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Dinard, French Landscape Paintings


Dinard, France II

 

Years ago when I visited Dinard in the height of summer, I gave up going to this beach simply because it was so crowded with holiday makers and I couldn't find a parking spot.  But last month when my workshop students and I went there, there was no one except a few locals enjoying a quiet stroll by the water.  I thought I came to a different beach.

 

In front of us was a vast stretch of sandy beach, the calm blue ocean, the town of Dinard on the left, the skyline of Saint-Malo in the far right.  It was almost too good to be true to be able to keep such a spectacular view all to ourselves.  The whole ambiance was so inviting my students and I couldn't wait to get to work.  Even the sun was cooperating and peeked through clouds to warm us up on a cool autumn morning.  But then again, it might have been our enthusiasm that kept us warm.

 

I liked the view on my right as the formation of rocks there was interesting and the light coming from behind was quite attractive.  I chose that for my first demonstration, which was followed by my students trying their hand at my approach.  After a lovely picnic lunch on the beach, we found ourselves painting by a chateau nearby.  What a beautiful day we had!

 

 

Beach in Dinard, France - There was a "painting" in every direction!

 

 

My second demo by Château de bord de mer, Dinard

 

 

 

Dinard, France II

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Il fait toujours beau en Bretagne! no.II


Pointe du Chevet

 

This painting is one of the demonstrations I did in my recent workshop in Brittany.   Pointe du Chevet is at the tip of the peninsula near Saint-Jacut-de-la-Mer on the Emerald Coast of Brittany, France.  As seen in the photo (below), the view we had from there was stunningly beautiful, and the weather couldn't have been better, either.  Both my students and I were so eager to take advantage of this one fine day to paint outdoors.

 

When we arrived there, the tide was low, exposing much of the mud flat in front of us.  Damp mud glistening in the sunlight, instead of the calm water, made the landscape look more interesting to paint - and challenging.  Challenging, because every time fast-moving clouds covered the sun (and it happened every 5-10 minutes), that changed tonal values of the scene completely.  I must say that must have driven my students crazy.  In my workshop, I stress the importance of painting with values rather than colors, and then they were trying to deal with it when in fact the values changed every 10 minutes.  Nonetheless the time we spent there was very pleasant.

 

While painting, we noticed down on the muddy ground some people walking and a tractor traveling to and from the mussel beds that were built a couple of kilometers from the coast.  Later on, my students and I had the pleasure of tasting local mussels, one of Brittany's prized delicacies.  They were a little smaller than what I am used to seeing elsewhere but so sweet and juicy.  A day in the sun ended perfectly.

 

 

My students hard at work

 

A tractor on the mud flat

 

 

I put together my paintings and plein-air sketches (2013) of Brittany and made a book "Bretagne - Breizh - My Watercolor Journey Through the Land of the Celts in France."  Click this link for more details.

 

 

 

 

Pointe du Chevet, Saint-Jacut-de-la-Mer, France I

 

Media: Original watercolor on paper

Image Size: 8.5 x 23 inches (21 x 58 cm)

Frame/Mat: No

Purchase: Through Gallery

 

 

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Il fait toujours beau en Bretagne! no. I


Saint-Briac-sur-Mer, France I

 

Il fait toujours beau en Bretagne: I was in Brittany last month and my Breton host taught me this expression.  When people say "il fait toujours beau" (the weather is always fine), it may be true in certain parts of the world.  But "en Bretagne" (in Brittany) in northwest of France?  The area is known for variable weather patterns even in a day.

 

Recently I taught a plein-air workshop near the small town of Ploubalay of Brittany for 5 days.  Each morning around the dining table where we all ate, our conversation started with "what's the weather like today?" and ended at dinner time with "what's the weather like tomorrow?"  Although we had to take the daily weather report seriously, we wanted to venture out to paint every day.

 

On the second day, at the suggestion of our hosts, we drove to Saint-Briac-sur-Mer, a lovely seaside town with a beautiful view of the bay with lots of boats.  The weather was sunny all day when we painted there and nearby.  Yes, on this day, we were truly blessed with a perfect il-fait-toujours-beau kind of day.

 

Four out of 5 days, we had the very changeable weather, typical of Brittany, from foggy to cloudy to rainy to sunny, etc. but we tried to do at least one painting outside every day.  When it was too wet or windy, we worked inside the studio.  Coming from the almost-always-sunny San Diego, I found it a little difficult to adjust to this type of weather pattern but I survived with layers of clothing and careful selection for a place to do outdoor demos.  I must say I was impressed with my students who were not only equipped with proper plein-air gears but also with a go-getter attitude of die-hard plein-air painters.

 

After an intense week of plein-air painting and an introduction to the Breton weather, I learned to really appreciate all kinds of weather that make the landscape of the region look so magical and beautiful.  Even painting under the gray sky brought me the joy just as much as doing it under the sun.  Maybe it is true when they say il fait toujours beau en Bretagne

 

 

I put together my paintings and plein-air sketches (2013) of Brittany and made a book "Bretagne - Breizh - My Watercolor Journey Through the Land of the Celts in France."  Click this link for more details.

 

 

My first demo, Saint-Briac-sur-Mer

 

 

My second demo, Saint-Briac-sur-Mer

 

Saint-Briac-sur-Mer, France II

 

 

 

 

Saint-Briac-sur-Mer, France I

 

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Private Collection

 

 

Saint-Briac-sur-Mer, France II

 

Media: Original watercolor on paper

Image Size: 8.5 x 23 inches (21 x 58 cm)

Frame/Mat: No

Purchase: Through Gallery

 

 

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Exhibition and Workshop in Milan, Italy


Duomo, Milan, Italy V

 

Milan has been one of my favorite cities in the world ever since I first made a visit a long time ago as a student.  Little did I know then that I might be back for a wonderful exhibition/workshop opportunity one day.

