Dusk over Marsh - Day Twenty-Eight of the 30/30 Challenge

Dusk over Marsh, 

Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #30

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Day Twenty-Eight of the challenge -- a little plein air piece at sunset, done mostly with my 1" slanted bristle brush. I am falling in love with this big, stiff brush that is not at all capable of doing any details, but carries so much pigment and water and does soft wet-in-wet blending and rough edges both so well! When the sun is setting and the light changing fast, it is really handy! I actually did several different studies before the sun completely sinks under the horizon, but I love this one the most -- it did capture the glorious sky that I saw, which made all the draw grass near shore literally glows with dragon's blood red! Again, this is done in a quiet back corner of the shoreline park of mountain view. I can never get tired of painting the beautiful wetlands in the bay area...

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...

Windy Hill & Cypress Hill Sunsets - Day Thirteen of the 30/30 Challenge

Windy Hill Sunset, Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #15

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Day thirteen of the challenge -- this one is a little test of compositional elements for a larger piece. I really wanted to do a sunset scene today and used a combination of primary color palette -- Cadmium Red, Cadmium Yellow and Ultramarine Blue for the sky and clouds. Since the composition is overly horizontal, I tried to experiment with different elements of diagonal movements. In the first one I tried to add back-lid barren deciduous trees; in the second version I used wind-blown cypress trees, since I was working on a larger sheet of paper, and had more room to play with shapes:

Cypress Hill Sunset, Watercolor on Arches #140 Cold Press Paper, 8"h x 11"w, 2015 #16

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I am quite happy with both version and think that I may go with the second concept on the bigger piece. But I may play with the composition just a bit more... We'll see!

Day's End - Day Three of the 30/30 Challenge

Day's End, 

Watercolor on Arches #140 Cold Press Paper, 6"h x 6"w, 2015 #5

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Day three of the challenge -- one of the goals I have for this 30/30 challenge is to try using as big a brush I can manage and carry the painting to as far a point as I could, as I did in the last painting, "Woodland Fall"; a second goal I have is to experiment with non-conventional brushes and surfaces without the worry of "failing", i.e., not turning out a beautiful little painting in the end. 

For this 6" x 6", I used primarily a slanted 1" stiff bristle brush to lay in the soft sky and foreground snow on very wet paper, and added gradually thickened pigments to create the distant mountain with fir trees as well as to establish the general shape of the snow-laden evergreens in the foreground before the paper dried. The advantage of bristle brush is, they really can pick up and carry a lot more pigment (especially if your pigment is not fresh squeezed out of a tube) compared to traditional watercolor brushes, even the stiffer synthetic haired ones. Another advantage of these brushes is that they have very jagged hair, hence it is absolutely futile to try to get any detail out of them when painting. One is thus forced to pay attention to the general tone, color and overall silhouette of each value shape, and design the bigger picture before putting in the details (which would require switching to a different type of brush). 

I did eventually switch to smaller bristle brushes to establish the darker crevices on the rocks, the branches of foreground fir, etc., and used a small rigger brush to suggest some bare branches of deciduous trees as well as shrubs, but most of the painting was done with the big 1" bristle that at times made me feel very awkward and not knowing what I was doing. Overcoming that awkward feeling was very liberating, since I know I am going beyond my own comfort zone, pushing myself to learn more and grow as a painter. The results is not always as exciting as the process itself, but in case of this little painting, I am feeling quite satisfied...

Crystal Springs Sunset -- Color as Value Exercise

Crystal Springs Sunset, 

Watercolor on Aches #140 Cold Press Paper, 10"h x 6"w, 2014 #20

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"Crystal Springs Sunset" started out as an exercise in Stan Miller's workshop. Using a black-and-white photograph as reference, Stan asked us to use any colors -- arbitrary colors even, like green for the clouds -- to paint each shape, mostly wet on dry, soften edges as we go. The only requirement is to get the shapes painted in color as close in value as the black-and-white reference photo. It was a very valuable exercise, teaching me the importance of value to create a believable illusion of three-dimensions on a two-dimensional surface. As long as the value relationships are right, almost any color can be used to create a believable image. That is such a freeing exercise! 

