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Having spent my adolescent and twenties in East Texas, I am always enchanted by the beautiful skies and clouds when returning for a visit. There’s something timeless and dramatic about those towering thunderheads massive, powerful clouds that roll in with a deep rumble, drench the earth in a quick burst of rain, and then move on as if nothing happened. On calmer days, great billowing cumulus clouds drift lazily across the sky, unhurried and magnificent, like giant ships sailing through an endless blue sea.
In my younger days working outside in the the relentless Texas summer heat, the cloudbursts would bring a short refreshing cool break to the heat, but in an hour or two there would be no evidence of the downpour.
Here at my current home in the Monterey Bay area, the skies are a little less dramatic. Being close to the Pacific, the skies are usually a non-event. The exception is just after a fall/winter storm, when we get a glimpse of that same grandeur I remember from growing up in Texas.
We had a storm front come through the other day, and during our usual walk among the Marina Dunes, the big cumulus clouds were rolling by. I couldn’t resist snapping a few photos for later study. One photo in particular was good, so I submitted it to the local newspaper Monterey Weekly. To my delight, the very next day it appeared in their daily eNewsletter as the “Photo of the Day.” You can see it here.
Well, I just had to paint the scene. Here are a few shots showing the painting as it came together.
Here is the finished piece. I did take some artistic license, heightening the clouds for a bit more drama. As always, I may tweak it here and there in the future, but for now, I’m calling it done.
Many of you know I recently traveled to Sapporo, Japan, for the very special occasion of my son’s wedding. I won’t turn this into a full travelogue, but of course, I couldn’t resist packing my acrylic paints. Between family gatherings, wedding festivities, and endless toasts, my paint kit stayed in the hotel until the final days of our visit when most everyone had left and I could finally sneak away to paint.
Our hotel, by design, was adjacent to Nakajima Park, which is one of my favorite spots in Sapporo. I’ve painted there a number of times over the years. Usually, we visit in the spring when cherry blossoms turn the park into a pink paradise. This time, though, it was early autumn. Only a few trees were beginning to show a slight color and most of the landscape still a sea of green. Paintings with mostly green are a challenge for artists, as it is difficult to bring out the variations of color to make a pleasing piece.
I set up in the Japanese Garden and started a piece, but after about half an hour, I was tempted to give up. The composition felt flat and dull. Still, I decided to push through. After over an hour or so, the painting started to come together—still unfinished, but promising. I reluctantly packed up and headed back for more family activities. Here are a few photos from that day.
The next day was rainy and blustery, so couldn’t go out to paint, but the day after that was nicer. After another hour plus session, I finally think I got a keeper. Below are some photos.
Here is a quick snapshot of the painting.
BTW, in my recent studies on how AI can improve your paintings, I asked ChatGPT for several examples on how it would paint the scene. I think I like mine better!
One comment made after one of my last posts on AI is that everything will turn out the same, as you have the same instructor, a computer.
Not quite.
Each large language model (LLM) has its own “upbringing.” Much like children growing into adulthood, they’re shaped by what they’re fed. Behind the scenes, teams of human trainers pour in oceans of text—books, articles, websites, conversations—then refine the responses with feedback. The result? Each AI develops its own quirks, voice, and way of seeing the world.
Curious to explore this, I decided to run a little experiment. I chose a scene I know well: a coastal view I painted back in 2017 for the Carmel Art Festival. That painting went on to win the Plein Air Magazine Award of Excellence—so the place carries special meaning for me. The subject is Soberanes Point on Big Sur’s rugged coastline, beloved by artists everywhere and one I return to again and again with my brushes.
Below is the scene and my painting from that day.
Vertigo!, 24×12, oil on canvas
I presented a photograph of the scene to two different AI models: ChatGPT (which helped ignite today’s AI revolution) and Google’s AI Studio. The last time I tried Google’s tool, it glitched and couldn’t produce a painting at all. This time, however, it worked.