 

Immagini dell'Acqua, the 40th anniversary international watercolor exhibition organized by the Associazione Italiana Aquarellisti (AIA), opened its doors to the public on October 2.  It was a huge honor that I was able to be present there on the opening day, which was a full house, as an invited guest artist of the AIA.  The exhibition demonstrates excellency and brilliance of transparent watercolor works of the AIA members as well as selected works of members of the participating watercolor associations from around the world.   Including Duomo, Mialn, Italy V, I have 4 original paintings on display in the show:  Masquerade, Venice IWinter Morning, Venice, Italy I and Sorrento, Italy VI.

 

For days following the opening, I also had the pleasure of doing live demonstrations for the public and teaching workshops.  I would like to say thank-you to the AIA and everyone who came to my demos/workshops.

 

 

 Opening reception

 

 Workshop

 

 Workshop

 

 Demonstration

 

 Exhibition

 

(Photos courtesy of the AIA, Patrizia Sambri, Guido Tosi, Emmanuele Cammarano, Ros Perucchini)

 

 

 

Duomo, Milan, Italy V

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 21.5 x 29.5 inches (55 x 75 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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International Watercolor Exhibition - Thessaloniki, Greece


Afternoon, Venice, Italy IV

 

I am honored to have my work included in the Second International Watercolor Exhibition, which opened on September 15 in Thessaloniki, Greece.  This show was organized by George Politis, a wonderful Greek watercolor artist and a dedicated teacher, and will run until October 7.  I have "Afternoon, Venice, Italy IV" and the other piece of Venice in this exhibition.

 

Showcasing small- to medium-sized watermedia gems from both Greek and international artists, who were selected by a panel of international jurors, the exhibition is worth visiting if you are near the Gallery of Society of Macedonian Studies in Thessaloniki, the second-largest Greek city.

 

 

 

Thessaloniki Boats, Greece I (plein-air sketch)

 

 

Thessaloniki Boats, Greece II (plein-air sketch)

 

 

 

Afternoon, Venice, Italy IV

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Immagini dell'Acqua, Milano, Italy


Immagini dell'Acqua

 

It is with a great honor that I am participating, as an invited guest artist, in the 40th anniversary exhibition of the Associazione Italiana Acquerellisti (AIA).

 

Mr. Fernando Cavalieri, the AIA's President, together with Ms. Cristina Bracaloni, the AIA's Vice President, very kindly extended the invitation to me earlier this year to take part in the events including the opening of this special exhibition and live demonstrations.  The theme of the exhibition is Immagini dell'Acqua (Images of Water), and it will take place at the Acquario Civico in Milan, Italy from the 2nd to the 26th of October.

 

An international watercolor exhibition, the show will display paintings by artists from the AIA and watercolor societies representing Australia, Belgium, Brazil, China and Mexico.  As a guest of honor, I will have the pleasure of showing some of my originals including "Masquerade, Venice I" and "Duomo, Milano, V" and perform a couple of live demonstrations.  I will also run several workshop sessions.

 

 

Duomo, Milano, Italy V (55x74 cm)

 

Masquerade, Venice, Italy I (55x74 cm)

 

 

 

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Watercolor Artist October 2014


 

To a painter, a brush is just like a good knife to a chef.  One of my essential tools is a mop brush.  And I am happy to say that an article of me talking about it appears in the October issue of Watercolor Artist magazine.  I used "Central Park II," one of my recent paintings of New York City, to demonstrate how I used a mop brush in this painting.

 

In this issue, I am also honored to be among some of today's finest artists working in watermedia, such as Direk Kingnok (cover artist), George James, Carol Evans, Chizuru Morii Kaplan, Thomas W. Schaller, Andrew Kish III, Ratindra Das, Joyce Hicks, Jane Freeman, Bev Jozwiak and Richard Parkes Bonington.

 

 

 

Central Park, New York City II

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Have Fun with Your Imagination


Domme, France II

 

When it comes to choosing a subject of plein-air painting, I think I'm fairly easy.   What it means is that I am pretty relaxed about what I can find to paint in most situations, even in a new place in a foreign country.  In a plein-air workshop situation, it is usually a person who organizes this that is more worried than me if I like a particular view or if I see anything that is paintable for my group.  As a realistic painter, I find it somewhat important to be situated in an ideal spot where there is good light and a good view.  However, in my opinion, even the best view is not perfect.  I end up changing a few things in my painting anyway, so I decided some time ago I might as well enjoy the challenge of painting on the spot.

 

Recently, I was visiting a small village of Domme in the region of Dordogne, France.  Many people come to this fortified medieval village for a stunning panoramic view of the Dordogne River and its valley.  I, too, was very inspired to paint the picturesque view.   When I set up and started drawing, I heard a voice inside me that told me to do more than just the valley view.  In my artist's eye, I saw the inclusion of the village in the landscape as a viable option so I moved the entire rock, topped with a few houses, into the view.  I did this in my painting, not for real, of course, but I must say I enjoy this kind of imaginary play quite often.  Inspiration feeds imagination, and imagination helps me visualize the result of my creative effort.  Whether we are a realistic painter or an abstract painter, I think we should all embrace the power of imagination.

 

 

 

Painting in Domme, France

 

 

Domme, France II

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Announcing A New Workshop in California


La Jolla Blvd.

 

"California has been my home for nearly half of my life, and I have spent the majority of the time in San Diego.  California's southernmost city holds a special place in my heart, for it was here that I made a life-giving career change and became a full-time painter.  The abundant beauty of my 'adopted' home has been the inspiration for many watercolor scenes since I started painting in 2005.  Thanks to San Diego's mild climate, I have become an avid plein-air painter and quite often I can be found traipsing its nooks and crannies on a quest for a new setting to paint."

