Doug

"Doug," oil on panel, 14x11

The man in this portrait was a lifelong smoker of cigarettes who developed lung disease and respiration failture when in his seventies. This particular life study was done perhaps a decade before his illness became severe, but there is something sad and also inevitable about his looks even before he became ill. 

Most portraits are joyful, or at least happy, but sometimes the deeper issues in the life of the sitter come to dominate. Carefully observed portraits can sweep back the mask of normalcy. 

The Chaperone

"The Chaperone," oil on panel, 12x9, private collection

When we were much younger, we needed an adult to supervise our social events--parties, dances, and so on. At least some of those women (very rarely men) seemed suspicious and didn't seem to trust our adolescent selves to behave responsibly. 

This oil painting developed from those long-ago experiences. It entered a private collection long long ago. 
 

From Capitol Hill

Last weekend the sketchers split up--about half went to the state capitol across the Des Moines River, east of downtown. The hill is maybe 50 feet higher than the downtown (west) side of the river, so the view are long and panoramic. I sat under a mature shade tree at the entrance to the capitol building and sketched a view of the cityscape. From where I sat the land that slopes down to the river is panted with flowering shrubs and an arboretum of native trees. From the bottom, the ground rises to a stepped plaza fronting the building. 

"View of Des Moines," wc/ink on paper

You could say that my approach to these sketches is primarily illustraional and I wouldn't argue. Certainly these sketches are planned, with deliberate compositional choices, value ranges, and detail. Some painters, regardless of medium, go for the spontaneous stroke of paint, happy accidents and unexpected changes. It occurs to me that such an approach can lead to wonderful results or abject disasters, so I prefer planning. 

This work was done in my usual work flow: graphite drawing, watercolor wash-in. ink high lighting or emphasizing. 
 

Lillian

"Lillian," oil on panel

This portrait is a work completed from photo references and life. Lillian was about eight years old at the time, and is now about twenty years older. I liked the open-eyed wonder captured in this piece, which I've retained in my studio. 

 

Saturday Summer Sketch

I ordered a new sketchbook from Luchetti, a new company that makes their books lay flat (somehow) without the usual gutter that fills with puddles of paint. It's utterly flat when open, without any groove at the junction of pages. Remarkable. These currently can only be ordered directly via the link above. They come as hardcover in a single 8x8 size, though a new 5x5 square size is coming available. They are available as either hot or cold press and very heavy paper. 

"In the Biergarten," wc/ink on paper, ~8x11

This is a view from the Birgarten in Waterworks Park, which is open May through September for al fresco imbibing and hanging out. I sat at one of the picnic benches with a couple of colleagues and faced away from the group to focus on one of the vast landscape views one can see in the park. As ever I laid in the composition in graphite and then painted. After everything was dry I went back and added very narrow ink lines in selected spots. 

The Bike Trail

"The Trail," oil on panel, 9x12

This oil painting is a view of a pedestrian/bicycle trail that winds through Grays Lake, not far from my home studio. The asphalt trail is part of an extensive system that runs throughout Des Moines and connects to trails that go to other towns here in central Iowa. Cycling is one of the most popular activities around here. 

I set up my easel in the shade of one of these enormous trees that surround the lake and enjoyed a cool south breeze as I worked. This was completed on the spot.  

Fifth Street

"On Fifth Street," wc/ink on paper, 8x12

Saturday our sketch group headed for Valley Junction, an old shopping and downtown area that was once home to a railroad town before changing its name and losing the railroad connection. The original name stuck to this district, which recovered as a funky, trendy area of shops. There are bars, eateries, art galleries, jewelry shops, and the like plus a great deal of century-old architecture. The main business street is 5th.

Although the day was broiling, it was pleasant enough on a shady bench with a light breeze. I sketched a converted theater on the opposite corner, it's old movie marquee still there. The occupant now is, fittingly, a costume shop where you can get anything from theatrical costumes to Frankenstein masks. The Junction was quite busy that day, despite the oppressive heat. 

This watercolor followed my usual method--graphite sketch, paint then ink, then modify.
 

