A Painting A Day by Laura Wambsgans

"Winter Rose" ©

2008-11-20T21:17:00.001-08:00

Walking past the row of roses that lines the dirt driveway, this beauty caught my eye. I was packing for a run up to the Sierra's to paint before the holidays consume me. Throwing caution to the wind, I played in the paint and had fun painting all of the shades of this lovely winter rose.

Oil on panel, 5" X 7"

I'll be off line until Monday, there are no phones or Internet access in the woods, thank goodness.

"Storm Clouds" ©

2008-11-18T21:55:00.001-08:00

Wetcanvas.com offers a reference library for artists. An image from that library was the inspiration for this little warm up (before painting on the ducks) today. It's my "rain dance", maybe my focused exercise painting storm clouds will bring rain to our burning lands.

Oil on panel, 5" X 7"

"Placerita Canyon Fire" ©

2008-11-17T21:10:00.001-08:00

When plein air painting you arrive at a location and look for something that attracts your interest. You want a little story, a concept to develop upon your canvas. Today my painting buddy Lorelle and I went to a location at the top of Saugus, on a cliff overlooking the backside of the San Gabriel mountain range. I debated with myself over what to paint, the fires have been so devastating, yet they are hypnotic in their beauty. Do you paint the "elephant" in the living room or ignore it as if it doesn't exist. I went ahead painting the fire, my elephant. (Then I came home to work on the "Ducks".)

Oil on linen panel, 8" X 10"

"Laguna Canyon" ©

2008-11-16T20:43:00.001-08:00

John Cosby Workshop Day 5 - This morning Cosby quickly demonstrated painting a tree, using large interesting shapes, capturing the personality of the tree. Then all 15 of us fanned out to locations within the Laguna Canyon park that sits a 1/4 mile from Cosby's studio. After the morning of painting we all went back to his studio for a critique. Not the typical critique, Cosby explained how to critique your own work and with each painting explained how the painting could possibly be improved. Everyone left feeling positive about their week long efforts. In fact there was a tearful group hug at the end, a tribe had been formed. Here are a few of the reoccurring themes of the critique: Watch for predictability, vary the shapes and create randomness. Make sure your trees are grounded with some dark. Avoid sharp contrasts near the edges of the canvas, Interrupt repetition. Small jumps in value creates the feeling of air. Subdue one area of the painting to streighten another areal. Provide an area of rest. Make sure the sky matches the light in the painting. Does the painting convince you of a story? Finally Cosby must have said 20 times, you have to give a little to get a little. I would highly reccommend John Cosby to any painter that is looking to improve. He is one of those instructors that can identifiy your level and weaknesses quickly and offer a path to improving your work, all in postive notes. He has so much to offer, I look forward to the next workshop that I am able to attend.

Oil on Linen panel, 11" X 14"

"Laguna Coast" ©

2008-11-14T07:40:00.000-08:00

Day 4 John Cosby Workshop - Listening to Cosby speak, sparks pop off in my mind of an idea surfacing and becoming fully illuminated. As an example today the discussion was on creating distance in your painting. Here is the gem: When a structure (tree, pole etc.) that is close to the viewer passes over the distant mountain, soften the edge of the mountain on either side of the structure. Almost to the point of obliterating the edge. Cosby demonstrated this on his painting and the increased feeling of depth was ten fold. Gems are flowing constantly from Cosby, here is one more, simple but amazing true. If you are seeing a problem in your painting, solving the problem area directly isn't always the best solution, sometimes it's better to change something else that relates to the problem. The demonstration for this was Cosby felt his clouds were too green. Instead of changing the cloud color, Cosby put some additional green in the palm tree up in the clouds and that solved the green cloud problem. A real TA-DAA moment.

