Feb 26 - Onward with the 30x40 Oil of the Pasture

Your art lesson continues with this 30x40 oil painting. The canvas is now covered with the inherent values of the major areas--there is no true focal point, although the lightest area near the gate, which is painted with the Warm Box of the Color System. This contrast of temperatures gives a distinct depth to the work, with the foreground sunlit areas contrasting nicely with the distant appearing hues from the Cool Box.

When I work on a large canvas like this one, it takes a bit longer to get it all together. Although it is further along sitting on the easel behind me, I enjoy seeing it at this earlier stage, knowing I was on the right track....

More tomorrow!

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

Feb 25 - More on the 30x40 Oil

I have the title for this one... "Secret Pasture". Many times when I work on a painting, a title will come and sit with me and smile, offering its name, and so it is with this one. Seems I am moved to paint places like this one, seeking out secure and safe sanctuaries during these troubled economic times.

As I continue to cover the canvas, I am more concerned with maintaining the middle values than I am with the purity of the color. I still have NOT opened the Warm Box of my Color System. Look at the way the colors already offer their cool and distant feel, without any friction among them. Am I concerned about edges? Not at this time.

The movement of the arched fenceline in the foreground is repeated, upside down, in the distant edge of the field. Nothing is straight! To create movement in a painting, it is always a good idea to keep things angled, curved or tipped. If your goal is static feel, then make your design lines parallel to an edge. Locks 'em down every time!

On other news (I just love those three words!) my art was selected for the poster for the University of California Botanic Gardens Spring Show. Here's the flyer for it. Funny that the poster comes out with the same complimentary colors I've been using with my latest large landscapes--red-violet and yellow-green. Hmmmm....mystery afoot!

You can see my entire blog HERE.

My workshop schedule for 2009 is HERE.
(June workshop, which still isn't officially open, is filling fast--only two spaces left.)

Color System information can be found HERE.

If you need to email me directly, please click here.

Feb 24 - Still Plein Air Painting and Loving It!

Two for one, today! The Spaghetti Factory building in Riverside is the first painting. I started and finished this yesterday on location, under wet skies, as part of the Riverside Plein Air Paint Out. Most of the other artists picked the diagonal corner across from the building, but I liked the distant sky light above the vined walkway on the opposite corner instead. This 12 x 12 acrylic was done, like the Victoria Avenue piece, completely with the Cool Box from the Color System. The streets were wet, and traffic was light, so it was a fun paint. Took me about an hour and a half for this artwork.

And for your additional pleasure, here's the second pass on the 30 x 40 oil that dominates my studio. I'm quite pleased with the way it is coming along, and will share more images of it tomorrow. I'm laying in the large color fields to get the canvas covered (no mean feat with this large of a surface!) and paying close attention to the mid-range of values that need to fill this area so that the gorgeous backlit foliage will really get attention. Again, I'm completely in the Cool Box as I paint the soft mid tones.
Workshops: I have six people for the workshop in June already, so if you'd like a taste of the Color Boot Camp here in California, please email me your intent. I'm giving a painting demonstration in Hemet next month (March) and I'm pretty darned sure those last four spaces will be gone by then. April's workshop is full with a wait list forming. The June workshop is set for June 4 (evening) through 7th, so you can mark your calendars. Cost is still $195 for three days and lunches. Email me your interest, and I'll hold you a spot.

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE. (The June workshop isn't up yet.)
Color System information can be found HERE.
If you need to email me directly, please click here.

Feb 23 - A Big One - 30 x 40 Oil

I'm using some of the photographs I took in Georgia last year to create this morning light landscape of the forests, fields and fences of the area on Fay's farm. This is the rough design, painted over a scuffed orange wash to get rid of the white.

You can already see the tension created by the horizontal fence line, the verticals of the tree trunks, and the angled fence line taking you into the picture plane. Interesting how just a few lines can already create a feeling of depth on a flat surface. The color will only enhance this! I'll be using the Color System to depict morning light. I know there will be an animal or animals in the composition, but right now I haven't decided where they'll go. I know they'll be back further, so you'll have to seek them out, traveling the design path to get to them. Painting is such fun!

I've decided to open another workshop here at my studio in California--in June--the Three Day Color Boot Camp. Returning Boot Campers are "Repeat Offenders" and three timers are getting "Re-booted"! Looks like it will be from Thursday evening, June 4th through Sunday, June 7th. I have five slots tentatively filled so far, and if you'd like to be a part of the fun, just email me.

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE. (June isn't listed yet.)
Color System information can be found HERE.
If you need to email me directly, please click here.

Feb 22 - Plein Air Week in Riverside

Victoria Avenue in Riverside is one of the most lovely routes through a beautiful city. Today I joined the Plein Air Artists of Riverside who were sited along its length painting on location as part of the Plein Air Paint-Out, through next weekend.

This is a 16 x 24 acrylic, and I completed it in about two hours. The weather was overcast, and no distinct light source defined any shadows. I didn't EVEN open the warm boxes of the Color System! I kept having to lift Sparky and walk into the ivy every time a Sunday dog walker would come by. The little protector was "on duty!"

