And the Sun Came Out

TM9133 And the Sun Came Out 36×54 oil on panel

And the Sun Came Out is another painting inspired by the rather inconspicuous little creek that runs along the studio building. Shallow water, overhanging vines and trees, and pockets of sunlight and bright clouds reflected through gaps in the foliage set up a constantly changing, complex environment to paint. It is magnificent, in a humble sort of way. No one will ever designate it as a park or conservation site. It runs through the industrial part of town, delightfully over-grown and abandoned. I see quite a lot of wildlife along the creek, and of course me – haunting it with my camera, totally amazed by what I find. Enjoy. Details below.

TM9133 And the Sun Came Out – detail from top edge with reflected trees and overhanging vegetation

TM9133 And the Sun Came Out – detail from left side

TM9133 And the Sun Came Out – detail from upper right

Technical painting notes: I used a soft rubber roller to lay down a burnt umber and sienna layer of oil paint, which I manipulated with rags, scrapers,  and mineral spirits to set the major gestures and lines of the composition. When the base layer was dry, I layered glazes and more translucent work with the roller, mixing oil colors with Liquin Impasto medium to achieve translucency and a “rollable” consistency of paint.  Soft watercolor brushes were used to adjust and refine details. Repeated layers of glaze and detail work brought the composition to a satisfying resolution.


Along the Edges

TM9131 Along the Edges 36×54 oil on panel

Watching the swells move in with all their energy only to collapse on the beach – each wave different from the next. I watch the shifting planes and foam…filled with anticipation. Enjoy.

Watching the Waves Slip In

TM9130 Watching the Waves Slip In 36×54 oil on panel

The storm is mostly over, and the silvery grays linger, as do the vigorously incoming waves. This is not a day for picnics on the beach, but it is a fabulous time to watch waves. And we all do it. Enjoy. Detail below.

TM9130 Watching the Waves Slip In – detail near center



TM9126 Watching the Waves Roll In #221 7×7 oil on paper

TM9130 Watching the Waves Roll In #224 7×7 oil on paper

TM9127 Watching the Waves Roll In #222 7×7 oil on paper

TM9128 Watching the Waves Roll In #223 7×7 oil on paper

This past week’s two major storms sent waves up and over everything. These four small studies focus on the tremendous force and released energy of waves… a safe size. Enjoy.


These Dappled Afternoons

TM9122 These Dappled Afternoons 42×48 oil on panel

It’s  early summer, the days are long, and the light is delicious as it softly filters through trees and into my favorite pond. I’ve painted this day many times. The light always seems to float above and below the water as the lilies drift on their long stem. There is movement and stillnesss in perfect balance. The abstract patterns of overhanging branches and leaves seem to underscore the fragility and impermanence of the lilies. It epitomizes both tranquility and the thrill of a visually exciting subject. Enjoy. Details below.

TM9122 These Dappled Afternoons – detail from right side

TM9122 These Dappled Afternoons – detail from upper left side

TM9122 These Dappled Afternoons – detail from lower edge with three lilies

TM9122 These Dappled Afternoons – detail from center

Technical painting notes: The painting was begun using monoprint techniques, rolling the surface of the panel with dark blue/black and blue/green oil paint, then manipulating the surface with solvents, silicone scrapers, and considerable re-rolling. Once this initial layer was dry, I applied transparent glazes to modulate the color, and then painted into the wet glaze with soft brushes to establish a stronger pattern of lights and darks. As each layer dried, I added more glazes and continued to develop the pattern of  reflected leaves and branches, using both brushes and rollers. Eventually the lilies were added to create a focus and to enhance the sense of sweep and movement in the painting. More glazes were used to adjust the colors and values.

I Hear October Singing

TM9121 I Hear October Singing 42×48 oil on panel

I’ve always loved painting trees from the outside in, but painting them from the “inside” out is just as exciting – maybe more so. After so many studies of trees, it’s the spirit of the tree that hypnotizes me, its life force, the way it can embrace the wind. I Hear October Singing is about that energy and flexibility. And about joy – my joy as well as the joy expressed by the trees. Details below. Enjoy.

TM9121 I Hear October Singing – detail from left side showing interwoven brush and roller marks

TM9121 I Hear October SInging – detail from lower center with abstracted leaves, branches, twigs

Technical painting notes: I started the painting with a roll-up of dark umber and sienna oil paint, which I manipulated with mineral spirits and the roller (creating textures and “swishes” then re-rolling them to soften the effects). When the base layer was dry, I worked with watercolor brushes to lay in some of the brighter sky areas, applied colored glazes to the rest, then started rolling color on with smaller rollers. Letting the painting dry between layers of work and glaze, I interwove the brush and roller strokes. I found the mechanical roller strokes, with their sense of geometry, contrasted nicely with the strokes made using a brush, which produces a softer and more irregular edge. As the painting developed, I found I needed to go back and strengthen the darks as well as the lights.

I use Winsor Newton’s Alkyd impasto medium when mixing paint for roller application –   it speeds the drying, adds luminosity, and keeps the viscosity of the paint suitable for rolling.

January Trio

TM9123 January Morning 7×7 oil on paper

TM9124 January at the Ice Pond 7×7 oil on panel

TM9125 January Meadows 7×7 oil on paper

This winter was particularly kind, at least for me. We had gorgeous snow to invigorate the senses and offer inspiration, but with intermittent periods of melting, enough to keep the snow pack walkable. The result is lots of little winter paintings, and a better understanding of how I might develop a larger series. While I adore spring, this is the first year that I don’t want winter to go away. I’ve only begun to play with her.