 

I said this in my latest book "PAINTING SAN DIEGO: 100 Plein-Air Watercolors of San Diego Landscapes" (published June 2014).  Even after the book project was completed, I still live up to my words and go out to paint whenever I have a chance at home.

 

"La Jolla Blvd.," another one of those quick outdoor sketches I so enjoy doing, is from a couple of weeks ago to depict warm summer light of Southern California.  For something like this, I usually spend less than an hour from the beginning to the finish.  I often get asked what would be a good way to learn how to paint quickly or loosely.  Speaking from my experience, I can say it is very helpful if you try often working outside and painting from nature.  I believe, through an intimate conversation with nature, you will develop an ability to capture the very essence of what you see and what inspires you.

 

I am happy to announce my new 3-day weekend workshop in Southern California (Westminster, CA, February 20-22, 2015).  This class will be conducted indoors but, in my demonstrations, I will show my thought process as if I am painting outdoors.  If you're interested in attending or have any questions on my workshop, please contact Catalyst

 

 

Painting on location, La Jolla Blvd., San Diego, California

 

 

La Jolla Blvd.

 

A larger digital file available on request.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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NEW BOOK: Painting San Diego, 100 Plein-Air Watercolors of San Diego Landscapes


New book now available

 

I am very pleased to announce that my new art book is now available online.

 

PAINTING SAN DIEGO: 100 Plein-Air Watercolors of San Diego Landscapes is a result of my recent 6-month-long outdoor painting journey through San Diego County, California, my adopted home of 20 years.  The book contains 100 images of never-before-seen watercolors of mine, all painted en plein air between November 2013 and May 2014, photos and descriptions of most locations, plenty of practical tips and several step-by-step demonstrations.  120 pages.

 

Foreword was written by Michael Campos of Campos Photography, a fine art photographer and a dear friend whom I have been working with since 2006.

 

To learn more or order, please visit this link.

 

 

 

 

 

 

 

 

 

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Plein-Air Painting in Long Island, New York (4) - American Landscape Painting


The Palm, Long Island, New York I

 

The weather was gorgeous.  I really liked the area around East Hampton so I decided to stick around a little to make more paintings that portray beautiful architecture in the area.

 

 

Painting Miss Amelia's Cottage, Amagansett

 

Amagansett I (14"x20")

 

Amagansett II (12"x16")

 

 

 

The Palm, East Hampton, Long Island, New York I

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Plein-Air Painting in Long Island, New York (3) - American Landscape Painting


East Hampton, LI, NY I

 

After completing two waterscapes, I decided to move a bit inland to avoid the chilly wind from the south shore.  I drove past several quaint small towns and some really luxurious houses but other than that, the landscape was mostly rural.

 

This simple country scene that I painted was nothing extraordinary but there was something quite appealing about it.  When I decided to set up to paint there, I had a choice of doing it on this side of the road or on the other.  You can see what I chose and why in the finished painting.

 

I have had people who told me not to include wires in the paintings I did for them.  To me things like electric wires and utility poles can be quite useful to create a flow in the picture.

 

 

 

 

 

East Hampton, Long Island, New York I

 

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Plein-Air Painting in Long Island, New York (1) - American Landscape Painting


Center Moriches, LI, NY I

 

On my recent trip to Long Island, NY to teach a workshop, I had an opportunity to paint around the island.  This is the first one I attempted near the town of Center Moriches.  Looking at these photos reminds me that I was painting and crying here on the edge of a river mouth, constantly buffeted by the strong wind.

 

The snow was falling just a week before but on the morning I painted, luckily, the sun was shining with no clouds in sight.  I didn't realize, however, how relentlessly the wind would blow, especially by the ocean.  While painting, I grew very frustrated and almost gave up on it because of the wind.  But now that I managed to finish it, I felt I was able to paint faster and loosely thanks to the wind.

 

Painting en plein air to me is to learn how to capture quickly the very essence of the scene and paint it loosely.  Mother nature.. she always knows best.

 

 

 

  

 

 

Center Moriches, Long Island, New York I

 

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Central Park, New York City II, American Landscape Painting


 

One of the things I repeatedly tell my students is, before painting, have a plan for your creative process and picture your final picture.  Easier said than done, but isn't it true that this is so easy to forget?  Maybe we are too eager to paint.  Maybe we don't think it's that important.  Or we think a painting has to be done intuitively - we are artists after all, right?  Please read this:

 

Seasoned athletes use vivid, highly detailed internal images and run-throughs of the entire performance, engaging all their senses in their mental rehearsal, and they combine their knowledge of the sports venue with mental rehearsal.  World Champion Golfer, Jack Nicklaus has said: "I never hit a shot, not even in practice, without having a very sharp in-focus picture of it in my head."  (Angie LeVan)

 

I believe this is an important skill for watercolor painters as well.  When we overlook this step and start painting, we may find ourselves confused sooner or later, and end up feeling stuck.  What happens afterwards is not likely to be a good painting (but I could be totally wrong and it may be a true masterpiece!).  I say this because once we lose the flow, the energy in a painting is lost.  We need to keep it throughout the process for that is really what makes our painting alive. 

 

 

Central Park, New York City II

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

 

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Painting in New York City, American Landscape Paintings


Central Park, NYC I

 

If you had a day in New York City to do anything you want, what would you choose?  A tough call, I'm sure - the city has too many temptations!

 

Recently I found myself to be in that situation between two of my workshops. It was a glorious weekend day, and I couldn't believe my luck.  Here I am posting photos of what I decided to do.

 

 

Painting in Central Park, NYC

 

 

 

City Hall, NYC I (20"x14")

 

 

 

 

Battery Park, NYC I (14"x20")

 

 

 

Central Park, NYC I

 

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

 

 

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Mexico City Paintings


Mexico City, Mexico I

 

I heard that Mexico City is huge.  But it is really convincing when your airplane flies over this densely-populated city for what it seemed like an eternity and you see just houses upon houses as far as your eyes could see all the way to the horizon.  You have to see it to believe it.

