Dancing With Trees Collection
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Friday, December 7th, 2012
Deciduous Forest – Washington State USA – 12H x 16W inches watercolors on paper, sage green mat
Thumbnails below: 1. resist medium applied, dried and first paint application 2. peeling off the dried resist after painting dark hues of sap green 3. stage 02, after peeled off resist medium, before more paint 4. an idea occurred to use the pulled off rubber pieces as 3D effects in future paintings, probably best on canvas.
A while back, I had visitors attending a show of mine peel off the rubberized medium in the same fashion, revealing the flowers on “Flowering Shavingbrush Tree”.
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Flamboyant Tree flowers and seed pods
Thursday, December 6th, 2012
Flamboyant Tree Flowers and Seed Pods – Chapala, Mexico – 9H x 12W inches oil pastels on paper, white mat
Birch Stand
Friday, November 30th, 2012
Work details: 1. applying resist medium 2. working with the challenge of a limited palette, watercolors were also dripped down the page. Tomball watercolor pen adds more details.
Birch Stand, 12H x 16W inches watercolors on 120 lb cold pressed 100% cotton paper. Framed size 22H x 26W inches.
Fairy Lake Sumac
Tuesday, November 13th, 2012
Sumac Bushes Fairy Lake BC Canada, 12H x 16W inches oil pastels on 140 lb W/C paper. Framed size 22H x 26W inches.
This piece has a base of watercolor crayons, which I hadn’t heard of before and was excited to try. The colors are weak though, and they do not paint well either, so oil pastels are layered on top, which are then scratched away using fingernails and pottery tools.
$550.00 matted 
$750.00 framed
Bigleaf Maple watercolors
Sunday, November 4th, 2012
Big Leaf Maple near Port Renfrew, Vancouver Island, BC Canada, 12H x 16W inches watercolors on 140 lb 100% cotton paper. Framed size 22H x 26W inches.
Missing routine
Thursday, October 11th, 2012
The Campsite, 24 x 30 inches watercolors on 140 lb cold pressed premium
I finally brought my watercolor paints back from my son’s place in Canada, where I left them so they wouldn’t freeze on the 5-day drive back west last November. Driving again, I’ve just returned from this year’s visit, when I gave my grandson a one-of-a-kind fabric book hand-made for his first birthday, Colors for Cameron. I plan to make him something special every year.
So, with a couple of new brushes and 12 x 16″ paper block, and now with the rainy season upon us back in Oregon, I look forward to establishing a routine of painting again. Invigorated by a summer full of gardening and flowers, the stunning scenery across America this time of year, plus reviewing archives of work I haven’t seen for ages, I’m all set to splash out some new watercolors. Our Portland house is a renovator’s dream/nightmare!, and we’re not out of the woods yet. Attempting to focus more on art than house, smaller paintings are more manageable and less of a production than my typically large canvas paintings…however, I’m curious to experiment and see how watercolors behave on primed canvas at some point!
Stars in the Sweetgum
Thursday, June 28th, 2012
Stars in the Sweetgum, 12H x 9W inches charcoal and colored pencils on paper, preliminary study for a larger painting of the Sweetgum tree in our side yard.
Portraying darkness is an excellent way to study color. Inspired by travels on clear nights when speeding by tree silhouettes, there’s an illusion that horizon is absent, and the stars are in the trees. I often marvel how dark skies can still be so colorful, ranging from rich teals, purples, sometimes shades of red and orange.
Framing on Northern Delights 02 update
Tuesday, December 14th, 2010
Northern Delights 02, 24H x 36W inches acrylics on canvas, adhered to a 36H x 48W x 1D inches canvas. Mask/resist medium was used to maintain white spaces and pure colors in both sections.
The central painting was started in 2006, and the framing was resolved today – a perfect example where some paintings just need to hang around for a while before they are well and truly finished. The scene of the central painting is extended onto the larger canvas, initially intended to have the same style. However, after stopping for a coffee break then coming back with fresh eyes, I actually like the clash of styles. I always say that art is the best place to exhibit any rebellious tendencies! Besides, formal frames can sometimes cut off the energy of a composition too abruptly. Every painting does not need a frame, but finishing the edges should always be considered.
Bonsai Garden, Singapore
Saturday, May 29th, 2010
Bonsai Garden, Chinese and Japanese Gardens, Singapore, 9H x 12W inches graphite on paper, white mat and 15H x 18W inches white frame with crackle finish.
Lilacs
Tuesday, May 18th, 2010
Lilacs, 36H x 24W x 2D inches acrylics on canvas, wrapped sides painted, narrow frame tidies edges. Hang vertically or horizontally.
Process details, left: a damp cloth is used to remove areas of wet paint to soften and create texture, also dripping water over damp paint and scratching with fingernail under a cloth. Sturdy home-built stretcher frame. The painting can hang horizontally or vertically.
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