A cityscape that is really about the sky

A cityscape that is really about the sky

A short studio note on Golden Horizon, a textured abstract cityscape oil painting. It covers why the sky takes up most of the canvas, how the buildings stay simple, and where the piece fits on a wall.

A cityscape that is really about the sky

A short studio note on Golden Horizon, a textured abstract cityscape oil painting. It covers why the sky takes up most of the canvas, how the buildings stay simple, and where the piece fits on a wall.

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A wabi-sabi horseman, and why the gold stays put

A wabi-sabi horseman, and why the gold stays put

A short studio note on Golden Lasso, a textured wabi-sabi horseman oil painting. It covers why the figure is loose, how the narrow palette holds the painting together, and where the piece fits on a wall.

A wabi-sabi horseman, and why the gold stays put

A short studio note on Golden Lasso, a textured wabi-sabi horseman oil painting. It covers why the figure is loose, how the narrow palette holds the painting together, and where the piece fits on a wall.

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Why a birch forest is mostly paint, not tree

Why a birch forest is mostly paint, not tree

A short studio note on Blossoming Birch, a colorful impasto forest oil painting. It covers why the original is horizontal, how thick the impasto actually is, and where the painting fits on a wall.

Why a birch forest is mostly paint, not tree

A short studio note on Blossoming Birch, a colorful impasto forest oil painting. It covers why the original is horizontal, how thick the impasto actually is, and where the painting fits on a wall.

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Painting a mountain range without using much color

Painting a mountain range without using much color

A short studio note on Alpine Whispers, a textured white mountain oil painting. It covers how the palette knife did most of the work, why the snowline is the busiest part, and where the piece fits on a wall.

Painting a mountain range without using much color

A short studio note on Alpine Whispers, a textured white mountain oil painting. It covers how the palette knife did most of the work, why the snowline is the busiest part, and where the piece fits on a wall.

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A still life that refuses to sit still

A still life that refuses to sit still

A short studio note on Ethereal Feathers, a textured still life oil painting. It covers why the brushwork stays close-up, what happens when the feathers stop being feathers, and where the piece fits on a wall.

A still life that refuses to sit still

A short studio note on Ethereal Feathers, a textured still life oil painting. It covers why the brushwork stays close-up, what happens when the feathers stop being feathers, and where the piece fits on a wall.

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Three figures, an earth-toned palette, and a lot of impasto

Three figures, an earth-toned palette, and a lot of impasto

A short studio note on The Gentlemen's Accord, a textured abstract oil painting of three figures in earthy tones. It covers how the impasto is built up, why the palette stays narrow, and what kind of wall the painting needs.

Three figures, an earth-toned palette, and a lot of impasto

A short studio note on The Gentlemen's Accord, a textured abstract oil painting of three figures in earthy tones. It covers how the impasto is built up, why the palette stays narrow, and what kind of wall the painting needs.

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