 

During my workshop week in Mexico City recently, my host and her family showed me many corners of this megalopolis that 20+ million people call home.  No matter where you go, chances are that you spend a considerable amount of time in a car in this city, given its sheer size and population.  Well, that part didn't bother me much as that is not too different from how I live in California.  Or even better because I was able to enjoy looking out my car window (my friend drove), and I also enjoyed a conversation with those riding with me. 

 

Here are some paintings I made of the Mexican capital that reflect slices of their daily life.  Notice many cars?

 

Mexico City, Mexico II

 

Mexico City, Mexico III

 

 

Mexico City, Mexico I

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

 

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From Plein-Air Sketch to Studio Painting


En plein air (Photo by J. Villain)

 

About nine years ago, I started out both as a plein-air painter and as a studio artist.  As a watercolorist who paints in both environments, I have come to realize that there are unique qualities in each type of work.

 

A painting done on location is my direct response to the landscape.  I attempt to capture the whole experience of being there.  For that purpose, I need to concentrate intensely to work fast.  I so enjoy getting absorbed in the environment when the inspiration cannot be any fresher.  As a result, the painting may look looser, more simplified or sketchy, and perhaps more impressionistic.

 

Sometimes I may not completely finish the work outdoors because I feel it's already served a purpose.  Or sometimes I just have to quit because of unexpected elements such as a sudden change of weather.  Certain challenges and limitations that come with working in the great outdoors may make the end result rather hit-or-miss.  Regardless, any work I do outside has certain qualities that I really like.  The atmosphere and energy of the place is captured in the raw if I may put it that way.

 

En plein air, I like to use the paper size smaller than 18x24 inches (46x61cm) and spend less than an hour to complete a piece.  The format of a studio painting, on the other hand, can be larger so the work tends to be a bit more controlled and detailed.  In the studio, especially when there's no time contraints, I can take time to plan my approach to the subject.  I can even make some preliminary compositional work to think out my process and try to eliminate, if any, potential problems beforehand.  I can say there is probably a bit more room for creativity to be explored in the studio while the plein-air work is more direct and intuitive.

 

When I work in the studio, sometimes I use my plein-air sketch as a source of reference.  It can be supported by photos or memory but to me a plein-air sketch probably works best to remember the feel of the place.  In fact, it is really the initial idea or inspiration captured in the plein-air work that is important.  Starting from there, I can think more about overall composition and relationships of colors, values and shapes to retell an original story, hopefully, in a more refined manner.

 

Read related posts: here (Bucharest, Romania) and here (Venice, Italy) and look at some of the examples from Italy below.  If you're interested in painting in the beautiful region of Tuscany, Italy, why don't you join me there in May?  My watercolor painting workshop at the Watermill was fully booked but has just recently one spot opened up.  I look forward to meeting you there!

 

 

"Firenze, Italy I" (29x21 cm) - plein air

 

"Firenze, Italy IX" (55x36 cm) - studio

 

"Cortona VIII" (29x39 cm) - plein air

 

"Cortona, Italy X" (55x75 cm) - studio

 

 

 

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Recent Magazine Features


Bucharest, Romania I

 

I am deeply honored to have my work featured in the 2014 March issue of Artists & Illustrators (published by Chelsea Magazine Co., Ltd., United Kingdom).  Ms. Jenny White gave me an interview for my article.  She asked me a lot of great questions about my thoughts on painting watercolor as well as teaching it.  I hope you will enjoy reading it if you have a chance.

 

Thanks to the article, one of my street scene paintings included in it "Bucharest, Romania I (2012)" saw the light of day.  This work reminds me of my visit to this delightful city where I just walked around, sketched, took some photos without any itinerary to speak of.  When I was in the historic center and saw this view of a street with a domed building in the back, I knew I'd paint it.  Here are some sketches and a photo of the street.

 

 

 

From my travel sketchbook

 

 

(photo) Historic center of Bucharest

 

 

In December 2013, I was one of the watercolor painters featured in Pratique des Arts, Hors série aquarelle (published by CapElitis Groupe, France).  An 8-page article written by Ms. Stéphanie Portal who interviewed me includes a step-by-step demo of a painting of Ine, a small fishing village of Kyoto, Japan.  For this article, too, I was asked some thought-provoking questions.  I also gave some practical tips on plein-air painting.  I am hugely honored for the recognition.

 

 

 

Covers of two magazines where my work was featured recently

 

 

 

Bucharest, Romania I

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 21.5 x 14.25 inches (54.5 x 36 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Chasing the Light in Palm Desert, California Landscape Painting


Palm Desert, California I

 

I often find myself heading out to paint during the golden hour to capture soft, warm sunlight.  The quality of light is what I'm after and it is just fantastic especially for a lovely atmospheric painting.  But, if you have ever attempted doing this, you know how rapidly the golden-hour light changes it can make the whole landscape look totally diferent within a matter of minutes.  If only we could keep the beautiful light as long as we need to finish our painting!

 

To deal with that elusiveness, I try to remember the first impression and work with it throughout the end.  This visualization is important.  Our eyes may keep chasing the light but our mind's eye should see something that's fixed.  Otherwise, the end result of our painting will be utterly confusing.

 

I had an opportunity to paint recently in Palm Desert, California on a balmy afternoon.  Take a look at the photos below (sorry they are so small) and focus on the lighted area in the back.  It all happened within an hour.

 

 

 

 

 

 

 

 

Palm Desert, California I

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

 

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Plein-Air Demo at the Bernardo Winery, California Landscape Painting


Bernardo Winery, San Diego II

 

For plein-air painters, especially those who work in watercolor, the weather is the most crucial factor for a pleasant experience.  Too often, it is too hot, too cold, too windy, too dry, too wet, etc... well, we had none of those complaints on the day of the Saturday paint-out because the weather was perfect in every sense.

