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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 (Sold)

 

 

 

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. 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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Festival International de l'Aquarelle in Aiguillon, France


A View of Aiguillon II (live demo)

 

A few days ago a friend who lives in Aiguillon took me to the top of a hill behind a small village of Nicole.  Just before the sunset on an unseasonably balmy day, the view from there was stunning.  I could see the town of Aiguillon far down below, the vast valley where it lies and the two rivers, Lot and Garonne, which meet near the town.

 

I felt blessed to be able to spend a marvelous week in Aiguillon, in southwestern France, to participate in the 7th International Festival of Watercolor as invited guests of honor with French artists, David Chauvin and Sonia Privat.

 

The exhibition is represented by 50 international watercolor artists and French colleagues.  The October 18 opening was well-attended not only by many of the exhibiting artists but also by friends and fans of watercolor.  In the following days I did a 3-day watercolor course for my students who came from different parts of France.  I also had the pleasure of doing a live demonstration for the public in the auditorium.

 

The exhibition runs until November 2 in three different venues in the town of Aiguillon.  For more information, visit this link.

 

 

 Opening

 

 My workshop group

 

 Plein-air painting

 

 

A View of Aiguillon, France II

 

Media: Original watercolor on paper

Image Size: 19 x 23 inches (48 x 58 cm)

Frame/Mat: No

Purchase: Sold

 

 

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Huntington Beach Art League Demonstration


Demo, Paris street scene

 

I had the pleasure of spending some time yesterday together with members and guests of the Huntington Beach Art League (HBAL) who invited me to do a demonstration for their September meeting.  It was quite an honor for me, as a watercolorist, to do a watercolor painting demo to an all-media art group such as the HBAL as they kick-start their fall season.

 

I did a demo, showing my process from the beginning to the end, of a street scene with corner cafés in Paris.  I painted this subject from my previous plein-air sketch, and I did so in response to the request of the majority of the group members present at the meeting.

 

I was also honored to judge their September exhibition prior to my demo.  I must say judging a show of a wide range of artwork (oil, acrylic, watercolor, pastel, photography, mixed media and ceramics) was quite challenging, especially when there was a large number of submissions and some really good ones in each category.

 

I would like to thank the HBAL for their kind invitation and hospitality, and everyone who came to watch my demonstration!  It is always a joy to demonstrate in front of a room full of artists and people who are as enthusiastic as yesterday's crowd.

 

 

Demonstration, Huntington Beach, California

 

 

Cafés, Montparnasse, Paris, France

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

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World Watermedia Exposition & Workshop in Thailand


Bangkok Railway Station I


The World Watermedia Exposition in Thailand (WWET) is truly a world-class watercolor event.  In recognition of the importance and popularity of watermedia, the Office of Contemporary Art and Culture (Ministry of Culture of Thailand) organized the first international exhibition in Bangkok where 289 watermedia works are currently on view.  116 international artists and 30 Thai artists have been selected to participate in the show which runs until July 20 at the Ratchadamnoen Contemporary Art Center in Bangkok.

 

I was deeply honored to be invited by the Director-General of the Office of Contemporary Art and Culture to participate both in the exhibition and in the workshop that preceded the grand opening of the exhibition.  During the workshop, thirty artists (10 Thai, 20 international) spent a week together painting in Chonburi and Ayutthaya.  For us foreign artists in particular, the entire experience was a big adventure and a great opportunity to get to know Thailand and the Thai people.  I don't know if I can express my gratitude enough for the incredible hospitality and generosity extended to us.  Friendships formed between international artists and Thai counterparts are also an valuable asset resulted from the workshop.

 

I am immensely grateful for the invitation by Mr. Khemchat Thepchai, Director-General, Office of Contemporary Art and Culture, Ministry of Culture for me to take part in this important watermedia event.  I have no doubt that the whole experience will continue to inspire me for many years to come.