In the end, the resulted image reminded me of the the evening drives I used to take along Hightway 280, when the glorious last rays of sunlight reflects from the water of the reservoir, the golden shimmers of light are breathtakingly beautiful. Against the setting sun, the silhouettes of the evergreen-and-oak-covered coastal range mountains are in a somber blue-grey color that is hard to describe with language. Not being able to resist the view, I have always pulled over to the roadside to observe and take it by heart. Cameras just don't do it justice -- high-contrast, low luminosity scenes like this are hard to photograph unless you are a pro with all the right gears (which I am certainly not). But today, when finished with this little painting, I am filled with joy that all those roadside stoppings did not go to waste. They have carved the magic hour, the majestic light into my heart...

Enough rambling for now! I should really get back to my watercolor table... 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:

Marsh Sunset -- A Little Plein Air Painting at Elkhorn Slough

Marsh Sunset, Watercolor on Fabriano #140 Cold Press Paper, 8"h x 10"w, 2014 #13

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The weather was great and I went out to do some plein air on Friday, and completely "Marsh Sunset" near Elkhorn Slough. Unfortunately, it was very cold once the sun started to set, and the coastal fog came in swiftly. As a result, I was not feeling well over the weekend  and did not get much of painting done... Still, I was happy to finally get back there and paint in nature! It's been too long since I have done that...

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:

Amber Glow -- 30 Paintings in 30 Days Challenge, Round 3, Day 12

Amber Glow,  Watercolor on Arches #140 Rough Paper, 7"h x 10"w, 2014 #9

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Sometimes misfortune happens in pairs as well -- I managed to finish this little painting last night but did not get a chance to photograph or post it until now, since I had to take a dear family member to the emergency room for his cardiac episode. Please pray for me that everything would be OK... We often do not think about how fortunate we are to have health until we are on the fridge of losing it...

It's very unlikely at this point I will be able to finish 30 paintings in January, but I will keep on painting at least a couple of hours a day. It actually keeps my mind in peace in times of worries... 

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:

Sky in Progress -- 30 Paintings in 30 Days Challenge, Round 3, Day 8, 9, 10, 11

Tranquility,  Watercolor on Arches #140 Cold Press Paper, 9"h x 12"w, WIP 1

With a progressing cold I fell significantly behind on my "Sky" paintings the past few days. I have been painting but since painting sky requires some serious wetting of the paper, I tend to work on several of them at the same time, so that I can continue working on one when others are in various stages of drying. So, here they are, some very close to finish, just waiting for me to put on the details; others just starting, with one or two wet-in-wet layers of clouds and nothing else yet... 

Amber Glow,  Watercolor on Arches #140 Rough Paper, 7"h x 10"w, WIP 1

Shades of Dusk,  Watercolor on Arches #140 Cold Press Paper, 8"h x 10"w, WIP 1

Night Sail,  
Watercolor on Lanaquarelle #140 Cold Press Paper, 3"h x 7"w, 2014 #8

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:

Fiery Sky -- WIPs (Again!), 30 Paintings in 30 Days Challenge, Round 3, Day 5

Fiery Sky,  Watercolor on Fabriano Artistico #140 Cold Press Paper, 8"h x 10"w, WIP 1

Classes at the atelier resumed on Monday, which means I only have 3-4 hours at most to paint now on weekdays. Combining that with my recent sickness due to the cold (although we do not have a frigid temperature compared to most part of the country...), I did not complete this painting yesterday. It is very close to a finish and I am working on it, playing with my new favorite brush -- the slanted bristle 1" to put in shapes suggesting of foliage with minimum strokes. Theme for this week: "Sky".

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:

Under the Autumn Sky - 30 Paintings in 30 Days Challenge, Round 3, Ready, Set, Go!...