Both AI models used a similar color palette, and included many colors I use on my palette. However, the results couldn’t have been more different. One leaned toward a dreamy, impressionistic style. It emphasized more bright colors I normally wouldn’t do, but other artists use to great effect. The other was more literal, almost like a photograph with artistic filters applied. To my eye, the Google output felt less inspired, something I might achieve just as easily in Photoshop.
My painting is somewhere in between what the two AI models produced. While not being as bright as the ChatGPT version, it was a more literal translation similar to Google AI. Of course I did do some cropping and editing, as I wanted the point of interest to be the ocean and light behind the nearer rocks. I also moved the rocks around a bit, adding more to the right side to help balance the composition.
Below, I’ve shared the edited versions so you can see for yourself.
The biggest surprise? ChatGPT actually refused to take on certain aspects of the task—a hint of where the tangled question of AI copyright begins. That, I’ll share in my next post.
ChatGPT Results
Here’s how I’d approach developing this coastal plein air oil painting, step by step, with suggested colors:
Palette Choices
Sky & Water
Ultramarine Blue
Cobalt Blue
Cerulean Blue
Titanium White
Touches of Alizarin Crimson (for violets)
Viridian or Phthalo Green (sparingly, for water depth)
Sunlit Hillside
Cadmium Yellow Light
Yellow Ochre
Sap Green
Viridian mixed with Yellow Ochre (for spring greens)
Raw Umber + White (to dull greens where needed)
Cliffs & Rocks
Burnt Sienna
Burnt Umber
Yellow Ochre
Ultramarine Blue (for shadow planes)
Alizarin Crimson (for warm accents in rocks)
White (to modulate value)
Foreground Vegetation
Sap Green
Cadmium Yellow Medium
Viridian
Burnt Sienna (to warm greens in sunlight)
Touches of Cadmium Red Light (for warm sparks among foliage)
Development Process
Block-in (thin washes / transparent earth tones)
Sketch composition with Burnt Umber or a mix of Ultramarine + Burnt Sienna.
Indicate big shadow masses of cliffs and hill.
Keep it thin and transparent.
Establish Values & Light
Lay in the sky first: Cerulean + White near horizon, deepening with Ultramarine higher up.
Indicate water masses with broad strokes, reserving lighter passages where sun reflects.
Middle Ground – Hill & Cliffs
Lay warm ochres and siennas into sunlit cliffs.
Mix cool violets (Ultramarine + Alizarin + White) for shadowed rock faces.
For hillside greens, alternate warm greens (Yellow Ochre + Sap Green) with cooler mixtures (Viridian + Blue).
Foreground Rocks & Shadows
Deepen shadows with Ultramarine + Burnt Sienna (rich dark neutral).
Add sharp edges and angular brushwork for the rocky forms near bottom.
Accentuate contrast between warm cliff planes in sunlight and the cool shadows below.
Final Accents & Movement
Bright foam of waves: Titanium White with a touch of Cerulean, applied with broken brushstrokes.
Add warm sunlight accents with Cadmium Yellow Light glazed thinly over cliff faces.
Foreground grasses with flicks of Sap Green + Cad Yellow + touches of Red for sparkle.
Google AI Studio
Painting this en plein air, I’d start by establishing the broad shapes and values.
Sky: I’d lay in the sky with a mix of Ultramarine Blue, a touch of Cerulean Blue, and plenty of white, keeping it light and airy, especially towards the horizon where it meets the distant hills. A hint of yellow ochre or a very light peach might be blended in near the sun for a subtle warmth.
Distant Hill: For the large hill, I’d use a mix of Sap Green, Yellow Ochre, and a touch of Burnt Sienna to suggest the dry grasses and varied terrain, keeping the values lighter and colors more muted due to atmospheric perspective. The sunlit areas would get more yellow ochre, while the shadowed side would have more green and a touch of Ultramarine for coolness.
