Low Tide, Linda Mar Beach - Day Twenty-Six of the 30/30 Challenge

Low Tide, Linda Mar Beach,

 Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #28

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Day Twenty-Six of the challenge -- another little plein air study I completed at the Linda Mar beach of Pacifica. The sun was setting behind a thin veil of clouds, and there is an intense purple-magenta glow through moistened air. The tide is out, ten thousand little channels on the wet sand beach glisten with warm golden reflections. Because the fog is closing in, this busy beach is surprisingly empty, when the near-shore rock formations were back lid into a parade of strange and a little intimidating gigantic mystical beast sculptures. One slender figure in red drifts in with the wind, almost silently, and lingers near the distant rock form. I just had to add her into my painting. Love it when a painting almost paints itself for me -- one of those rare occasions...

Autumn Glow - Day Sixteen of the 30/30 Challenge

Autumn Glow, Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #18

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Day Sixteen of the challenge -- I wanted to try something different today and started this one on paper without a reference image, just playing with soft washes of contrasting cool and warm colors that are loosely divided into complimentary color families, being careful to leave enough areas of white paper. When the applied washes mingled on wet paper, I titled the painting in different ways to encourage the blending of complimentary colors in certain areas, and prevent them from blending so that higher saturation could be retained in other areas, especially near where the reserved white is, as I could like to design my center of interest near these areas. When this initial wash dried, I looked at the resulted color-value shapes and saw rocks and back-lid foliage in the glowing autumn light in the foreground, and dark woods behind it. So I enhanced this imagery with further glazing on dry paper, careful not to lose all the soft edges created in the first wet-in-wet wash (it is so easy to overglaze and lose all the soft edges before one realizes!). I also lifted light linear shapes hinting stems and branches of fir trees in the dark background, thus suggesting a dense growth of evergreen forest behind the rock and center pine tree. To counter balance the dominating vertical shapes of trees, I added horizontal shapes at the bottom of the image -- interesting shapes in light and dark glazes overlapping each other, be them suggestion of rock ledges, water or reflections. I am quite excited about this project, as it is very different procedure from how I usually work, and forces me to think more abstractly about the balance of values, shapes and lines. It is from inside out, not outside in. Think I will try it a few more times for the 30/30 challenge...

Edge of the Sea - Day Fifteen of the 30/30 Challenge

Edge of the Sea, Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #17

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Day fifteen of the challenge -- can't believe I actually made it half-way this time!!! This is another Plein Air piece from the white cliffs of Limartour Beach at Point Reyes National Seashore. From the usually foggy horizon one can still tell the emerging silhouette of the Bodega Head in the distance, floating in a sea of clouds merging into the shoreline. Ice plants grows on the top of some of the white cliffs, together with other shore grass and scrub bushes give a sense of lush growth even at the end of a long, dry summer. One local naturalist once told me that even in the driest year this shore gets plenty of water by means of condensation. Near the bottom of the cliff, piles of darker rocks are scattered around, covered by sea weeds and barnacles, chitons and like. The water beyond them a dark blue-grey. 

The moist air at shore kept my watercolor paper from drying, so I was able to do a fairly wet-in-wet lay-in of the major value shapes in my first wash, which I was almost never able to do in even the smaller plein air pieces. After that I played with different brushes making marks with fairly fluid washes, trying to form interesting shapes that reads as "grass" and "foliage" without actually painting the individual blades. I painted the darker rocks first as one mass, later adding smaller, even darker planes on their shadowed side. Some spattering with stiff bristle brushes finished the work. It's an overcast day without strong light and shadows, but I liked the subtle colors revealed by this less harsh light. Colors often seem more saturated and nuanced on overcast days to me. Since such days are plenty in the Bay area from June to October, I decide to paint outdoors more often on them to practice observing the difference in light qualities between these and sunny days. Plein Air painting is really great learning experiences to me -- one is always marvelling at the infinite variety nature presents and humbled by our limited ability in capturing them with brush and paint. Never a dull moment...