And I had every plan to photograph this one while I painted it, but just did a head-slap about three-fourths of the way through when I remembered I wanted to do it! I will for the next few works during this competition week, giving you an idea of how they come together. Just be assured that this painting was completely done with only six colors and white--the Cool Box in my Color System--those pill boxes with paint!

The Color Boot Camp workshop last weekend was a great success. Two painters wrote about it, saying the following:
"Who would have thought that the "color system" would be much more than just color. It gives us a formula/map to keep us on track. And it helps us reaffirm our values through the correct color choices. Thank you so much, Elin. You are an amazing teacher. I cannot believe the energy and INFORMATION you put into your classes." - Pat Corbin Chao

“Elin taught us the practical applications of her Color System with bright, lively lectures and our indentured servitude to paint, paint and paint. Elin says that "painting is a journey" and I feel like I'm just starting off on the trail. For those of us that are just figuring out all of the painting stuff, there is an enormous benefit to using the Color System. If you don't know it, take a look. And if you have a chance to attend one of her workshops, don't hesitate. It's a blast!
And you'll learn a whole bunch to boot!” - Randy Smith

There are still spaces in the East Coast workshops--you get FIVE FULL DAYS of the Color System, and "Yellin' by Elin" in the Color Boot Camp.

Congratulations to new collector Ray Castenada of Miami, Florida on his purchase of two 16 x 20 still life paintings from my web site!

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

Feb 17 - Workshop Finished, Evening Light Demo

This 9 x 12 acrylic was done as the workshop demonstration piece for evening light, using the Color System. Nine participants finished up three intense days of painting from 9 to 4:30, learning the Color System for time of day here in my studio last weekend, and this was from the second day, in the afternoon.

I used the cool box colors to lay in all of the distances and shadows before judiciously putting the warms into the nearby lights and on the meadow. Evening light is showing as the influence of cadmium orange on the lights, and an interesting thalo blue/cadmium orange light on that blue spruce.

The source for this painting came from one of the students in the workshop. I seriously edited the placement of objects to create a more pleasing perspective and eye-path. It was done with mostly traditional acrylics, but there were some Golden Open acrylics in the boxes now, so it was a compromise on which "ruled the day".

The next Color Boot Camp here in California is full (April), but if there's enough interest, I will open a third one in June with the same three-day format. There are still spaces on the east coast in three of my workshops--first in Georgia in May, second in Florida in May, and the third one during the Fall Foliage in Maine, in September. Now's the time to learn!

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

Feb 13 - Horse in Pasture, Second Pass, Not Done yet!

Take a look at this canvas and compare it with the last post, and see if you can see what I've done on this 16 x 20 oil. I've spent my time going over the canvas, making those large initial color shapes far more interesting.

It isn't finished yet, but coming along nicely. I'll post it when the signature is on, and I've fixed some of the issues that are in my head about it.

One of the six value plans that I cover in my workshops is called "Gradation in large shapes" and this canvas is a perfect example of that. Every large color shape has been made more interesting with colors that are close to the initial shape's dominate hue, and yet are of a slightly different value, creating the gradations. Note the trees for the clearest example--the horse is more subtle in those variations, yet that's what makes it "look" like a horse.

I'm gearing up for the ten students to arrive later today for the beginning of the first California Color Boot Camp of 2009! They start out this evening with a "meet and greet", and then in the next three days we'll be using the theater for lectures and the outer studio space for painting. It will be incredibly busy! I've even made a new dvd for my lectures on both the values plans and the Color System for my lectures!

The April workshop is full already. I still have spaces in both the Florida and Maine workshops, if you want some "Color Boot Camp" treatment. I just love teaching!

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

Feb 2 - Going to Finish a Demonstration Painting

This is a 16 x 20 oil painting I started a year ago--in August--as a demonstration piece for the wonderful folks up in Sebastopol. I was demonstrating morning light, and painted it to this point in about 45 minutes, talking all the time!

Knowing the Color System allows an experienced artist to make good color choices quickly. However I'm sure you'll agree that this painting is far from finished! Now it's time to pull it through to that finished state by working with the larger shapes to make them more interesting.

On other news, I'm preparing for the first of two workshops here at my studio-- "Color Boot Camps" over the Valentine's Day weekend. Both this one and the new one in April are already full. I may open up another one in June, if there are enough interested students.

And just for fun, look how much Shadow has grown! He's three months now, and this was taken in the studio last night...(those floor tiles are 13" square)

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

Jan 18 - The Dog and Pheasant Painting Finished

The Welsh Springer Spaniel is now in the painting, and I've spent the balance of my "brush time" with the trees and background. I've made those areas more visually interesting by texturizing the areas with similar hues and values.

This image doesn't show the lighter values on the tree trunks, and for that I'm disappointed. There's a lot going on in those darks, and to omit them does a disservice to the work. This 12 x 16 acrylic is called "Flush", and hopefully will be shipped to Wichita for the show in March. On February 4th, I'll know if any of the four got in. Just around the corner!

