Parker's Firetruck

Parker's Firetruck, oil on canvas, 24x30

Commissioned for Ashley Sanford

Cigar Painting for Dad

Cigar, oil on canvas 11x14

Parker's Firetruck

The reason there was a recent increase of Alabama natives to the fabulous city of Bozeman, Montana stems from Ashley Coogan Sanford. If she had not moved here nearly ten years ago with her husband, my dear friend Kelly wouldn't of moved here, and neither would the troops that followed. When she commissioned me to do a painting for her son, Parker, I didn't hestitate. Between the delicous dinners, precious babies, and the peace of mind knowing I have a great friend and role model just down the road, I couldn't wait to get started.

I began by sketching out the shape and composition of the truck. The sky and ground were blocked in. I blocked in the truck body with a mix of alizarin and cad red light. I began to shape the truck with highlights and shadows. After a day to dry, I focused on the composition of the truck. I adjusted the front grate because something was off about it and driving me crazy. I added more darks towards the back of the truck to add more definition and shape.

Continuing to adjust the composition, I reshaped the hood and windshield.

To finish the painting I added shadows and highlights and a few more details. Parker's birthday was just a few days away so I had to hurry!

Fishin'

Marlin painting for my Dad.

There is a thin line between a fisherman and an idiot in the middle of the river.

Flower Still Lifes

Poppies for Mary Keeley

Dogwood, oil on canvas 18x24

Dogwood Progression

Background was painted and allowed to dry to the touch. The basic layout of the branches was outlined with thinned yellow ochre. The branches were shaped by blocking in colors, then using the 'magic' brush (fan brush) to lightly blend. Values and light and shadow are important to keep in mind.

Value Study

Limes, oil on linen 11x14

Apple, oil on canvas 11x14

Pear, oil on cavas 16x20

Bridger Mountains

Bridger Mountains

oil on linen, 12x16

Mountain painting progression

I had my easel set up in my apartment, next to a large window and beautiful views of the Bridger Mountain Range. For a friends' birthday, I decided to paint a snowy mountain. I had never painted a mountain before, and snow was also new for me.

The painting started with an idea of how the mountains should be shaped. I blocked in the sky and the mountains in the foreground. Knowing that my light source came from the left, I was able to shape the mountains and ridges by implying shadows and light reflections.

I allowed the sky and foreground mountains to dry for a day, then began working with the snow covered mountains. Again, I implied slopes and ridges using light and shadow. This look was best achieved by painting the darks where the shadow should lie, then white on the lit areas. Using a dry brush and a U-shaped sweeping motion, the contrasting colors were lightly blended.

After all of the mountains had been shaped and had a day to dry, I added touches of dark and lights in the snow covered mountains to implicate details. I also added touches of yellow, blues and alizarin crimson to suggest the reflection of the blue sky and sun. White was added to the mountains in the foreground, and a dry brush was used to feather out the white.

Before the painting was finished, I darkened the sky using a Phthalo Blue mixture, which ended up contrasting nicely with the mountains. The sky before was too light and pale.

Sunset

Oil on linen, 16x20