 

I was happy to be invited as a demonstrator for a plein-air painters' group from the San Diego Watercolor Society.  The location chosen for their January get-together was Bernardo Winery.  I really liked the rustic feel of the place and found it quite interesting that is actually located in the middle of a residential neighborhood.  For my demo, I painted a view of the vineyard with the mountain in the background.  Then everyone chose their subjects and spent the rest of the morning painting.   I couldn't resist making another painting of a different corner of the winery  - and why not paint the painters? - I included some of them in the piece (See "Saturday Pain-Out").

 

Click here to read about the paint-out on the blog of the San Diego Watercolor Society.

 

 

Saturday Paint-Out, Bernardo Winery

 

 

Saturday Paint-Out, Bernardo Winery

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Purchase: Sold

 

 

 

 

Bernardo Winery, San Diego, California II

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 17 x 23 inches (43 x 58 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

 

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Away From Home - Daily Paintworks Weekly Challenge


Li River, China III

 

As a host for the Daily Paintworks (DPW) Weekly Challenge, I have chosen the theme "Away from Home" (please read a brief description below).  I thought this topic is a timely one as many of us have a chance to spend some time away from home around this time of the year.

 

Daily painters out there, or occasional painters or anyone who loves to give this challenge a try, let's have fun with it.  To participate, please visit DPW website for more information.  The challenge starts on Saturday, December 21.

 

 

"Away from Home" Challenge:

 

Many people travel at this time of the year.  Some of us visit families and friends for the holiday celebrations while others may get away just to spend some quiet time alone or with someone special.  Whatever the reason, the change of place gives us opportunities to discover many new things or rediscover things we forgot about.  Why don't we take a moment to find inspiration in a place away from home and paint it?  It could be a snowy landscape, a portrait of a grandpa, a house decorated with lights, a beach in the South Pacific, or an imaginary place you think is perfect for your ideal holiday.  I just came back from China where I attended the opening of an international watercolor exhibition.  This is one of the paintings I did over there.  I know we are all busy with a million things to do in preparation for the holidays, but taking a little time for a painting may be something we just need to relax.  Best wishes for a happy New Year!

 

 

 

Li River, China III

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.


Click here to see other Chinese landscapes on my blog.

 

 

 

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Shenzhen Watercolour Biennial


Yangshuo Sunset, China II

 

In response to the call to the artists worldwide, 2,825 entries had poured in from 54 different countries from all corners of the globe for the First International Watercolour Biennial.  After the final round of judging by an international panel of renowned jurors, about 200 pieces of watermedia works were selected to be on display at the Shenzhen Art Museum in Guangdong Province in southern China.  December the 10th, 2013 marked the official opening of the exhibition, and I was deeply honored to attend the opening ceremony together with some of the exhibiting artists who traveled there.

 

I am pleased that "Sunset, Florence, Italy I" was juried into this prestigious show, which runs until January 10, 2014 at the same venue.  Selected paintings are scheduled to tour inside China in the following year at eight different locations.

 

 

 

Yangshuo Sunset, China I

 

 

Yangshuo Sunset, China I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

 

Yangshuo Sunset, China II

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 9 x 13 inches (23 x 33 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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On the Road (6) - China, Chinese Landscape Paintings


Yangshuo, China II

 

Traveling somewhere with plein-air painting as a primary purpose requires an itinerary definitely different from a typical sightseeing trip.  For one thing, in a totally new environment in a foreign country, it normally takes a day or two just to know the ropes.  So something as simple as finding a good place to paint that's safe and convenient to get to can be a big task.  After spending some time scouting for such a place and managing a painting or two, chances are that a good part of a day is already gone and perhaps you're too tired to go sightseeing or shopping.

 

In Yangshuo County, a popular destination in the northeast Guangxi Province in China, I stayed for some time just to paint.  That is, no rock climbing or cave tours for me, but I had a blast painting to my heart's content.  I painted from a balcony of my hotel room, by the river, on the street.  I even rented a bike to go deep into the coutryside for really marvelous rural landscapes. 

 

 

Painting from a hotel balcony

 

Yangshuo, China I

 

 

Yangshuo, China I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 19 x 13 inches (48 x 33 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

Yangshuo, China II

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Dim Sum, Hong Kong III, Interior Painting


Dim Sum, HK III

 

Eating with a family or friends means sharing some time together over a meal but in some cultures it is literally sharing the same dishes among those present.  In Chinese culture, people normally sit at a round table and put several dishes in the center.  In each dish there is a different kind of food - stir-fried meat and vegetables, steamed fish, roasted chicken, dumplings, soup, for example.  There may be a pair of communal chopsticks for serving but it's quite common that they use their own chopsticks to take whatever they want.  This way everyone sees each other and both chopsticks and words busily bounce across the table throughout a meal time.

 

 

Dim Sum, Hong Kong III

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Li River, Chinese Landscape Paintings


Li River, China I

 

Stunning, dramatic, surreal... I don't know if any words can describe the amazing landscapes of karst terrains near Guilin.  Some of the peaks look like animals while others look like giant cacti or jagged teeth.  And these towering mountains are evreywhere - some stand alone right in the middle of a town and others out in the countryside.

 

Between Guilin and Yangshuo, boats take visitors on a cruise on the Li River which meanders through these mountains.  To see this very unique landscape, people come here not just from all over China but from all over the world as well.  Yangshuo receives about 20 million visitors each year.

 

Artists immediately respond to such a magical landscape combined with the often misty atmosphere and very rustic scenery in the surroundings.  Needless to say, this region has attracted artists for centuries.  I met a Chinese woman who told me that some lucky Chinese artists rent a place to stay for a month just to paint the sceneries around here.  A month would be a dream for me but even just once an experience of painting in the nature in a place like this is truly unforgettable.