Under the Autumn Sky, 
Watercolor on Fabriano Artistico #140 Cold Press Paper, 9"h x 12"w, 2014 #1

Bid at My DPW Auction (Starting Bid $75) 

OK, call me crazy but yes, after much struggle with myself I've decided to take up Leslie Saeta's "30 Paintings in 30 Days" challenge yet again! Needless to say, last year after doing this challenge in September, my blog postings have become sporadic, and I've not finished many paintings since. There is definitely a possibility of "burning out" for a slow painter like me to take up such a challenge. (In fact I got very sick toward the end of the year, possibly because of the pressure I put myself through doing all the holiday shows, and the school work in the Atelier... :-() But my new year's resolution is to try painting more landscapes in a looser style (yes, you've probably heard me saying this on my various blog posts a couple of times if you have me visiting this blog for a while -- on my defense I did try really hard each time! But being "loose" is such an elusive goal for me -- it is the final product that has to evoke such sense, yet in each of the step toward creating a looser, freer, more atmospheric painting a painter has to be very deliberate and really know what he/she is doing! I have to admit I am struggling here...), so I've decided to take up this challenge with that goal in mind. 

In the following weeks of January, I will try to do a little landscape painting each day, and each week there would be a slightly different focus: sky, water, mountains and foliage (trees, brushes and grassland). This first one, "Under the Autumn Sky", is a sky-focused painting. My main goal here is to capture the fleeting sense of light near sunset on a slightly overcast day, and emulate the beautiful cloud shapes that changes every second you look without getting fixated on being "exact". It has started as a Plein-Air Sketch in the Palo Alto Bayland Marsh last fall (yes, during the last 30/30 challenge =_=b...), but I was not quite sure what I was trying to say in the piece, and had to put it aside for a while until I could see it in my mind's eye. In the end I had to revisit the lessons I've learned from landscape master Sterling Edwards and Carl Purcell's workshop, and revise the composition to emphasize the sky area, making sure the foreground marsh and tree line in the middle ground are not too busy as to detract from this center of focus.

A good lesson I have learned from doing this painting is to try to say one thing, and one thing only in one small painting like this. Since I was initially attracted by the sky when started this painting, I decided to stick with it. The other equally interesting shapes and textures, the lovely distant tree line, for example, is better explored in detail in another painting! (That's the beauty of doing such challenges -- you know you'll have another painting to do just the next day! lol...)

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:

Rockies Sunset -- 30 Paintings in 30 Days Challenge (Round Two), Day 24

Rockies Sunset, Watercolor on Arches #140 Rough Paper, 4"h x 6"w, 2013 #74

Bid at My DPW Auction (Starting Bid $20) 

This little guy took way longer than I initially expected -- mostly to get the textural marks look right and not so contrived took quite a bit of practice on scrape sheets. I wanted to capture that last magical light of the day as it set the highest snowy peak on fire, and throwing the lower part of the mountain into deep, deep blue-green shadow. I love the dramatic quality of the light at such moment -- the warmth of the peak as it glows with yellow-orange hue, the cool sky behind it which is gradually sinking into quiet, somber night color, the strange sense of wonder, awe and anything is possible in the air... As I paint this one and "Moon Rise" (still in progress, hopefully will be done tomorrow), my heart was singing with the intoxicating high-mountain summer air I remembered when watching this magic happen -- a trip at the tail of summer to Colorado, a spontaneous camping trip into the Rockies, two days and two nights spent among the evergreens and aspens, watching glorious sunset and stars rising out of crystal black sky... It was then and there I start to understand why I love this country so much, and why despite of all the security and comfort it would provide, I could never persuade myself to hold onto a corporate job. Beyond everything in life I cherish this the most -- this sense of freedom and chance to be one with my surroundings, the most splendid creations called THE WILDERNESS. 

Born in an overcrowded nation I cherish this space to breathe and to be alone so much. Coming from a city of 30 million people, I know very clearly what luxury it is to be accompanied by no one else but the mountains. Somethings can never be forgotten once realized. Everyday, I count my blessings.

