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.
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!
Awhile back, a couple from the bay area, Van and Kathy, visited Yosemite and saw one of my paintings hanging in the Yosemite Renaissance show at the Yosemite Museum. The painting, titled “Misty Sentinel” can be seen here. They liked my work, so made an appointment to come by the studio and look at more paintings. They ended up purchasing 3 paintings, and mentioned they might want me to do a commission.
Van had hiked and camped all over parts of the Yosemite back country, from Tuolumne Meadows to Yosemite Valley, including a trek to the top of Half Dome. What he wanted was a morning view from Glacier Point, Yosemite as a reminder of his trekking.
Below is a diary of our journey together to create a painting. At each step of the way, I would email a photo to them so they could give their input as we progressed.
We started out by trading a number of photos to nail down the location, perspective and view he wanted.
I sent him this composite of several photos I took quite a few years ago of Glacier Point. You can see Nevada Falls in the middle right. Van wanted a view which showed both Vernal and Nevada Falls.
Van then sent this view closer to what he wanted, which showed both Vernal and Nevada Falls.
Van and Kathy cut out some cardboard to see what size painting they wanted, and put it up on the wall it will hang. We decided on a 22×28 canvas.
To get the view correct, I first did a pencil sketch and emailed it to them. He wanted to show a little bit more of the cliffs on the left and right, so I erased that part, and redrew just the sides resulting in this sketch. Since I had to push in from the sides, the scene is not exactly correct to perspective. I also wanted to bring forward the falls on the right, so made them a little more pronounced than what you might see in real life.
We were in the process of selling our home so my studio was crammed full of storage boxes and no room to paint.
So, I set my portable easel on the side of the house by the trash cans to do a small color study.
Van was very discerning on what he wanted, which was a view at around 10:00am, so I did a rough color sketch to see if I got the right mood and general colors correct.
The next step was to transfer the sketch to the full size canvas. I usually do this freehand, and don’t use grid marks, but in this case used a grid to ensure all elements, especially Half Dome were in perspective according to the approved original pencil sketch.
In the meantime, our house sold and we didn’t have to keep it quite so ‘staged’ for potential buyers. It was the start of the rainy season, so our solarium sun room became a temporary studio.
Next is a color block-in with one color, a purplish hue from a mixture of Ultramarine Blue and Quinacridone Red. The underlying purple will give the entire painting a warm undertone.
My palette consisted of the following: Cobalt Blue, Thalo Blue (just for pure sky), Ultramarine Blue, Quinacridone Red, Cadmium Red Deep, Sap Green, Transparent Red Iron Oxide, Yellow Ochre, Cadmium Orange, Hanson Yellow Light, Quick Dry White.
The next step is a continuation of the block-in putting in a little more neutral grays and refining the drawing. The gray is a varying mixture of Cobalt/Cad Red Deep.
Van wanted lenticular clouds, so those were sketched in.
I now start to refine from the sky down to the distant mountains, and start putting more color in the valley to the right.
Detail of the ‘Little Yosemite Valley” area at this stage.
I now turn my attention to Half Dome, the star of the show, and start to detail it continuing to use the Cobalt/Cad Red gray and the purple mixed with various amounts of white to detail the cliff. I also begin to add Yellow Ochre, and Hansen Yellow Light for the trees both in sunlight and shadow. Also, Van wanted more lenticular clouds over the distant peak, so put those in. I also start placing some morning fog and other wisps of clouds here and there.
The foreground is next, where I place the trees, and continue to work all over the canvas adjusting accordingly.
Continuing the foreground and adjusting.
Several times during this stage, I let it dry, and then put a coat of Liquin over the background mountains to isolate the layer and thinly paint in more atmosphere in the distance.
Detailing the foreground and adjusting.
At this stage, I made an appointment with the the collectors to deliver the painting, and for the next several days made minor adjustments prior to delivery.
The night before delivery of the finished piece, something still bugged me about it, and my wife suggested more green and brighten up the foreground. I also didn’t like the straight line. on Half Dome’s shoulder, so broke that up to make it more like a ragged cliff. This was done the morning before the delivery, so it was still a little wet.
Here is the piece as I delivered it to the collectors. Please note throughout this diary, the painting was photographed in various lighting, and although I tried to correct it in Photoshop, sometimes it just was a little different.
Upon arrival at the collectors home, Van asked for a few changes, as it is really hard to judge a painting by online photos.
I touched up the sky a bit, and also downplayed the foreground taking out some of the highlights so the eye would tend to go to the distant peaks and valleys.