 

Painting by the Li River

 

 

Li River, China II (14"x20")

 

 

Li River, China I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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On the Road (5) - China, Chinese Landscape Painting


Guilin, China I

 

Painting en plein air is a great way to learn how to capture the sense of place and its atmosphere quickly.  It is also a great way to take a quick look at life of the people who live there.  I don't know about other plein-air painters but to me, personally, similarities or differences in people's lives that I observe and find in a foreign place are quite intriguing.

 

In China, one thing that I noticed is that more people than in other places I've been to are quite interested in watching me paint.  Some even want to take a photo together with me.  And many of them are young people.  I don't recall such an open display of enthusiasm among the young in other places.  I wonder if this means that watercolor is more commonly practiced or better recognized in this country.  That I don't know but it is very encouraging that the medium attracts the younger generation.  During my painting session by one of the beautiful lakes in Guilin, I had at least a dozen young people who stood by my side to watch.

 

 

Guilin, China

 

Guilin, China I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Aberdeen I, Hong Kong Landscape Painting


Aberdeen, HK I

 

After enjoying a beautiful day painting at Aberdeen on Hong Kong Island, I traveled to the New Territories to visit my artist friend and respected teacher Harvey Chan.  His students gathered that night in Harvey's studio to watch my demonstration he organized for me.  I also had the pleasure of having some of my former workshop students and my art collector friend join us.  I had a wonderful time sharing my work and talking about watercolor and more.  I would like to thank everyone who was there for me!

 

 

painting en plein air in Aberdeen, HK

 

     

With Harvey Chan and his students, Hong Kong

 

"Tai-O Fishing Village" (18"x24") - demo

 

 

 

Aberdeen, Hong Kong I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Sam Mun Tsai I, Hong Kong Landscape Painting


Sam Mun Tsai, HK I

 

In Sam Mun Tsai Fishing Village, local fishermen breed fish in cages.  There are several stations floating on the calm water inside the bay, and I loved the serenity and timeless beauty of the scene as I watched fishing boats come and go.  But the number of such floating stations is dwindling.  I even heard (and I hope I was wrong) that the remaining ones may be removed eventually - just like old houses and shops tucked in between high-rises of Hong Kong.

 

I looked up toward one end of the bay to find an enormous luxurious housing development, named the Beverly Hills.  That in and of itself resembles a massive concrete hill.  If I were living in one of those fancy apartments, I'd be so delighted to have a picturesque view of traditional fishing boats outside my windows.  I would just love to see the Old and the New Hong Kong co-exist nicely.

 

 

Sam Mun Tsai, Hong Kong I

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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On the Road (4) - France, Interior Paintings


Café des Arts I (sold)

 

Recently I wrote a blog post about my workshop experience in southern Spain - how a lunchtime is taken rather seriously over there.  Another country where lunch is enjoyed with vigor is France.  I have taught quite a number of workshops in this country.  I have found the time they take for lunch may not as long as in Spain but on many occasions lunch is a sit-down ritual, starting with a serious look at the menu and ending with a plate of various kinds of cheeses and/or incredible sweets.  Bottles of wine are also a common sight on the table.  Even if we don't go to a restaurant, we picnic or have a potluck with the same level of intensity.

 

I did this painting as a workshop demo at the Bandouille in France after I saw this lady in red, sipping coffee in the corner of a café, when my students and I had lunch there.  The café was aptly named Café des Arts, and I absolutely loved the atmosphere inside.  I often call my workshop "Capture Light and Atmosphere in Watercolor" as a general theme.  As it implies, to me, what is more important to capture in my work is a particular visual concept such as the passage of light and a certain mood.

 

Next summer, July 27 - August 2, I am happy to be returning to the Bandouille, a renovated monastery/farm house in a small village of Chiche (Poitou-Charentes), France, to teach a 5-day workshop.  For more details and registration, please visit France Painting Holiday.  If I get lucky, we may have a chance to go to this café once again.

 

A workshop demo, Café des Arts, Thouars, France

 

A workshop demo, Café Joviac, Rochemaure, France (19"x13")

 

 

 

Café des Arts I

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 11.5 x 15.5 inches (29 x 39 cm)

Purchase: Sold

 

 

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On the Road (3) - Spain, Interior Paintings


 

It is interesting to note how we spend a lunchtime differs from culture to culture.  In the workshops I do in the U.S. and Japan, for instance, we take a fairly quick lunch.  And it is not unusual to see some students painting, while nibbling a sandwich, throughout a lunch break, which lasts one hour or less.

 

I went to Seville in southern Spain earlier this year to teach 2 workshops for local watercolor artists.  Over there a lunchtime seemed to be taken a bit more seriously.

 

In the morning, we worked from 10am to 1pm.  Then, we had lunch.  For one hour?  No.  For two hours?  No.  Our afternoon session began at 4pm and finished at 7pm, so it was a 3-hour lunch break.  Of course we were not eating the whole time (so stuffed, we'd have fallen asleep in the afternoon!).  It was a combination of lunch, coffee, conversation, some chores, if any, and maybe a little snooze if they wanted.  Anyway, thanks to siesta, everyone was full of energy in my afternoon class.

 

 

 

Doing a demo inside restaurant MariscCo Reial, Barcelona, Spain

before a lunch crowd arrived.

 

 

 

Seville Bar, Spain III

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 14.25 x 21.5 inches (36 x 54.5 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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On the Road (2) - the South, American Landscape Paintings


Benson's, Bonita Springs, Florida I

 

To me, traveling for a workshop often means arriving there just in time, getting the job done, and packing up to go home.  Especially in the U.S., I rarely have extra time to do anything else.  However, my workshop organizers and participants alike sometimes go out of their way to show me around their neighborhoods.  In the region called the American South, I have done several workshops in the past few years.  And in each place I was a happy recipient of the Southern Hospitality from people I worked with.

