On the Spot

Lots of new work, but not lots of photos of the finished paintings. Here are a few on the spot photos from the past two weeks.


Untitled, 14" x18", Frank Gardner © 2009

This one is from today. Not quite finished yet. I am going to touch up the tree a bit when it is dry. Maybe a few other spots here and there too. I love this scene and have been wanting to paint it for a while. My friends Holly and Mario from this ranch wondered why I wanted to paint the ugliest spot on their property. I think it has a lot of good color and shapes.





Untitled, 11" x 14", Frank Gardner © 2009

Last night Jerome and I were invited up to a rooftop to paint with two of my students from the workshop last week. This photo is about 5 minutes before I had to stop painting. There were some rain showers drifting around. It made for great light and a dramatic sky, but when the sun sunk behind a big cloud bank my light was gone. I'll finish this one up soon. I worked on it for about 45 minutes I guess. You can see how I approach the block in stage.
Below is the sky looking back the other way.



Frank Gardner © 2009





Untitled, 18" x 24", Frank Gardner © 2009
Private Collection

I set up my Gloucester easel (Take it Easel) on one of the mornings of my workshop to demo a larger painting. The class worked on their own while I painted this landscape. Jerome helped the class with their paintings so I could keep going on this one. I need to adjust a few values, but this is about how I left off. There was a lot of great color in the atmosphere earlier in the morning. It has pretty much flattened out in this photo.





"La Capilla, March '09", 11" x 14", Frank Gardner © 2009
Private Collection

This is the same scene from a demo a few weeks ago. I was asked if I would do a similar demo for the second class. The composition is a little different. Again, you can see how much the light has shifted from the time I started the painting.

Plein Air Workshop - Demo Painting

"La Capillita", 8" x 10" oil on board, 2008
$720. Framed, Available at Galeria Gardner

This is one of the demo paintings from my five day plein air landscape painting workshop last week. The week went really well. The group was small and everyone put in a lot of effort. I would say that the group as a whole was the best that I have worked with yet. There were no whiners or slackers, and they eagerly tackled each of the exercises that I put out for them.
I will write more about the class and post more photos soon. For now, here is a quick one hour sketch that I did using a neutral toned smooth board. The tone related well to the scene, and I left a lot of it showing through in the finished painting.
Below is the view with my painting almost finished.

"Atotonilco Evening"

"Atotonilco Evening", 14" x 11" Oil on Linen, 2008
Private Collection

I was out in Atotonilco Sunday and realized that they are going to be giving this church a face lift. There are scaffolds along the front and up at the dome that I edited out.
I like it just the way it is now, old, but nobody asked me.
I am going to have to get some more reference shots while I can and maybe I'll get a chance to paint on location one or two more times before it is all plastered up and looks like a cake. They have been doing this to all the churches around town in a bid to get World Heritage status or something. I think they had more charm before, but I guess in another 20 or 30 years they will be back to the old look that I like.
This is painted on a neutral gray panel that was a wipe out from a painting that was not cooperating. It was a perfect tone for this one because there was so much gray in the shadow. I really wanted the golden evening light to pop, and the gray helps to make that work.

"Sock Monkey"

"Sock Monkey", 6" x 8" oil on board, 2008
Not For Sale

This is my second still life. I guess I can call it a series now. I don't usually take many commissions, but since "Every Cowgirl Needs a Horse" I have gotten a few requests that I just can't turn down. For the most part, I find that kids who are not actually "paying" for a painting are pretty easy to please.

There were a few issues with lighting that I struggled with. I don't usually paint at night so I don't have good lights. I just used one 60 watt bulb to light the monkey, the painting and my palette. The light from an incandescent bulb is pretty warm. That makes the paint look warmer than it really is. I adjusted pretty well for that, and the colors are actually pretty accurate when I look at it this morning. I had a hard time seeing into my values while I was painting it though. A good challenge I guess.

A still life set up like Carol Marine's is what I need to get for these.

