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:
After years—no, decades—of pouring my heart and soul into my art, refining my craft, marketing endlessly, chasing gallery deals, and struggling to sell my work, I sometimes wonder… Am I doing this all wrong?
I mean, I watch someone duct-tape a banana to a wall and sell it for $6 million. I see paintings featuring a single dot, a lonely square, or a barely-there brushstroke go for tens of millions. Meanwhile, fresh-faced artists—who’ve barely unwrapped their first canvas—are raking in millions selling political connections.
Well, folks, today marks a turning point. Looking to turn plein air painting into minimalist art, I am revolutionizing my plein air painting with an entirely new genre: Stucco Art en Plein Air
That’s right—while others paint landscapes and seascapes, I paint the beauty of stucco walls. My first masterpiece? A stunning, textural tribute to gray stucco. It is shown below. But this is just the beginning! Imagine the endless possibilities: My next work will probably be white stucco, then blue, green, red stucco. Maybe even avant-garde multi-tone stucco! I can paint stucco in sunlight. I can paint stucco when cloudy. I can paint stucco in the fog. I can paint stucco in the rain. I can do a nocturne stucco! The possibilities are almost endless!
And when I’ve mastered stucco? I’ll push the boundaries even further—introducing Siding Art! Wood siding, metal siding, vinyl siding—I’ll capture it all, in every shade and every season. And then might come brick walls! How exciting!
The best part? No travel necessary. My canvas is everywhere. My neighborhood is my gallery. My backyard is a goldmine. No more trips to the seaside, ventures to the mountains, sitting by rivers, or watching thunderous waterfalls for me!!
Here I am in my first outing enjoying the sublime side of my house. Notice all the subtle variations of gray on my subject matter. An artists dream!
Art world, brace yourself. Suddenly, the future has brightened up and I am so excited! Forget the beauty of nature! The Stucco Art Movement has begun!
Gray Stucco, 12×12, oil on board, plein air, available
It had been quite some time since I last picked up my oil paints—early August, to be exact. We just returned from a trip to Europe, where I managed to just do one acrylic painting of the shores near Lerwick, Shetland Islands, from our cruise ship balcony. That painting wasn’t my best work, but it holds a special place as a personal souvenir from the trip.
The MBPAPA demo on Saturday went well. Although it was a somewhat gloomy day, with lots of grey, I painted for about two hours and I hope attendees got some value out of it! Below are some photos of the event. (Note: all these photos were taken by MBPAPA members and Airdropped to me, so I can’t remember who gave me what, so please speak up so I can give photo credit!)
Several members also took a video of much of the demo, which I combined and sped up 20 times. (Again, I can’t remember who gave me which videos.)
The painting is only about half to 2/3 complete, so will finish it in the studio in the next few weeks. I’ll post the result when time comes.
KNIGHTS OF THE VINE
On Sunday, I was invited to the Knights of the Vine annual BBQ. For the past 30+ years they have had a party on the Sheltered Cove pier by the Beach & Tennis Club in Pebble Beach, CA. As is tradition, I painted live during the event, and the finished piece was auctioned off for charity. This was my third time being invited, and the experience never disappoints. It’s always a delightful day of painting, good food, and even better wine. You can see blogs from my last visits here and here.
The day started out a bit gloomy, but the sun made occasional appearances. I spent a little over two hours capturing Stillwater Cove and the iconic Pebble Beach Golf Course, using a touch of artistic license to bring more vibrancy to the light and colors. By the end, the painting found its way to the auction block and was sold during the event.
Here are a few photos to share from the day.
Shelter Cove, 9×12, oil on panel, plein air
So, I am back in the saddle again. Stay tuned for more adventures!
Picture this: an old acrylic canvas, holding within it the essence of a majestic landscape. For over twenty years it sat dormant in my studio, a relic of earlier artistic endeavors. Not quite sure when I started it, but probably the early 2000’s when I was still doing mostly acrylic paintings. Although it was an awesome scene, I was never quite satisfied with the painting, and never quite finished it. As it sat in my studio, my style and technique changed over the years, especially when I switched from painting mainly acrylic pieces to oil painting in the early 2000’s. I embarked to reimagine the piece in oils, and paint right over the old acrylic.
Capitol Reef National Park is a hidden gem nestled in the heart of Utah, a tapestry of colors woven over millions of years. My memories of this enchanting place date back to the early ‘80s on a six month RV trip all over the Southwest. One of the lesser visited and known national parks in the US, it’s a geological wonderland boasting mesmerizing landscapes sculpted over millions of years. Spanning a 100 miles of colorful canyons, towering cliffs, and intricate rock formations, the park offers a captivating journey through time. Its signature feature, the Waterpocket Fold, stretches like a wrinkle in the Earth’s crust, revealing layers of ancient history. Visitors can explore remnants of ancient civilizations, from petroglyphs etched into sandstone walls to pioneer homesteads preserved in time.