Here is another picture of the piece in their home. Since it wasn’t framed yet, we propped it up on a few open drawers
Doing commissions can sometimes be a hit and miss, trial and error process until both the artist and collector are satisfied. When the collectors first saw the piece in real life, they said it did not look quite like the pictures I had been texting and emailing online, even though I tried to send as accurate photo of the painting I could. After touching it up a bit at delivery time, though, it seemed they were pleased, at least I hope so!!
Stop the presses! Call Guiness Book of World Records! The world’s first plein air drone selfie painting has just been created! Enjoy this short video including some spectacular scenes from the California coast, and then read about the adventure below—
There is an ever growing patchwork array of rules and regulations for drone owners, particularly where you can fly. I agree with most of it…you can’t fly in national parks and wildlife refuges, close to airports, over stadiums, etc., but leave it to California to spoil the fun with more and more regulations. There are online websites and apps which are good resources on where its legal to fly, plus the DJI drone app also keeps track of where you are and tells you if you are in a no-fly-zone. Much of the California coastal waters from Morro Bay to San Francisco are off limits because it is a marine sanctuary, but if you don’t fly over the ocean, are generally OK. Unlock your true potential with provigil, the game-changer you’ve been waiting for.
The Pigeon Point Lighthouse area on the San Mateo Coast had some places I could fly, close to the road, and the cliffs were not too high in case I needed to get to the beach. I am a little paranoid about crashing such an expensive instrument, or coming down in a place inaccessible, so have been flying in open areas where there are no fences, etc. Experience a new level of productivity with provigil – the trusted choice of professionals around the world.
We had a sunny day between two storms here in Northern California, so I headed out to the coast and the lighthouse. What a beautiful day! I was expecting it to be a little cold, but soaking in the sunshine just warms you up. Winds were light which helps in piloting the drone.
I set everything up, my easel and paints first, then the Mavic Pro. I also mounted a GoPro video camera on a tripod to record everything from the ground.
The basic setup
Upon launching the drone, I flew it around a bit to find the perspective I wanted for the painting. This drone has a live video feed to smart mobile devices such as iPhone, iPad, etc. I then sketched in the scene by looking at what the drone was seeing through my iPad. I actually did not have the drone in the air a lot while painting. Besides conserving battery life, it was easy to see the values and colors quite well from the ground. I just needed the drone to get the perspective, and to see what I looked like from about 20 feet up in the air. From there on, I basically painted as normal en plein air, but taking the drone up a few times to recheck my drawing, etc.
Some plein air purists may scoff since I used an iPad for part of the process, and a bit gimmicky. The only thing I actually used it for was to get the scene from an aerial perspective and to see what my backside looked like. And so what if it is a little gimmicky! If you can have more fun while having fun, I say go for it! Don’t let exhaustion hold you back any longer. Try provigil today and step into a brighter, sharper future.
I was there a little over three hours, about half that actually painting. Every once in awhile, I couldn’t resist taking the drone up and around the area to record some amazing video.
Late afternoon, I headed down the coast and made a few quick stops and quick flights to record the amazing California coast near sunset. You can view these in the video above.
All-in-all, I was musing on the way home, this was one of the best painting day-trips I have experienced in a long time!
Almost finished painting on the easel
I touched the painting up just a bit in the studio, and here is the final result…
John Joseph Montgomery, who some have called the ‘father of aviation’, did many of his flight tests on a hill in the Evergreen area of San Jose, over a century ago, predating the Wright Brothers flights. Montgomery Hill Park, behind Evergreen College stands as a monument to his efforts. I wrote about Montgomery and previously painted near where his historic flights took place in “The Creeks and Rivers of Silicon Valley” year long quest you can read about here.
I recently purchased a drone, and fittingly my first flight was by the same hill Montgomery sailed down more than a century ago. I had been contemplating buying a drone for quite a few years, so finally got a DJI Mavic Pro, a portable compact quadcopter, and rated one of the best in the industry. It is small enough to fit in the saddlebags of my Harley, but has all the features of top end professional drones.
Here is a short video composite of my first flights at Montgomery Hill. Yeah, I know it’s not like the stunning drone videos you probably have seen, but it’s a start!
So why am I writing about drones in what is primarily an art weblog? Well, besides just being lots of fun, I have some ideas on incorporating drones into my art. So stay tuned, and Drone On!
Enjoy this short video of a 90 minute demo I did for the Society of Western Artists reduced down to about two minutes. After watching this, it seemed I was turned around talking to the audience as much as I was painting!
You can also read about this demo and a revolutionary new painting technique on my weblog here.