I have added a few close ups as well. I've found that some people like scrolling on a large image to see details and others do not. I prefer to post an image that is closer to the size of the original on these small ones. Details are cool because they give you that feeling of getting up close to check out the brushwork.



detail 1



detail 2

Untitled Work In Progress-Step by Step

I am about done with this 11" x 14" studio painting. It still needs a few adjustments. The main thing is that I want to put a little foliage back onto the main tree in the middle. I'll let it sit for a day or two before I mess with it.
Here are a few step by step photos from along the way. They are pretty self explanatory, so I am just going to post them without rambling commentary. I'll post the finished painting once I've had a chance to wrap it up.
Some people have ask about my painting supports. This one is on a Raymar, single oil primed linen, panel. I use these, or Sourcetek panels a lot. Sometimes I use gessoed masonite boards that I prepare myself. For anything bigger than 24" x 30", I use stretched canvas.








"Xotolar", 11" x 14" oil on linen, Frank Gardner © 2008
$950. Framed, Available at Galeria Gardner

"Every Cowgirl Needs a Horse"

"Every Cowgirl Needs a Horse", 6" x 8" oil on board, 2008
Not For Sale

One goal of mine for the new year was to do some art that would push my comfort zone a bit. I have been putting it off long enough. Today I decided to shake it up.
I have not painted a still life in years. That was a good start, but I wanted to step outside of the box even further and go with a little girl subject.
Our daughter Erin will be five on Tuesday, so I decided to paint a still life of one of her stuffed animals as a present for her. The victim was a horse that her Grandparents gave her when she was little. I got a bunch of good hugs and kisses, and she says she really likes it.
There are a lot of blogging artists, that I really admire, painting still lives these days. I was inspired to try my brush on a few.
Some of my favorites right now are: J Matt Miller, Jason Waskey, Carol Marine, Qiang Huang, Aaron Lifferth, Duane Keiser, Michael Naples, and Simon Andrews.

"In Front of Arturo's Store"

"In Front of Arturo's Store", 8" x 10" oil on linen, 2008
$720. Framed, Available at Galeria Gardner

These women set up in front of my friend Arturo's store, in Atotonilco, to sell framed pictures of saints, prayer books, crosses and other religious stuff. Pilgrims that come from different parts of Mexico, to spend a week doing pentinence at the church, are their main customers.

The overcast day made it so there were no strong light and shadow patterns to work with.


"In Front of Arturo's Store" Detail 1

I don't like posting images that are so big, when clicked on, that you have to scroll to see them . I would rather post "detail" images. They are fun, because they are like little paintings in themselves. It also allows for a close up view of the brushwork. It's just colors and shapes in the right place.
Any opinions on this? Which do you prefer? Large images to scroll over or details like this?


"In Front of Arturo's Store" Detail 2

I tried to keep this painting simple. I wanted the gesture of the people to tell the story.


"In Front of Arturo's Store" Detail 3

"Boca de la Cañada"

"Boca de la Cañada", 6" x 8" oil on linen, 2008
Private Collection

The little white church in this painting is in Boca de la Cañada (Mouth of the Canyon).
There is not a lot of spring color around here yet. In a lot of places there is a fine white dust on everything. I had to rely on a simple value plan and not bright colors for this one.
(Side note added Feb. 13th) I meant to mention that this was done in two sessions in the studio from a recent photo. The first day I used the photo as reference. I found myself getting caught up in too much detail for this small size. I did not need every rock and branch etc... For the second round, I did not look at the reference at all, and I found that I could simplify the painting quite a bit.

"Las Sombras del Ranchito"

"Las Sombras del Ranchito", 14' x 18" oil on linen, 2008
Private Collection


I am happy with the way this painting turned out. My method is not always the same with each painting. An artist should be like "Felix The Cat" and have many options in their "Bag of Tricks". That way, the process does not become too much of a formula.
In this painting, I wanted to get a lot of color into the shadows without breaking up the strong pattern of light and shade. I decided to start with one basic value for all of the shadows with lots of color changes not value changes. There is a lot of reflected light bouncing around in this scene. That made this part even more fun. I linked everything in the shadow into an interesting pattern taking care not to vary the values too much just yet. I did not paint any light colors until I was content with this step.
Sombras, by the way is Spanish for shadows.



