Tree Study 13- Copying the Masters

Tree Study 13, 8 x 6 in.

Several people have asked about whether the "active" side of the tree is always the lit side of the tree. It makes sense to assume that it would generally be the case, as light draws the eye. However, assume the entire tree is in shadow/silhouetted. One side could nevertheless be more "active" than the other. One side should have more emphasis, the other would be subordinate. Here, I have a tree that is obviously lit from one side, but I intentionally made the shadow side the active side, just as an example.

Even after doing all these studies, it's still difficult for me to restrain myself from "decorating" the entire outline of the tree with activity. One strives for balance, and this exercise is about interest. The balance would come in from the rest of the composition, as these are studies, and not meant to stand alone.

-julie davis

Tree Study 12

Tree Study 12, 6 x 8 in.

sold

I'm playing (studiously, of course) :) with tree groupings. Again, a reference from my trip to cooler country and taller trees.

-julie davis

Summer Graze

Summer Graze, 6 x 8 in.
nfs

The cottonwood trees in Idaho and Wyoming are, from my West Texas mesquite-trees-the-size-of-bushes perspective, majestic. (I grew up in several West Texas towns, so this is said with love and passion for that land, though the trees are notably not tall). The lovely thing about the river valley area around Jackson, WY and nearby Victor, ID, is that everywhere one turns, there are beautiful trees, many, many of them cottonwoods so tall they dwarf buildings and especially cattle.

This painting was really an attempt to study pushing the trees off the top of the panel, and to create a less dominant sky. It was such a pleasing little painting to make.

-julie davis

Tree Study 10-A good study coming to grief

Tree Study 10, 6 x 8 in.

The next in line.....I don't feel my best effort came through in it. Too spotty--a pitfall with trees. A favorite quote of Scott Christensen's comes from John Carlson, and (sadly) relates directly to this study....but this is about learning for me, which is why I'm posting this.

Carlson says, "The big form is difficult to preserve because by he time we have modeled the smaller forms upon the big and added the necessary highlights and shadows, the chances are that we have overdone these so that our big form is cut up and spotty. These highlights and shadows belong there, but we may put too many brilliant highlights upon it; meaning that we may put lights upon the upright form that should possibly belong to the flat-lying plane. This passion for putting too many and too brilliant "lights" upon all the forms or planes is responsible for more good studies coming to grief than any other cause."

So, here the overdone highlights compete directly with my ground plane value, and lead to a tree that is "cut up and spotty," instead of being more of a mass. Even though I'd heard this and read it many times prior to doing this study, it still happened!

-julie davis

Tree Study 9

Tree Study 9, 6 x 8 in.

Another small study.....this time, small, skinny oaks grouped together like so many here in Central Texas. These were part of a much, much larger group, and on a hillside. I began to put the rest in, and took out what I'd started--it took on a bit of a watercolor look because of it all.

-julie davis

Tree Study 8

Tree Study 8, 6 x 8 in.
nfs

A day or so ago, an artist whose work I quite admire, Randy Saffle, left a good question on my post for me regarding trees in a mass, asking "When you paint a group of trees, do you change which side of the tree is active within the same painting or do you keep it all the same side?"

I thought I would share my response in today's post since I thought it was a great question and something I needed to work with: "You can go either way, depending on the design of the composition and where you want to direct your viewer's eye. I'll have to do some groups of trees and play with that. I do think it all depends on composition.... As a mass of trees, though, you'd play down anything active within the group, and choose a side of the mass to make more active, depending on the composition.

I hope this helps. I'm still figuring it out, obviously, so thanks for the question."

I hope this helps anyone else with that question. I'll definitely be playing more with groups of trees and this concept in this study series. And thank you, Randy!

-julie davis

Tree Study 7

Tree Study 7, 7 x 5 in.

I think sometimes that I'm a little off.....I enjoy these small tree studies so much. Perhaps I should paint an orchard--ha. Here, I focused on loosening up the edges more than usual, and working with the trunks last--applying them on top of the tree's form rather than exclusively underneath. Still thinking about active and passive sides.

-julie davis

Tree Study 6

Tree Study 6, 6 x 8 in.