Heart's Desire - Day Eleven of the 30/30 Challenge

Heart's Desire, Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #13

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Day eleven of the challenge -- I made it to the double digits! Again, a very busy day and I did not get to start painting until much later in the day. So I worked on this piece based on a previously finished plein air version of it at Ruby Beach, Olympia National Park, Washington. I used analogous color scheme of blues and purples as well as greyed-down versions of them by adding a bit Cadmium Orange and Quinacridone Burnt Orange to the mixture, hoping to create a more somber mood. For the tree and shrub shapes, I tried to design the linear elements to contrast and compliment the diffused cloud mass and the distant headland with soft edges. For the near-shore rocks I combined staining and granulating pigments so that when I use a palette knife to scrape off the damp colors to create the light planes of the rock, only the staining colors were left in the scraped park, creating more interesting color variations. I love the mood of evening gradually sinking in and hope to convey it in this painting... Dusky hours are my favorite ones in a day. How about you, my friend?...

Sun-Drenched - Day Ten of the 30/30 Challenge

Sun-Drenched, Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #12

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Day ten of the challenge -- Can't believe I made it this far! This is a little plein air I did at the white cliff of Limartour Beach of Point Reyes National Seashore. The sun is shining brightly on the cliff face and I wanted to capture the brilliance and sheer sense of light of the bright summer day. I did a little more work with the brush in the studio today to practice using brushwork to delineate structure of the rock and add texture to the beach. It is painted mostly wet-on-dry and very different from my usual working method. A bit scary and a lot of fun!

Raging Surf - Day Nine of the 30/30 Challenge

Raging Surf, 

Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #11

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Day nine of the challenge -- I completed this plein air painting from memory back at my studio. When I am out in nature, facing awe-inspiring landscape, I am usually very excited by what I see, hear, smell... etc., and can hardly control myself from laying my brush frenetically on paper to try to capture the energy I feel from the scene in front of me, especially if it is something as dynamic and powerful as surf crashing onto shoreline rocks. Even though I try to do a small value sketch before drawing out the composition on my watercolor paper, and think about the color combinations I am going to use, most of the times I still rely on my intuition and paint rather "literally" of what's in front of me. In the quietness of the studio, there is often more room to ponder, analyze, design. Away from the source of inspiration -- nature, the distance can be good for the artist to assert his or her own voice instead of being "overwhelmed" by what's actually out there. This is often hard to do when the scene is right in front of you. But in the end, the painting needs to stand as an entity of itself alone and the shape, value, color, edges have to make sense as a whole. It will not be judged as how accurately it is as a copy of the actual scene.

As for this one, I glazed over the water with different near-horizontal shapes to counter-balance the diagonal movement of the surf, and shaped the rocks a bit better, casting darker shadows underneath them to anchor them better onto the sand beach. I added sprayed color to indicate foam, and create a bit more surface texture to add interest. I think it is nearly finished at this point, but may continue to pull it out and look at it from time to time, to evaluate whether bits and pieces need to be put in, taken out or altered here and there. This process is the most time-consuming for any painting, any may hardly get notices at the first glance of the before and after images. However, most of the times the inconspicuous changes could make great differences in terms of tying the whole painting together, making it look more homogeneous. Sometimes I will feel that I prefer one of two very similar images infinitely more than the other, but cannot quite tell the "why" explicitly, I would guess the artist has done the ponder, and the back-and-forth dance with the painting.

The Beachcombers - Day Eight of the 30/30 Challenge

The Beachcombers, 

Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #10

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Day eight of the challenge -- A busy day today and I did not get to paint until very late in the day. This is no time for fiddling! I took out my 1" synthetic hair flat and quickly laid a light wash of sky and sand color on very wet paper to establish the composition. The distant headland and modelling on the beach came next, as the paper just started to dry. When I added the darker color of the surf, leaving out a stripe of white paper to indicate the foam, I noticed that the paper is getting quite dry, and I was able to get some dry-brush effects by using thicker paints picked up by the barely damp brush. I added the near-shore rocks as well as the darkest color of the headland last, scraping with palette knife again to indicate some lighter planes on the rock, and get a bit variations of surface texture. To balance the composition and reduce the "emptiness" of the large sand foreground, I added some silhouette of a few sandpipers, as I painted this painting based on a previous plein-air piece at Linda Mar Beach of Pacifica, and you really can see these lovely little critters everywhere near the tide line on that beach! Now time for bed...