Step One - Shadow Pattern


Below is the step one photo turned into black and white in Photoshop to show how there is pretty much just one value at this point. The only darker value is in the trees to the left, which I chose as my darkest shadow to judge the rest of my values against.
I checked the values in black and white as I was posting this, but you could take a picture of your painting along the way and try this to check your values. There are a few strays, but most of the values fall into a very limited range.
The next step was to add the color into the light areas. Again, I did not want too much variation in the values. I also did not put as much color variety into the lights. I wanted the shadow color to remain the focus.
Adusting the colors and values of both the light and shadow, I added some highlights and dark accents. This unified the painting a bit and made certain areas "read" better.
When I felt like I was thinking about the details too much I stopped.



Step One - Black and White

Two New Paintings

"Chilis and Beans", 6" x 8" oil on Linen, 2008
Private Collection

These two paintings took me way to long to complete. I had a lot of trouble with "Chilis and Beans". Maybe it was the cool overcast light in a predominantly warm colored painting or maybe it was too much detail for the small format. I worked out most of the issues that were giving me trouble including some values that I was not getting right. After days of fighting with this one it seemed kind of picked at, so at the end I went back and simplified things a bit .



"Loaded Again", 8" x 16" oil on Linen, 2008
$930. Framed, Available at Galeria Gardner

"Loaded Again" went smoother than the other painting, but it is not as loose as I had envisioned when I started. I am happy with how it came out though. There was just the boy and horse at first. He looked like a man with nothing to compare his size to, so I added another figure a little bigger. You can tell how big the trees are because you have the people and horse to compare them too. Everything is relative.
I am feeling a little stressed about how these two were going, but they are done now and I am ready to loosen up a bit with my next few.

A Painting from Today (updated)

I added a few more brushstrokes and here is the finished piece. I thought that it might be interesting if I left the image from yesterday for comparison.


"A Glance to the Left", 6" x 8" oil on board, 2008
Private Collection


"A Glance to the Left", 6" x 8" oil on board

I only had a little time to paint today, so I started a new 6x8. Here is how I left it.
There are a few things that I want to adjust tomorrow. Then I will sign it and re post the photo.

"La Capilla, Fading Light"

"La Capilla, Fading Light" , 14" x 18" oil on linen, 2008
Private Collection

I started this painting in December, but got working on other things and never finished it up until now. I started with the idea that this would be mostly low (dark) values, but to get the light effect I wanted there had to be some higher (light) values thrown in here and there.
It was a difficult painting for me. I strayed from the original plan a bit, but sometimes you just have to be willing to go where the painting is taking you. The focus is on the church and the fading afternoon light, but the tree and cacti in the foreground are important to the setting too. I painted just enough detail so you would get the feeling of looking through them, but not get caught up in them. There are lots of horizontals and opposing verticals, and then the contrast of the organic vs. man made structure. It ended up being a complicated piece.

"Valley View"

"Valley View", 8" x 16" oil on linen, 2008
$930. Framed, Available at Galeria Gardner

This is the second small painting in this series that I talked about in my last post " Into the Valley".
In this one I wanted a broader view of the valley and mountains beyond. To force myself to work quickly and deliberately, I gave myself a limited amount of time to complete the painting. Details were kept to a minimum. I worked for about two hours before it was time to go get Erin from school. That was my time limit.
In the afternoon, I returned to the studio with a fresh eye and pulled a few things together for about another half hour or so.