And you, my dear artists friends and collectors, you are helping me getting close to my dreams one step a day. Thank you. 

THANK YOU. 

(P.S.: Since this is a small piece I have actually painted to the edge of the paper, and if purchased it can be float-mounted, showcasing the deckled edge.)

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:

Sea Stacks, Ruby Beach -- 30 Paintings in 30 Days Challenge (Round Two), Day 7 (And I Did Finish This One!...)

Sea Stacks, Ruby Beach,
 Watercolor on Arches #140 Rough paper, 7"h x 10"w, 2013 #58

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I've always loved Travel. A journey to somewhere always seem to give an aim of some sort to me: I have to get on with the trip every day when waking up, and the road is right there in front of me;  accommodations and dinning options are often frugally simple, far from extravagant to say the least, but just because of this, I believe journeys are addictive, at least to me. In between a long journey's quiet loneliness and busy clamor, there is often a clear river of thoughts extending until infinity. Thoughts about past. Thoughts about future. Thoughts about people I have met and people I have missed. Whenever I have a little bit time, anytime, I often would rather spend it on the road. This one has started as a plein-air sketch on the Ruby Beach of Washington coast. Time was late. The sky is always cloudy there. It almost seemed like it was going to rain, but finally didn't. Last light of the day has gradually seeped though the bottom of the meandering clouds, back-lighting all the sea stacks. The sky was a strange deep, saturated blue-purple, with a tinge of warmth along the horizon. Then it started to drizzle. My paper got damp. I got back into the car.

But I've never forgotten that moment, just like I've not forgotten another ten thousand random moments on my journeys.

Then recently, I have thought about how ancient Chinese Sumi Paintings are taught, and started to do another type of study -- I realized that landscape painting is largely about creating your own symbol of different landscape items (trees, rocks, clouds, grass, water, etc.) and express them with abstract brush-stroke-created-shapes. Dots and Dashes. Lines and Curves. The next question is: how do you translate the landscape in front of you into an image basically composed of these dots, dashes and various shapes? I believe this is like learning a language: you have to learn the vocabulary before being able to make a prose. Then, can brushwork be learned? Some say not -- they say it is part of you and has to come from within yourself, but I believe otherwise: one's "self" is constantly being shaped by what we take in from others -- by that I mean from other artists as well as the nature. You can collect the silhouette of a real tree by sketching it on paper, and you can collect a beautiful tree shape created by another artist by practicing making it on a scrap piece of paper as well. Guaranteed, it will probably not be identical as the original, but by this practice you can learn how the individual brush strokes creating that shape is made -- their direction, strength and timing, as well as just practicing making a pleasant abstract shape. 

That is exactly what I do every morning nowadays: just like the morning workout routines for some people. I would take a random piece of image from an artist I like for his/her ability to create beautiful shapes of landscape elements, and isolate one shape -- a tree, a rock, a cloud shadow, you name it -- and try to analyze how he/she has made that shape with their brush marks, and try to recreate it on my practice paper. By isolating the shapes the task does not seem as daunting: I am not asking myself to recreate an often seemingly "fast and loose" master landscape painting entirely, but just a tiny section of it -- one shape. By doing this again and again, I've already realized that I've started to incorporate these learned shapes into my own paintings out of memory. Again, they won't be exact copies, but my hand seems to have gained some muscle memory of the dots and dashes it has been making again and again!

So finally I've taken out this piece and decided to give it another try. This time I felt much more smooth and confident, more at ease with it, and much less mechanical when making the cloud and rocks of this painting compared to my first attempt of it (which I did not dare to share with you guys), and I think I have to thank such exercise for it. Maybe I should also thank time -- it is time that has made the scene simmer in my heart until it was ready to flow out.

