Drift

TM9024 Drift 32×46 oil on panel

It seems like I’m always hovering around bodies of water. Drift is based on a nearby creek. The creek itself is quite narrow, lined with an assortment of shrubs and overhanging trees, grapevines, bittersweet, poison ivy – all the usual suspects. I walk its length most days, looking for interesting reflections, bits of white clouds in the water, wildlife, and anything that might be swimming. Recently, I saw gorgeous white blossoms drifting on the current. They had fallen from a flowering tree – I don’t know its name. I knew they had to go in a painting. The turquoise and ultramarine speak to the blue sky of that day, with its bright white clouds.  Dancing branches overhanging the water seem to want to tickle the flowers, interrupting their stately progression downstream. A humble creek can be magnificent. Details below. Enjoy.

TM9024 Drift – detail from left side showing creek with overhanging branches

TM9024 Drift – detail from center with fallen flowers drifting on the current

Technical painting notes: The painting shows my use of a soft rubber roller to apply some of the paint, especially to suggest a breeze riffling the overhanging branches. I used a silicone scraper to initially draw the branches into the base layer, then selectively colored them. Alkyd glazes were used to build up color.

September’s Ode

TM8997 September’s Ode 30×50 oil on panel

Strong ultramarine blue can be intoxicating, and I was drunk with it when I painted September’s Ode. The brisk blue autumn skies contrast so well with strong yellow golds and slightly violet browns. The whole painting was an excuse to use those colors, though I did add some vestigial green to balance it. What can I say – happiness and blue skies are meant to be savored. Details below. Enjoy.

TM8997 September’s Ode – detail from upper right showing layers, use of brush, scraping into wet paint, spatter

TM8997 September’s Ode – detail from right of center showing use of spatter and roller marks

Technical painting notes: As you can see from the details above, the painting is a mixture of controlled and loose painting. I used a soft rubber roller to apply the first base layer, then used it again for some of the last few green and yellow leaves. The roller’s staccato rhythm and choppy marks lend variety. I spritzed the base layer with mineral spirits to create the light “dots”, looking for a way to let it show through and keep the actual paint interesting. The process of layering transparent glazes and semi-transparent strokes increases the sense of depth. I use Winsor Newton Liquin medium to increase transparency and to speed drying.

TM8997 September’s Ode – detail with reflections of cumulus cloud and yellow leaves

TM8997 September’s Ode – detail from right side with reflections on shallow water, sunlit pond bottom showing through

A Quiet Trio (achieved with the roller)

TM8963 Spring Finds a Way 7×7 oil on paper

TM8964 Ode to the Month of May 7×7 oil on paper

TM8965 Turning 7×7 oil on paper

These three, small oil paintings on prepared paper explore the reflections seen at my favorite pond – they also were an excuse to play with a soft rubber brayer, or roller,  for applying the paint. I used a palette knife to apply broad areas of paint quickly, then drew into the paint with a pencil and a silicone scraper. With a “scaffolding” in place, I used the roller to soften and smear the paint, letting it soften edges and mute colors. When the initial layer was dry, I went back with brush and roller to refine the image, then added more pencil and scraping to restore lines and structure. Compared to the bold marks of a palette knife, the roller works well as a softening tool. It can really change the mood of a painting. While each of these paintings began life as an autumnal study, the gentleness of the roller’s effect seemed more appropriate to the softer airs of spring – hence the new titles for two of the paintings.

Bright Blue Days

SOLD  TM8959 Bright Blue Days 36×60 oil on panel

A few warm days, a bright blue sky, and moods just have to lift. Mine did. The experiments with abstracting the pondscapes (on a small scale) led to this larger interpretation. Both the mood and the space open up, in part due to a change in the scale of the mark-making. I used my soft rubber rollers as much as possible, instead of relying on brushes to define the masses and objects. The result is a wider range of marks, more nuanced edges, and a feeling of air moving through and around the painting. It was an exhilarating experience. The use of the rollers also opens up the option of working larger – uh oh. Details below. Enjoy.

TM8959 Bright Blue Days – detail from left of center with overlapping reflections set against blue sky

TM8959 Bright Blue Days – detail from center with foliage reflections

TM8959 Bright Blue Days – detail from upper left with reflected sky and vegetation – note use of geometric roller marks to create a variety of soft and hard edges

TM8959 Bright Blue Days – detail from right of center showing use of roller to achieve layered soft edges

Technical painting notes: I started the painting by rolling on a mixture of umbers and blues, mixed with Liquin, linseed oil, and mineral spirits. I “disturbed” the wet paint with rags, solvent, and scraped some gestural lines . When the first layer was dry, I started working with my smaller rollers (1-2″) to layer in masses, letting the roller skip around (I added some Liquin to the paint to speed drying). After each layer was dry, I defined negative spaces and plant forms with some brush work, then rolled into the wet paint to integrate new work with the earlier layers. I kept repeating this process until the image felt resolved, understandable but still as loose and gestural as possible. My color choices were determined by the bright blue sky and greens of the reflected foliage. With so much blue green, I had to introduce some complementary orange. The use of olive green and green gold to contrast with the thalo and minty greens provided one source of range. The lemon yellows contrast with the warmer yellows (edging toward mustard). I added the almost pink/salmon details to again offset and complement the blue greens. The blues range from cerulean (warm) to vivid cobalt (cold).