Sudden Snow - Day Seven of the 30/30 Challenge

Sudden Snow, 

Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #9

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Day seven of the challenge -- I am still hanging on there!!! (Truely amazing for me, although I admit only barely... :-P) It seems like the hotter the weather gets, the more I feel drawn to painting images of the chilly winter scene... In this one I really wanted to capture the feeling of sudden change of seasons -- a night's snow fall before the brilliant fire of fall colors have a chance to run their course and gradually diminish. I experimented with very granulating colors such as Cobalt Blue, Ultramarine Blue, Cobalt Violet and Manganese Violet on the snow washes, then scrubbed with a damp, relatively stiff synthetic brush and blotted with tissue to lift out the light shapes on the snow field. By using a relatively soft brush and varying its degree of dampness as well as the pressure applied, I was able to achieve softer and harder transitions at the edge of these lifted shapes. I really liked this technique and decide to try it more in my future paintings. The light facets on the snow-covered rocks were squeezed out with a palette knife before the applied dark colors have totally dried.

Water's Edge, Watercolor on Aches #140 Cold Press Paper, 5"h x 7"w, 2014 #19

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On a separate note, a painting I created for last year's 30/30 challenge in September (which I was not able to complete but nevertheless is still a great exercise) was chosen as the judge's pick by Carol Marine on Daily Paintworks. I feel very honored to be selected by an artist who I admire among so many great competitors. Thanks Carol! 

Some New Directions -- Divergence from Florals!

Low Tide - Plein Air at Muir Beach, 

Watercolor on Richeson Zoltan Szabo #140 Cold Press Paper, 7"h x 11"w, WIP 1

I've taken a sabbatical from my floral watercolors lately to explore other directions, and I thought maybe I should be sharing some of them with you here. I was a bit hesitant since I have no idea how they would turn out -- it's both scary and exhilarating to explore new territories! Oh well, you, my blog friends have been very kind and supportive to me throughout, so maybe my worries are unfounded! Here they are:

The first one is another little plein air watercolor I did recently at Muir Beach. It's painted on Richeson Zoltan Szabo #140 Cold Press paper and the size is 7"h x 11"w. The sky was over cast that day, therefore all the colors are more saturated without being bleached by the all powerful sun, and I really wanted to accentuate this in my painting. I liked the result in the field and thought it was finished. However, after going back home and giving it a second look, I noticed that the center of interest - the dark rock - is almost smacked dead in the center of the painting -- a compositional NO-NO. I also think the dark shapes of the wet sand can be improved a little more as well... So, back to the drawing board it goes! I will post the modified version in a couple of days...

In Between, Watercolor on Lanaquarelle #140 Cold Press Paper, 15"h x 11"w, WIP 1

The second project is a found still life. Now, if you have followed my blog for a while, you probably have noticed that my florals are often very high in chroma, and seeing flowers in sunlight often make me feel inspired to work, but light is the first painter that reveals beauty in a lot of commonplace objects, even neglected corners. I found this dried leaflet and branch perched in between pebbles on the roadside while taking a walk in the neighbourhood a couple of years back -- and when the sunlight was cast upon it, the pattern of light and shadow is absolutely beautiful. When I pulled the photo out of a dusted drawer during spring cleaning (yes, even I occasionally do this!...) it inspired me to try a subject that is unfamiliar to me. The reference image is low in color saturation so it will be interesting to try different approaches -- increase the chroma or emphasize the value difference in low saturation -- and see which one I like best! (I am even thinking of starting a new series of still life paintings with the theme "Everyday Beauty". If you have reference photos of objects that often do not catch the eye of most people, but you find very beautiful and inspiring, please share with me by posting it here or email me at arena.shawn@gmail.com!)