Oil on Linen panel, 8" X 10"

"Montage Ocean View" ©

2008-11-13T08:23:00.000-08:00

Day 3 John Cosby Workshop - Today Cosby discussed aireal perspective and using color rather then value to describe a form. To give us the visual tool Cosby demonstrated a "glare" painting. He painted looking right into the sun, standing to the side of his easel, so that we could see each step. Because of the glare the distant bluffs stepped back in the distance clearly allowing Cosby to really play up on the aireal perspective. John Cosby is constantly talking, allowing us to hear his thought process in making each decision. Watching his brush work today was thrilling. Cosby would lay the filbert down, then roll the brush, pulling gently creating the most beautiful strokes of lemon white, that told the story of the glare. One of the most interesting lessons was Cosby's discussion on artists using camera images to paint from vs. painting from life. He explained that the camera has one lense, humans have two. People don't really see what is in our peripheral vision, unlike the camera. If we paint as people see, the painting will be stronger. After Cosby finished his morning demonstration we all set up and painted from the cliff in front of the Montage Hotel, until the sun set in the Pacific Ocean, another day in paradise.

Oil on Linen panel, 11" X 14"

"Hiesler Park, South" ©

2008-11-12T07:20:00.000-08:00

Day 2 John Cosby Workshop -

Today Cosby started with a demo on composition. What was most interesting was his discussion on leading the eye of the viewer without being obvious. To punctuation his point he lead us through the William Wendt exhibit at the Laguna Museum, picking examples that clearly demonstrated lovely S compositions that actually worked as a circle too, so that the viewers attention never left the canvas. Cosby suggested that all of us read "Composition To Outdoor Painting", by Edgar Payne at least once a year. He explained that each reading you will discover new information that will help us all on the journey to understanding of how to paint. Cosby demonstrated a painting from on the path overlooking the ocean, and spent time reinforcing the concepts from Monday, along with a "palm tree" lesson. The one line about trees that was most enlightening was, to paint the growth pattern. Simple as it sounds, if you move your brush as any plant life grows your painting will already be headed in the right direction. We saw great examples of this in the Wendt exhibit. One last comment, the William Wendt exhibit is breathtaking, if you have the opportunity GO.

Oil on panel, 9" X 12"

"Hiesler Park, Laguna Beach" ©

2008-11-11T07:31:00.001-08:00

Day One, John Cosby Workshop-

Cosby teaches a limited palette, 3 pile of paint method. The result is a very fast way to identify, shift and control the temperature quickly. For plein air painting it's magic. He has spent years finding just the right primary colors, Cadmium Lemon Yellow, Chinese Vermilion and Ultra Maine Blue. The only addition to these is a Titanium/Zinc White. Starting out we mixed 3 piles of the main mass area in the general value, without putting a brush to the panel. I liked this time of mixing to glance at my subject and get familiar slowly, rather then diving in as usual. Next we massed in thinly the main areas, in my case the sand, water and cliff. Finding the focal point and completely working it out was the next step. Then within the large masses we were looking for connections, areas to create interest and always a way to lead the eye to the focal point. And finally a few finishing details of light and dark. The best lesson I gained from the first day was to hold back my darkest dark and lightest light until the very end of the painting, keeping the values toward the middle range. The gift of this waiting, allows the painter to add tiny highlights that really sing and nice deep darks that give a big punch.

Oil on panel, 8" X 10"

"Canyon Rocks" ©

2008-11-06T20:49:00.001-08:00

This weekend I am headed to Laguna Beach to attend a week long painting workshop with John Cosby (http://www.johncosby.com/). 2 years ago, unsure and with trepidation I took the same workshop. John was one of those instructors that manages to put concepts clearly and simply, answering every question patiently. I learned and grew from the experience and now I feel ready to hear it all again, adding to what I have been able to practice the last couple of years, I hope to be able to absorb even more. I don't know about blogging from Laguna, hotels connections are improving but you never know. My hope is to blog the workshop. Leaving the ducks on the easel, so close to finishing is difficult but I know coming back to them fresh will allow me to continue painting better then ever. AND yes Marian my friend, I will post the ducks, when they are totally gorgeous.

