Tuesday, June 27, 2017

Evening Song

Evening Song, 30 x 24, oil on canvas, L. Daniel © 2017

A few weeks ago I posted a study for this larger work that is now on it's way to the Anderson Fine Art Gallery on St. Simons Island in Georgia!! On occasion, my heart breaks with the beauty of the low country and it's dramatic skies. I can never get enough! As I took this piece larger, I didn't want to lose any of that drama, and that required staying committed to the dark passages. Below is an image of my block-in, where I laid those darks in pretty boldly. 

Evening Song Block In

You may be wondering about that little passage of yellow... Early on in the block in, I used Indian Yellow to lay in some of the light areas. Indian Yellow is transparent, and is a perfect "place holder" for passages that will be that color. The transparency allows it to save the yellow areas without contaminating the darks that need to surround it. I used it to hold the spots higher up in the sky as well, I just forgot to take another photo. Try to imagine! :)

Thursday, June 22, 2017

Sunflower Fields Aglow

Sunflower Fields Aglow, 6 x 8, oil on panel, L. Daniel © 2017
SOLD

Sunflowers are such happy flowers, don't you think? I just finished a series of larger sunflower pieces for an upcoming group exhibit, and this backlit field of the giant stalks was a little study I did in preparation. I love their brilliant color and saucer-like forms. Painting them brought me great joy! (I kinda became obsessed!) 

Please stay tuned for the larger pieces and more information on that group show when it opens in July!

Tuesday, June 20, 2017

Iron Gate and Revising a Painting

Iron Gate (Revised), 8 x 6, oil on panel, L. Daniel © 2016
Click to purchase $120 + $16 s/h

Sometimes I feel the need to revise a painting. This inevitably happens when something is a bit "off" and it just keeps bugging me until I do something about it. Of course, my goal is to notice these things when I am in the process of making the piece, not days or weeks later. Unfortunately, sometimes it takes days or weeks to realize what is bothering me. This is one of those pieces, and I thought it might be interesting to talk about my process of making changes. 

Problems/Solutions in this piece: 
1) Problem: The wall had an odd notch in it; and even though it was true to what I saw, it didn't make sense in the painting. Solution: Removed the wall notch!
2) Problem: The cypress trees were too dark and looked flat. Solution: Intensified highlights on trees. 
3) Problem: The foreground didn't lead "in" as much as I wanted it to. Solution: Added blue flowers in the foreground and popped highlights on gate and lamp. This brings the eye to entrance of painting.

Here is the "Before" and "After"

Reworking a painting: 
1) Wait till painting is dry. 
2) Wet the entire painting with linseed oil, then buff it off. This restores luster of dried pigment and allows fluidity for application of new paint. (If you use Liquin or some other medium, you would use that instead. Refined linseed is my only medium, so that works well for me.)
3) Mix the same colors that are in the painting and make changes area by area (test in small areas first.) 
4) For the wall: I mixed wall color and painted right over the dry trees behind to remove the notch. Then I added highlights to new portions of wall. 
5) For the cypress trees: I started with the original color of the tree and re-painted that base color. Then I modified the new wet layer with my highlight tone. 
6) Blue flowers and highlights: I mixed the colors and laid them in with a liner brush. Extra linseed oil makes the paint flow better from a liner brush. 
7) Newly painted areas will dry dull (oils "sink"). You will need to oil out the painting when it dries again. 

As an alla prima painter, I prefer working wet into wet. This approach allows me to modify  a dry painting without loosing that alla prima look. Often, just a few small changes make a big difference. I like this little painting so much more now! :)

Monday, June 12, 2017

Swirling Vines - with process shots

Swirling Vines, 12 x 16, oil on canvas, L. Daniel © 2017
Collection of the artist

The Georgia coastline and St. Simons Island are known for their huge Live Oak trees draped in Spanish Moss. I love them so much (and have since my first encounter), AND I find them very challenging to paint. There is just so much going on... this one was especially complicated, with tangled vines wrapped all around its multiple trunks. 

Below is a photo of the scene and some process shots. You can see that I simplified the background quite a bit, a necessary sacrifice in order for the tree to emerge. One thing I have learned along the way is that you can't have it all! ;) (That is true for a lot of things, isn't it?)

Setting the scene... the tangled tree in a grove of Live Oaks.

