for supplying their own paints, brushes and palettes or can have the teacher order basic painting sets for them, which they will pay for. A supply list will be provided.

This class is the follow up to Fundamentals Painting I, or for those with some painting ability/experience.

Flotsam

oil on linen mounted on board 10"x10"'
purchase

Bethlehem, PA

pen and ink wash 10"x10"

I finished this wash drawing months ago, but wasn't happy with it and stuffed it away. I posted it on my Facebook page yesterday, and people seem to like it, so maybe it's okay. I thought it was lacking an emotional quality- seemed too literal- but maybe the emotion is there after all?

Parallels

oil on linen mounted on board 12"x12"
purchase

Another long-term painting. Here's a question: What do you think is preferable, a brisk output of good work (at least some of it good), or slow output of better work? Lately I'm leaning towards the slow approach. 

An alternate title could be "Daffodil in Winter" because even though today is the first day of spring, I started this in February.

I like the way the daffodil seems to be caught in a prison of parallels, and leans longingly towards the outdoors and its own image, which is another kind of parallel.