Workshops in Georgia, Maine and Florida information can be found HERE.
You can see my entire blog here.
Color System information can be found HERE.
If you need to email me directly, please click here.

Jan 17 - Welsh Springer Spaniel and Pheasant Continues

I've had some surprising comments on these paintings, and I need to share that I did a marathon of painting to get them done before the 14th deadline for the Art Show at the Dog Show. Now I share them with you as they had been developed, and at leisure, so these were all finished by last weekend. I talk about them in the present tense, because I wrote the draft messages while I painted them.

Now that that's explained...I'm still working in the cool box as I paint the pheasant. One way I can convey action in a flat, two-dimensional surface is to lose the edges of anything that is moving--such as the wings of the bird. He doesn't look "stuck on" when we lose edges, but rather blends in well to the rest of the canvas. Why do we feel we need to outline every edge of whatever it is we paint? To do so means we're relying too heavily on source material--generally photographs--and the action captured without the illusion of movement creates a static, flat image. So I spend a lot of time deciding which edges need to be lost to create that feeling of life and movement in my subjects.

I still have a ton of work to do on the background, but the initial values are in place now. And of course you can see the position of the dog, now, too.

The value plan for this one is called a "keyhole" because of the circular pattern with the lights in a generally round shape near the middle of the canvas. As far as which one of the six value plans, it's destined to be a small light, large dark in midtones.

And on other news, an American icon of painting passed away yesterday--Andrew Wyeth--died in his sleep at 91 after a long life of art and expression. His father, Newell Convers Wyeth created some incredibly beautiful works in value and design that made him the pillar of American Illustration of the first half of the last century. Andrew was most well known for his delicate portrait of "Christina'a World"--the young girl in the field looking away from us toward a farm house.

I hope that all my friends in the southernmost area of the country (Louisiana, Florida and South Carolina) will take note of the Florida workshop, where you will live and work for five incredible days on the grounds of the Carriage Museum while we paint the distinct times of day. The wonderful person organizing this workshop will be going on a trip in April, and hopes to have all the slots filled before she goes. If you're on the fence about this one, email me so we can chat about it. I'd hate for you to miss this opportunity!

Workshop Information can be found here.
You can see my entire blog here.
Color System information can be found HERE.
If you need to email me directly, please click here.

Jan 16 - Hunting Dog flushes a pheasant

Can you see the misty morning light? Yes, I'm using the same colors and general design of the earlier "Misty Morning Horses" painting to get this one done quickly for the Art Show at the Dog Show deadline. It's always faster when I don't have to solve complex problems anew. If you look over the total body of an artist's work, you'll see many versions of similar subjects. We build on prior levels.

I'm covering the canvas with the cools--over 85% and because of the warm underpainting, the color excitement is already in place. When I use that phrase "color excitement" I remember one Walter Foster book (#63) by Merlin Enabnit. Even though the paperback is long out of print, I was always amazed at how he could get the "Color Excitement" (his term) for the juxtaposition of various pigments. It was fun to see all the ads he did for the foundation garment and soap industry (1940s) when I googled his name. One can still find his Foster Books on ebay.

You know I prefer to have a good background in before painting the focal points. And that's what's happening with this one. Tomorrow, more layers of color in this acrylic, and the pheasant. Then the painting will go to the dog(s)!

Workshop info for Florida, Maine, Georgia and California in 2009 can be found HERE.
You can see my entire blog here and Color System information can be found HERE.
If you need to email me directly, please click here.

Jan 15 - Acrylic Lesson for the Art Show at the Dog Show

This is the lesson painting for the 12 x 16 acrylic that is entered in the Art Show at the Dog Show. For the next three days, I'll be depicting a Welsh Springer Spaniel. Yet again I'm focusing on the landscape being a strong supporter of the dog in action, flushing a pheasant.

A rough sketch starts me out in acrylics, done over the burnt orange underpainting, choosing a warm because of the predominance of the Cool Box Colors as the painting progresses. I do a cover-the-canvas every time to get rid of the white. I see so many paintings with those itty bitty white spots showing through--very distracting to a trained eye. By getting rid of the white, I have a surface that unifies if/when any of that warm peeks through.

The dynamics of the design are already apparent if you see those vertical strokes supporting the action in the center--just like the curtains on a stage. I'll be using a modified familiar background from another, earlier painting to make this get off my brushes faster. I will be looking for that "aha" moment when you recognize it--and when I paint to deadlines, I don't try to break new ground (except for "Guardian"). One thing about this, I have painted so much, that the repertroire of materials available is vast. If you haven't painted much, every painting is a discovery and challenge. I remember those days!

And as I hear from you about the cold in the majority of the continent, I want to send along an image from our recent 80 degree days. This is our driveway, looking out toward the street, taken in the morning with the outside temperature at 71. I fed the critters this morning in a tee shirt, and will be taking the scooter to the store just as soon as I finish this. I know, we pay for nice winters with hot summers, but it's hard to not enjoy such beautiful weather. I send it to you hoping it will warm up the room a bit.

You can see my entire blog here.