In my initial sketch, I tried to establish the movement of the vines.

As the painting progressed, details came and went... and came back again!

When the light peeked through, I popped in highlights and final marks.
That moss? I dragged it in at the very end.

Wednesday, June 7, 2017

Western Sky (Study)

Western Sky (Study), 8 x 6, oil on panel, L. Daniel © 2017
SOLD

This was truly a fleeting moment that I was happy to capture on my camera, so that I could revisit it in the studio. Skies like this happen almost nightly on the Georgia coast. I never tire of the sun's dramatic exit!! I did this small study in preparation for a larger piece I just finished. I will share that one a little later when it is signed, sealed and delivered to the gallery (or at least on it's way.)

Monday, June 5, 2017

Antique Beauty

Antique Beauty, 6 x 8, oil on panel, L. Daniel © 2017
Click to purchase $120 + $16 s/h

Over the Memorial holiday weekend, I came across this antique car, sitting ever so pretty by the side of the road. Its owner had wandered over to an adjacent fishing pier, so I thought I might have time to give it a go. Just as I was finishing she came back, jumped in, and drove off. The good news is that I was almost finished... the bad news is that I never got to see what kind of car it was. Well, that is not completely true... I could easily see that it was a very CUTE car (I just don't know what make and model it was)! 

Wednesday, May 31, 2017

Palmetto Lace

Palmetto Lace, 6 x 8, oil on panel, L. Daniel © 2017
SOLD

I was blessed to find myself back on St. Simons Island for a few days over the Memorial Day weekend. It was a short visit, but I managed to get out painting (how not to?) Little studies were in order and I had to work fast; but I find we have to catch these things when we can!!! In this piece, I wanted to capture the feeling of those lacy palmetto branches fluttering in the breeze. The soft colors of the marsh created an awesome backdrop, drifting in and out behind the palm fronds.

Monday, May 29, 2017

Turkey Bend - Texas Lifestyle Magazine Article

Turkey Bend, 9 x 12, oil on panel, L. Daniel © 2017
Private Collection

I am very pleased to be featured in the spring edition of Texas Lifestyle Magazine. The article talks about my inspiration and process, and how the Texas landscape impacts both. See story in magazine by clicking HERE. Scroll to page 66.

Many thanks to Editor, Julie Tereshchuk, and Texas Lifestyle Magazine!


Monday, May 22, 2017

Iron Gate

Iron Gate, 8 x 6, oil on panel, L. Daniel © 2017
Click to purchase $120 + $16 s/h

This is another painting of the beautiful grounds at Laguna Gloria, where I teach painting in Austin. It's no surprise that this is a popular wedding venue, as well as an art school and sculpture garden. The main building is modeled after an Italian Villa. It is surrounded by gardens and just a few steps away from Lake Austin... one of my favorite places! 

This is my favorite sculpture on the grounds...
"Looking Up" by Tom Friedman, stainless steel

Me, standing at the foot of the giant!


Thursday, May 18, 2017

Big Commission - In Situ!

A Capitol Evening (detail), 60 x 72, oil on canvas, L. Daniel © 2017
Commissioned for the Dell Seton Medical Center, University of Texas
SOLD

Those who followed my posts at the start of the year will remember that I painted my largest painting ever, for the new teaching hospital at the University of Texas. It was a terrifying, but wonderful challenge for me. Well, I have an update. This past weekend, the Medical Center threw a grand opening party for the public to view the new facility. Below are pictures of my painting "in situ". That grin on my face lasted all day! (Okay, I am still glowing a bit.) I am honored and grateful beyond words to have my work showcased in this great institution of healing. 

Click HERE for original post on this piece. (The other two paintings I did for them were not viewable at the reception as some areas were closed off... no pics of those.)






Tuesday, May 16, 2017

Villa Cypress - Demo 3

Villa Cypress, 12 x 6, oil on panel, L. Daniel © 2017
Click to purchase $145 + $16 s/h

Choosing a subject... what to include, what to leave out? That is the question. This demo is about choosing between two interpretations of the same scene. The composition on the left is all about the statue as the main idea. The composition on the right is all about the tall cypress trees as the main idea. Both are valid, but I felt that they were two different paintings. 

To accentuate the cypress trees in today's post, I needed to focus on their height. Therefore, it was important to show that they were taller than the Villa (which has three stories). Using a tall, skinny format helped to further "push" the idea of height. I chose to leave out the sculpture completely, so that it would't distract from the main idea.