Another in the tree study series.... Scott Christensen consistently reiterated variety of line in a composition. No matter the line--horizon line, a stand of trees, the top of a mountain, the edge of a creek, even variety of line in the grasses or shadows of the ground plane. This plays into the active/passive side of individual trees as well.

-julie davis

Tree Study 6

Tree Study 6, 8 x 6 in.

It may seem redundant to do the same subject over and over, but trees are something I adore painting, and their importance in a landscape cannot be underestimated. Any new manner of approaching them that I come across, I want to play with it until it becomes second nature. In addition to the active/passive side I've written about, Scott stressed the importance of the core of the tree being the darkest, and painting toward the core as you address the shadow and light aspects of the tree.

I'm not sure I subordinated one side of the tree here as successfully as I could have, but these studies are learning vehicles for me as much as anything--so go easy on me as I try to absorb and incorporate it all! :)

-julie davis

more tree studies / panel comparisons

Wind River alkyd primed linen, 6 x 8 in.

RayMar oil primed linen, 6 x 8 in.

Several of you wrote and asked which panel (cotton or linen) I preferred from my last post. First, as you know, there are so many variables, and you should really test them out yourself--your personal style and materials will affect your opinion. With the medium I use (refined linseed oil), the brushes (natural hog bristle or bristle blend, mostly filberts), and my paints (generally Gamblin), at first I really liked the way the paint glided across the linen panel, while I noticed the cotton really grabbed the paint. And I always love the way linen looks as a finished product. But, I also love to apply a thicker paint--often with my palette knife, and I felt the cotton held the paint better for that. So, I'm still experimenting, and like them both, perhaps for slightly different approaches.

That said, today I tried two linen panels--the same Wind River 359 alkyd primed linen that Scott Christensen uses and that I tried in my last post, and the RayMar Claessen's double (oil) primed linen that I've used before on occasion. What I noticed today was that the alkyd primed had a little more tooth than the double oil primed (as billed), and I did like that. So, I should try the single (oil ) primed for the sake of completeness--it would not be as smooth and may be a better apples-to-apples comparison. I know both of these companies sell a variety or sample pack, for just this type of experimentation.

-julie davis

active/passive side tree studies

"active" side - shadow side

"active" side - light side

One of the many points Scott made in his workshop was that when painting trees, always subordinate one side of the tree. Obviously, in ideal light, a tree will have a light side and a shadow side. And clearly, the way an artist handles the point at which these masses meet is vital. I think an equally valuable point, which Scott made again and again, is that a tree should have an "active" side and a "passive" side. I believe that some trees are more naturally inclined to reveal which side to subordinate:), but that's where the artist comes in. The eye loves variety, and this applies to trees as well.

In these two ten-minute studies, I was doing two things:

1. Testing panels : the first is a Wind River Arts linen, and the second is a RayMar cotton...

2. Subordinating a particular side in each. In the first, it was the light side that I played down in order to play up the shadow side. I attempted the opposite in the second study. I pretty much did these simultaneously, so that I could focus on both objectives at once.

-julie davis

Workshop friends

July workshop participants

Finally, I'm home! My husband and kids came up to Idaho for the last two days of the workshop, and we all stayed on in the Jackson area for a few more. Since then, we've been to visit my sister's family and their new baby, and we're home at last so I can post and paint.

Scott's studio sent this photo we took from the final day of the Intensive workshop. We all look like a bunch of happy painters--surprising that we were smiling after all we had been through.....:) Such abuse! Honestly, the positive takeaways will be soaking in for months, and I'm fortunate to have a super-supportive family that allowed me the time to attend!

-julie davis

Study 5 and 7-Lessons in Speed

Study 5, 8 x 6 in.

Study 7, 8 x 6 in.

This morning I headed out to the last day of Scott Christensen's workshop, and it's been such a formative experience, I'm sad it's over. A couple of days ago, Scott had us go out on our own to paint three studies in as many hours (not including travel and set up time), which proved to be a challenging, but very productive exercise. When you're thoughtfully considering composition and value and attempting to not make a complete disaster out of your painting, an hour per study isn't much time. :)

The first of these images is the first study I did that day. The second is not posted (a "complete disaster"), as I painted it in my car in a desperate attempt to avoid the bloodsucking horseflies that filled the air..... The other is my third study--completed in 15 minutes, as I took too much time on the first two and managed my time poorly.