"Valley View" detail

"Into the Valley"

"Into the Valley", 11" x 14" oil on linen , 2008
$950. Framed, Available at Galeria Gardner

I have worked two days on this painting and it is time to stop.
For now at least.
My plan is to do a few small paintings along these lines. I think that this will make a nice larger painting, but I want to work with a couple of different compositions first and then go from there. I consider this a sketch for a larger painting, but also a finished painting in itself.
I like the opposition of lines in this one. I tried to emphasize the different directions of the hills and lines in the fields. I left the sky out completely. I am thinking that I will do another that pans back a bit to show a little sky.
Often, I will do a series of a few small pieces that might lead up to a larger painting. One of my reasons that I like to work this way is to be able to try a few different things without having to cram all of my ideas into one painting. It REALLY frustrates me when I overwork a painting. Once you go too far, you can never really recapture the freshness that was lost. I know this from having done it so many times. Working on a few versions of a piece can sometimes free me from feeling that I need to get it ALL just right. I can show a little restraint knowing that I can try it a little differently on a separate canvas. Another way that I try to keep myself from overworking a painting is to try and stop when I "THINK" it is about 90% "FINISHED". I'll set the painting aside for a while and come back to it with fresh eyes. Usually I will find that what I "THOUGHT" was the remaining 10% is not really necessary.
Does that make sense?

"Light from Above"

"Light from Above", 11" x 14" oil on linen, 2007
Private Collection

I did not get to paint much today, but this is a new painting that I just finished up. It is a studio piece based on an 8x10 plein air painting.
I don't often feature the sky in my landscapes, but the sky on this particular afternoon was extra special so I gave it center stage and two thirds of my composition.
I paint this view often, there is something about it that attracts me. There is a slightly elevated spot where I can look down onto the fields a bit as they spread out in front of me toward those trees. There is a brick maker's place over there and always some animals, but that was not the focus of this painting. I'll post some other paintings of this spot on another day.
I like this one a lot.
What do you think?

"Daily Crossing"

"Daily Crossing", 8" x 16" oil on linen
Private Collection

I like the simple design of this one and how the goats all link together. The shapes of just a few of them are enough to fill in the blanks and let you know about the others. I did not count legs, and I don't think that is important.

Happy New Year!

I have picked up the brush again after a bit of a break from painting. I am almost done with my projects around the house and we have been enjoying our holiday together relaxing and playing.
The New Year means it is time to get back to work though, and I have been itching to get back to painting. Here is the my first painting to post for 2008. It is not quite finished, but done enough to post here for you to see.
( It is finished now and I have changed this to the finished painting 1/15/08 ).


"Rastrojo", 14" x 18" oil on linen , 2008
Private Collection

Some of my favorite stuff to paint these days are local landscapes with people and animals. This man leads his loaded burro home with cornstalks that he will feed to his animals. This subject was just right for a loose painting with subtle color and lots of variety in the edges. I wanted to have fun with the paint and push and pull a few details out of a pattern of brushwork.

I wish you all a great year. I am not real big on New Year resolutions, but one goal I would like to aim for is to try a few things to push my comfort zone a bit with my art. We'll see what I come up with.

"Arms Full of Corn Stalks"

"Arms Full of Stalks", 8" x 10" oil on linen, 2007
$720. Framed, Available at Galeria Gardner

This is a small painting from today. I have been using the first painting from my last post as reference for two other 8x10's
I wanted this one to be more about the man carrying the load of corn stalks, so I limited the amount of tree that is visible.
I have been working up a few different ideas to see which direction I would like to go with a larger painting. A lot of my color notes in this one are pulled from the 8x10 plein air of this tree.
I have been slow about posting lately because it is the time of year that I try and take a break from painting, shift gears a little, and catch up with a few projects that need doing around the house. I will try and get photos posted of the other paintings tomorrow.

"Hunter Gatherer of Light and Color" Part 2: The Light

When I am out painting on location one thing I try to capture is accurate color. It is really LIGHT that I am trying to catch, since an object's local color will look different as the light changes. It is the LIGHT that I want to use to convey my feelings about the particular scene that I decide to paint.
For part two of my "Hunter Gatherer" series of posts on plein air painting I am going to show two little plein airs that I worked on yesterday. I have been spending a lot of time in my studio or at the gallery and have not been able to get out and paint as much as I would like. I finally was able to make time to go painting yesterday morning. I decided to post these as is, before I did any re working or whatever is going to happen to them. I don't always come away with something to frame from my days painting on location. The experience of being out, looking, observing, absorbing is what I get out of it even if the only the only trophy I bring home is a wiped down canvas.


