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Painting en plein air

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5x7, water mixable oil on linen panel, 10/23/15 The clouds have been unbelievable lately here in Utah--so big and billowy. Whenever I go outside, I have this urge to paint! But I'm not a landscape painter (yet)... not that I wouldn't like to be. I'd like to be able to paint whatever I want :) However, I used to have this idea that I just couldn't paint landscapes (after a couple of miserable failed attempts).  But now I'm thinking, "Why not?" I'm sure I can learn how with some practice, and I do want to. I'm finding lately (especially since starting this blog and recording some of my thoughts as I go along), that I have this constant inner dialogue regarding my art. There's always a voice saying "you're not any good and you might as well not bother." I don't like that voice. And since I'm more aware of it, I'm becoming more effective and pushing it away. Who really cares if I'm not any good anyway? No on...
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Eye of David in progress

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Horrible photo quality here, but this is my current cast project in progress. It feels like I'm getting close to the finish, but I need to address the entire drawing, paying special attention to turning the form and giving it a "sculptural" quality. So more specific information as to how the forms turn away/toward the light. The shapes/impression are there. I've heard some people say that they love finishing--it's the funnest part for them. For me, it's the most grueling. I think I see more impressionistically, so finishing is just really difficult and tedious. Starting's the fun part for me.
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Another progress post

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I've been working on this little painting copy the past few days when I get a chance. If you know much about current artists, I'm sure you recognize this one immediately ;) My copy isn't perfect--the drawing's a little off here and there, and goodness, I'm having a hard time matching the greenish hues in his grays--I want to make everything more warm. But I'm learning so much copying this. There's something very different about gazing at a painting with the intent of recreating the effect and then actually trying to do it, versus just gazing at a painting. He is very careful about the temperature of each brushstroke--it's a constant play between warm and cool, muted and more saturated (though really, almost everything is so beautifully muted to a degree). Also, there are very few flat color shapes. It's as though each brush of paint is half-mixed, creating so much variety within what would appear to be very small, simple shapes. I also love ...
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