Workshop info for Florida, Maine, Georgia and California in 2009 can be found HERE.
Color System information can be found HERE.
If you need to email me directly, please click HERE.

Jan 14 - "Incoming" acrylic is finished!

Here's the finished painting, dog and girl in bright sunshine on the water, holding a pole and reeling in the red bobber. Compare this finished painting with yesterday's, and you'll see how I developed the three-dimensional forms with the additions of distinct layers on top of the underpainting. This is especially viewable in the distant trees.

On the design, look at the line that the distant water's edge creates. It is just above the girl's knees, showing that we are looking UP at her--and she is drawn with that in mind--her shoulders are in perspective with the nearer one higher than the opposite one. The dog is below the horizon line, and so we're looking DOWN on him. You can see this in action by laying a straight edge along the dock edge and also through her shoulders--the lines will intersect at the water line on the right side!

The entry for the Art Show at the Dog Show has gone to Express Mail, and now I wait for the reply to see if this one or the others are going to get in. While I wait, I can't sell any of these, although you've asked about them. If they go to the show, they can be purchased online through their web site. None of them are over $500, and this one is $300.

I really like the painting, because that kid could be me at about age nine, however the dog would have been a dachshund instead of the wire hair terrier. (And my hair never looked that good!) In using the Color System on human skin, I flip the boxes, and paint the shadows warm and the lights cool--thus she seems to glow with life because of the reversed contrasts of temperature. Come to one of my Color Boot Camps to see this in action! My goodness I have four in 2009, one's already filled.

Tomorrow I share with you the third acrylic done for this art show, in three stages.

You can see my entire blog here.
Workshops for 2009 are HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

Jan 13 - The Dog on the Dock, Part Deux

This 9 x 12 acrylic is further along than I planned, but I got so captivated by the water and light, I just couldn't stop to take a photo earlier. The girl is even being blocked in, and the wire fox terrier even has 3-D form. Dang!

This will be called "Incoming" with the humor in whether the girl will be reeling in something or the dog will be going into the water after it--or both!

Interesting to note that I don't even sketch in the figure with pencil before painting directly on the background layers. I just pick a middle value hue that's close to what I need and put a "cutout" shape to localize the object. Then I paint over that to create the illusion of three-dimensional form. The dog went in as a white silhouette first, then warmed and cooled depending upon light sides or shadow sides.

I love acrylics for the ability to create layers--this is SO effective on water. I love oils, too, but hands down acrylics have it for creating the illusion of depth and transparency. I keep adding layers to the sky as well, continuing to go lighter with each application.

Shadow has settled in, and today (another 80 degree day) finds him saying, "What koi? I don't see any koi," at our pond on the front patio. One of the reasons I love painting water is because I can see and study it every day. Oh, that isn't a real crocodile, but it does make folks do a double-take!

You can see my entire blog here.

Color System information can be found HERE.

If you need to email me directly, please click here.

Jan 12 - Another Dog Painting--Lesson in Acrylics

The second painting for the Art Show at the Dog Show comes to you with this 9 x 12 board on which I have painted some semi-transparent acrylic layers. The scene is a dock on a river, and there will be a girl and a dog fishing from it. In doing this painting, I want to have the scenery be a strong supporting player, so I've put the focal points up and away from the mid-point of the canvas (they aren't even sketched in at this point).
I'm using traditional acrylics for fast drying time and quickness of application. These quasi-translucent layers are painted over that burnt orange under painting, and are always with the cool box colors. We're off and running with another one!

Pesto, one of the cats in residence, wanted her picture taken since she hasn't quite adjusted to the newest arrival Shadow. Here she poses on the cat balcony off the large workshop room of the studio, eight feet up. She came out a little archway that goes through the studs and onto the large cat tower inside. We built the balcony to exit into the large enclosed "cage" under the eaves behind her--safe from coyotes and owls no matter what time of day! And safe for the songbirds that come to the feeder, just visible behind the bamboo. OK, today it was 82 degrees and sunny. Not even a jacket....

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Color System information can be found HERE.

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Jan 11 - Guardian is Finished.

"Guardian" is finished now, and I'm quite pleased with the final image. Why I didn't make the wings black and tan as well? I thought about it (knowing that if this were a real creature, they most likely would be), and then decided that with the amount of bounce light coming and going on the dog and child, the white wings would enhance that, which I really wanted. So white they stayed, even tho' I deepened the shadow sides with the "sky trio" (you Color Boot Camp graduates know which ones!)

Paintings get to me sometimes, and "Guardian" does that. I have a hard time explaining it. In a feeble attempt, I'll say that, to me, it embodies the response of being loved, cared for and safely watched over. I may continue with this concept and express it visually in different ways in upcoming works.

Tomorrow the image goes off to the Art Show at the Dog Show (opens a new window), and who knows whether the judge will accept it? Will he/she have the need for the safety this painting conveys? Some people might think it is too sci-fi. Not me. Now, if it doesn't get accepted, I do not take it personally, nor think less of the work. Sometimes paintings don't fit with the wholeness of a show, or they've already juried in enough of that type. I'm at a point in my career where I paint for me, and if that doesn't please a judge, that's their loss. My work now touches enough people that one or two judges can't dent my belief in what I do.