"Calm Waters" ©

2008-11-04T22:18:00.001-08:00

Missing the process of blogging, habits are tough to break, I decided to take a quick break from the duck family painting and painted "calm waters". The ducks are really coming along, and I am thoroughly enjoying the large canvas, 30" X 40". I have been painting 10 hours a day and the time flies by at warp speed.

Oil on linen, 12" X 16"

"Distant Oaks" ©

2008-10-29T14:02:00.001-07:00

It's been said that if an artist likes one inch of their painting they are lucky. Today I am lucky with the tiny area where the smaller Oak tree meets the distant hill on the left. That little bit (1/2"), in person, is lovely.

Oil on Panel, 5" X 7"

Personal note, on my easel is a 30" X 40" commissioned canvas, I really need to keep my head in this important painting. I'll post now and then but until this piece is done, no promises.

"Barn At Sea Ranch" ©

2008-10-28T21:31:00.001-07:00

This barn is barely standing, above the Pacific Ocean near Mendocino. "Sea Ranch" could be described as a hide away. It's a very quite inn, offering exquisite food and miles of paths that cross the bluffs above the sea. A dream would be to have a week to paint the ranch day and night, soaking up the quiet.

Oil on canvas, 6" X 8"

"Backlit Brush" ©

2008-10-27T21:39:00.000-07:00

During my early morning walk down the canyon I saw these dry bushes glowing. All the brush is so dry now, at the end of 6 long hot months, you can almost hear the plants calling to the clouds.

Oil on panel, 5" X 7"

"Frazier Park Sunset" ©

2008-10-26T16:55:00.000-07:00

It's cold, windy, dry and desolate feeling, yet gorgeous dressed in fall colors. I met up with friends in Frazier Park and found this view hard to resist.

Oil on canvas, 20" X 24"

"Tolley Workshop"

2008-10-23T23:09:00.001-07:00

Elizabeth "Libby" Tolley taught a class today in Pasadena at the Learning and Product Expo, all the artists in attendance had the chance to paint this scene. After Libby's demo, we each went to a spot at a table that had, paint, a panel, brushes, Gamsol, Galkyd and a photo card with one of her paintings on it. Our job was to use her technique of laying in the painting in transparents and slowly building up to thicker opaque paint, painting from her card. Libby was delightful, full of energy and answered all the questions thrown her way. Her main points were to think value, temperature, interesting shapes and what are you the artist is trying to say with your painting. Recently Libby's first book on painting was published, encompassing her complete process, all the questions students have asked her and everything she has learned from her mentors. I would recommend it for every artists library, "Oil Painter's Solution Book, Landscapes", published by North Light Books. If you ever get the chance to paint with Libby, go for it! To see paintings by Libby, go to www.elizabethtolley.com

"Laguna Palms" ©

2008-10-21T15:33:00.000-07:00

Tonight is the California Art Club/South Pasadena Chamber of Commerce "Rialto Visions" exhibit, collectors circle preview. A bunch of bloggers are in the show, Sharon Weaver, Karen Winters and Marian Fortunati. There may be more, which is part of the fun at these events, figuring out who's who. I have seen the paintings, all featuring historic landmarks of South Pasadena and it's a room full of gems. I am so fortunate to be hanging with this group. Meanwhile today, in between framing, the insurance photographer and sanding an orange alabaster I painted "Laguna Palms".

Oil on Panel, 5" X 7"

"Pacific Sunset" ©

2008-10-20T21:32:00.001-07:00

Recently I was asked what are the advantages of blogging small paintings? This painting is a perfect example of one of the benefits, allowing me to experiment with a Gamblin medium, Neo Megilpm without investing a ton of time or materials. Clouds seemed like a good subject to make use of the silky consistency that the Neo Megilp gives the paint. In a couple of weeks I'll be down in Laguna Beach painting in John Cosby's workshop, so today I practiced a "Pacific Sunset".