 

 

Painting en plein air at a fishing village, Chonburi (photo courtesy of WWET)

 

A 15-minute portrait session in a fishing village, Chonburi for my new Thai friend

 

Painting en plein air at Wat Mahathat, Ayutthaya (photo courtesy of WWET)

 

My painting of Wat Mahathat, Ayutthaya has been donated to the Office of Contemporary Art and Culture, Ministry of Culture, Thailand

 

I have Chengyang, China III and Tai-O, Hong Kong IV hung on the wall at the Ratchadamnoen Contemporary Art Center

 

Painting at the Bangkok Railway Station

 

 

Bangkok Railway Station 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: Sold

 

 

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A Week Under the Tuscan Sun, Italian Landscape Paintings


The Watermill at Posara

 

Whenever you mix friendly, adventurous artists, good food and wine, beautiful landscapes and the sun, you can be sure the good times will be had.  These artists may not necessarily know each other at first, but usually it doesn't take long before they start talking to each other as if they were close friends.   My recent workshop experience in the Northern Tuscany was just like that.

 

I was at the Watermill at Posara, a lovely painting holiday venue run by Bill and Lois Breckon, together with 12 artists who came from all over the world to attend my course there.  In the secluded corner of Tuscany, we painted, discussed art, laughed, explored small villages, tasted fine local cuisine, etc...  Needless to say, we were so artistically inspired by the whole experience I think we can be just painting Tuscan scenes for a while from now.

 

I would like to take this opportunity to thank my workshop students, Bill and Lois, people working at the Watermill and all the people we met, from local villagers to market vendors to gelato shop owners, for making it an unforgettable week.

 

I am happy to say that Bill and Lois have invited me to return there in October 2015 to teach another watercolor course.  A 3-day Florence add-on will be also offered to anyone taking my course (For more information, please click this link).

 

Bar, Lucca, Italy

 

Monte dei Bianchi, Italy

 

 

 

Bar, Lucca, Italy

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Private Collection

 

 

Monte dei Bianchi, Italy

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

The Watermill at Posara I

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

 

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Springtime in North Carolina, American Landscape Painting


Springtime in North Carolina

 

Warm weather and springtime flowers welcomed me in Western North Carolina last week.  Hills and streets around the Asheville/Hendersonville area are dotted with fruit trees like cherry, pear, peach with fast-blooming flowers.  And lovely tulips, daffodills and many other flowers add delightful colors to the landscape.

 

Blessed with the gorgeous weather each day, my plein-air workshop students and I were happy campers and we enjoyed a wonderful week painting at Kanuga, a beautiful lake-side conference center near Hendersonville.

 

Here's one of my demos of a very tall weeping cherry tree that was just in front of my workshop room.  Pinkish white flowers hanging from this magnificent tree, against the blue sky and a deep green cabin, were so pretty.  It was a perfect subject to convey the joy brought on by the arrival of much-awaited spring.

 

 

 

 

Springtime in North Carolina

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

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Mexico City Workshop


Bosque de Chapultepec III

 

So I was going to do an outdoor workshop in Mexico City, one of the world's biggest cities.  I have to confess, though, prior to my arrival, I had no idea at all what I could find to paint there.  But I was more excited than worried and I was pleasantly suprised to discover serene beauty inside this megalopolis.

 

Following my demos, my workshop attendees painted varied sights - beautiful lakes, a panoramic view from the hilltop castle, and a street vendor in a park, etc.  The focus throughout the week, however, was on how to paint water and everyone worked very hard trying to nail those elusive reflections.  It was a real pleasure to get to know these artists who came not only from Mexico City but also from other towns.  I would like to thank everyone who helped make my visit to Mexico City such a wonderful experience!

 

 

 

Demo at Chapultepec Castle

 

A lagoon painted from a boat at Xochimilco

 

 

Last demo at Casa del Lago, Bosque de Chapultepec

 

 

Bosque de Chapultepec, Mexico City III

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

Xochimilco, Mexico I

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Private Collection

 

 

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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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Workshop: Painting Light and Atmosphere of California Landscape


 

I love being with other artists.  I love sharing my creative passion.  I love painting California landscape.  In the workshop I just finished in Orange County, California, I got to do all these things for three days.

 

For a full house of 18 students, I did 2 demos each day in a room filled with enthusiasm.  Painting light and atmosphere of California landscape being the theme of the workshop, we did a harbor scene, a downtown street , an outdoor café, a mission and a desertscape.  Everyone worked so hard and we felt like we had just finished a whirlwind tour of California by the end of the course.

 

I would like to take this opportunity to thank all of you who attended my workshop!

