Rooftop process

I've got to figure out how to share video on this platform. Suggestions welcomed. I tried the built-in uploader, but it did not seem to like my iPhone videos, and wouldn't play once uploaded. So these stills will have to do!

Monday I set up on the roof with a little 8 x 10 panel. It was really overcast all day, which was great because the light didn't change much, and the grays of the buildings were pretty saturated. I almost always begin a painting with a wash of color--from a simple neutral to Transparent Red Oxide to whatever this was--I think a mix of TRO and Cad Red Light. I use a paper towel to wipe away the lights until I see the shapes I want. This is a fairly quick process--maybe 5-10 minutes tops. It gives me a sort-of Notan look, so I can judge design and value before I start. (This is after I've done a thumbnail sketch or two, which I tuck behind my panel on my easel while I paint).

I then work primarily dark to light. Someone on my Instagram post about this piece asked if it was hard to work around the supports of the towers--and the answer is yes--it is tedious, but I really can't get the darks like this in after lights are put down. I find it best to put them in, work around them, then  touch up the darks if I need to near the end. 

Next, the background and the foreground. Lots of shapes and perspective to contend with!

Last, the sky. It's hard to tell in this photo, but there are some super subtle value shifts in the sky. I love those, as well as the fun subtle hue and value shifts on and among the tall buildings in the background. This is New York, after all, and the buildings go way, way back, so there are lots of depth (= layers of atmosphere) even between the background buildings.

That's it! Wish I could've shared video of the view; hopefully, I can figure that one out before long. If you follow my instagram account, you'll see me post video in my story quite often. meanwhile, let me know if you know how I can do it here!

-julie davis

More than an "annual thing"

If you notice these things, it's apparent I've ignored my blog in favor of Instagram for the last long while. I apologize if that's been a issue, but encourage you to get on Instagram just for the art if you've been hesitant to move your attention to that platform. It's even more nimble and immediate than blogs, and you can visually devour art much more quickly!  (@juliedavisstudio is me)

That said, there is obviously a massive and receptive community for art in blogging, and there is more "meat on the bone" in this format. That's why I've chosen to also share this latest venture here, where I can write about it and share groups of photos to "journal" my time here. Even though after almost a year of absence I may be blogging to an audience of exactly one....!

First, you're noticing this isn't the Texas Hill Country, or Austin. Yes, it's New York. My husband and I leased a place in the city for two months this fall. Our daughters are in college and beyond, and my husband is fortunate enough to be able work wherever he is able to drag his laptop and cell phone, and I'm able to work wherever I can drag my easel, so this happened. And I've found my happy place here among the water towers on the rooftops of the city.

I typically begin by wiping away a very thin
mixture of paint and Gamsol into shapes.

Great skies, first sketch in the books.

This week I climbed to the rooftop of our place, and it was like a stairway to heaven for me. If these paintings aren't for you, ignore me for two months, because this is the direction I'll be taking while we're here. The roof is perfect for the introvert in me, because the only people around are on other rooftops, generally far away enough where they don't notice me. Don't get me wrong, I like people! Just while I'm painting, it's great if I don't feel on display, and I was really concerned about that for this New York stint. But up there, I'm alone, with endless viewpoints and subject matter and light alteration...it's fantastic. And I can run downstairs for lunch or a refill of coffee. I'm not sure I've ever painted in a more convenient setup, actually.

start #2

Pulled this shot from my insta-story.
Got a migraine mid-painting. When
I came back to finish, the light had
changed completely.

Sunset provided this wonderful, pink
 light, but it changed fast!

Finished this fourth study the next morning.
Fresh light, great skies.

Now I've got these four under my belt, I may move to individual 8 x 10 panels, to fit a little more information on each one. I can't wait to get back up there. Have a good week and a great weekend, and thanks for reading all the way to the end if you've made it this far. I'm planning on these blog posts being more than an "annual thing!"

-julie davis

The Value of Color Studies

I first began to create color studies on a regular basis after a workshop given by Jill Carver in Texas in 2015. I'd done them before, but never in the lightning-quick manner Jill had us doing them, and never as my primary means of gathering information outdoors. Jill opened an entirely new practice to me that week, and I owe her a debt of gratitude. Because I often sell my 6 x 8 studies on this blog, I'd always felt decent pressure to make even my studies excellent. Attempting perfection, needless to say, isn't the most productive way to "study."

Above are some studies I completed this morning in my studio using sketches I did outdoors and photo references I took while on site. Notice they're all on one board, which was divided into four sections with painter's tape while I painted (the color difference under the tape is due to the panel I used being an old one that was half-toned). This way I can't sell them--the pressure is gone. (It's certainly possible that I could cut them apart later if one is so amazing I just have to post it for sale).  :)

Below are some quick (like stream-of consciousness-quick) thoughts on the value of doing these studies. Color studies are:

*A natural bridge between a thumbnail sketch and starting a refined, finished painting

*A great way to gather lots of information outdoors in a short time (perfect for times when you're painting outside and the light or weather is changing rapidly)

*Practice for mixing the colors you'll eventually use in the larger painting

*A simple, fast way to get accurate color notes when painting en plein air

*An efficient way to "brainstorm" in paint time-wise and space-wise. Set time limits on yourself (no more than 30 minutes to an hour on each). Also, you can easily get four or six on one panel.

*A way to affirm that you're being productive when all else fails!

*A tool for trying various compositions if you can't decide based on thumbnail sketches

*A good way to stay loose and produce the painterly look that you might want to use in your larger painting

*A great exercise in painting quickly if you're trying to get faster

*Perfect for painting a scene you're in love with but only had time for a sketch and a quick photo (like the amazing scene you discovered after you packed up and were heading to your car, or the one you got a photo of while with your family and had only your phone and sketchbook in hand).

*Freedom to relax--you're not aiming for a finished painting, but the bonus is that sometimes you get one!

Color studies work out the kinks, let you know if your idea has the potential to translate into a successful painting, and keep you at ease while accomplishing both. 

-julie davis

Hill Country Cold Front

untitled

12 x 16 in., oil on panel

available

Picking up where I left off...:) As I mentioned a post or two back, I've been building my more daily presence on Instagram (@juliedavisstudio) rather than here on my blog, but going forward I'll continue to post small works (6 x 8 and under) for sale here. I may post some larger ones, but those will end up for sale in galleries or shows, and like this one, will not be for sale online. 

2016 held a ton of changes for me personally, and I won't get into all of them, but a high school graduation, a move, and a remodel are just a few. So I put on my mom/wife/house manager hat for a while, and haven't been able to paint as consistently as I would like. I believe I'm finally getting a crack at consistency as of this week (!!), so look for posts several times a month here, and several times a week on Instagram.

This piece I worked up in the studio from a plein air study I did in November at Wenmoh's Ranch near Austin. A cold front blew in just as we drove up--the beautiful blue skies gave way to gray, and temps dropped instantly--but it was welcomed cold weather in this unseasonably warm winter!

-julie

@juliedavisstudio

Fenceline Grove

Fenceline Grove, 6 x 8 in.

sold

Sincere apologies for the inconsistency in posting lately. We have sold our house and are moving! In town....but hectic doesn't quite describe the last few weeks. I'm trying to get my painting legs under me again, and am most excited that I'll have a larger studio--a whole room all my own. Things might be a little off and on for the next few weeks, but I'll post when I can and know that I'll be consistent again soon.

This little painting was from my Idaho trip--this old fence just blended into the trees along it. With a lovely field adjacent, it caught my attention.

-julie davis