Wednesday, June 27, 2007

Tuesday, June 26, 2007

Cape Sunset II, 6" x 6", Oil on Panel, 2007
Different night, different sunset.

SOLD

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Monday, June 25, 2007

Saturday, June 23, 2007

Gin Pole, 6" x 6", Oil on Panel, 2007
A quiet afternoon at a regularly very busy lobster pound. The gin pole is used to haul traps and catches to and from boats alongside the pier. In this part of the Maine coast, the tide rises and falls close to 12 feet. (Much easier than having to use the ladder!)

SOLD

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Friday, June 22, 2007

Thursday, June 21, 2007

Tuesday, June 19, 2007

Friday, June 15, 2007

Wednesday, June 13, 2007

Tuesday, June 12, 2007

Tuesday, June 05, 2007


Starting with a warm ground and pencil sketch on panel.

Blocking in shadows. Thinking about temperatures.

Addition of a sky color. Defining shapes, details, major components.

Continuing to define details, elements.
Done? (I hope so.)

Painting Bradford Street
A few people have asked me to show a step-by-step timeline of a painting, so here's my documentation of my latest. This piece is 2' by 2', and so if I haven't posted anything new in a while, it's because I've been working on this one. With my larger pieces, I'll usually paint a small version first, either in the studio or out in the field. (Somewhere in my archives I've got a small version of this.) Whether it's a small piece or large, I ALWAYS start with a pencil drawing just to get everything in the ballpark. I love drawing and often find myself getting way too detailed in my original drawing--more detailed than I could ever put down with paint. Mostly the drawing helps with blocking out shapes, spaces, and composition. Once I get the paint out on the palette, I don't always begin by filling out the denser tones, like shadows, but in a painting with a lot of information it's a game of just trying to not get lost as you go along. Here you can see I defined all the shadow shapes and temperatures first. As a matter of habit, I try to work from "back to front", but I'm letting go of that more and more as I continue to paint. I think it's important to not get locked into a singular approach. I do look forward to getting to the noodling part of a painting; adding details, tweaking small aspects, finishing it off. But it's a balancing act too, trying to keep from getting too "tight." The photo of the final piece seems a little to have a bit of a blue tint to it. It's warmer in actuality. Still the question lingers, "Is it done?"


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Monday, June 04, 2007

WELLFLEET GUIDEBOOK PRINTS