One scene, two ideas...




Monday, May 15, 2017

Garden Watch - Workshop Demo 2

Garden Watch, 8 x 6, oil on panel, L. Daniel © 2017
SOLD

This is the second of the demo ideas I worked up for my recent workshop. (To see block-ins of all four ideas, click HERE.) I love this little angle on the garden and the sculpture adds an instant focal point! Below are several process shots so you can see how the painting developed. 

Blocking in with Ultramarine and Burnt Sienna.
 I tried not to worry about the details on the sculpture at this point... just the shape of a figure on a block. Keeping it simple at the start actually helps me avoid over painting it. 

Building the darks in the upright plane.
Depicting the statue was accomplished by painting both the shape itself AND its negative shape. In other words, I started with a general form and then carved into it with the surrounding background color. I go back and forth between the two (negative and positive) to help me hold the form.

Again, the finished piece. 
I wish I had taken more pictures showing how the sculpture element evolved. I just got going and forgot. :(


Thursday, May 11, 2017

Courtyard Entrance - Demo

Courtyard Entrance, 6 x 8, oil on panel, L. Daniel © 2016
SOLD

A couple of weekends ago, I taught a plein air workshop at The Contemporary Austin Art School. The focus of the class was all about working smart in the field. It's easy to get outside and flail. What works best for me is to carefully invest in my initial block-in (see below). In this block-in stage, I focus on composition and the value placement. Getting a good foundation in the first sketch has a direct impact on my happiness with the final result. I try to resolve most issues in that sketch before moving on. 

This demo shows four different ways to interpret the same subject. It helps me to consider different angles before I begin. Selection of a subject can be hard when choosing from 360 degrees in every direction! I am often surprised and delighted, by a not so obvious second or third idea. 

Composition #1 - 6x8 Block-in
I chose this one for the finished demo because I wanted to include a few more details on the building. 

Composition #2 - 6x6 Block-in
I liked this one for its simplicity, and how it worked in the square format. 

Composition #3 - 8x6 Block-in
Another angle on the courtyard - same building, opposite side. 
Please stay tuned (next post) for the finished version of this angle! 

Composition #4 - 8x4 Block-in
Another format for second angle on the courtyard. 





Tuesday, May 9, 2017

Shrimper's Row - Georgia Coast

Shrimper's Row, 12 x 9, oil on panel, L. Daniel © 2017
Available (arriving soon at Anderson Fine Art Gallery)

These shrimp boats are docked along the marina shore in Darien, Georgia (just up the road from St. Simons Island). Those tall, vertical arms on the boats are towing booms with nets attached. The booms and nets come down when the boats are out in the ocean trawling for shrimp. It is usually a nighttime or early morning gig, so catching the boats docked up during the day is not unusual. They make quite a fine sight, all lined up. 


Sunday, May 7, 2017

Sailor's Delight - Georgia Coast

Sailor's Delight, 9 x 12, oil on panel, L. Daniel © 2017

The last few days I was in St. Simons Island, I found myself wanting to paint boats. This little sailboat was sitting on the causeway, ready to be taken out for a spin. I'm sure its owner was ready (or at least wanting) to go too... it was a perfect blue sky, sunny day!

Thursday, May 4, 2017

Cottage Balcony - Georgia Coast

Cottage Balcony, 12 x 9, Oil on panel, L. Daniel © 2017
Available (arriving soon at Anderson Fine Art Gallery)

The morning light on this Jekyll Island cottage added an irresistible warmth to an already charming scene. I can't help but think of Romeo and Juliet when I see garden balconies. They add automatic romance, don't you think?

Tuesday, May 2, 2017

Grazing - Wild horses on the Georgia Coast

Grazing, 6 x 8, oil on panel, L. Daniel © 2017
Click to purchase $120 + $16 s/h

My last post was all about Cumberland Island and the ruins of an old mansion there. (To see and read about that, click HERE.) What I didn't tell you is that the island has a band of wild horses that freely roams its forests, beaches, and dunes. It's always a treat to catch a glimpse of them during a visit there, and this time they sauntered in and posed! This horse must have found something pretty tasty in this grass because he stayed around long enough for me to finish this little sketch! 