Saturday on Sherman Hill

"On Sherman Hill," wc/ink on paper, ~8x15

Last weekend the Saturday sketch group had difficulty deciding where to go, with several groups going to different locales. I chose to go to Sherman Hill, an enclave of Victorian houses just northwest of downtown. After scouting sites I decided on a big house surrounded by nature trees. The gables and turret were deciding factors. This part of Des Moines dates to the late 19th century, after a pioneer entrepreneur built his home there.

My usual technique came into play--graphite sketch, paint, adjust, ink--but not being used to this size sketchbook it took longer than expected. Although most of this one was done on site, I finished some of it later on in my home studio.
 

Coneflower Cornucopia

While organizing file the other day I came across images of an interesting experiment. Some years ago while learning new painting mediums I did a number of studies of purple coneflowers in my garden. The idea was to learn to handle media besides my usual oil and occasional watercolors. With the subjects at hand just outside my studio door I did the four little paintings posted here. These are all 4x5 and done on the spot. 

The first (right) is oil paint on a 4x6 gesso panel. Like the others below, the small size allowed for quick execution and therefore loose treatment, encouraging close observation and significant simplification. 

Oil painting is probably the most satisfying medium I use. It's a suave, semi-opaque paint that stays put and dries to a durable, long-lasting film. But it's less portable than others and more expensive. Still, I love oil painting outdoors. 
 

The second image is a watercolor done on a postcard sized piece of  cold-press paper. As is clear, this kind of paint is quite transparent in comparison to somewhat more opaque oil paint. Again the small size and limited time encouraged detailed observation and rewarded simplification. Watercolor is a wonderfully quick and fun medium for outdoor and alla prima painting. Simple, portable materials continue to make this my go-to for outdoor work. 

Another art medium I've continued to explore for years is digital drawing and painting. This particular digital painting was done on an iPad using a program called Sketchbook. It is sized like the other images here, though it could be any size the user chooses. 

Examining this one after a lapse of several years suggests to me that digital painting can result in higher chroma images. It's also fascinating how digitally-made images like this can strongly suggest the use of traditional media. 

Coupling an intuitive and complex program with a tablet like iPad ought to be another even simpler way to sketch outdoors. Of course, learning a digital art program and tablet pose significant learning curves. Notheless I may begin using a table outdoors too. 

 

Finally this image was made using casein paint. Casein paint is actually a stable emulsion of oil and casein (milk protein) and comes tubed like other traditional paint media. It handles a little like oil, but is water soluble until it dries. Once casein is dry it makes a tough and durable paint film. (Think of dried milk in the bottom of a glass.) Casein isn't used much any more, being replaced by acrylics. Looking at this little painting--another 4x6--the image is at once simple but also solid-looking. 

Casein is an interesting medium that might be useful outdoors but will demand care. Some kind of drying retarder is likely available and might help keep the paint open longer.  

 

At the Marina

"At the Marina," wc/ink on paper, ~8x11

Our sketch group met again last weekend, and this time we went to an area northeast of downtown that features a marina along the Des Moines Rive and a large city park across the street. Some opted for the park but several of us went to a spot along the bike trail where there was live music and snacks. I had a Guinness (canned, alas) and spent nearly two hours drawing the building and the crowd. 

I have a new sketchbook that's larger the last few I filled, so it takes longer to finish a sketch. This one is about 8x10 so I didn't have time to complete the lower right section. Perhaps later on. 

This painting went through my usual routine of graphite drawing, painting, inking, touching up.
 

Rivulet

This new oil painting has been on the easel for a few weeks. The subject of water comes back into my work again and again, most commonly in oils. This work is a distillation of a reference image and personal observations on many creeks and rivers. The idea is to show the many features of moving water--transparency, refraction, reflection, shine, splash, and so on. The rocky bank was an interesting subject, as well. I actually close-cropped a considerably larger photo, then enlarged the result. 