So why enter juried shows? I find that when there is a gathering of specific people interested in a specific type of art, it is in my best interest to be a part of that. ASaDS is a show where the gathering of dog people validates my entry fee, the shipping and time involved.

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Jan 10 - Guardian covered, but not finished

The Doberman "Guardian" is at the stage where I start to put glazes and additional layers on these first fill-ins to develop and set the light, shadows and design.

It's coming along now,and I could list the bazillion areas I'm going to change, but it still needs many more layers of acrylic paint to really put the "punch" in the lighting. Since I know what needs changing, I won't bore you with that long list, but will get after it to finish it up. That deadline of Monday approaches for the Art Show at the Dog Show (Kansas City)!

In handling this painting, there are two images that are being used as references for it--one of a Doberman that has long since gone to the Rainbow Bridge, and a sleeping child from an old magazine (black and white). The wings are from my chickens who don't approve of modeling, but that's how I get their structure--even tho' fanciful. Now who would think "chicken wings" when guardian angels come to mind? Having the flock out back has been a boon to bird paintings. Hmmm, can they be tax deductible as models? Ha!

The Plein Air Artists of Riverside are here today, and here's a few of them in our back yard...now it's off to see how the pot luck is coming!

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Jan 9 - Doberman Angel in Process - 18x18 Acrylic

The Doberman "Guardian" with the canvas almost 80% covered with the major colors and values that will be there--except for the larger light that I'll put in later. I really like it at this stage, as I can see that I'm keeping the spirit and strength of the dog as I define and edit the large masses. What needs editing is the feeling of danger--even though the dog has wings and is in the role of protector, right now the feedback I get is one of doubt whether the dog means good or evil. That will change as it is developed.

At this point the canvas is COMPLETLY in the cool box--no warms at all except for the underpainting of Quin Burnt Orange and Cadmium Orange. Fun colors to start with, as it really sets off the cools!

Tomorrow the Plein Air Painters of Riverside (PAAR) are coming over for on-location painting at Two Trees and will stay for pot luck and a movie. We're going to be watching "Impressionists - Degas" in the theater. Of course, I'll take pictures of it!

Shadow arrived yesterday, and was immediately adopted by Alberto, who just fell in love when he saw the pup. I was ever so grateful that he took him into our casita last night, as Shadow didn't have to be in the outdoor kennel--right under our bedroom. Yip, yip, howl! After he gets used to the place...

He's settling in today as you can see, parked right next to Seiko, our older Tibetan Mastiff.
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Color System information can be found HERE.
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Jan 7 - Art Show at the Dog Show Entries... Lessons!

Lesson painting time!
I'm starting one of three paintings for the Art Show at the Dog Show with entries due in their hands on the 14th of this month....talk about cutting it close!
Modus operandi, but I think you'll enjoy the stages of this fanciful and spiritual painting. I have always loved the idea of guardian dogs--we have the two Tibetan Mastiffs who guard us and the livestock, and both my husband and I have owned Doberman Pinschers in our past. Since I love the grace and royal demeanor of these dogs, it seems natural to do a painting for this show with that theme in mind.

Here's the first "go-pass" on this 18 x 18 inch acrylic, and the design comes out strongly right away. I'm looking at it over my shoulder, and the strength of the circular movement of the angel wings on the dog and the lifted, protective paw on the sleeping child already form a strong, connected design. Destined to be entitled "Guardian", just starting this painting made me feel sheltered. Even with these thin layers of dark acrylic, the viewer can see the structure of the dog. It will be corrected and detailed as I build the upcoming layers.

I finished my husband's painting, and here is the end result--a 30 x 40 oil. Yes, I'm in it now--second from left--but you'll have to go to his office to see me up close!

WORKSHOP! I've added a new workshop for April, here in my studio, and it is filling already. If you couldn't get into the February one, which filled a week after I opened it, you have a second opportunity. April 3-5, it promises to be another exciting Color Boot Camp. Click here.

You can see my entire blog here.

Color System information can be found HERE.
If you need to email me directly, please click here.

Jan 2 - The Commission of Aikido Continues

The aikido painting continues, and now I know that there will be six seated figures, all friends from the mats of various dojos.

Symbolism abounds here, as our teacher Ace Atkinson is overlapped by the founder of aikido. Rowdy is painted against a lighter, more ethereal wall, and our current aikido friends flank me on either side (that's going to be me second from left).

Now that I've solved the issues with who's where, I can come back and paint in the mats, and detail out the rest of it. Note that I put the Japanese socks on O Sensei (the older man in the foreground), and I had to photograph Alberto's foot to get that part right. Fun how references are needed and found as they occur.

On other news, we are going to be adding a second livestock guardian dog to our critter list--another Tibetan Mastiff, like our Seiko. This pup is a male, and is coming from Shadowmear Tibetans. Here's his puppy picture-- I am fairly certain his name will be Shadow, following the "oh" sounds for most of the dogs here (Seiko, Onlsow, Qso)

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Jan 1 - Happy New Year Holiday Lights!!