 

In Tulsa, Oklahoma, the gallery staff took me straight to the Philbrook Museum of Art that's housed in a historic villa, after a busy day of painting.  A student from the same Tulsa workshop then showed me around the downtown Tulsa just before the sun set.  In Dallas, Texas, a student came from Louisiana with a lot of photos of  her favorite spots in her state.  Her vivid description and visual images of one particular spot moved me so much I asked her to let me do a demo from her photos as reference.  In Bonita Springs, Florida, an old male student, a long-time resident of the area, spent lunch time each day telling me about the history, geography, and life in general that he knew so well.  He also knew that I wanted to see the real life of the people there.  He strongly recommended I visit a town of migrant workers.  I'm glad I did.  These short glimpses into their personal lives make my workshop-related travels so special.

 

 

Immokalee, Florida I (11.5"x15.5")

 

 

"Tulsa, Oklahoma I" (21.5"x14.25")

 

 

"Thibodaux, Louisiana I" (13"x19")

 

 

 

Benson's, Bonita Springs, Florida I

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 15.5 x 11.5 inches (39 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

 

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Santa Maria della Salute, Venice, Italy


Santa Maria della Salute V

 

One of my favorite paintings is John Singer Sargent's piece that depicted the façade of the Salute.  Rather, this painting is much more than just "favorite."  Early on in my career as a watercolor painter, I was simply in awe when I saw it for the first time.  I would even call that a life-changing experience.

 

 

Almost anything my eyes see in Venice can be a painting.  At least that's how I feel.  But scenes involving Santa Maria della Salute are especially magnificent...

 

 

 

 

 

"Santa Maria della Salute, Venice III" (10"x29") - available

 

 

 

"Santa Maria della Salute, Venice, Italy IV" (19"x13") - sold

 

 

 

"Venetian Sunset VII" (8.25"x11.5") - available

 

 

 

 

Santa Maria della Salute, Venice, Italy V

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 11.5 x 8.25 inches (29 x 21 cm)

Frame/Mat: No

Purchase: Sold

 

 

 

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Painting Figures


Flamenco Dancer XIV

 

Being primarily a landscape painter, I have treated figures mostly as a small element in a landscape or a cityscape.  Figures not only add more interest but also create a certain appeal that tells a story in a scene.  I love putting them in my work and thinking about the role they can play in a painting.

 

In the last year or so, I have been practicing figures as a main painting subject rather seriously.  As a subject matter, it seemed so different from landcapes and I was a bit lost in the beginning, but I immediately found myself really enjoying doing it.  Being self-taught, it's been a trial and error for me.  However, the more I paint figures, the more convinced I become that the important components to a strong figure painting are the same that I've been striving to incorporate in my landscape work - understanding of tonal values, relationship of shapes, light/dark, passage of light, good design, etc, on top of a solid drawing skill.

 

Some of the recent works are flamenco dancers that I saw in Spain earlier this year.  What is challenging is to capture the movement and emotions of these dancers.  See some of the examples below.

 

On my website I have created a separate portofolio for my paintings of figures as I intend to do more of this sort of work.  Click here to see the current collection.  I hope you will enjoy it.

 

 

"Flamenco Dancer II" (19"x13")

 

"Flamenco Dancer V" (19"x13")

 

"Flamenco Dancer IX" (19"x13")

 

"Flamenco Dancer X" (19"x13")

 

 

 

Flamenco Dancer XIV (detail)

 

Flamenco Dancer XIV

Click for an enlarged view.

Media: Original watercolor on paper

Image Size:19 x 9 inches (48 x 23 cm)

Purchase: Not for sale

 

 

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Working Out a Composition


Small studies of an outdoor market

 

One of the key factors to make a painting that has an impact is a good composition.  Whether I work outdoors in the nature or in my studio using a photo reference, it is very rare to see a perfect arrangement of all shapes in a scene that I'm painting.  So a composition needs to be worked out to be a strong one.

 

Of course it is essential to work out a composition before you start painting.  I have found it helpful to do several small studies on a big sheet of paper divided with a masking tape to see which composition would work better.

 

Today's painting is various studies of an outdoor market that I did in my recent workshop.  There's also a similar demo of a barn in Michigan (below) done in a monochromatic manner.  Quick and fun to do.  Doing this, I can also give consideration to different formats and tonal values.

 

 

A barn in Michigan (18"x24")

- Different design ideas from a single source of reference

 

 

 

Design Ideas - Outdoor Market

 

A larger digital file available on request.

Media: Original watercolor on paper

Image Size: 17 x 23 inches (43 x 58 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Painting En Plein Air in Michigan


Autumn, Michigan, USA III

 

Last week I spent a gorgeous autumn day painting en plein air in Michigan.  The weather was just perfect and the day was one of the most productive I ever had.  I did 3 paintings and several studies while traveling across the southern part of the state.

 

I've been told by my workshop students and my painter friends that I paint quite fast.  Looking back, I think this is how it has been with me almost from the beginning of my painting career.  Some have asked me how and why I do it.

 

I can say that the kind of style I work in allows me to do it.  I also keep my materials simple enough to move fast - not a whole lot of paints and brushes to fiddle with - and they can be packed up quickly.  For the "why" question, I must say first the speed is not the most important aspect if it compromises the quality of one's work.  However, especially in watercolor, I believe the speed does matter, to some degree, especially in keeping freshness and luminosity of paints.

 

Being outside adds more challenges to what could be an already complicated working process, but it is a great way to learn how to paint fast.  A plein-air painting may not always turn out the way we'd have wanted to but who cares if we have gained a bit more confidence in capturing the moment and sense of place that cannot be replicated in a photo.  The experience is worth the effort no matter what the result.