"Rivulet," oil on panel, 8x16

To transfer the photo reference image to my support I simply drew in the boulders, fallen tree, and foliage. For the rocky bottom of the stream I roughed in a series of circles, ovals, and other geometric figures, using raw umber..I began with a white support, and in retrospect might have benefited from toning it. On the other hand, working somewhat transparently gave sections of the painting a nice glow.

Once I had the basic plan on the support I immediately began to vary my palette, adding earth reds, ochres, umbers and occasional brighter passages. Once the white of the support was completely covered I began working in dark passages beginning at upper left, then working across and down in a relatively orderly way. That is, left to right and up to down. Although sometimes I try to work to a complete finish in each region before moving on, many times I work to a certain level of finish, stop for a time (to allow undercoats to dry, for example), then go through the entire piece again, refining, then refining again, as I did here. 

The most difficult aspect of moving water (for me anyway) is splashes and reflection. It's awfully easy to overwork moving water, tempting to add just one more wave, one more sparkle, one more tiny ripple. But in the end I have to exercise a lot of care not to overwork. Another crucial issue is maintaining soft edges for objects below the surface. In fact it's partly the play of soft and had edges that make this kind of painting work. 

This is probably the final iteration of this work, but you'll notice I haven't signed it yet. 

4th Street

This small watercolor is actually a decoration of the front flap of my current sketchbook. I like to make a title page in my books and this one accompanies the iris I posted here a few days ago. The interesting this is the density of the colors these watercolors have. That is, they have a high pigment load that can produce wonderful opacity, when needed. 

"4th Street, Downtown," wc/ink

This sketch is about the same size as the iris I posted a few days ago, maybe 6x8, and shows a short street in the downtown entertainment district. I drew it from a snapshot of mine, drawn by the colors and shapes, mostly. The process of drawing, painting, inking and so on was fairly routine but I tried to simplify the facades and windows, particularly of the tallest building. The drybrush technique on the side of that same structure was fun, too. 

Here is the spead front page with both sketches.
 

Iris

Watercolor has become more and more important to me these past few months. Besides sketching at least once a week with my outdoor group I've also been doing smaller watercolors in sketchbooks.  

"Iris," ink and wc on paper, ~5x8

This particular watercolor is actually a decoration of the front flyleaf of my newest sketchbook. When I've worked in watercolor outside it's usually been in a 5x9 watercolor sketchbook. That size allows good attention to detail and a relatively quick finish. Most of my sketches that size are sixty to ninety minutes. Unlike those, this watercolor has much more detail and so took more time. The bicolor iris is from a personal reference photo and includes a peony in bud and about to open. The date in the upper left is the date on the flyleaf. Although I drew this in graphite, I inked it before painting, whereas I usually ink the finished painting. I reversed the steps because I wanted to study the intricate anatomy of the open flower and wasn't sure when I'd be able to add color. 

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Pairings

My New York art club--the Salmagundi Club--has a new exhibition opening Sept 1 and lasting through Sept 25 titled "Pairings." This members-only show follows an interesting premise. Entrants have submitted two works of art (any media) from their practices, separated by 20 years or more. It's a chance to contrast early works with later ones. 

I submitted these two oil paintings. The winter scene dates from 2003 while the second, summer landscape is from last year. Although my oils have evolved over the two decades separating them, realism is still my main interest.  

"Winter Walk," oil on canvas, 24x20

The street scene is a look at a Boston street after an overnight snowfall. The summer scene is a view of the back of the Des Moines Art Center. The building partly seen in the painting was designed by I.M. Pei, the well-known architect of the Louvre pyramid. 

"Behind the Museum," oil on panel, 12x16

 

Another Saturday

Last weekend the sketch group decided to spend a couple of hours at the local baseball park. There are quite a few views from the parking lot that merit sketching, including the river and bridges, the downtown skyline, the ballpark itself, and so on. 

"From the Ball Park," wc/ink on paper, 8x13

I chose downtown, which is challenging because of the jumble of building shapes and sizes. This was the beginning of a new sketchbook, too, so I wanted a relatively panoramic picture. This particular book has fairly heavy watercolor paper, bound to lie flat. I drew the skyline, then inked it and corrected drawing errors as I went. The painting step involved several layers to add depth and separate values. The new book is larger and sketches cover more, so a wider variety of compositions and sizes will be possible.

