End of Summer Small Works Sale--ends Aug. 31!

If you're like me, the end of summer isn't your favorite time of year. It does, however, often lead me to reorganizing and getting ready for fall, which is a good thing! 

On that note, usually these are $120, but I need to make room for new studies and new work in my studio. So until Labor Day, twenty of my studies will be 25% off. That is $90 plus tax (if you're in Texas) and $20 shipping. Some are new and some are old. Many  have never been posted for sale. Below are a few of them.

IMPORTANT: Look for the tab at the top of the blog that reads "END OF SUMMER SMALL WORKS SALE." Find your favorites!

Hillside

8 x 6 in., oil on panel

sold in Hurricane Harvey fundraiser for the Rockport Center for the Arts

Storm

6 x 8 in., oil on panel

sold

Tree Study, Golf Course

6 x 8, oil on panel

sold in Hurricane Harvey fundraiser for the Rockport Center for the Arts

Low Country

6 x 8 in., oil on panel

sold

The One with the Barrel

6 x 8 in., oil on panel

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

Spring Studies and Bluebonnets

@ Turkey Bend Recreational Area, Marble Falls, Texas

Today I joined our Plein Air Austin painting group out in Marble Falls, Texas, to paint at the Turkey Bend Recreational Area (real name!).  Rain is moving in this weekend and as the bluebonnets are at their peak, the rains will probably knock them around a bit and cause grass to outgrow the flowers, so now was the time to paint them.  Though the water is still very low on Lake Travis because of the drought, the views at Turkey Bend are still gorgeous, with bluebonnets temporarily making up for the water loss in covering the ground in blue.  

You might be able to make out in the last photo that I chose to do four small studies rather than one more polished painting in the time I had (about two hours).  I can thank Jill Carver for this idea--more on the seismic-shift workshop I recently completed with her in another post (one reason I haven't posted in a month). Since I didn't have much time, rather than rush through a piece and be frustrated, I divided a 12 x 16 panel into four sections, and timed myself on four studies. I did spend about 20 minutes making several thumbnails in my sketchbook first. The first two studies were 15 minutes each, the second two were 30 apiece.  Note: they are not intended to be a finished piece--they are raw studies. The purpose is getting accurate color notes and the values correct, so that with my sketches and photos in the studio I can create one or more larger pieces. I found several compositions I liked, and simply turned my easel around to the next view when I was ready for the next study. I really like this way of working....I felt super productive and came away with material for several paintings.  Pretty fun!

-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