 

 

On a sunny autumn day in Michigan, I painted

 

on top of an old bridge...

 

"Autumn, Michigan I" (14"x20")

 

 

in a forest...

 

"Autumn, Michigan II" (14"x20")

 

 

and on a farm.

Several small studies (on 18"x24" paper)

 

 

 

Autumn, Michigan, USA III

 

A larger digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Barns of Michigan, American Landscape Paintings


Barn, Michigan, USA I

 

I teach both indoors and outdoors when I do a workshop.  Obviously, both have certain advantages and challenges, and I may focus on slightly different aspects of painting, depending on where we work.  During my recent workshop in Michigan, we were all painting inside, warm and cozy, in downtown Ann Arbor.  The chilly November wind and occasional rain was a bit too much even for the courageous plein-air painter.

 

So one day, I gave everyone one of my photos of a typical Michigan farm with a barn.  What the photo showed was a no-brainer to paint, in fact, but we took it inside our brain to come up with the best design possible to express desirable light and atmosphere.  It was an interesting exercise.  This painting, Barn, Michigan I, is a demo I did in my workshop.

 

 

Barn, Michigan, USA I

 

Click for an enlarged view.

Media: Original watercolor on paper

Image Size: 13 x 19 inches (23 x 33 cm)

Frame/Mat: No

Purchase: Sold

 

 

 

Barn, Michigan, USA II

 

 

Barn, Michigan, USA II

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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Al Ponte di Rialto, Venice II, Italian Landscape Painting


Al Ponte di Rialto, Venice II

 

My travel sketchbooks vary in size but my favorites are 8.5"x5.5" or 12"x9".  If my primary purpose of going somewhere is solely to paint, I, of course, carry with me all the plein-air painting gear, a tripod and a watercolor block of much larger size up to 18"x24, " which can be quite a handful.

 

If I want to visit a place first, I like the portability of my small sketchbook just to make quick studies in whenever and wherever I want.  And I do this sometimes with just lines, or sometimes with a few colors.  My 12"x9" is actually a watercolor paper pad, and I make a pencil drawing on it with an intention of painting it there or later.  Today's painting evolved from such a drawing done on site.

 

 

From my sketchbook - always a good reference

 

 

 

Al Ponte di Rialto, Venice, Italy II

 

A large digital file available on request.

Media: Original watercolor on paper

Image Size: 8.25 x 11.5 inches (21 x 29 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

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An Exhibition of All-Media to Begin in Bélâbre, France


Ploumanac'h, France II

 

I'm very pleased to announce the beginning of the 12th Rencontres Artistiques du Val d'Anglin, an all-media exhibition with French and international artists.

 

I am extremely delighted to be invited guests of honor together with Eugen Chisnicean, a watercolor painter from Moldova.  The show opens on October 4 and runs until October 13 in the town of Bélâbre (Indre), France.  In addition to exhibiting 10 or more works each, we will also conduct a workshop and do live demos.

 

 

 

Ploumanac'h, France II

 

Click here for an enlarged view.

Media: Original watercolor on paper
Image Size: 14.5 x 21.5 inches (36 x 54 cm)

Purchase: Please send me an email

 

 

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The Well-Traveled Road - Del Mar, California


Del Mar, California I

 

This is a road I take to get to my favorite beach near my home.  No, I don't get in the water there as it is too cold for me but to see the beautiful sunset from the cliff or just to walk or think, I like going there.  I have taken this road so many times I even feel I could drive with my eyes closed.  As you go downhill, you see the Pacific Ocean glisten just before the sunset.  It's so beautiful I was tempted to paint it numerous times before but I never actually did.  So for the first time I decided to do it.

 

Funny thing is, I thought it'd be easy to paint such a familiar route but it wasn't.  Call it the well-traveled road effect.  I suppose, as a driver, the road and the passing scenery became so routine for me that I stopped paying a lot of attention.  However, as a painter, I found many things that this road and the view from it presented to me that I did not see as a driver.  As I faced a blank sheet of paper, suddenly, this well-traveled route was a new, unfamiliar road for me.  You don't really know the subject until you actually paint it no matter how many times you've seen it.

 

This month I will have the pleasure of painting with participants of my 2-day workshop at the Saddleback Art League in Mission Viejo (Sept 28 & 29).  Contact the Saddleback Art League for registration as well as for info on my demo scheduled on Sept. 10.

 

 

Del Mar, California I

 

Click for an enlarged view.

Media: Original watercolor on paper
Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

- Join me on Facebook and follow my blog on NetworkedBlogs.

- Follow me on Google+.
- Visit my gallery at Daily Paintworks.
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Demo and Workshop in Fallbrook, California


San Diego Sunset (Fallbrook)

 

We love sunsets.  I'm not just saying.  It's true, for vacation brochures, postcards sold at gift shops, wall calendars, commercial logos (and, yes, paintings, too), etc. that the ones with a sunset scene seem to be very popular.  Listen to what Mr. George Lucas says: "If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office."  So we love seeing a sunset, but not just for its beautiful light and colors but for the feelings evoked by it as well.  I have painted quite a number of watercolors at sunset, including this one in Fallbrook in northern San Diego county.

 

I am pleased to have been invited to do a demo for the Fallbrook Art Association (FAA) on September 9 and a workshop on September 15.  If you are in the area, come and join us (please contact the FAA for registration).

 

 

San Diego Sunset, California (Fallbrook) VI

 

Click for an enlarged view.

Media: Original watercolor on paper
Image Size: 13 x 19 inches (33 x 48 cm)

Frame/Mat: No

Purchase: Please send me an email for details.

 

 

- Join me on Facebook and follow my blog on NetworkedBlogs.

- Follow me on Google+.
- Visit my gallery at Daily Paintworks.
- Follow me on Twitter
- FASO Artist Websites - Easy, Professional Art Websites for Artists who Sell

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