Striper Time on the Hudson

"Striper Time," oil on panel

Back in 2019 I attended a plein air painting workshop in upstate New York, the Hudson Valley to be exact. One of our painting sites was the shore of Newburgh Bay, a remarkably wide place in the river a few miles north of West Point. I used the sketches for that experience (plus photo references I snapped) to develop this oil. It remains in the studio as a reminder of a lovely few days.

Besides painting at this locale I was fortunate to spend a day there with my host and his fishing buddies, angling for striped bass as they ascended the river from the sea, to spawn. Every year a group of fishers gathers daily during the season, vying to land the largest fish. . 
 

Saturday

The weather was wonderful last weekend--dry, temperate and partly cloudy. Most of the sketch group decided on something besides the confines of city streets. Eventually we decided that either Waterworks Park or Grays Lake would be good venues, and off we went. 

"Grays Lake Underpass," wc/ink on paper, about 5x17

A few years back the city built a wide underpass below Fleur Drive, the boulevard that divides the two areas of parkland, and it's usually busy with walkers and cycles. I opted to sketch the lake side of it. On a day like Saturday the bike/pedestrian trail that passes through it is even busier than usual, crowded with people enjoying the sun. I sat on a rock beside the trail and did a panoramic view, putting in a couple of strolling people, to define scale.. 

As ever, this is the result of a sequence of a graphite sketch, watercolor painting, and ink accents and lines.  

Casein Still Life

"Studio Arrangement," casein on panel, 6x8, private collection

One of the joys of learning to make pictures is trying different mediums and methods.

Many artists routinely draw with graphite but a great many use other mediums like charcoal, ink, crayons of various kinds, and metal point (a rare one). 

Over the years my primary painting medium has been oil paint, but I've experimented with most other paint mediums, including acrylics, gouache, and watercolor (all water media) plus another relatively rare paint called casein. 

Casein paint is made using a casein-oil emulsion as the vehicle. Casein, of course, is milk protein and the oil it's emuslified with is usually linseed oil. When I use it I'm pleased with its opacity and handling. Like acrylics, casein dries very quickly. And also like acrylics, casein is waterproof after it dries. In fact casein was the choice for quick-drying paint until the advent of acrylic vehicles. 

The painting posted here served me a dual purpose. First, it gave me practice in setting up and making a still like painting. Second, it was an early, fairly experimental use of casein. The view is of my glass studio palette on a grey tabletop near a big studio window. The light seemed to spill over the sill and onto the arrangement at that time of day. The entire work was done alla prima. The multiple pieces of glass allowed exploration of the properties of glass--transparency, opacity, refraction, reflection and so on. 

Historical Building

The subject of this plein air watercolor is Hoyt Sherman Place, which is not only a historical building but also a long-serving art gallery and performance venue. The original building was built as the home of Hoyt Sherman, whose older brother was William T. Sherman, the famous Civil War general. Hoyt Sherman was an early settler who became deeply embedded in the political and social life of Des Moines. In the late 19th century he built a brick home northwest of downtown. In later years a large auditorium addition turned his private home into its current form. 

"Hoyt Sherman Place," wc/ink on paper

Last Saturday the sketch group decided to spend some time drawing or painting the grounds and site. I sat under an ancient tree and made this image. The auditorium addition is just visible on the right side; the left side is (mostly) the original house.  

As always, my approach is to make a graphite drawing with more or leas detail, trying very hard to capture perspective and proportion. After that I usually add watercolor, then ink touches or emphasis.  

Mug

"Mugshot (glasses)," oil on panel 16x12

Police mugshots are fascinating and often overlooked images. Some years ago I made a number of portraits based on mugshots, some of them of relatively famous criminals, some of unknown miscreants with memorable faces. The crimes of this particular person are now unknown because I've lost the source. Still, there is something in the face that seems maimed and enraged so my suspicion is that he was a violent person.