Cityscape #10

In all my paintings I break the darks into 3 different shapes.  I try to make all the shapes uniquely different in size and shape.  And from that formula an image appears.

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Cityscape #9

I take almost all of my photo references in the summer.  I like to wait until late afternoon when the sun is just starting to go down.  The low angle of the sun along with the tall buildings create some interesting shadows on the street.

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Trains and Buildings

I like to paint in mostly subdued colors.  To keep the colors from being too dull I mix a very rich brown with a phalo blue.  This painting is done basically with the just those two colors and small hint of red.

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Coming and Going #45

I work on four or five different series of paintings.  For example, this painting is part of a series of people crossing the street called "Coming and Going."  I am up to number forty-five from when I started about 2 years ago.  The struggle is trying not to get bored with the same subject matter.  Or, try to find a different perspective when you do the same subject.

Cityscape #2

The top painting is the large version(24 x 30)  and the bottom painting is the smaller work (12 x 16).  I did the smaller work about 3 or 4 months ago.  I liked the way it looked and decided to do the larger version of it.  I don't know how many people work this way, doing small scale versions before doing larger versions, but it is more economical for me.  I don't how many times in the past I set out to do a large painting which I thought would be great. I spent a lot of time and money on it.  But it didn't turn out as good as I thought it would.  

Clark Street Bridge

I try to do a cityscape painting in about 1 out of every 3 works.  In these cityscape paintings I want it to be absent of any people.  Painting architecture was a struggle for me early on.  I found it difficult to keep the looseness while doing strict geometric shapes.

Beach #7

Once I read that genre paintings should be small in size.  They are like a small slice of life that you discover.  In this particular painting, the subject  isn't aware of the viewer.  Almost as if you walked up and discovered this scene.