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:

More Paintings for "Climate Crisis: An Artistic Vision" Show

Disappearing Beauty - Vatnajokull Glacier Lake, Iceland, 
Watercolor on Arches #140 Cold Press Paper, 5"h x 7"w, 2013 #45

Bid at My DPW Auction (Starting Bid $30) 

Continuing my "Disappearing Beauty" series for the Climate Crisis Show in the Main Gallery -- it opens this Wednesday! The artists' reception is this Saturday, June 1st from 6 to 8 pm. If you are in the Redwood City area, stop by 1018 Main Street (right beside Alana's Cafe) and say Hi!

This one is based on my travel a couple of years ago to Iceland -- a country with 25% of land covered by glaciers of various sizes, all in the process of disappearing if the global climate keeps its warming trend. Vatnajokull is in the southeast side of Iceland and its tongue is directly melting into a large lake, with icebergs broken off the glacier tongue floating on the lake surface, it's quite a surreal scene of intense purples and turquoises -- colors that are even considered too bright-hued when used on canvas actually appearing in nature. With the glacier melting faster than ever, in less than a couple of decades lakes like this may totally cease to exist...

Disappearing Beauty - Palisade Glacier Lake, Sierra Crest, Fall,
Watercolor on Arches #140 Cold Press Paper, 4"h x 9"w, 2013 #46

Bid at My DPW Auction (Starting Bid $35) 

I've enjoyed doing the long-format little piece of palisade glacier lake so much that I decide to make it a triptych. The last one is a winter view and this one is approximately fall, with the high peaks surrounding the lake starting to be covered by snow, but the lower foothills still have some brown colors of brushes and prairie grass. The lake is not yet frozen, reflecting the clear autumn sky color of the high country... With a warmer planet and much less winter snow fall, such high country glacier lakes may totally disappear due to the lack of replenish water source from melting snow in the next couple of decades, just like the lakes that used to cover the vast region of death valley a hundred thousand years ago...

I've used a very limited palette of three colors to do this piece and thoroughly enjoyed it -- with such limitations imposed, I actually feel that I can spend more time concentrating on solving the relative color temperature and value problem without being distracted by the decisions of whether it is the right hue that I am mixing for a particular object in the landscape. Also, it is much easier to abstract landscape into various shapes instead of considering it as a compilation of different objects when the colors are not an accurate imitation of nature.

Disappearing Beauty - Sunset over Rockies, June, 
Watercolor on Arches #140 Cold Press Paper, 5"h x 7"w, 2013 #47

Bid at My DPW Auction (Starting Bid $30) 

The next one, "Disappearing Beauty -- Sunset over Rockies, June" is based on my trip up in Colorado a couple of years ago. It was June but snow is still everywhere once you get into the mountains. And as the sun sets against western sky, all the snow covered peaks in the high Rockies just turned into this flaming red, which gradually faded into a deep purplish blue near the base of the peaks. It was a glorious show every evening, and never exactly the same. With an average six degrees' average temperature increase as predicted in the next few decades, there would hardly be any snow left on these peaks in the month of June, when the vegetation on the plateau is lush, and such glorious show in nature's beauty would be missed by the future generations...

More to come -- stay tuned!

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:

Highland Dreams (30 Paintings in 30 Days Challenge: Day 13)

Highland Dreams, Watercolor on Arches 140# Cold Press Paper, 6"h x 9"w, 2013 #15

Bid at My DPW Auction (Starting Bid $35)

Second day at school after the holiday break, I have to admit I am absolutely exhausted by the end of an 8-hour day of standing. Getting back to the painting table takes some discipline, but I'm glad that I did it -- pulling a large fluid wash across page has proven to be an effective way of distressing. This is a simple imaginary scene of a quiet mountain lake at sunset. I started it with a simple value sketch, and added all the colors according to the mood I wanted to achieve, responding to what's happening on paper, experimenting with wet-on-dry mark making to suggest vegetation and ground texture, putting emphasis on making interesting shapes since I have no visual reference. It was very different from how I paint normally, and it was a lot of fun...