Ocean: The deep blues of the ocean would be built up with Ultramarine Blue, Prussian Blue, and a hint of Alizarin Crimson or Burnt Sienna in the darker, deeper areas to create that rich, cool depth. Near the shore and where the waves break, I’d introduce lighter mixes of blues with white, and possibly a touch of viridian for the shallower, more vibrant greens. The white foam would be a quick highlight with titanium white, perhaps with a touch of the water’s color mixed in for translucency.
Cliffs and Rocks: The prominent cliffs would be a mix of Raw Umber, Burnt Sienna, Yellow Ochre, and a touch of Dioxazine Purple or Ultramarine for the shadowed crevices. I’d vary the texture and color for the sunlit faces versus the shaded undersides, using lighter, warmer tones for the former and cooler, darker tones for the latter. The smaller rocks in the water would echo these colors but with more blue reflections from the water.
Foreground Vegetation: The immediate foreground plants would be rendered with more intense greens (Sap Green, Lemon Yellow, a touch of bright Cadmium Yellow), focusing on their distinct shapes and the play of light and shadow on their leaves.
Development: I’d work from general to specific, thin washes to thicker impasto. First, block in the sky, then the distant hill, followed by the ocean. Next, define the large rock formations, working from the general shape to more detailed highlights and shadows. Finally, I’d add the foreground vegetation and the whitecaps of the waves, paying close attention to the interplay of light across the entire scene to capture that bright, clear atmosphere.
I haven’t been out plein air painting since the Carmel Art Festival last May. Far too long. So when the Monterey Bay Plein Air Painters scheduled an outing at Rocky Point, that wild stretch of Big Sur coastline just south of my house, I decided it was time to get back out there.
It was overcast on the 25 mile drive to the point and the first hour or so of painting, but the weather forecast was pretty accurate, and the sun came streaming out late morning. A pretty good crowd of a dozen or so showed up, quietly concentrating on their work. I spent about two hours on the piece.
Frequently when you are painting in direct sunlight, and bring the painting indoors, it becomes ghostly dull. Colors flatten and shadows lose their depth. True to form, that’s the way it turned out. Some artists use an umbrella to shade the painting and alleviate this problem. I carry one in the car, but it is such a hassle to set up, I rarely do. Many times it is just too windy.
Here is the painting after about two hours work. I’d say it’s a keeper with a little touchup–
Continuing my dive into experimenting on whether Artificial Intelligence can improve an artists work, I asked ChatGPT how to improve the piece. It gave a pretty accurate echo of what I’d already been thinking about improvements (shown below).
This is a lovely plein air piece—you captured a strong sense of atmosphere and the rugged coastline really well. Since you only had a couple of hours, you got the essentials in, but here are a few ideas for improvement that could help push it further:
Suggestions for improvement:
Value contrast: The mid-ground cliff could use a stronger dark/light separation to make it pop against the water.
Edges: Sharpening a few edges in the focal area (maybe where the waves crash on the rocks) would give more energy.
Color harmony: Adding a bit more warmth (orange, sienna, or subtle pinks) into the rocky areas could balance the cooler greens/blues.
Atmospheric perspective: You already have soft hills in the background, but pushing them slightly bluer and lighter would add depth.
Water movement: Suggesting more directional strokes in the water could give it more life and rhythm.
If you’d like, I can generate a new JPEG for you with digital adjustments that reflect these improvements (higher contrast focal cliff, enhanced warm notes, softened background hills, livelier water).
Below is the painting ChatGPT came up with. Although I like some aspects of it, the painting is probably a little too saturated and contrasty. It doesn’t really reflect what we were seeing that day.
I’ll touch the piece up in the next week or so, and return here with a final version.
My last post was about unexpectedly discovering that AI (Artificial Intelligence) might be able to help with your oil paintings. Could it really step into the role of an art instructor? I decided to pursue this further, and subsequently uploaded some of my paintings to ChatGPT curious to see what it would come up with. I chose one piece I’ve always been happy with, along with two that never quite sat right with me. To my surprise, not only did it critique them, but it also offered to generate revised versions with its suggested changes!