Lessons learned: Painting quickly is an excellent way to force fast decisions based on first impressions and to train your eye to make value judgements quickly. I really found that my quick studies could be more competent compositions than ones I could spend hours on--a valuable lesson for any plein air painter.

-julie davis

Study 4 and hazards of plein air painting

Study 4 "Before", 6 x 8 in.

Christensen Workshop

Tuesday evening after class, several of us went out to paint in an aspen grove--to study what we'd be painting the next day. I did two small studies--I was pretty happy with this one--a little foreshadowing. The next morning we were painting in the same spot, so I had it out for reference--on the ground behind me against my backpack--admittedly not the best spot! As I put the last mark--literally--on my morning study, I backed up to look at it, and yep.....stepped right in the center of my happy little study! :

"After," 6 x 8 in.

Needless to say, I spent the next forty-five minutes in repair mode! (Lesson: never get too happy with something because it can disappear in an instant!!) It did have a nice abstract quality to it....

-julie davis

Study 3

Study 3, 6 x 8 in.

Oh the poor photography! This little study was the first I did yesterday, and I got the mountain plane value too dark--a combination of bright sun and inexperience painting mountains....

Today we spent the day indoors sketching and studying composition, while Scott did a demo in the afternoon. And did I mention it poured most of the day? By 4:00 though, it was sunny and cool, and several of us headed for an aspen grove to paint.

-julie davis

Study 2

Study 2, 8 x 6 in.

Yesterday we watched Scott do a large demo--actually, he worked on two large pieces, so we didn't paint until late--and on our own time. We'll just say that after two days of taking in information and trying to process it all, the painting I did was an odd combination of everything I'd been hearing mixed up and spat upon a canvas. I lost me in there somewhere, but thankfully, today I came back, having distilled some of what I'm learning.

This is the second study I did today--I would've posted them in chronological order, but this one was in front in my little stand and I'm hurrying to meet new friends for dinner! I'm loving these trees--all of them--the pines, the cottonwood, the aspens....but I love darks, and I had a ball with this.

You might check out Scott's studio blog, a thoughtfully written and full-of-good-insights weekly post called "Flow," written by one of Scott's right hands, Kathy--you'll see me painting. :)

-julie davis

Workshop Sketches

Sketches from the workshop

Today was a pretty intense day of lecture and learning--no painting--but all worth it and valuable. We worked a good bit on composition--these are a couple from class and a couple I did after. Again, apologies for the odd photo angles and poor quality....as I look back if you look at the first sketch just the right way, the shaded mountain in the back resembles a wooden roller coaster....hmm......

-julie davis

Study 1

Study 1, 8 x 6 in.

After a long and necessary absence from blogging (end of school, family vacation), I'm happily attending Scott Christensen's July workshop in Idaho and posting again. Today was the first day of the workshop, and I'm taking it all in. We had a little time this afternoon to do a quick study and try out what we're learning. I've included a photograph of the view I chose. Sorry for the poor photo of my work--hotel room photography--have to find a better setup!

-julie davis

Tuscany

Sketches in Tuscany

Blogging while traveling isn't something I've mastered. Today, though, I've posted a thumbnail sketch I made in Tuscany, where we've been fortunate enough to be for a bit. I know I say nothing new when I describe the area as beautiful in every direction, but truly, there is a painting in every direction. While we're busy touring, I'm finding some time in the late afternoons to sketch, and am taking loads of photographs. Sorry for the lack of paintings lately, but the sketches will have to do for a while.

-julie

Shoulder to Shoulder

Shoulder to Shoulder, 6 x 8 in.
nfs

These peaches were smaller than we're used to here in the Hill Country--these are from California.....hmm..... They sure made a delicious snack after they posed for me here, though. My youngest and I enjoyed them with a bit of sugar on top today. I like the way these came out even better than the last post.

-julie davis

Still Life Studies

Pear and Apple, 6 x 8 in.

