I've been trying to do more figures that were dressed and going about regular daily activities. This girl seemed perfect, although I rarely use much true yellow. I feel like I should have used a more contrasting background color. But, maybe the lighter neutral helps preserve the light airy-ness of the subject.
A little summer as winter hits. I think I was drawn to the shadow of the potted plant in the reference photo. But the red of the flowers is the real focal point of this piece.
It's been a while since my last decoy painting. I experimented with leaving this one a bit looser and more impressionistic. A bit of Holbein's Grey of Grey straight from the tube - a very opaque watercolor - blended along the beak helped to bring out the contour and emphasize some dimensionality.
The occasional use of opaque pigments in otherwise "transparent" watercolor allows me to add a little sparkle on top of dry passages without resorting to gouache or gesso. Not that I'm above using gouache or gesso or anything else that works for a particular painting. But some people and many organizations still are quite picky about what you can and cannot use in a transparent watercolor. Some would even disallow the use of any opaque pigment if it's visible on top of a darker hue like this one. I don't want to get into a long, drawn out thing here. I don't like anyone trying to apply "rules" to art (though there's nothing wrong with placing limits on yourself as a self-challenge). But, I do try to start off with every intention of keeping a painting purely transparent even to the point that almost all of the colors on my regular palette are transparent or semi-transparent. Of course, things happen; every piece takes it's own twists and turns. In the end I always do whatever the piece warrants, not what some organization or academic demands.
I went considerably into the impressionist camp with this one. Loose, wet, visible brush strokes -- it's all here. And, there's an open-ended story - the best kind.
I'm very happy with this Jeep J20. I was able to get it loose-but-detailed and the colors complement nicely. It's probably one of my better car paintings of the last few months.
Another portrait of my beautiful bride, toying with abstracting the unimportant parts of the subject. Only the focal point really needs detail and realism. Everything else can be loose and suggestive.
When I saw this reference photo I knew it would make a great painting. But I didn't know if I could pull it off. A lot of patience and paying attention to everything gave me one of the best paintings of last year.
Just a quick, layered portrait of a Reddit user. I'm pretty happy with how most of this worked. The eye might have gone a little too soft, though. And, of course, the photograph isn't exactly what I want.
This somewhat loose landscape of the lighthouse on Tybee Island in Georgia is based on a photo I took back in March. I changed the color of the small structure at the base of the lighthouse (I think it's the entrance). It's really the same dark gray/black that's on the lighthouse itself. But, I thought it looked better matching the other buildings. It's red roof helps draw the eye into the lighthouse as the focal point.