The first painting is one of the Clarke Bridge in Yosemite National Park right after a snowstorm. I have always liked the piece, and did not plan on changing it. After ChatGPT’s analysis, it did give a few pointers on what might be improved. I did not like the image it generated (it must see a lot of Kinkade paintings!), but possibly the suggestion to soften the background is warranted. It also suggested adding more sunlight, but that defeats the purpose of the piece, to depict Yosemite during a misty snowy day.
BTW, I asked another AI model, Google AI, about the same painting. Its critique was somewhat similar, however due to some bug, it produced, but could not show me the new AI modified painting.
Here are the two versions: the original on the left, the AI interpretation on the right.
Early Snow, Yosemite, 15×30, oil on canvas
All the ChatGPT conversations are below, which are quite lengthy.
The second painting came from a trip to Germany a couple of years back—Hohenschwangau Castle. I’ve never been fully satisfied with the background mountains, even after repainting them three times. The AI suggested softening them, which isn’t a major change, but maybe it’s a step in the right direction. I did like a few of the suggested changes in the middle ground in that the trees around the castle are a little too bright, but overall AI gave it a darker feel. It then asked if I wanted a more dramatic version, and of course, go ahead! It then gave me another version, which although quite dramatic doesn’t appeal to me.
Here are the paintings, the original on the left, then the AI two versions.
The third piece is of Crater Lake, painted about a decade ago. I’ve always felt the distant cliffs could use some softening, lightening, and graying to push them farther back. ChatGPT had some of the same recommendations, though I wasn’t a fan of its final rendering. It was maybe too dark for my tastes. Still, it confirmed what I already suspected needed doing.
Original on the left, AI version on the right.
“Crater Lake Overlook”, 28×22, oil on canvas
While I don’t think AI as yet can replace a personal professional critique, it can help. If you are all alone in the studio and stuck on a painting, perhaps it can give you a nudge in the right direction.
Stay tuned for more adventures in AI!
ChatGPT Conversations
Clarke Bridge
how would you improve this painting?
ChatGPT said:
This is already a lovely painting — the arching stone bridge, soft winter light, and the play of warm and cool tones make it very inviting. That said, here are some ways it could be enhanced while keeping its character intact:
1. Depth & Atmosphere
Add a bit more aerial perspective: the far bank and distant trees could be softened with cooler, lighter tones to push them further back and make the bridge pop forward.
Light mist or subtle snowfall in the background could enhance the wintry mood and depth.
2. Water Detail & Movement
Increase variation in the water’s surface — some sharper highlights in the foreground water could suggest sparkle and movement.
Slightly more reflection of the bridge stones in the water could unify the scene.
3. Snow Highlights & Texture
Enhance the sunlight’s influence on snow — warmer, creamy highlights in sunlit areas and slightly bluer shadows in shaded snow could add dimension.
Introduce more variety in snow texture — some soft, powdery patches, some crisp edges where snow has just fallen.
4. Foreground Interest
Add a few more warm-hued dried grasses or twigs in the lower left to create a color bridge between the warm stones and cool snow.
Consider one or two more prominent rocks in the water with sharper edges to lead the viewer’s eye toward the bridge.
5. Compositional Flow
The left tree slightly blocks the bridge. You could thin or shift a branch to reveal a bit more of the stone arch for balance.
A faint pathway or footprints in the snow near one of the bridge entrances could add a storytelling element.
If you’d like, I could mock up a quick digital overlay showing what these adjustments might look like so you can visualize the changes before painting.
You said:
OK
Hohenschwangau Castle
How would you improve this painting? after discussing that, make a jpg of the improvements
ChatGPT said:
This painting is already beautiful—great sense of depth, light, and atmosphere. The snow-capped peaks, shimmering water, and the castle all stand out wonderfully. But if the goal is refinement, here are a few improvements that could elevate it further:
Suggestions for Improvement
Atmospheric Perspective
The mountains are already receding nicely into the distance, but you could push it further by softening the edges and slightly cooling/desaturating the farthest peaks. This will increase depth and realism.