On a different note -- I am featured today! My friend, Taryn Day, who is an amazing painter as well as a virtual curator who runs the great artist interview blog, "The Art Room", which exposes its reader to many extraordinary painters -- past and present -- with a changing monthly theme, has run a feature of me today in the theme of "painters who blog". Taryn has asked each painter she interviews this month to pick one or two works they like most among all works they have created during the year 2012, and explain why. Taryn also makes a pick herself and explains her reason. It has been fun reading the daily updates of other great painter/bloggers for me and absolutely an honor to be listed among the array of painters who have inspired me and for whom I have great admiration. Thank you Taryn for giving me this opportunity to meet more art friends online!

You can purchase my 2013 wall and desk calendars here:

Winter Mirage (30 Paintings in 30 Days Challenge: Day 4)

Winter Mirage (Version 3), 
Watercolor on Lanaquarelle140# Cold Press Paper, 7"h x 10"w, 2013 #5

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I've done a small version of this painting and sold it last year, and in my struggle to regain my skills of wet-in-wet application over a large (relatively speaking...) uninterrupted area I decided to try it again in this slightly larger version on a soft-surfaced paper. I liked certain aspect of this one better than the last -- the more interesting shapes of the brushes and the fir, the linework of the fence lines, and I do think this version has better captured that warm glow of sunset color on a cold winter evening. But I have to admit, it was more of a struggle to paint this one that the last, and the first pass I did of the sky end up drying way too light! It is also much harder to create a smooth blending of colors on cold press paper than on rough paper. However, I do think these daily exercises are getting me back into my grooves! It is also a tremendous comfort to know that if one painting does not turn out ideally, there is always another chance tomorrow! I have been able to enjoy the process more with this mindset, which I think by itself is worth all the effort...

On a separate note -- I will be participating in Silicon Valley Open Studio Events for the three weekend this May. And today I received the confirmation email that my profile is officially established on their website! (You can see it here.) I will give more details as the dates approach -- this is my first year participating and I'm really excited!

You can purchase my 2013 wall and desk calendars here:

Northern Exposure (30 Paintings in 30 Days Challenge: Day 2)

Northern Exposure, 

Watercolor on Winsor Newton #140 Cold Press Paper, 8"h x 10"w, 2013 #2

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Day 2 for the "30 Paintings in 30 Days" challenge -- so far, I am still hanging on there (ok, barely)... This painting has been putting aside for a while since I started it last year, and worked on it off and on for a couple of months. It looks a very simple scene of sunset in the big sky country of eastern Texas at the beginning of winter. In the reference photo I took, there is almost nothing in the foreground, but the intense color near the horizon just kept me coming back to it. I could not think of a center of attention that would add interest to the foreground and link it to the sky, yet does not detract from and compete with the beautiful sunset colors that first drew me into painting this picture. I did a couple of smaller (5" x 7") studies to work out the problem, but none of them come out to my like. So it went into the drawer of unfinished works for a while.

Today I took it out and decide to give it a go. I strengthened the foreground shadow colors, leaving only one rim of light separating foreground and background mountains. Then I took out my rigger and had some fun with groups of branches, adding dark shapes with dry brush work on top of them to make them read as "trees". They added some linear elements to this big-wash painting yet because of their dark values, merge well with background mountains and clouds and do not attract the eyes directly to themselves from the bright sunset colors of the sky. Is this the best solution to the problem? I do not know. But I think it is one of the possible solutions and worth trying out. It is definitely better than being halted by fear of ruin a half-finished work and never attempt to work it out!

This experience has taught me something indeed -- one of the most important values of these fast paced daily painting sessions is to free a painter from his/her attachment with his/her work, and encourage him/her to experiment more, working out problems, knowing if a piece of work did not turn out as well as he/she has wished, it is only a day's work wasted, and tomorrow is a new start.

...Certainly a valuable enough lesson for me and worth all the time I am spending carrying it out!

You can purchase my 2013 wall and desk calendars here: