Art Sketch- Key West Hideaway

This is a little watercolor sketch of the conch houses that have become one of my favorite subjects when painting down in Key West. To me these little bungalows encapuslate that feeling of a tropical getaway. Many are relatively small simple structures but they are adorned with an abundance of tropical foliage that add shade and splashes of brilliant color. Unfortunately a fixer upper sells for around 1/2 a million dollars, so for now I just satisfy myself with painting them!

 

"Key West Hideaway" Watercolor/Pen & Ink on Paper Image size: 6x8"

Art Sketch- May in the Luberon

Today I present a watercolor/ pen and ink sketch I've done in preparation for a larger oil painting. This scene shows a small stone structure alongside a poppy-lined path leading to a Provincial farmhouse in the heart of Provence. The stone structure is one of many I saw while traveling through the Luberon valley. It looked to be a mini-borie. A borie is a stone hut commonly used in agricultural areas for storage or shelter. Some in this region date far back in history, but they have also been built in modern times. I don't know what use this mini-borie would possibly have held other than decoration, or even if it is technically considered a borie, but it did have the same kind of honeycomb or igloo structure:

"May in the Luberon" Watercolor and Pen & Ink on Paper Image size 6x8"

Getting ready for tomorrow night's art opening

I'm busy today doing the last minute touches for a show that opens at my Richmond, Virginia studio tomorrow night. Read here for the details. No oil painting in the last couple of days so I thought I'd share a sketch of Venice, from one of my sketchbooks:

"Gondolas Near Piazza San Marco" 6x8", Watercolor & Ink

Bellagio Vignette

With this cold February weather, I naturally long for warm, sundrenched places. So lately I've found myself pouring through sketches and photos from our last trip to beautiful Lake Como. This is a little watercolor/pen and ink sketch I did from the balcony of our hotel in the lovely lake town of Bellagio:

We had great mountain views on three sides. This brings back some warm, sunny memories for me, painting and listening to the water lapping on the lake shores below. The image size is about 6x8", done on 7x9" paper. For more information about this painting, please contact me.

Landscape Values- Part III

Here are some things to consider when working with values in a landscape. Sometimes when observing the play of light it can be hard to decipher subtle value differences. These are  not hard and fast rules, but hints that may be helpful in creating the illusion of light and shadow. First, I'll start with a simple illustration:

1. The sky is the source of light, so it is usually the lightest area of the painting.
2. The flat plane of the ground is usually the 2^nd lightest value in the landscape, because it is the earth element most exposed to the light source (except when in cast shadows.)
3. Slanting planes (like the slopes of mountains) are typically the 3^rd lightest value. They still get a lot of light, but they are more upright than the flat earth planes.  Mountain values can have undulating cast shadows as well. They are still fairly light in value however. They are also cool in color temperature, due to normally viewing them from greater distances.
4. Cast shadows on a flat earth plane will be the 4^th lightest value. Shadows generally appear cooler and lower in value than lighted areas, but be wary of painting shadows too darkly (a common problem when painting from photographs.) Cast shadows in nature will still have light and color in them because in most cases they are reflecting the light from the sky.  Also note: Overcast days when the light is generally cooler and more diffused tend to have shadows that appear warmer and more diffused. Sunny days when the light is warmer tend to have shadows that appear cooler.
5. Upright structures, such as tree trunks and certain trees like cypresses will generally show some of the darkest values because there is less surface area for the light to hit. Be aware though that most trees will still have some slanting planes in the foliage on the side where the sun shines. There may also be darker values than the upright ones occurring on the undersides of your trees and bushes. 
6. Values can get tricky once you start working with color, so it can sometimes help to squint your eyes in order to check your values. Making quick thumbnail value drawings is extremely helpful as well, as a preliminary to your painting. These “hints� are especially helpful when working from photographs. Note that there are always exceptions (like rising and setting suns), so use your observing eye! Nature often has her own ideas. When working from Nature, be open to exceptions, but also be prepared to use your “hints� if you find it helps you to make a more convincing painting!  

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