 

 

 

Sunset Beach, California I (sold)

 

 

Alamitos Bay, California II (sold)

 

 

 

Sunset at Alamitos Bay, California I

 

Click for an enlarged view.

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

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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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Northen Guangxi Province, Chinese Landscape Paintings


Street, Chengyang-Dazhai

 

In Sanjiang County in the northern part of Guangxi Province, I spent some time learning about culture and traditions of some of China's minority groups.  Predominantly inhabited by the Dong minority people, this region seems a bit different from the other parts of China.  Perhaps because the Dong speak their own language or perhaps because of their traditional wooden architecture that still exists such as drum towers and wind and rain bridges.  Most people in small villages are farmers and they were friendly to a foreigner like me.  Today's painting is some of my small studies done in this region.

 

 

 

Studies, Sanjiang County, China

 

Media: Original watercolor on paper

Image Size: 17 x 23 inches (43 x 53 cm)

Purchase: Sold

 

 

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Man Mo Temple, Hong Kong I, Interior Painting


Man Mo Temple, HK I

 

Life in Hong Kong is fast-paced.  In the downtown financial district it is even more so.  Not far from this busiest part of Hong Kong, Man Mo Temple stands among high-rises.  But the inside is a world apart from the outside.

 

It is a quiet place of worship for people who come here to pray to the Gods of literature and of war.  Large cone-shaped coils of incense are hung everywhere with people's wishes written inside.  Smoke from these coils slowly escapes from the opening on the ceiling as the light filtered through smoke comes in to add mystical ambiance.

 

 

Man Mo Temple, 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: Sold

 

 

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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 (1) - U.S., Interior Paintings


Sunday Afternoon, Key West (sold)

 

I spend a considerable amount of time on the road as I travel to different locations to teach a workshop.  This means I always have a new group of people to work with and, most of the time, I meet them for the first time in class.  For me, it amounts to at least a couple of hundreds of them a year.

 

It is expected to speak out in America.  Perhaps because of that reason, sometimes I hear from a student beforehand, telling me he's nervous.  Sometimes, on my arrival, a student comes up to me and says she's worried if she's good enough.  Although they are a minority, their apprehensiveness is completely understandable because I would be lying if I said I'm not nervous or worried if everything would go well.

 

Allow me to generalize: American people are open and chatty (not in a negative way).  Before a workshop begins, my students are busy introducing themselves to each other.  By the time we come back from lunch on the first day, most everybody is talking as if they knew each other for a long time.  They love to joke.  They laugh.  The friendly atmosphere created quickly in a workshop room helps us to relax.  More importantly, it gives such positive energy to all of us working together, so even those a bit apprehensive in the beginning are not tense any more.

 

At the end of workshop, I often get invited to a cozy café or a restaurant for a little socializing with organizers and my students.  Today's paintings are some of those nice memories.

 

 

"Café, San Pedro, California I" (11.5"x 8.25")

 

 

"Amadeus, Ann Arbor, Michigan I" (12"x11")

 

 

 

Sunday Afternoon, Key West, Florida 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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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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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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My Workshop in Michigan


Univ. of Michigan Campus I

 

Even though they told me that it was past peak for fall foliage, colors were stilll amazing to me this past week in southern Michigan.  I felt so lucky that my workshop was scheduled to be in time for me to see it.  Needless to say, I didn't waste time to make as many paintings as possible while I was there.  It was wonderful.

 

I had an equally wonderful group of artists in my workshop, who traveled from different parts of Michigan and neighboring states, to paint with me.  A big thank-you to Debra Zamperla for organizing a sold-out workshop for me in Ann Arbor, Michigan, and my sincere thank-you to everyone who took the time out of their busy lives to study with me.

 

Today's painting is a quick sketch of the University of Michigan campus in the morning sunlight.  It was freezing cold (for someone from California like me) and quite windy so I just did a pencil drawing on site.  Colors were put in from my memory and notes.

 

 

My Ann Arbor, MI workshop

 

 

University of Michigan Campus I

 

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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Al Ponte di Rialto, Venice I, Italian Landscape Painting


Al Ponte di Rialto, Venice I

 

No matter how touristy, Venice never ceases to amaze and inspire us artists.  I have been to many places in the world to paint, but honestly, there is only a few where I can truly feel like a kid in a candy store.  Almost everything is overpriced in Venice and some things look too tacky even to attempt to paint, but knowing that it can be a big tourist trap is never enough to keep us - or at least me - from going there.  There's no denying this canal city has the magical power to mesmerize us. 

 

In fact, when I'm there, I see too many things that I want to paint, and it's over-stimulating.  Take this ordinary scene by the Canal Grande for example.  Why is it that a faded green awning of a small restaurant looks so perfect?  And what is it that makes a sailor's straw hat with a bright red ribbon look so attractive?  Except that this was Venice, I simply can't find a reason.

 

 

Al Ponte di Rialto, Venice, Italy I

 

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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12th Edition of the Rencontres Artisques du Val d'Anglin Closed


 

The 12th Rencontres Artisques du Val d'Anglin, an all-media international exhibition that I participated in in Bélâbre, France, came to a close on the 13th.  I would like to take this opportunity to thank the organizers and the entire committee who put together such a wonderful show and made my stay there during the show such a special one.

 

I also want to thank all my students who worked with me for a week in a workshop I did over there, and all the visitors who took the time to watch my live demonstrations.  I was very pleased to have been given an opportunity to jury the show and exhibit ten original works as one of the two guests of honor for this edition.  As the name implies, each and every day was spent painting, discussing art, sharing meals, developing friendship with other artists who were present.

 

To me, as a watercolor painter, this exhibition was important and interesting, because artists selected for this show work in different media although the majority was watercolor artists.  In a show like this, one can really appreciate the unique characteristics of each medium, on top of the quality of artwork itself.

 

 

 Bélâbre , France I

 

Click here for an enlarged view.

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

Purchase: Sold

 

 

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Colors and Values


Bar Tino, Seville, Spain

 

"It is wonderful how much depends upon the relations of black and white.  A black and white, if properly balanced, suggests colour."  -- Winslow Homer

In my workshops, one of the things my students may get tired of hearging from me is how important it is to be able to see the correct values.  I do not dwell too much on colors.  I show them my palette but I also tell them that they can use whatever colors they like.  That is not to say that I take colors lightly.  On the contrary.  What I mean is simply that colors, or hues to be more precise, have such a powerful appeal that we can get distracted by them so easily that we lose sight of values.  Also if we don't really know our colors and how they work, a lot of our efforts goes to trying to figure out which colors to use and what colors to mix.  When we paint, we have to make a color choice in each brushmark we put down.  Considering how many marks are to be made to complete a painting, that is really a lot of work for our mind already.  So in order to pay more attention to values, it is imperative that we are familiar with our colors and how they behave.

 

 

Bar Tino, Seville, Spain I

 

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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Mission San Juan Capistrano I, California Landscape Painting


Mission San Juan Capistrano I

 

You don't have to be a fourth grader in California, but just walk around inside one of these missions: you can feel and learn, first-hand, a legacy from the past (the mission study is part of the 4th grade curriculum).  Mission San Juan Capistrano was founded in 1775 as the seventh of 21 missions in California.  It served as a religious outpost for Spanish padres to spread Christianity among native Americans in what is now southern Orange County.


Out of many structures in the town of San Juan Capistano that have the Spanish/Mexican flavor, the mission stands out and looks strikingly beautiful against the sunny sky.  Needless to say, this picturesque landmark attracts many visitors and painters alike.

 

I liked this viewpoint on a street adjacent to the mission.  I decided to include the huge tree hanging from the left-hand side in my painting and connected it with the long shadows extending to the base of the mission walls.  It looked as if the big gate was opening for me to look into what was behind it.  What I saw was a piece of California's history.

 

This month I will do a 2-day workshop at the Saddleback Art League in Mission Viejo (Sept 28 & 29), a community near San Juan Capistrano.  Contact the Saddleback Art League for registration as well as for info on my demo scheduled on Sept. 10.

 

 

Mission San Juan Capistrano, California I

 

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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Demo and Workshop in Mission Viejo, California


Plaza Real, Barcelona, Spain I

 

I am honored to have been invited to do a demo and a workshop for the Saddleback Art League located in Mission Viejo, California.   My demo and talk will take place on September 10, and my 2-day workshop will be on the weekend of September 28 and 29. 