HAPPY NEW YEAR!!! Holiday Lights and the third painting of the Mission Inn done on location. Fun to paint the landmarks and capture the "feel" of the night. This is the Mission Inn Skybridge that has a totally different look in daytime. You can follow this link to see another view of it during the daytime.

This was done with the interactive acrylics - Golden Open acrylics - which I am learning to enjoy. Only 6 x 8 inches, it was done quickly and loosely. These paints handle like oils, yet dry to the touch usually one day later. I was positioned on the lawn near the parking structure and had many, many folks stop by and comment--more so than in front of the Inn. Go figure. Sparky was with me and again let me know when folks would approach. Good dog!

This new year will bring many challenges, several workshops, and exciting artwork and lessons coming your way. I hope you'll continue to stay with me, and please share these with your friends!

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Dec 31 - Last Painting for 2008.... This went FAST!

The front of the Mission Inn, right as the sun disappears and the holiday lights come on. This is a small, 7x5 acrylic done on location as a warmup for the second painting of this historic monument in Riverside.

Cars come in for valet parking under the archway with the flags, and it was a real challenge to capture the impending night AND the lights, as well as the color on the autumn trees. Yes, we still have leaves on our big street trees, and here in our preserve.

The Plein Air Artists of Riverside will be coming over here to our place on January 10 to paint those sycamores and the greening up mountains behind us.

I LOVE TO PAINT!!!

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Dec 25 - On Location with Christmas Lights

Merry Christmas!! To share the joy of the Season, here's an original acrylic painting full of holiday lights done on location at the Mission Inn in downtown Riverside a few weeks ago. I've been with the Plein Air Artists of Riverside who have been painting on location to capture the merriment and holiday lighting displays for which the Inn is famous.

When the moon was full this month, I set up with Sparky (yes, he came along and played "announce dog" to anyone who came close) in a planter bed diagonally across the street from the arches and buildings of the Inn. They decorate the palm trunks with huge snowflake lights, too. This is a 16 x 12 acrylic, done with those open acrylics, and I'm quite pleased with it for having captured not only the lights and the holiday feel of the building, but also the natural world of the night sky and full moon. The open acrylics allowed a longer working time, yet the Color System make the choices for this piece easy, even though I was working with a flash light in my hand! When I go out again on Dec. 29th, I'll have some nice LED lights that will shine both on my painting and palette.

If you've ever been to the Mission Inn (opens in a new window) it is quite a famous landmark for its architecture and holiday lights. I'm pleased with this painting of it, and hope you enjoy it as a sharing of the holiday spirit with us! It doesn't have a show schedule, so it is for sale, $300 to add to your collection. I can ship priority mail to have it in your hands before the Holiday lights are gone.

This day hubby Ron and I are traveling to my brother's house to share dinner with family and friends, so I'm posting this a bit early. I'm going armed with home-baked deep dish apple pies, punpkin pie, New York cheesecake and cherry cobbler. May your holiday be as you would wish it--quiet or noisy, reflective or boisterous, and may you get what you desire throughout this winter season and into the coming year.

Tomorrow I continue with my husband's painting of aikido. If you have any questions about how this "Mission Inn Lights" painting evolved, just email me.

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Dec 24 - Aikido Commission for A Present

On the next pass for this 30 x 40 inch oil, I've placed the midtone greens on the tatami mats and the deeper shadows behind the row of figures. I'm working out just how many people will be behind the two figures, and as I figure it out, more and more of the burnt umber/ultramarine blue shadows are cut in, leaving the seated figures in place.

As I mentioned yesterday, the fun in this work is that the people behind O Sensei will be my friends--Ace Atkinson, Steve Barbosa, Ron, Katz, me and of course Rowdy, who passed away this last year. She'll be on the far right, sitting slightly out of line with the rest of us, signifying her not being "with" us, except in spirit. The fellow receiving the art is none other than Alberto, who is still working on his master's in Spanish Literature and doing aikido, even teaching their kid's classes. Alberto just passed a major test on his way to his black belt last weekend.

On Alberto's hakama (the traditional black leggings/skirt aikidoists wear), I've depicted the speed and motion by lost edges. This gives life to the image, and creates a passing moment in time. Losing edges helps to create the feeling that this is an unfolding moment of action, rather than a static, freeze-frame moment.

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Dec 23 - An Aikido Christmas Present

My spouse asked me to do a special painting for his office as a combined Christmas/Birthday present, and how better to share with him what I love by painting something he loves?

Here is the first design for the 30 x 40 inch canvas. The subject is the martial art of Aikido, with O Sensei Morihei Ueshiba, the founder, performing the art. The fun will be that the other people in the painting are all ones we both know, including the man receiving the art from O Sensei.

The design is one of a top-weighted dark area with the lower area of the mats illuminated by natural light. At this stage the painting only shows the value structure (small light, large dark in midtones). I plan to share this with you through Christmas, with a break of one painting done on location, and continue with it after Thursday.