Water Highlights
The lake has a nice shimmer, but it might benefit from subtle gradations of blue and a few horizontal strokes of lighter tones to give a sense of rippling reflections.
Castle Detail
The castle could pop more with slightly sharper highlights on the sunlit walls and warmer reflected light in the shaded areas. This will make it the true focal point.
Foreground Interest
The foreground is richly painted, but adding a bit more texture (rocks, flowers, or small branches) would give it extra life and balance the detail of the middle ground.
Sky Variation
The sky could include subtle color transitions—perhaps a touch more warmth near the horizon or soft cloud forms—to enhance atmosphere and mood.
Color Harmony
Introducing a few echoing colors (e.g., some of the castle’s warm yellows reflected lightly in the foliage or the rooftops reflecting in the lake) can unify the whole composition.
? Would you like me to make a subtle refinement version (keeping it realistic and atmospheric), or would you prefer a more dramatic enhancement (like intensified colors, stronger contrast, more romantic lighting)?
Once you choose, I’ll generate a new JPG with the improvements.
Crater Lake
how would you improve this painting? also give me a sample jpg of what an improved painting would look like.
ChatGPT said:
This is a beautiful landscape painting—the depth and atmosphere are very well handled. If we’re thinking about improvements, here are a few artistic suggestions that might elevate it further:
Possible Improvements
Atmospheric Perspective
The distant mountains could be softened with slightly cooler, lighter hues to push them back further and increase depth.
Water Surface Interest
Adding a few gentle ripples, reflections of trees, or light sparkle on the lake would enhance realism and contrast the smooth water with the textured land.
Foreground Emphasis
Introducing more detail, brighter highlights, or subtle color accents (e.g., warm tones in rocks, flowers, or lichen) in the foreground would give the eye a focal anchor.
Color Harmony
Some of the greens in the trees could be varied—mixing cooler pine greens with warmer sunlit foliage—to avoid uniformity.
Lighting Drama
Enhancing the shadows and highlights, especially where the sun hits rocks and trees, would add drama and depth. A more defined light direction can also guide the viewer’s eye through the scene.
? If you’d like, I can create a modified sample JPG showing how these adjustments might look (softer mountains, more water reflections, enhanced foreground detail, and richer lighting).
Do you want me to go ahead and generate a visual version of these improvements?
Some of you know I’ve been diving into the world of AI (Artificial Intelligence) lately, not just for questions and fun additions to some of my videos, but also for breathing life into old vintage photographs by turning them into moving videos. The AI industry is rapidly creating a fundamental shift in the world, changing how we communicate, work, and make decisions. The paradigm shift promises to be as great or greater than the introduction of the internet.
The art world is understandably buzzing with concern about AI stepping on creative toes. Most of the AI discussion has been about generating digital art, but I recently stumbled upon a new take on AI.
The other day after getting into a conversation with my wife about California Poppies and their colors, I asked ChatGPT. ChatGPT was the first, and still one of the best AI applications on the web. It’s what sparked this new revolution. Anyway, I’ve only ever recalled seeing one color: that brilliant golden yellow carpeting hillsides across the state. But according to ChatGPT, poppies come in a whole palette of colors—and then it threw me a curveball. It asked if I wanted to know how to mix oil paints to paint one!!
Wait… WHAT?
Apparently, it remembered from past chats that I’m an artist. Could it really see color the way a painter does? Turns out, maybe yes! It rattled off exact pigments and proportions. After 50 years of mixing paints, I have to admit it looked spot-on. I haven’t tried the recipe yet, but it was eerily close. It even gave tips on painting them in oils, acrylic, and watercolor! It suggested tips on gradiating them to look better in sunlight. And, then the kicker, a pallet suggestion for a field of poppies, including the greens, etc.
WOW.
(For the curious, I’ve posted the full conversations below, which are quite lengthy)
Then I thought, let’s push this further. I grabbed a random, simple photo from my archives, a shot of clouds over the North Sea from a cruise ship, and asked it to identify the oil paint colors I would need to mix for the darker parts of the clouds. Not only did it break down the colors, it told me how to paint them! It even created a neat little color swatch chart for mixing. Although the advice given was good, I generally use other colors to mix grays, and there are dozens of ways to arrive at gray.