Here is the old acrylic painting that sat in my studio all these years–
This is the photo study I used in producing the painting. It is taken somewhere along the Fremont Vista Trail I hiked from the Fruita Campground in the park late in the day. Fruita campground is one of the prettiest in the Southwest, situated in a green valley, surrounded by red cliffs and mountains. You will also find many orchards in the valley, where you can pick fruit for free.
Here’s a photo of my 20′ Dolphin RV in Capital Reef. I traveled in this little RV for six months in the winter of 81, and spring of 82 all over the Southwestern US. At the time, I also visited art galleries, and by the time I returned home to San Jose, CA, my paintings were sprinkled in a half dozen or so art galleries all over the Southwest US.
To paint over the old acrylic, first some preparations were in order. I sanded down the acrylic layer to get rid of any gloss and put a little more tooth in the surface. I then put a thin coat of Liquin over the entire surface of the canvas. Liquin is a quick-drying medium for oil and alkyd paint. Used as an additive in many forms of artwork, it can also be used to bring out the luster in darker parts of the painting. I occasionally use it as a separation layer between coats of oil painting.
I then blocked in the scene again with a layer of oil paints mixed with Liquin. As I progressed through the layers of oil paint, I used less and less Liquin. Here are a few photos of the progression as I worked through the painting.
I left the lower right area undone as I was uncertain if it needed a closeup foreground there. I finally decided to put in some foreground so-as to push the rest of the scene back. During the process, I first painted a bigger foreground, but then cut it back as it overpowered the vista.
Here is the final piece. As usual, I’ll let it sit for a while, but might touch it up later.
Capitol Reef, 12 x 36, oil on canvas
Here is a slider view where you can move the slider arrows back and forth between the old acrylic painting and the now just painted over oil version.
Hopefully this new painting won’t sit in my studio unfinished for another 20+ years! I have more old acrylic pieces of wonderful scenes, so who knows, I might work on them!
This painting began life as a plein air piece I did for the 2019 Carmel Art Festival. It was quite a rainy week, and I painted it from the Marina State Beach parking lot between rain squalls. Painting out of the back of my SUV, I was in and out of the car as the rain kept coming and going throughout the morning. Here’s a few pictures (click to see entire picture)–
The painting didn’t sell at the festival, in fact it was a bad year for sales as the setup was different with not much light on my pieces, and it was raining off and on the entire time.
I never was entirely satisfied with the piece, as I didn’t like the clouds. Some time later, I tried touching the clouds up in the studio, but still wasn’t satisfied with the result.
The last few weeks has seen some dramatic skies in our area, just like what was happening 5 years prior during the Carmel Art Festival. A few days ago, some clouds were drifting by just like what I wanted to see in the painting. So, I repainted the clouds from my back yard. I guess you could call this a plein air painting layered on a studio painting layered on a plein air painting!
Below are the two paintings, the original on the left, and the just completed refurbishing on the right.
BEFOREAFTER
Monterey Bay Squall, 24×12, oil on canvas
Now, the big question is, should I put a seagull or two back in the new version??
BTW, at the time, we had thought about moving to the area, but didn’t realize in six months we would be in a new home just a few miles away from this location!
For those who didn’t want to watch the entire 19 minutes “Hohenschwangau in Time Lapse” (posted earlier), here is the ultra fast version, which lasts about a minute. About 3 seconds of video time-lapse equals one hour of actual painting time. (Be sure to turn the sound up)
My last weblog entry introduced a new studio painting from a recent trip to Pt Lobos. You can read about it here. It was a good piece as-is, but after looking at it for awhile, decided it need a little more dramatic early morning light. The study I used was a photo taken about mid day and the scene was fully lit, which is kind of the way I painted it. Here is the original photo which I used as a study for the painting.
So, I spent today touching it up a bit to add more shadows, putting a little more color in the large wave, and other minor touchups. You can see the before and after by moving the sliding bar back and forth. The newer version is on the right.
Considered one of the top traditional artists in California, Kathleen Dunphy has always been on my list of favorite artists. The California Art Club was sponsoring a demo by Kathleen in Pacific Grove, and I was anxious to attend. At first it was a little iffy if it would happen as quite a few rainy weather fronts had been coming through the area. The location of the demo in Pacific Grove is a familiar place for artists in the area. About every artist I know, including me, has painted there many times.
The weather was very misty on arrival, but cleared up enough for Kathleen to do her demo. Due to the weather, rather than painting something larger, she chose a small 6×8 canvas size. Frankly, I was surprised there wasn’t a large crowd. With Kathleen’s reputation, I expected a large group, but only about 8 showed up. I also expected a lot of anxious newby artists, but just about everyone there was an A-List professional. Perhaps it was the inclement weather.
Kathleen painted and talked for about two hours and the painting turned out great. Like she said, her demos are how to start a painting!
It was an enjoyable, intimate morning, and glad I attended. A few techniques Kathleen used, I plan on trying soon in my never ending endeavors in the art world.