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Dec 22 - 2008 Christmas Card for My Friends

To all my friends, collectors and Color System followers, may this holiday season bring you joy, peace and happiness that extends into 2009 and beyond.

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Dec 15 - The Horse commission and an E-Vite

Quite a change from yesterday's image, and it is so far along that I showed it to the collector for her approval. I still have some more work to do on it, though.

I really enjoyed painting in the fencing behind the horse and will share with you how it was done. The first lines were horizontal, done with white and ultramarine blue. Then the sunlit portions were painted on top of that with just white and a whisper of cadmium orange. The posts were done with that same white/blue mix, and then their sunlit areas were put in with that same white.

Now, even though there is a signature on the work, I will still go in and work on some of the areas before I can truly call it finished. The distant tree needs more limbs, and there are some "issues" that artists have with their work that need resolving before it "reads right" to the originator. Sure was fun to get it to this point though! Can you Boot Camp Graduates tell what time of day it is? (Remember that the time of year also affects your decision!)

On other news, I had one of my bigger paintings accepted into the Saks Gallery Show in Denver, and we've just received the invitations. They are gorgeous! If you are in Denver during this time, please come to the opening and see some truly spectacular art. As you can see from the e-vite, there are some truly outstanding artists represented. I'm honored to be among them!
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Dec 14 - Covering the Canvas, Horse Commission

Now the canvas is 98 percent covered, and the basic idea of the landscape is in place (except for all those white board fences!). The trees have their identities, and I have managed edge control to keep your eye where it needs to go--on the horse first, and then throughout the rest of the landscape.

The source material for this commission consists of two photographs--one of the horse, which doesn't include some portions of his hooves, and one of the distant trees and pastures of the farm. Combining resources is always fun, because it allows an artist (me) to be more creative with the design for a better end result.

Now that the canvas is mostly covered, and the major color choices have been made, I can begin to add related colors to make those areas more visually interesting, and then focus on the details of the horse. Many artists might choose to finish the horse first, but in my book, that makes for really heavy head-work to complete the rest of the canvas. One must then always compare and justify the painting in the background and make a concerted effort to keep it less than the focal point. I find it much easier to make the background interesting, and then heighten the excitement in the focal point (horse) with details and sharper edges.

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Dec 13 - Commission Continues

Everyone asks, "Elin, how do you paint horses?" and to that I answer, "I paint everything around them and then find the horse with what's left over." However, in painting a horse in landscape, and especially a commission, I need to work hard to make sure that both the subject (horse) and the supporting area (landscape) are harmoniously working together.

In placing the fields of color at this early stage, you can pick out where colors are linked between these two areas. The horse has warm oranges on his coat, and the orange of the distant tree is carried over to the lower right corner. The blue underpainting keeps these warm areas easy to see while I'm working. Note too, that the shadow areas are also connected, and relate together.

This is how the design of a painting starts the moment you bring your brush to the canvas, and it doesn't stop until the signature is put on.

On other news, the February workshop here at my studio in Southern California is FULL, but I have two spaces on a waiting list. Even though all spaces are spoken for, I'm still awaiting deposits on two. If these people opt out, the lucky few will be brought in from the wait list. This workshop is the Color System Boot Camp--three days of intense painting and learning right here in my studio in Riverside. If you'd like to be on the wait list, please click here.

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Dec 6 - Commission with Fall Colors

Ah, the holidays! Nice to have a commission come in of a horse in pasture, and to be able to pull out all the stops on the fall colors in the trees behind him!

Here's the underpainting on this 16 x 20 oil--I used a cool blue intentionally to set off the warms that will be in the layers to come. The horse's name is Quattro, and he's a racing quarter horse, two year old.

This is just the block in of the major shapes, and figuring out placement of the subject. Since I'll have two focal points--the large tree in the background and the horse/shadow combination in the foreground, I placed the horse almost left of center. I'll have to be careful to ahve his shadow be strong enough to keep that midpoint division from making the viewer uneasy! There will be white rail fences framing the horse and separating him from the woodland behind--very typical of the area.

News also, I've opened up registration for the ONE workshop I'm teaching in Southern California next year in my studio. It will be the three-day Boot Camp next February, which falls over Valentine's Day and the President's Day weekend--February 14-16. Four people have already signed up, and there are only ten slots. If you want one of the remaining six seats, please go here (opens a new page in your browser). This workshop focuses on hands-on Color System paintings, creating your own subjects in your most familiar medium.

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Dec 2 - On Location with the Golden Acrylics

On location with the Plein Air Artists of Riverside last Sunday I quickly painted evening light overlooking a vast view. And, the Golden Open acrylics work! Even in Santana wind conditions, I only had to spritz them a couple times with my water bottle. I was working with all Open except for Ultramarine Blue, that workhorse color, as I am awaiting an order to fill out the Color System.