The Gossiping Ladies, Watercolor on Arches #140 Cold Press Paper, 6"h x 9"w, WIP 1

The last one of my newest projects is really a step out of my comfort zone and something I've rarely tackled before: animals. This image of two parrots perched on mossy branch in bright tropical sunlight has caught my eyes a while ago and I've finally decided to tackle it after gathering my courage for a while. I love the bright plumage colors of these birds, and their expression really reminded me of some of my relatives gossiping about family matters while resting in the traditional front yard after a day's work -- a scene so common back in the days when the large, extended family still lived together in the countryside, but more and more rare these days with the younger generation moving away into towns and cities and forming their own nuclear family... My main focus of this painting is trying to depict the texture of the fur and feather without painting them one by one, as well as capture the individual personality of these cute little critters! I am a bit nervous about how they would turn out. Please feel free to give some critiques and suggestions!

In the mean time, if you have an image of a beautiful landscape, or a flower you like, or anything you might want to see painted, please email them to me at arena.shawn@gmail.com. I will paint them and post them here. From every 10 paintings I make from them, there would be a random drawing, and the lucky winner get to take a original back home for free! Interested? Then send me your photo!

You can now buy high quality Giclee prints of many of my sold paintings, both on paper and canvas, as well as some note cards with my paintings here:

Edgewood -- 30 Paintings in 30 Days Challenge (Round Two), Day 11, and What I Have Learned from It about Underpainting

Edgewood,
 Watercolor on Saunders Waterford #140 Cold Press paper, 10"h x 10"w, 2013 #62

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One of the consequence of painting landscape everyday for quite a few days is -- I start to crave to paint on slightly bigger pieces of paper and really allow the wet paint flow. This is something very hard to achieve on tiny formats such as 5" x 7" or 6" x 6" -- there is just not enough space for very wet washes to run, and the quantity of water has to be very strictly controlled so that you do not lose all precious white space after the first wash. And a few pieces that I liked after observing what such runny washes have done were further developed with glazes, including this one.

When applying the first layer of underpainting, sometimes I just apply a very simple all-over color tone to unify the future painting, giving it certain mood -- for example, a light yellow first layer can almost warm up the coldest, harshest paintings on top of it and gives a subtle sunny feeling to it. But most of the time, I would try to create soft-edged shapes with this first, very wet application of paint. Sometimes these shapes are related directly with the shapes, tones, directions, sizes, lines textures and colors which will follow, other times I just start with a rough idea, which means the first underpainting layer would only by partially, or approximately related to these aspects of the painting to come. And then, on other occasions, I've started with a blank mind not knowing what I'm going to paint on this piece of paper, and just apply very light colors an tones on soaking wet paper, and observe their movements -- which may give me some idea. I have even superimposed the value and color structure of another painting or other reference materials (instead of the one I am currently painting) in ghostly light versions as an underpainting, which means it would not at all correspond to the shapes, colors and values of the current painting that is to be developed on the same piece of paper -- and surprisingly, often enough, I have found that add a lot of surface interest instead of being a total disaster.

This has made me think why I have always liked to start with such a soft-edged, light underpainting layer, if it is not always to hint what's going to come. I believe underpaintings comes with its own advantages: It gives variations in the "white" section of the painting, and allow optical superimposition of color and tone. Since optical color is the synthesis made by our eye when seeing the underpainted color thought the overpainting, it is unlike any single layer and has its own mysterious "shine" or "glowing" quality when done right. An underpainting, especially when not totally correlated with the overpainting, often promotes an abstract quality of the image developed, and soft under hard edges usually makes a rich counterpoint and makes the pictorial experience more interesting and stimulating for the viewer. As long as one keeps the underpainting layer soft and light (usually lighter than midtone in value), allowing for final considerations and readjustment of edges and drawing during the overpainting process, it usually would not be too intrusive as to interfere with the viewer's experience with the overpainted image, just like the ambient sound of forest or ocean often do not interfere with our experience of music in such environment, although their rhythm or beat may not coincide with that of the music's.