 

It is the inspirational light that I look for to capture a certain atmosphere in a painting.  In my workshop, I will also do 2 demos a day and work with you to create watercolor paintings filled with the kind of light and mood that you desire.

 

For more details and a sign-up form for my workshop, please see this link

 

 

 

Plaza Real, Barcelona, Spain 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: Sold

 

 

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Onuma (Hakodate), Hokkaido II, Japanese Landscape Painting


Onuma, Hokkaido, Japan II

 

My recent 5-day workshop in Hakodate, Japan involved a day out with nature with stops at a couple of picturesque spots near Hakodate.  We, 20 of us, all prayed for good weather the day before, and next morning we woke up to a cool day with cloudy sky (so I think most of us had been good!).

 

We were all excited that we could paint beautiful landscapes of southern Hokkaido directly from nature.  The lady who organized my workshop had chartered a bus for the day's trip.  Everyone felt like school kids on a field trip to an amusement park or something, I must say.

 

Our first stop was the Onuma Quasi-National Park.  Clouds covered the top of Mt. Komagatake but Onuma (meaning "large lake"), the island-dotted lake was breathtaking nonetheless.  Lunch at a nearby restaurant Country Kitchen Wald is also worth mentioning.  A hand-made log-house building, warm and cozy ambiance inside, not to mention all the dishes made from local organic meat and produce made us feel very welcome.

 

 

Demonstration by Lake Onuma, Hokkaido, Japan

 

With owners of Wald, Onuma, Hokkaido

 

 

Onuma (Hakodate), Hokkaido, Japan I

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Donated to owners of Wald

 

 

Onuma (Hakodate), Hokkaido, Japan 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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Workshops in Kyoto & Osaka, Japan


Paris Café (Sold)

 

I just finished two workshops in Kyoto and Osaka, Japan.  I was told, in both locations, classes were filled months ahead of time and there was still dozens on the wait list.  I would like to take this opportunity to thank everyone who braved this summer's record-breaking heat to participate in my workshops. 

 

This was my second workshop in Kyoto.  While sign-ups were taken on a first-come, first-served basis, I saw several familiar faces in the classroom.  It was nice to see them again after my first one back in February.  This time we practiced painting a street scene involving a café with cozy ambiance.  The outside temprature was so high it was unthinkable to sit in an outdoor café in Kyoto, let alone paint right there on location.  But painting in an air-conditioned room was a breeze and everyone did a fantastic job.

 

  Kyoto, Japan

 

Osaka, Japan

 

In Osaka, the theme was a waterscape.  After my demo, everyone tried painting a canal scene like this (below).  After all, Osaka calls itself a "capital of water," so it was an appropriate choice, I think.  Again, congrats to everyone on a job well done.  I look forward to seeing you again!

 

Canal, China (sold)

 

 

 

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Fish Market, Hakodate, Japanese Landscape Paintings


Fish Market, Hakodate, Japan IV

 

Recently I was in the city of Hakodate on the island of Hokkaido, Japan.  Early in the morning, there's a neighborhood in the heart of the city that is already bustling with life.  Every morning narrow streets there become one big outdoor market where all kinds of sounds and smells tickle your senses.  But what dominates the air is the smell of the ocean: sweet, tender squid the city is particularly known for, crabs, sea urchin, several different kinds of fish and shellfish... all looking as fresh as they can possibly be.

 

I got up early and went out without breakfast to set up my easel right in the middle of the market.  What a great experience that was and I can definitely recommend you paint there if you have a chance.  In my paintings, I tried to put down the energy of the marketplace.  You as a painter need energy also?  No problem.  They have small dining places where you can taste a rice bowl topped with freshest sea food of your choice.  After that, you are all set for another painting session.

 

 

 

Fish Market, Hakodate III

 

 

Fish Market, Hakodate IV (sketch)

 

 

Fish Market, Hakodate, Hokkaido, Japan III

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

Fish Market, Hakodate, Hokkaido, Japan IV

 

Click for an enlarged view.

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

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Workshop in Hakodate, Hokkaido, Japan


Hakodate, Hokkaido, Japan V

 

I am not a fortune teller but this time perhaps I was.  From the breathtaking natural beauty to local delicacies to cooler weather, everything I predicted for my stay in Hakodate, Japan did happen (click to read my related blog post).