Side note: The band of horses is probably left over from when the English started settling the island in the early 1800's; although some popular myths date them back to the Spanish Conquistadors and the 1600's. Though once domesticated, they are are now thoroughly wild and it's smart to keep a healthy distance. Seeing them is another great reminder of the island's colorful and romantic past. 

Sunday, April 30, 2017

Dungeness Gate - Georgia Coast

Dungeness Gate, 12 x 9, oil on panel, L. Daniel © 2017
Available (coming soon to Anderson Fine Art Gallery)

This elegant gate was once the entrance to Dungeness, a 59-room Queen Anne style mansion on Cumberland Island, GA. It was built by the Carnegies in the 1880's, and quite a grand place. The Carnegies moved out in 1925 and estate burned down in 1959, leaving only ruins and the hint of stories from yesteryear. Oh, to know some of those secrets! ;) 

Nowadays, the island can only be visited by ferry, either on foot or by bike. That blue bike was mine for the day as I rode around the island (easel on my back) and painted. See why I love painting in the Golden Isles so much??? Always an adventure to be had!

Thursday, April 27, 2017

Shifting Sands - Georgia Coast

Shifting Sands, 8 x 16, oil on panel, L. Daniel © 2017
Available (arriving soon at Anderson Fine Art Gallery)

The way beach sands shift and move always amazes me. Tides, winds, currents, and storms all have a hand in that process and it seems to change almost by the day.

These partially buried beach rocks tell a story of change on St. Simons Island. They were originally placed along this beach after Hurricane Dora in 1964, by President Lyndon Johnson (referred to as the "Johnson Rocks".) The storm had caused so much damage and flooding that the large granite rocks were placed strategically along the beach to prevent further loss and erosion. As nature would have it, the sands have continued to shift, and now, over 50 years later, they have completely returned (and then some). The beach is greatly expanded, and has filled in and covered many of the Johnson Rocks on this beach. 

It's always a treat to walk down there and see what's new! :)

Tuesday, April 25, 2017

Local Color - Georgia Coast

Local Color, 12 x 16, oil on panel, L. Daniel © 2017

The Crab Trap, a restaurant on St. Simons Island, has been around for ever and ever it seems... through changing times and all the new trends. There is nothing quite like their fried shrimp and hush puppies. But besides all that, they have the best display of flowers! I love driving by and simply taking in all the colors!

Just as I was finishing up this painting, a sweet little girl and her dad came over to see it. She told me (quite confidently) that she will be an artist when she grows up. So, of course, she happily took me up on my offer to make a little painting right there on the spot. My apron was a bit long, but she had a ball! I believe she is ALREADY an artist!

Well done, my little artist buddy!


Sunday, April 23, 2017

Quiet Moment Under the Lych Gate - Georgia Coast

Quiet Moment Under The Lych Gate, 12 x 16, oil on panel, L. Daniel © 2017

Christ Church, Frederica is a beautiful, historic church on the north end of St. Simons Island, GA. It is surrounded by gardens, a cemetery (where some our family are buried), and huge live oak trees that were standing when it was first established by the English colonists in 1736. The term "Lych Gate" refers to a covered gateway to an English-style churchyard. This one does just that, and its path leads through a dappled yard to the gothic-style episcopal church. A few years ago I painted the church entrance and steeple - see below. Together, these two paintings may give you a bit of the very quiet and dappled feeling of this hallowed place.

Sunlit Steeple, 16 x 8, oil on panel, L. Daniel © 2015
collection of the artist


Wednesday, April 12, 2017

Crooked Creek - Georgia Coast

Crooked Creek, 9 x 12, oil on panel, L. Daniel © 2017

I have been enjoying some much needed painting time on St. Simons Island... my workshop is behind me and each day is free for me to explore and discover. Sooooo wonderful! This is a marsh view that I dearly love. In fact, it is literally across the way from where my husband's grandmother lived most of her life. The old family beach house was on the same property, and we all had many happy times there. That place is gone now, but the memories (and the creek) are strong as ever!

Thursday, April 6, 2017

Morning Marsh - Georgia Coast

Morning Marsh, 8 x 10, oil on panel, L. Daniel © 2017

On the second day of my workshop, we painted the marsh. The tide was rising fast... it quickly covered the banks and almost got up to the top of the grasses. The scene changed dramatically and we had a spectacular view for the show!