Of course, no algorithm can replace the instincts, creativity, and soul of an artist. Not yet, anyway. But it’s fascinating—and maybe just a little unnerving… how close it can get?
Ideas keep popping in my head, so am delving into this further. Can it help improve my paintings? Can AI take the place of an Art Instructor? I asked it that also, but next, look for Part 2 in the next few days — AIPainting Critiques.
Here are the two actual ChatGPT conversations–
First Chat – the color of Poppies
What colors are California poppies?
ChatGPT said:
California poppies (Eschscholzia californica) are most famously a bright, golden-orange color, but they actually come in a range of shades including:
Deep orange (the classic “golden poppy” look)
Yellow
Cream or ivory
Reddish-orange
Soft pink (less common, often cultivated varieties)
Wild ones in California tend to stick to the warm yellows and oranges, while gardens and seed mixes can show off the full spectrum.
If you’re painting them, the classic hue is usually a warm, vibrant orange with a hint of yellow at the petal edges. Would you like me to give you a ready-to-use painter’s color mix for them?
You said:
Yes
ChatGPT said:
Here’s a ready-to-use California poppy color recipe for painting, based on classic plein air palettes:
? Classic Golden Poppy Mix (Oil or Acrylic)
Cadmium Yellow Deep – 2 parts
Cadmium Orange – 1 part
Tiny touch of Cadmium Red Light – for warmth and depth
Titanium White – just a hint, if you need a sunlit highlight
For shadowed petals: mix the base color with a touch of Ultramarine Blue and Alizarin Crimson to create a soft, warm violet shadow.
? Watercolor Version
Base wash: New Gamboge + Transparent Pyrrole Orange
Add a dash of Quinacridone Red for richer inner petals
For highlights, lift color with a damp brush rather than adding white
For shadows, mix Ultramarine Blue with a touch of the base mix to keep harmony.
Tip from plein air practice: the petals are slightly more yellow toward the tips and more orange toward the center, so a subtle gradient will make them look luminous.
I can also give you a sunlit field poppy palette with surrounding greens that will make the orange pop more vividly. Would you like me to prepare that?
You said:
Yes
ChatGPT said:
Here’s a Sunlit Field California Poppy Palette you can use for plein air painting so the flowers pop against their greens:
? Poppy Petals
Cadmium Yellow Deep – 2 parts
Cadmium Orange – 1 part
Tiny touch of Cadmium Red Light in the flower centers
Highlights: base color + a hint of Titanium White (oil/acrylic) or lifted color (watercolor)
Shadows: base color + a mix of Ultramarine Blue and Alizarin Crimson for a soft violet
? Spring Greens (background & foliage)
Sunlit leaves:
Cadmium Yellow Light + Sap Green (lean toward yellow for that bright, sunny poppy contrast)
Mid-tone foliage:
Sap Green + Cobalt Blue
Optional touch of Burnt Sienna to tone down brightness
Shadowed greens:
Sap Green + Ultramarine Blue
Touch of Alizarin Crimson to neutralize
?? Sunlit Field Atmosphere
Sky reflection in shadows: Ultramarine Blue + Titanium White (thin glaze or wash)
Warm earth under poppies: Yellow Ochre + Burnt Sienna (warmer near stems)
Painter’s trick: If you want the poppies to “glow,” avoid putting strong darks immediately behind the petals—use mid-light greens or warm golds so the orange vibrates.
If you like, I can make you a small printable color swatch chart so you have all these mixes at your easel. Would you like me to make that?
Second Chat – How can you paint this?
what oil paint colors would you use to paint the dark areas of the clouds?
ChatGPT said:
For the dark areas of the clouds in your photo, you’d want colors that give you a cool, muted, slightly bluish-gray feel rather than a heavy or muddy tone. Here’s a mix that would work well in oil:
Base colors
Ultramarine Blue – for the cool blue undertone.