 

I spent the last week teaching a workshop in Hakodate, a port city in southern Hokkaido, Japan's northernmost island, for a group of about 20 watercolor painters who traveled there from all over Japan.  With mountains, slopes with ocean views, historical buildings, city streets with vibrant markets, the city offers all kinds of subjects (and they are all beautiful!) and we painted in and around Hakodate to our hearts' content.  Moreover, we were all touched by the kindness and hospitality of local people who literally pampered us.

 

My sincere thank-you to Ms. Kayo Yonezawa who planned and organized my workshop, the Hokkaido International Foundation for their generosity and cooperation, all the people in Hakodate who helped  make our stay such a memorable experience, and last but not least, all my new friends who spent a week painting with me.

 

 

 

 

 

Hakodate, Hokkaido, Japan V

 

Click for an enlarged view.

Media: Original watercolor on paper
Image Size: 18 x 15 inches (45 x 38 cm)

Frame/Mat: No

Purchase: Sold 

 

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Port of Yokohama I, Japanese Landscape Painting


Port of Yokohama, Japan I

 

A walk in the area surrounding the Port of Yokohama is an experience that gives us an opportunity to think of a long way Japan has come in terms of modernization.  Once a small fishing village, the area was developed by the Japanese government as one of the five ports open to the outside Japan back in 1858.  Since then it has grown to be one of the biggest and busiest commercial and industrial ports in Japan.

 

These red-brick warehouses in this painting used to be customs houses built by the port.  They were renovated now to serve for cultural and commercial purposes.  Right on the waterfront promenade in a park-like setting, it is a lovely area for a short visit to enjoy a pleasant atmosphere of the port.

 

 

another area near the Port of Yokohama

 

 

Port of Yokohama, Japan 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: Sold

 

 

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Goryokaku, Hakodate, Japanese Landscape Painting


Goryokaku, Hakodate, Japan

 

Imagine how chaotic things must have been when the 200-year-old rule of the shogunate ended in Japan in 1868: The power was to be given back to the imperial court and thousands of samurai's were to lose their status in the society, all in the name of reforms for a new era.  Then a civil war occurred.  The city of Hakodate took center stage when those who resisted the new government held out inside the massive Goryokaku Fort.  They even established a republic in Hakodate even though they were not successful and surrendered in a short time.  Today the historic site where this fort used to be is a beautifully-restored park.

 

My workshop will begin next week in Hakodate, located at the southern tip of Japan's northernmost island of Hokkaido.  My group will go out and paint in several spots in and around the city that really has a unique position in Japanese history.

 

 

Goryokaku, Hakodate, Hokkaido, Japan I

 

Click for an enlarged view.

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

Frame/Mat: No

Purchase: Sold

 

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Hakodate Fish Market I, Japanese Landscape Painting


Hakodate Fish Market I

 

Within a week I will be in Hakodate on the island of Hokkaido, Japan.  To take in their natural beauty?  To savor their fresh sea food?  Or to escape the summer heat?  I will be sure to do all of these and more, but the main reason is that I will be teaching a 5-day workshop for a group of about 20 Japanese watercolorists who will travel there to paint with me.

 

I learned that in Japan painting workshops are quite popular but it usually lasts a half a day or a full day at most and it usually takes place indoors such as at a cultural learning center.  On the other hand, in the U.S. or Europe, a 3-to-5-full-day workshop is a standard and I teach both indoors and outdoors.  In Hakodate, I have been asked to do my course on a U.S./European model (but in Japanese, of course!).  It's going to be a fabulous week and I look forward to what we will be painting there.

 

 

Hakodate Fish Market, Hokkaido, Japan I

 

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: Sold

 

 

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Summer in Kyoto II, Japanese Landscape Painting


Summer in Kyoto, Japan II

 

Old temples and houses, traditional gardens, centuries-old craftsmanship, finest authentic haute cuisine... Many first-time visitors arrive in Kyoto, with hopes of seeing and enjoying the image connecting to old Japan.  Yes, it's there, and if you're lucky, you may even spot a geisha walking on a narrow alley in the old tea-house district.

 

But what visitors (who arrive by train and most do) see first is the opposite of that image: ultramodern Kyoto train station and Kyoto Tower that resembles somewhat Seattle's Space Needle.  As with any major landmark in other cities, Kyoto Tower was a controversial addition to the city's skyline but after nearly 50 years, local residents have accepted it as a symbol of the city.  I, for one, can really feel I'm home now when I see it.

 

 

Summer in Kyoto, Japan II

 

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: Sold

 

 

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Fish Market, Venice, Italy I, Interior Painting


Fish Market, Venice I

 

Being an artist, by and large, is a solitary profession but it is good to get together with other like-minded artist friends from time to time.  When I do, I may paint with them, visit an exhibition, attend an opening, exchange information and ideas or share a meal.  Whatever that may be, the experience can be really inspiring and uplifting.

 

Last year, I spent some time in Venice, Italy, painting together with my artist friend, Eugen Chisnicean.  We did a lot of painting en plein-air in many spots in the city, and made a book VENICE AND VERONA with those paintings, including "Fish Market I."  I will also have the pleasure of exhibiting with him as invited guests of honor at the 12th Rencontres Artistiques du Val d'Anglin in Bélâbre, France later this year.  A 4-day workshop by each of us is also being planned during the exhibition.

 

 

"VENICE AND VERONA" available via my bookstore at Blurb

 

 

Fish Market, Venice, Italy 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: Sold

 

 

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Plein-Air Painting: Love It or Hate It?


Rochemaure Sud (demo)

 

Just before my workshop students arrived in the morning, I scouted the surrounding area of a classroom to choose a good location for all of us to go to paint.  That had to be close enough and have shades for us to be working in at least for 3 hours.  I found a spot with a view of a hilltop village that I thought really represents a typical landscape of the area, and it met the criteria: it was just a few minutes walk from a classroom (some of the students had so much stuff they needed to make a few trips to be set up) and there were large trees that we could be under to avoid being in the direct sun.

 

As always, I started a day with a demo, which took about 40 minutes from the begining to the finish. By the students worked on their own painting, the sun had moved and the light changed dramatically.  To keep an original visition of light is always the most challenging thing about plein-air painting on top of all the extra work involved.  And there are also other nuisances, inconveniences, uncertainties, etc. - we could really develop a love-hate relationship with this kind of thing.  But the joy of working out in the nature beats all of that and it can add a breath of fresh air in the work we do out there.  Here in the village of Rochemaure, we had fun painting outdoors, smelling the scents of trees and flowers and listening to cicadas while being kissed by the warm sun.

 

 

 

 

Village Rochemaure Sud, France (demo)

 

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

Frame/Mat: No

Purchase: Sold

 

 

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San Giorgio, Venice II, Italian Landscape Painting


San Giorgio, Venice II

 

The church of San Giorgio Maggiore (the same name as the island where it stands) looks strikingly beautiful with its bell tower soaring into the sky.  It looks as if it stands right on the water of the Venetian lagoon when seen from across the lagoon.  The view, especially from the waterfront promenade by Piazza San Marco (Saint Mark's Square), is one of the most photographed of Venice.

 

Curious what the view might be like from the other side, I hopped on a boat and went over to San Giorgio Maggiore.  It was breathtaking as I imagined.  We could see the similar-looking bell tower of San Marco, the Doge's Palace and other buildings that create the distinctive skyline of the main island of Venice.  And the busy traffic on the water that lies in between was fun to watch, too... gondolas, water buses, barges, cruise ships, you name it.  I did this painting by the marina on the San Giorgio Maggiore island, looking toward San Marco.

 

 

San Giorgio, Venice, Italy 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: Sold

 

 

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Fish Market, Venice, Italy II, Interior Painting


Fish Market, Venice II

 

One thing watercolorists should never forget when painting outdoors is a bottle of water.  Water to paint with, that is.  I always pack a bottle for painting and another for drinking.  But when we are outdoors, we often face a situation where we need more clean water than we brought.  Sometimes it's readily available but sometimes we have to look really hard.

 

I have used water from a kitchen of a nearby restaurant, somebody's backyard, a sprinkler head in a public park, a canal, a mountain stream, etc.  Sometimes a friend who's painting with me spared some.  Here at Mercato del Pesce, a fish market by the Rialto bridge in Venice, a kind fisherman saw me with an empty brush container, and poured water from the hose he was using to clean his fish.

 

 

Fish Market, Venice, Italy 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: Sold

 

 

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Cafés in Bordeaux, French Landscape Paintings


Bordeaux Café III

 

While most of us may normally associate Bordeaux with their famous wines, this city in southwestern France has a lot more to offer: vibrant cultural life, great architecture, beautiful landscapes nearby...  Cafés and bistros with wonderful atmosphere and food are also not to be missed.  In fact, some of these cafés look too attractive to be enjoyed just for coffee but well worthy of extra time to set up an easel to paint.

 

Start your day with a nice cup of coffee and good breakfast to get going.  After painting all day, you can relax and have a glass of Bordeaux and a dinner out with fresh local ingredients.  What more can a francophile plein-air painter ask for?

 

 

 

 

Wonderful cafés are everywhere. -  Bordeaux, France

 

 

Bordeaux Café, France III

 

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.

 

 

  Café Castan, Bordeaux I (sold)

 

Café Castan, Bordeaux, France I

 

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

Frame/Mat: No

Purchase: Sold

 

 

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Rainy Day, Bordeaux I, French Landscape Painting


Rainy Day, Bordeaux, France I

 

In my previous blog post, I said imagination can be one of the important ingredients in my creative process.  But I was talking about my studio paintings.  What about when I work en plein air?  When I paint the subject that is in front of me, does imagination influence my vision and painting process?  I believe so.

 

I remember, when I just started painting outdoors, I was trying to describe faithfully or report in my painting what my eyes saw.  But as I had more experience, I was begininng to digest the visual information to edit and to make my own story in my work.  Imagination has to play a role for me to be able to do that.

 

In fact, the imaginary process may be already starting before I actually paint.  When I am outdoors scouting around for a spot to paint, I may be looking more with my mind's eye.  It is hard to tell when I switch to the imaginary mode but when something makes an impression strong enough for me to stop and observe, I am already imagining in my mind all sorts of things: what colors to use, which objects to focus, how to create a certain mood, etc., etc.  I think a successful plein-air work is one where imagination and visual perception go hand in hand.

 

 

Painting en plein air in the rain, Bordeaux, France - rain drops added lovely textures in this painting.

 

 

Rainy Day, Bordeaux, France I

 

Media: Original watercolor on paper
Image Size: 15.5 x 11.5 inches (39 x 29 cm)

Frame/Mat: No

Purchase: Sold

 

 

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Costa Brava I, Spanish Landscape Painting


Costa Brava, Spain I

 

On any beach along the rugged coast (the Costa Brava) in the Catalonia region, we can find several small boats.  Most likely they are traditional fisherman's boats called pointu, and I especially like painting them for their shape and colors.  Bright colors and soft curved lines of these boats are so inviting and pleasing to the eye - making the beautiful landscape on the Costa Brava even more attractive.

 

 

Costa Brava, Spain I

 

Media: Original watercolor on paper

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

Frame/Mat: No

Purchase: Sold

 

 

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Workshop at Catalyst, Westminster, California


Paris Street (demo)

 

I just finished a 3-day workshop at Catalyst, Westminster, California.  Painting with 18 very enthusiastic painters three days straight was fun, inspirational and a great learning experience for all.  I'd like to thank each one of my workshop participants for choosing to study with me.

 

In a workshop situation, I may be called a teacher or an instructor but there's so much that I learn in each worshop I teach.  In a way, I am also a student, with no doubt.   Each day I normally do two live painting demonstrations where I show my creative process from the beginning to the finish.  When I say my students are enthusiastic, I really mean it: they watch closely every move I make and take notes - which colors I pick up, how I mix colors, how I hold my brush, what technique I use in a certain part of my painting, etc., etc.  Of course watching me work is just part of their learning.  They also want to know my thought process: what is on my mind when I make a decision to make a certain move.  This is where a live demonstration gets tough because vervalizing an intuitive thinking process is no easy task - on top of completing a painting in front of an audience.  You really have to know yourself well as an artist to be able to explain what you do and why you do it.  Each workshop I do is a great opportunity for me to learn this aspect.

 

 

  workshop at Catalyst

 

 

Paris Street (demo)

 

Media: Original watercolor on paper

Image Size: 24 x 15 inches (60 x 38 cm)

Frame/Mat: No

Purchase: Sold

 

 

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- Visit my gallery at Daily Paintworks.
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