This is called "Low Water" (Lake Matthews, California) and is a 9 x 12. I put my gear together and strapped it on the motor scooter and drove 20 minutes over to the PAAR member's house for this vista from their front yard. This scene is only a small piece of the entire view, and yet it spoke to me--loving the diagonal of the finger of the lake and the evening light on the hills and distance. Only in the sunlit areas below the halfway point of the canvas are there any hues from the warm box, and not many of them.

The Golden canvas went into my slip case as it wasn't dry enough to just toss under the seat as normal acrylics--more like oils in that regard. I tootled on back home, and had a most interesting experience.... on the scooter, I could smell the scent of turkey casseroles and turkey soup on the air--never would have had that with a car! And when I fed the critters, I noticed the wonderful juxtaposition of Jupiter and Venus right off the points of the crescent moon before I came back in the house. This is one of the photographs that Alberto took of the view of city lights and that sky, from our driveway. Life is magic!

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Nov 29 - The Ground Squirrel Complete

I need a title for this one....
Here's the 18 x 18 inch acrylic photographed in the good light I need for entering shows. The glare is gone, and the colors are uniform across the canvas. Signed, it's finished mostly with Golden Open Acrylics, which I am coming to love.

I loved painting with the Open Acrylics, and of course the Color System makes this scene read right from the top to the squirrel's shadow. Our ground squirrels' Latin name is Spermophilus beecheyi but I just call 'em the common California Ground Squirrel--or varmits.

Tomorrow I go paint on location with the Plein Air Artists of Riverside--always a fun day! I'll be taking those Open Acrylics with me for more practice.

Below is a more detailed image of the squirrel:

This image shows the details where I felt details needed to be, yet the brushwork and loose edges of the other areas guarantee a hierarchy of edges.

These rocky ridges and "exfoliating granite" are very common around our place here in Riverside, California. The ground squirrels are no strangers to us either!

This original acrylic is destined for the Saks Gallery in Denver, Colorado for a show in February with the Women Artists of the West. I don't know whether I'll be able to go to the show, but I do have friends there to visit--and life is short, so who needs a better reason?

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Nov 28 - Rocks and Open Acrylics, almost done!

Although the image has glare on the right edge, you can get a general idea of where this painting is going now. I haven't signed it yet, nor photographed it outside as it is late tonight and I wanted to get something out to you before the weekend is over.

This austere terrain is not uncommon here in Southern California--we have rocks and brush exactly like this out behind our place. The wildlife is there, and only the ground squirrels pose as they keep watch for predators from a relatively safe perch.

This painting is about atmosphere, heat, and light. I'll finish it tomorrow, as I get out the holiday decorations and work on another commission for the holidays. I need to get a much better image for submission to the Women Artists of the West show in Denver next year.

I do really like the Golden Open acrylics--the best of all worlds with working time and yet the brillance and handling of regular acrylics. I do think I may be a convert!

We had a quiet Thanksgiving here after the rain. Nice to have a fire in the fireplace and be with someone you love and not have traveling in the plans for a change! I hope your holiday continues to be full of whatever you wish it to have.

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Nov 24 - More Rocks and Open Acrylics....and me

It's been interesting thinking about those Open acrylics from Golden... I hesitated to start using them because I wasn't quite ready to deal with the lesser known drying time (longer) and the workability on the canvas (also longer). But now that the company from the past weekend is gone, I can settle back into the studio and progress on this canvas and others.

The Open acrylics are now out and in their own pill boxes, and I'm using them from the last image until this canvas is finished. It is fun to "fudge" edges long after regular acrylics would have long dried.
I'm still completely in the cool box in the Color System, and the "fire" of the underpainting is only visible by that large round rock. No details here, just more layers of color, and more blending happening.

On another note, how about a recent picture of me by our pond? Some of you don't even know what I look like without that painting hat, so here's one I took yesterday morning in (yup!) Morning Light on our front patio. That's Sparky on my lap and Onslow's head in the lower left corner.

May all of you have a happy Thanksgiving this week who celebrate it. I'll be posting more on this painting and another commission I've started, but some of you may already be out on long vacations to visit family and friends. I'll see you when you come back!

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Nov 17 - No Fires here, but my colors have changed!

Thanks to all who emailed asking if we were affected by the fires. We're fine, about 12 miles from the Freeway Complex fire, but it is horrific none the less. I said I would paint this weekend--but the news and fretting about friends kept me glued to the monitor and the web news.

Here's the start of an 18-inch square acrylic. No, it isn't smoke and fire, but at this stage I can't help yet see it. All these layers are done with regular "fast dry" acrylics, starting with the get-rid-of-the-white cadmium red light underneath. The scene is evening sunlit rocks, and will continue the landscape with secondary focal point idea--there will be a solitary ground squirrel on one of the rocks, lower left.

The lay in is done with cools, mostly burnt umber, ultramarine blue and some white, contrasting nicely with the warm under painting, and establishing the large masses. I wish I had a good photograph to share with you of the source, but the image is from memory and a really bad photo of the rocks and brush across the street from our old place. Evening light on the rocks was always a color moment! the distant mountains will tone down with additional layers, however right now they appear to have an evening glow.

Tomorrow I'll start with those Open Acrylics and share how that goes.

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