Ivory Black – to deepen without making the color too intense or warm.
Modifiers
Titanium White – to control value and keep it airy.
Burnt Umber – just a touch to neutralize the blue and give a slightly warmer gray in certain spots.
Alizarin Crimson (very small amount) – to subtly shift some areas toward a purplish-gray where shadows are richer.
Suggested mixes
Cool shadow gray: Ultramarine Blue + Titanium White + Ivory Black.
Neutral mid-gray: Ultramarine Blue + Burnt Umber + White (adjust to value needed).
Richer purplish shadow: Ultramarine Blue + Alizarin Crimson + White (just enough to lighten).
You’ll want to keep your brushwork soft and edges slightly lost in places, since in the photo the shadows blend gently into the lighter parts of the cloud.
If you’d like, I can give you a layer-by-layer oil painting sequence specifically for these clouds so you can capture both the soft atmosphere and the strong form.
You said:
ok
ChatGPT said:
Here’s a step-by-step layer-by-layer oil painting sequence for the clouds in your photo, focusing on those darker shadow areas.
1. Underpainting / Sky Block-In
Mix Cobalt Blue + White (cool and clean) for the upper sky.
Add a touch of Cerulean Blue for the lower horizon sky.
Keep the sky light in value so your clouds will pop.
2. Shadow Shapes First
Mix Ultramarine Blue + Burnt Umber + Titanium White to get a neutral, cool mid-gray.
Use a slightly thinned paint (with solvent or medium) to mark in the main shadow masses of the clouds.
Mix Ultramarine Blue + Ivory Black with a pinch of Alizarin Crimson to make a deep, slightly purplish gray.
Drop this into the darkest inner folds of the clouds — especially the bases and the shadowed side facing away from the sun.
4. Mid-Tone Shadows
Create a softer mix: Ultramarine Blue + Burnt Umber + More White.
Feather these into the deep shadow areas, blending gently toward the lit parts.
5. Transition Zones
Mix Ultramarine Blue + White (cool) and glaze it lightly over the edges where the shadow meets light.
This keeps the airy, misty feel without looking cut-out.
6. Highlights & Edges
For bright tops: Titanium White + a touch of Cadmium Yellow Pale.
For slightly warm edges catching light: White + Cadmium Yellow Pale + a whisper of Alizarin Crimson.
Use a clean, soft brush to blend edges into the sky.
7. Final Pass (Atmosphere)
With a very soft dry brush, lightly scumble Titanium White + Cobalt Blue over some shadow areas to soften and “push” them back into the distance.
Add subtle horizontal strokes near the horizon to match the hazy perspective in your reference.
If you want, I can make you a paint-mixing swatch chart for just the dark cloud colors so you can match them precisely while you work. That way you’ll have all the values ready before you even touch the canvas.
You said:
ok
ChatGPT said:
Here’s your dark cloud color swatch chart for painting reference:
Introducing the Donald Neff Artist Action Figure—a must-have collectible for art lovers, fans of plein air painting, and creative spirits everywhere! This charming figure captures the essence of Donald Neff, complete with his signature cap, paint-splattered apron, and artist’s palette in hand. Packaged in a vibrant, art-inspired blister card, it includes miniature accessories like an easel and brush, perfect for sparking imagination or honoring your favorite painter. Whether displayed on a studio shelf or gifted to an admirer of fine art, this action figure brings the joy and passion of painting to life in a playful and inspiring way.
Look for it soon in toy and art supply stores everywhere!
The 32nd annual Carmel Art Festival took place this past weekend, and I was once again honored to be juried in. I’ve had the privilege of participating nearly every year since 2006, and each time brings new challenges, fresh inspiration, a chance to visit art friends, and hopefully a finished piece or two that really sings!
Unlike some plein air festivals where artists get a week or more, the Carmel Art Festival gives you just over two days to produce at least two show-worthy paintings. No pressure, right?