Continuing with my still life studies, I painted this study alongside my favorite 7 year-old nephew and my brother (!) who were painting Pokemon and a landscape, respectively. What can be more fun than painting alongside your family?! I loosened up a bit more than usual I think, and I like the results.

-julie davis

Tom Miller Dam

Tom Miller Dam, 9 x 12 in.

sold

Today I had the good fortune to go out painting with my good friend, Laurel Daniel. Both our schedules are nuts right now, but we managed to find a cool spot for a quick painting under the Red Bud Trail bridge (unbelievably, the high in Austin today was 100, so we were fortunate to be out early). I hadn't painted the dam before, though many times I've painted looking the opposite direction, down river. This dam was completed in 1940, after two other dams had proved incapable of holding the floods the Colorado River can produce. It's a sight I pass frequently, as I cross the bridge countless times each week.

(the painted sign reads: DANGER Automatic turbine action may release swift water any time without warning....no access beyond cable at all times).

-julie davis

Accepted

Accepted, 6 x 8 in.

The pear, that is, is accepted by the cherries.... It's been quite fun working with so much red lately, though after painting this one, I think the way in which I've handled this lighter background doesn't adequately balance the impact of such a vivid color. I'll keep moving forward on my experimentation....

-julie davis

Comfortable

Comfortable, 6 x 8 in.

Playing with greens and reds together in this one. I've got to work on getting better lighting for my still life set ups--I have light coming from several directions where I paint them, and haven't developed a good way to limit it to one yet, since I rarely painting still lifes.

-julie davis

Steadfast

Steadfast, 6 x 8 in.

And she liked it. My friend, from yesterday's post. :)

It's kind of fun doing some still lifes after working so intensely on landscape as the subject matter for the Davis Gallery show. It really allows one the time to carefully examine a form, much like the trees I so enjoy studying (except this fruit is much smaller, and the light on a still life doesn't change!)

-julie davis

Close

Close, 6 x 8 in.

I have a very dear friend to whom I owe some time--if she's reading this today, she'll know I'm talking to her. So, pal, what do you think of this one? :)

-julie davis

New Sweden Church

New Sweden Church, 8 x 6 in.

sold

New Sweden Evangelical Lutheran Church (completed in 1923) sits just Northeast of Manor, Texas, which is just Northeast of Austin. I was fortunate enough to be able to join my Plein Air Austin painting friends today to paint there. This copper steeple rises 104 feet, and can be seen for quite a long distance. I was impressed by how beautiful the countryside is out there--I'll be back there for sure!

-julie davis

Light Snow, revisited

Light Snow, 12 x 16in.

sold

This is the last painting I'll post from my current show at Davis Gallery here in Austin, and a tribute to the cold snap we've gotten here in Austin in the last 24 hours. The show ends this Saturday, May 7th, so if you're in Austin and haven't had a chance to go by, please do!

Some of you will recognize this as a larger version of the study I did back in early February. I loved painting the snow so much I immediately went for a bigger one that same day. It's available at the gallery.

One last thing: my apologies for the infrequency of my posts lately. We've had the majority of the interior of our house repainted over the last three weeks, and while the painters have done a tremendous job of minimizing the disruption, our house has been a bit topsy-turvy, and my studio is no exception. I hoped to be outside this week, but now we're finally getting much-needed rain, and it's 50 degrees F on top of that! Soon I will have my postings daily again.

-julie davis

Courtyard Fern

Courtyard Fern, 6 x 8 in.

I worked with a really muted palette today--partly due to subject matter, partly for fun (yes, muted is fun for me....). This asparagus fern sits in the courtyard of our home, and has just been reborn after freezing this winter.

-julie davis

Mid-day Graze

Mid-day Graze, 5 x 7in.

donation to Arthouse 5 x 7 Art Splurge, Austin

Coming back to painting even after a short break, I realize that I will tend to use more palette knife to bring a painting to completion. On something like this, it doesn't take much, but I really love what it adds.

Before I was a painter (four short years ago), the very loose, "edgy" paintings where the brushstrokes were obvious and lush were the ones to which I was attracted. Learning the process of painting and everything that goes along with it takes so much effort, that finely tuning what one truly loves about a result takes a bit to happen. All this to say, I think I'm getting closer....

-julie davis