New Landscape Paintings

These are some landscape paintings I recently did from life, "en plein air."

"Flaming Sky," 6 x 6 inches, oil on panel, 2008:


















"Spring Dusk," 6 x 8 inches, oil on panel, 2008:

"City Dusk," 6 x 10 inches, oil on panel, 2008:

Video Grant Application

This is a video application I made for an Ogrant, which gives assistance to students making a difference in their communities in some way.

In the next couple days, people will be able to go vote for me, to help me get this grant! So I hope to get your votes!

Rose and Young Coconut

This is a painting I did from life of one of my favorite foods, the young coconut (I just had a young coconut smoothie this morning actually), and a rose.

"Rose and Young Coconut," 6 x 6 inches, oil on panel, 2008

Ava Triptych Step by Step

■STEP 1: BLOCK IN WITH BURNT UMBER






To start a painting, I first block in the light side and shadow side of the figure with burnt umber and linseed oil.

I don’t use any turpentine in my painting process, since I try to make the process as non-toxic as possible. Burnt umber has a lot of manganese in it, which is a natural drying agent, so that helps this underpainting, or “grisaille,” dry quickly. I also mix a few drops of “drying linseed oil,” (linseed oil with manganese added), into my paints, to help them dry faster.


■STEP 2: BLOCK IN THE BACKGROUND COLOUR






Next, I block in a rough background colour. At this stage I don’t worry of the colour is not exactly right, it’s mostly just to separate the positive and negative shapes.


■STEP 3: BASIC COLOUR LAY IN






Then I add glazes of colour into the light areas, to establish the basic colours.


■STEP 4: BIG FORM MODELING







At this stage I work on the “big form” modeling. I build up the forms using tones and values to show the basic underlaying structures, such as the egg shape of the head and the cylindrical nature of the body.


■STEP 5: REFINEMENTS






I start to adjust the background colour, and go more into the features, thinking about tone, and shape and edge quality.


■STEP 6: FINAL TOUCHES







To finish the painting, I put in a lot of time, concentrating on bringing each area of the painting to a finish. Consideration is given to the “hierarchy of focal interest.” So like the shirt remain looser, while the eyes and face are more refined.

Orillia Museum of Art and History Show

For any of you in the Orillia, Ontario area, two of my paintings are included in the Third Annual ODAC and OMAH All-Ontario Open Juried Art Show at the Orillia Museum of Art and History, May 28 to August 3, 2008. The opening reception will be held Saturday, May 31, 2008, 7p.m.



















"Deidre," oil on linen, 26 x 19 inches, 2007




















"Easter Sunday," oil on linen, 20 x 16 inches, 2007

Cockatiel Eggs

We originally thought our cockatiel was a boy bird ("Finnegan"), but then we started finding eggs around the house (non-fertilized eggs... yup, its possible) and so we now realize she is a cute little girl bird ("Finny"), and she didn't even mind me painting her three eggs.


















"Cockatiel Eggs," oil on panel, 6 x 6 inches

Portrait of a Puppet

Hi everyone! This is my new blog where I will be writing about my process, as well as announcing news and showing new paintings as soon as they’re created! Check back often, as I'll be updating it regularly!

This painting, "Portrait of a Puppet," is one that I just finished for Jamie Mason.


















Oil on canvas, 12 x 9 inches, 2008