Work in Progress #1, 8" x 10"


Photo of scene #1

Let me say that I was not real happy with the way number one was coming out. I was a little rusty. That light was changing fast and I decided to stop working on this one and move on. I would rather stop at this point than try and "chase" the light and muddy everything up. The tree was going to be my focal point, but I totally blew it and did not get the tree blocked in correctly. I also was trying to add too many little bits and pieces of stuff and did not spend enough time working up a good composition.
What I did come away with were some nice colors and an image burned in my mind from having looked at this scene for about an hour studying it. When I look at the painting and the photo of the scene, I realize that I at least got my values accurate. The photo will help me get the drawing of the tree down. One thing that is hard to get from a photo are the subtle color shifts like in the hillside on the left side of the painting. The colors from my plein air sketch are more helpful to me than the colors in the photo.



Work in Progress #2, 8" x 10"

The second painting that I worked on is a little more finished. I took the time to block this one in a little better with a bigger brush before breaking down those big shapes into smaller brush strokes. Again, the color is kind of bleached by looking toward the strong Mexican sun, but it was the subtle shifts in value and accurate color that I was after. I really like painting this tree and how the mountains rise up behind it. The little trees in the foreground gave me a darker value to play off against the bigger tree. They are real important in helping with the sense of depth.
I am going to try and work with these today I will post later about what happens.


You might be able to gather from my posts that I really love being out in the Mexican countryside. There is usually action of some sort around. This is the time of year that the fields are being cleared. Corn stalks were being gathered yesterday where we were painting and it seemed like a constant flow of burros, horses and pick ups full of cornstalks.
Here are two photos of a friend, Marie, painting the same scene as #1, as loads of cornstalks go by. There really are burros under those first two loads.

"Woman and Doves"

Here is a painting that I did today. I took a few photos of the process so you can get an idea of how I worked this one up.
One of the choices an artist has when they begin a painting is to limit the value range that they will work in. This can greatly affect the mood of the finished piece.
My goal was to make this painting in a high value key. That means that the values are mostly light as opposed to darker. Tomorrow I hope to get a painting in a lower (darker) key that I will post here.



"Woman and Doves" Step 1

Another decision that I made before starting this one is that I wanted there to be lots of juicy and loose brushwork. So, I decided to work on this one upside down. That way I am thinking of shapes and colors and not "things". I have decided to show these first two stages upside down, just how I was seeing it when I was painting.

In step 1, I mixed up five or six shadow colors and laid those in rather quickly. I was not interested at all in details here, just getting my design blocked in with some nice variety of color. Notice that none of these colors are very dark in value. They actually look a little darker here than they really are because of all that white linen that they are being compared to. I love painting reflected light, and this scene had some nice light bouncing around on those buttresses.



"Woman and Doves" Step 2

In Step 2, I started to add the light family of colors. Again, I mixed up a handful of subtle color variations on my palette first so I could compare them to each other before committing them to the painting. Since I wanted this painting to have a loose look, these strokes needed to be put on and left alone.
Here is where I began to really work my edges leaving some hard and softening others. I am still working on the painting upside down. I did not start painting the color of the woman's clothes yet. I wanted to get most of my subtle colors down first so I could compare my color choices to the colors that are going to be around her in the finished painting.



"Woman and Doves" , 14" x 18" oil on linen, 2007
Private Collection


Here is the finished painting. I wanted the woman to be the center of interest, so that is where I put the brightest colors and some of the hard edges. I also added the doves here at the end so I could just lay them in loosely and not disturb them by trying to paint around them. I was careful where I placed them. I think that they add to the movement from left to right in the painting.



Detail "Woman and Doves"

I don't know why, but with blogger, it seems that the colors are always better when you click on the paintings and see the larger version. They are closer to the actual colors of the paintings.