For this particular painting, I have applied a very light, gradated magenta wash from top down, adding various greens, blues and purples toward the bottom, because I roughly had the idea that I wanted to paint a sunset  in the woods on a cold, snowy winter day. But I did not exactly draw out the trees, the rocks or the topography on the snow-covered field. Instead I have concentrated to vary the color temperature and value while applying this wet wash. As a result, I really liked the added interest this first layer has created on the otherwise all-white snowy field. And because of the dark woods and rock shapes developed in the overpainting, the light purple and blue areas at the bottom still read as "white" and "snow". One thing I wanted to improve on this is to add more color variations in the areas that I know will be very light (such as the sky) when doing the underpainting. I was a little timid about doing this when painting "Edgewood", and as a result, there is not a lot of color variations in the sky, and makes it a little bland compared with other areas of the image. Luckily, there are enough business in the woodland area directly below it, so that quiet patch of sky can actually give the viewer's eye some rest and relief. It was not planned, but I'm glad it worked out this way... What do you think, my friend?

You can now buy high quality Giclee prints of many of my sold paintings, both on paper and canvas, as well as some note cards with my paintings here:

Misty Dawn -- 30 Paintings in 30 Days Challenge (Round Two), Day 10, and Thoughts on How Artists Create Art

Misty Dawn, Ruby Beach,
 Watercolor on Richeson Zoltan Szabo #140 Cold Press paper, 5"h x 7"w, 2013 #61

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Since I was going through the reference photos I took on the trip to Ruby Beach, Washington when doing "Sea Stacks, Ruby Beach" a couple of days ago, I couldn't help but picking out a few more favorites to work from, hence this little one today (and a few more to come). Lucky for me, it still fits in my theme for the current week: landscape with water (ok, ok, yesterday's piece was landscape but without water, I got it :-P... I just got carried away designing those trees and finished it in the end...)

It has been a long time since I took the trip, but I stood on that beach from dawn (which was nice and sunny) till past dusk (which gradually got very cloudy and finally started to rain -- as I complained in the post about "Sea Stacks, Ruby Beach", looked, listened, smelled, pondered, drew and painted, even took a nap! The place with its unique windy, salty atmosphere was well burnt into my memory. Had I not spent such precious time lingering in a place like this, but only snapped a photo and left, I probably wouldn't have felt being suddenly transported back again when my eye accidentally scanned across the reference photo I took there at dawn. I remembered how the warm mist gradually rose from water as the sun slowly climbed up, as if the spirit of the land was waking up along with the warmth provided by this source of life. I remembered the amazing rosy golden glow around everything behind the veil of fog, and the purple-orange shadows of the back-lid sea stacks standing against the rising sun...  I just had to get it down on paper.

After finishing this piece I started pondering about the creative process -- what an artist, every artist goes through after being hitting by that overwhelming sense "I have to paint that!!!"... First comes looking: a sensation; seeing a piece of nature and saying, "There is a beautiful tree", or "I love the light reflected on water's surface". We as artists start to be aware of the "present". Eyesight reception stirs up a chaos inside us. Something has to be done. Then it all quiets down to a more pure, condensed perception: the artist acknowledges him/herself the existence of the scene, and a deep, more real "seeing" is retained within our memory with every extra stare, providing a storehouse of visual data for us to mull over and over, ponder and digest, which finally may be integrated into a "concept" -- a perceived experience with intention. At this stage we as artists have gained an awareness of what stood in front of us in the totality of personal experience. It has become axiomatic, and can be held as a scheme in our mind's eye as an integration of similar units whenever we want to recall it. It matures, and waited to be executed, carried out as a visual statement about the experience -- experience not as what happened to us but what happened in us. And as we finally do that, the finished work becomes separated from us, the artists by time and space. It enters a life of its own, to stand or fall, no longer within our control. There is often a sense of deep vulnerability felt by the artist when such a product makes its public appearance, as for so long we have lived with it, held it deeply in ours minds and hearts, being tortured by its will of coming out of us, worrying that even after giving it our best effort, the result still could not stand up to the beauty we see in our minds' eye... 

It is such a painful, labored exhilaration, an addiction, a powerful experience that we repeat again and again, everyday. The most powerful and most vulnerable position: the position of the creator. 

... And that, is exactly why I am doing it again today.

You can now buy high quality Giclee prints of many of my sold paintings, both on paper and canvas, as well as some note cards with my paintings here: