"A Little Tacky" Place Jacques Cartier, Montreal

Summer is always a fun time to paint, the sun makes the paint dry fast, and illuminates the scenes with light and colour. This scene is down at Place Jacques Cartier in the old port, old Montreal. It is a touristy area to say the least, the main gathering area being this little stretch of cobblestone road depicted in the painting. Restaurants and colourful awnings line the street, artists and musicians set up shop in the middle. I was drawn to the complementary colour scheme made from the minty green copper roof juxtaposed with the fire-engine red awnings. I almost didn't paint this scene because it was a little tacky, but hey, that's old Montreal.

As the tourists looked on, they must have wondered what I had been smoking, because here was this all-blue version of a landscape. I began the shapes with blue... straight french ultramarine in some cases, in other places a paler grey/blue made from a dab of ultramarine mixed with cerulean (a thick sky blue) and a bit of rose madder. If they had come back in 20 minutes they would have seen the magic of watercolour; once the blue layers were dry I overlayed transparent warm washes... thin browns, reds, and yellow-orange. The combination of the blue wash and the warm wash gives that heavy, warm feeling of the sunlit brick and roof. I had never tried this before to make that emerald green on the central roof (the focal point)... Learn something new every day. I adapted this technique from an article by Steve Hanks, he described a method to paint human skin by layering warm washes on top of cold blue/purple.

7.5 x 11" cold press. July 2012

Alhambra, Granada, Spain

It was a long time ago, in a land far, far away. Granada Spain to be more precise, a major tourist destination in southern Spain that I visited in 1998. I stayed in Granada a few days, painting mostly monuments and interesting architecture, and drinking their aptly named beer, the Alhambra. As you can guess by the architecture the Alhambra was built by moors a long time ago when they controlled most of the south. The pointy/circle arch, and the pastel colours were quite unique.

Painting shadows, I've written about it so many times in my blog but it is just so important when doing landscapes. In reality shadows are filled with colour and light, both the colours from the object itself, and the colours reflected from nearby objects, and from the sky, all combine. Focusing on the shadow below the eave of the main building, you see that the pinkish colour of the wall is represented, as is the faint blue of the sky. The shadow below that, the one that slices across the front of the building has additional peach colouration that comes from the structure on the right. There are a number of ways to capture this effect... it was so long ago so it is difficult to say how I did it, but it looks like I established the colour of the entire wall first, let it dry, and then put a blue/brown wash on top. That's definately the easiest way to do it. I also used the technique of overlaying dark highlights on the shadow, look at the brick pattern above the main door, it provides a dark contrast that makes the shadow look very light and airy.

Another point to make is that this painting is maybe not technically the best, parts are crooked, the washes and edges are messy.... but who cares? When I look at this painting I distinctly remember the FEEL I had that day (even if I can't remember how I painted the shadows), and I hope the viewer gets the same sense. 

5x7" cold press. 1998

Habitat 67

Down in Parc Jean-Drapeau you can see back on to the main island of Montreal. In this scene the Pont de la Concorde can be seen on the right with downtown Montreal in the background, and on the left is Habitat 67, the bizarre condo complex they built back in 1967, now they sell them for like 10 million each. The building is full of gaps and layered condos, so the white square in the middle is just sky. In the foreground the St. Lawrence river rolls by, rapids reflect the brilliant sun.

The scene here was backlit by a strong sun, that means the sun is behind the scene (as opposed to beside it). This presents a few problems, mostly the sun is in your face and on your skin, so you had better have some sun protection. I seldom sit in the sun to do a painting, usually I try to find shade, but this scene was only open at a small point where they had installed a park bench and cleared some of the shrub in front. I like painting backlit scenes, the challenge is to capture the colours in the shadows.. the bridge has this rich minty green, the buildings are deep grape and mocha, the trees a mixture of kiwi, melon, melon, and zucchini.... ok I feel hungry now. Another pointer... to get the shimmering light-effect on the water.... fill your brush with some dark blue, not too wet, and drag the brush sideways (makes a scraping sound), practice this and you can build texture on water... brick, trees you name it.

7.5 x 11" cold press, 2012

More Realistic Growth?

Another day another doodleism painting. Actually it took more than a day to finish it, that is probably the most common question I get... how long does it take? I always wondered what that question meant, how long does it take to do the painting, or how long does it take to learn to do the painting? I suppose the answers to those questions are, a) about 3 hours of painting time, and b) 23 years, and counting (!). I'll post a few more from 1989 when I started with the watercolour. Anyways, back to this painting, I am using doodles that span into my new position at Concordia, yes, even though I teach now I still find time to doodle, just not during class. The landscape element in the middle is a scene out the window of the room where I paint. The title refers to the element on the right, a cubism-like hand growing like a plant until it looks more like a real hand. Originally this was two doodles, one a geometric pattern that morphed into fire, and the other, a blob-hand that became a hyper realistic hand. These two doodles were fused in the painting.