Living nearby for the past five years has definitely made things easier and less expensive—no scrambling for motel reservations, and I’ve got the comfort of my own studio to do final touch-ups and framing. That said, the intensity of painting under the clock never really changes.
The adventure began Wednesday morning with the official check-in. That’s where the back of your canvas gets stamped—proof that you’re painting live during the event and not sneaking in something from the archives.
I kicked things off at Point Lobos, revisiting a tucked-away cove I’d discovered years ago but never actually painted. The weather was doing its usual coastal tease: fog, sun, then clouds. But honestly, just sitting there with the crash of the surf and the chatter of gulls was enough to make me feel lucky to be alive and painting.
After about two to three hours, I had a solid piece I was pretty happy with. After eating a quick lunch on-site, I then packed up and made my way to Asilomar State Beach. The surf was up and the waves were putting on a show of their own. I again produced a piece I was happy with.
A few photos from the day so far are below.
Late that afternoon, instead of heading straight to another location to paint, I dropped by the artists’ reception. I’ve always skipped it in the past, since golden hour is just too precious to miss, but this time I stopped by for a quick visit to see what it was like and say hi to long term artist friends. Then, just before sunset, I made my way to the great sand dunes near my home—a place I walk or bicycle often. I knew just the spot I wanted to paint.
It was a long, full day, but by nightfall, I had two paintings finished and a third well underway.
The next day, Thursday, my lower back was making itself known, so I decided to take it easy and stay close to home. I focused on touching up and framing the three pieces—always a satisfying part of the process.
Friday morning, the paintings were delivered to the festival. Here are a few photos from the festival in downtown Carmel.
Sunday brought some unexpected drama. While still at home, I got a call from the festival saying a collector was interested in purchasing my Marina Beach Trail painting—but there was a problem. It had been damaged! What?! Oil paintings, of course, are often still wet when hung. Apparently, someone had backed into or touched it. By the time I got to the show, the potential buyer had changed their mind, and instead was going to check out my website.
Upon closer inspection, it looked like someone had dragged two fingers right down the surface of the painting. Later, another artist mentioned that a child had been touching some paintings the day before, and his piece had been smudged too—though not as badly.
So, my sale was foiled by a smudge!
Below are images of the finished works.
Asilomar Crash, 11×14, oil on panelLobos Cove, 12×12, oil on panelMarina Beach Trail, 12×24, oil on canvas
Here is another shot of Marina Beach Trail showing the smudges.
Despite the unexpected hiccup with the damaged painting, the week was deeply rewarding. There’s nothing quite like the thrill—and exhaustion—of chasing light, battling wind and waves, the camaraderie, and trying to capture fleeting moments on canvas!
The day started with check-in and setup around 8:30 a.m., where we had our canvases stamped and pulled our painting locations from a hat. For the third time, I randomly drew the Casa de Oro Garden! When asked if I wanted to swap for a different spot, I happily declined. The garden offers plenty of variety—and let’s be honest, having a nearby parking garage and restroom is great when painting downtown Monterey!
Here we are at check-in–
After check-in, the artists fanned out across historic Old Monterey, setting up at charming historic old adobes, lush gardens, and bustling street scenes. We had until 3 p.m. to create at least one painting for the afternoon exhibit during the Block Party.
I chose to paint the iconic bell at the Casa de Oro Garden—a replica of the 1906 Mission Bells that once lined El Camino Real. These were cast from the original molds, and the bell’s frame, draped in wisteria and glowing in the morning light, made for an irresistible subject.
By noon I was about 80% finished and took a lunch break in my car and a mini rest. After framing the piece, I took it back to the easel and added a few final touches.
Here are a few snapshots of the show–
To my surprise and delight, I was awarded Second Place—First Place went to the very talented Debra Nichols, and it was well deserved! Here’s a shot of our pieces–
Here’s the finished painting—it feels complete, but I’ll let it sit for a bit. Maybe a touch more sunlight in the foreground… or maybe not. It’s definitely a keeper!