Oil on panel, 5" X 7"

"Vasquez Rock View" ©

2008-10-19T21:57:00.000-07:00

Nine artists met at Vasquez Rocks, site of Star Trek filming and early 1900's bank robbers hideout. It was the Santa Clarita Artists Plein Air event for the month, with yours truly as the ring leader. Actually I just arrange the date, upon arrival the artists drift out into the wilderness following their own mojo. I painting happily, till shivering I had 10 minutes till the ranger pad locked the gate for the night.

Oil on panel, 8" X 10"

2008-10-17T18:40:00.001-07:00

A couple of days ago Tammy Marashlian, a staff writer for The Signal newspaper emailed, interest in writing a story on "Chasing Open Spaces III", an exhibit that is hanging at the Canyon Theatre Guild Hallway Gallery. Today, we met with Lorelle Miller, another participating artist, telling Tammy all we could about the project. Then we walked down the road a bit to an open field and spent the next couple of hours painting while she watched and Francisca, the staff photographer took photos. Lorelle and I throughly enjoyed our time painting, just like kids playing their favorite game, I hope that Tammy and Francisca enjoyed their afternoon too. It's not very often that people watch us paint.

Oil on panel, 8" X 10"

2008-10-16T20:21:00.000-07:00

This morning I headed out to Eaton Canyon to meet up with the Thursday Morning Irregulars to paint. I have missed their friendship and good humor more then I realized, it's been a while since I have been able to participate. I am including two photographs, the photo on the bottom is inaccurate with light catching the paint and washed out darks, the photo on the top is what the painting looks like sitting on my studio easel and is more accurate. This is a very clear example of how the photography can kill a painting.

Oil on Linen, 8" X 10"

2008-10-14T21:02:00.000-07:00

In the heart of the South Pasadena Mission District the old Meridian Iron Works building faces the 1907 Watering Trough-Wayside Station. The little rock structure was built as a spot for travelers to rest and water their horses. The whole area is a gathering spot now for locals to sip coffee, shop and walk their dogs.

Oil on canvas, 9" X 12"

2008-10-13T21:54:00.000-07:00

For those of you who know the Frazier Park exit off the 5 freeway, this is the view at the little bridge behind the Jack In The Box, looking toward the Tejon Ranch. As far as painting it's cold and windy, the rewards are the hues of fall, full of gold.

Oil on panel, 5" X 7"

$110.00, unframed, shipped U.S.

To Make A Purchase Inquiry from Laura

2008-10-09T22:48:00.000-07:00

Driving up the narrow road to May Lake this little creek shadows you, meandering near and far. I knew at once that someday I wanted to paint the rocks and fallen logs, today was the day.

Oil on Linen, 12" X 16"

2008-10-08T17:43:00.000-07:00

What can I say? It's ALL about the ears....

Oil on Linen, 8" X 10"

2008-10-06T23:00:00.001-07:00

Today driving past the Cottonwood trees in the Santa Clara Riverbed, I remembered the Aspens of Colorado, standing tall along the trails. Here is my version of "Aspens In Fall".

Oil on panel, 5" X 7"

A Painting A Day by Laura Wambsgans

"Winter Rose" ©

"Storm Clouds" ©

"Placerita Canyon Fire" ©

"Laguna Canyon" ©

"Laguna Coast" ©

"Montage Ocean View" ©

"Hiesler Park, South" ©

"Hiesler Park, Laguna Beach" ©

"Canyon Rocks" ©

"Calm Waters" ©

"Distant Oaks" ©

"Barn At Sea Ranch" ©

"Backlit Brush" ©

"Frazier Park Sunset" ©

"Tolley Workshop"

"Laguna Palms" ©

"Pacific Sunset" ©

"Vasquez Rock View" ©

"Little Trailer" ©

"Eaton Canyon Sycamore" ©

"Meridian Iron Works" ©

"Fraizer Park View" ©

"May Lake Creek" ©

"It's All About The Ears" ©

"Aspens In Fall" ©