Monday, July 23, 2007
12" x 12" oil on masonite
Growing up in PA, I was a long-suffering Philadelphia Phillies baseball fan. I really began to follow them closely in the early 1970s. One of the bright spots was a 3rd baseman, Mike Schmidt. The terrific infield of Dave Cash (2nd Base), Larry Bowa (Shortstop), and Schmidt at 3rd provided the team with its nucleus for the mid-70s thru early 80s. They won the World Series over the Kansas City Royals in 1980. Ah, the memories.
Sunday, July 22, 2007
Friday, July 20, 2007
20" x 16" gouache and oil on primed cardboard.
Sunday, July 15, 2007
Saturday, July 14, 2007
Here is a detail on "Pumpkin Patrol" and an example of what is called negative painting. The light wash is applied first. When this wash is dry, a second darker wash is applied to sort of "carve" out shapes and values to present different shapes. It takes some practice and I'm still learning, but this is what makes watercolor so interesting and challenging!
9" x 12" watercolor on Fredrix watercolor canvas (unframed)
$15.95 (free shipping)
I've started to experiment with the Fredrix watercolor canvas material. It sure makes
Sunday, July 08, 2007
Here is a detailed shot of Charles' palette after completing another gem. Again messy, but who cares when you can paint like him?! Notice the group of small round containers in the upper right of the picture. This was a little setup he developed for use in his plein air work. The back-most container contains corn oil. Yep, corn oil. He uses this to clean his brushes by swishing them a few times in the oil and wiping thoroughly on rags. Cool. Next, two small containers: one with pure stand oil and another with a 50:50 mixture of turpentine and stand oil. These are used as his medium to mix with the paint to add luster and thin the paint. The last, front-most container contains pure turpentine that he uses in the initial lay in. To the right (almost out of the picture frame) hanging off the easel was his mixture of titanium white and the stand oil/turp mixture. He mixes this up until it has the consistency of mayo or yogurt. He then uses this white when he wants to lighen a value, or add highlights. Further down the right is a razorblade glass scraper he uses to clean the palette of dirty/unwanted color. His palette itself is made of plexiglass to save on weight. In the front is an old Spam can (cute touch!) to keep dirty rags, towels and paint scrapings.
I was interested in getting a close up of Charles' palette after he was finished with a work. Here it is - he made no excuses for the messy state and he didn't need to. The results are what counts and he kept his colors clean throughout the demo. Notice he uses round brushes. For this ws he rarely used any flats.
Day 3 was an indoor painting day. Charles had a model come into the school for a day's worth of figure painting. For some reason, I can't find the photos of this day's session. Rats.
Day 4 of the ws saw us going to a farm located south of Scottsdale. Charles did this wonderful demo of a group of hollyhocks. The thing I remember the most about this demo was the way he developed the background hill. He brushed on a shape of pure yellow and then followed it with Ultramarine blue and Cerulean blue. He mixed the paint right on the canvas to develop the rich greens you see here. Amazing results!
I was fortunate enough to have taken a painting workshop with Charles at the Scottsdale Artist's School in April 2001. It was indeed an honor to meet and learn from this great artist. This picture was taken on the last day of the workshop - after the critique session. Charles is the good-looking gent on the left.
Saturday, July 07, 2007
22" x 30" watercolor on 140lb. Arches (unframed)
$25.00 (free shipping)