Stylistically this painting builds on "The Paper Chase (No more outlines)" a doodleism painting I finished recently, the main concept is that there are no outlines used to establish the shapes. The other technical element was the quality of the finish... I went over all the edges and blemishes to produce the highest quality image I could.... mainly because, yes I admit it, I have been posting my own paintings as the background to my cell phone, and now I see the work magnified... I noticed that "Addictive Puzzle" has a puzzle piece that is not painted, it is just an outline- incidentally Addictive Puzzle turns out to be one of the "Fan Favorites"based on times viewed. My point is, that now I have to make art that stands up to the scrutiny of a highly magnified cell phone image. Oh, the technology! The technology!

22x 15" cold press 2012

PS you may wonder about the dimensions of the paintings... the full sheet is 22x30 inch, so when you cut it half it is 22x15"... when you cut that in half it is 11 x 15", and then 11x7.5", which explains most of my dimensions used. You can also cut it all into twelve  5x7" with six 5x8" which I use for landscapes often when travelling.

Avenue du Parc- Avenue d'orange?

What defines a landscape, a building, a mountain, a lake, how about construction? Usually I try to find defining scenes...  when in Paris, I painted the Eiffel Tower, ok maybe that example is a little cliche, but you get the point. As I walked around my neighbourhood, it became obvious that the defining feature of Montreal was the construction, in this case on ave du Parc which they have been digging up and repaving for over a year now. The added attraction was the challenge of capturing the fluorescent orange....

That's my cue to explain how to paint fluorescent orange with watercolours. You may be tempted to go out and buy orange paint and then put it on straight, but this has two problems, one there is really no orange paint in most watercolour brands, and two, it would turn out looking flat and brown. Instead, try a glazing technique. I've talked about this in past blogs, mostly in the abstract paintings, in this landscape I used glazing to make the bright orange. To do it, I start by putting down a layer of bright yellow (permanent lemon) in the shape of the signs and other orange elements. Once completely dry I then overlay with a layer of a transparent red like a thin wash of vermillion lake. When I got home, the orange wasn't orange enough, so I put on a third layer of thin vermillion lake, and voila!

Avenue du Parc- Avenue d'orange? 11 x 7.5" cold press, watercolour, 2012 (No. 1918)

Le Parapluie Rouge

 

Technology is always a mixed blessing. Recently I got a smart phone, a google product called android... within minutes of turning it on, I found an image of one of my paintings displayed in the phone's gallery database. I soon realized that the blog I am writing is a google product too, and the phone had automatically synchronized all of my blog pictures. So with a a few swipes of the finger on the touch screen I can bring up a 4x3 panel of thumbnails showing the 230+ images from the blog. What's more I'm able to insert a painting onto my phone's wallpaper (background). having done so, I realized that my paintings are just not composed properly for display on a cell phone, so I created this painting (Le Parapluie Rouge, hopefully you don't need a translator for that one... though I had to use the internet to figure out of it was masculine or feminine).

This painting was composed specifically to be a cell phone wall paper, more precise brushstrokes, better detail, and a horizontal arrangement for when you scroll back and forth along your app screen. The only downside is that the mostly white background makes for lousy contrast, I'll have to try and make a nighttime scene next time. The style of this one is completely based on my painting "The Twenty Ten Solution.", each doodle has it's own space, and the background is there to create depth. The doodles used were from notebooks completed just at the end of my stay at McGill, and overlapping with my new beginning at Concordia. I mention 230 paintings on the blog, but the total collection is probably more in the 2000 range, mostly small format landscapes, the rest larger abstracts and doodleism paintings.

Le Parapluie Rouge, 5 x 15" cold press. 2012 (No. 1486)

London Rhino Party

London Ontario was home for a decade, I painted a lot outdoors when I was there, summer, fall, winter, there are over 200 paintings from that time. This one was done downtown outside of the art gallery Museum London, in the heat of the summer when the grass was dry and the cicadas buzzing. I was interested in the reflections on the metal surface of the Rhinocerous sculpture, it reminds me a lot of the famous Chicago landmark "Cloud Gate" a giant shiny bean shaped thing in Millennium park (although it probably did not exist at the time I painted this one). Note the green grass reflection on the underbelly, and the blue sky and clouds reflected on the side of the beast.

I used a common trick to make the reflections really sparkle...juxtaposition of light and dark...look on top of the Rhino's back, there is a thin sliver of 'sun reflection' which is actually white paper showing through, and just on top of that, there is the dark green from the vines from the the building in the background. I selected this sitting location specifically to have this arrangement of foreground and background. Choosing where to site is half the battle! By juxtaposing the dark against the light, it makes the light look even brighter. The impressionists used this trick all the time to create luminous cloth, candles, and other eye-popping highlights. To make this work though, you need to use the trick sparingly... in this painting there is only one spot where I juxtapose the white and dark... the rhinos back. All other parts of the painting have a lower contrast, which makes the key point (the sun reflection) the highest contrast part of the painting, and thus enhances the illusion further.

5x8" cold press. 2002 (?)