After painting the sun you quickly notice how the sun bleeds over the entire landscape. Low morning fog or the molten heat at day’s end can amplify it. I show several examples of it below.

I start each session trying to capture the suns molten coral stage in paint, but it only lasts a few minutes, if that! Clearly a challenge I needed to resolve.  



15 Minute Sunrise # 87 painted June 28, 2009

This particular morning I was up early and ready for the challenge before me, the hot coral sun.

As you can see….red/orange and too much yellow….not there yet, but a secret she’s not going to keep much longer.
 
Notice the sun is not painted round, but with movement created by loose brush strokes.

My biggest problem still is not being able to get my colours bright and pure enough. Past tries including this one proved Cadmium red and Alizarin Crimson to be useless in this stage. I simply did not have the right pigments and this meant a trip to the art store.



15 Minute Sunrise # 88 painted June 28, 2009

During the same session I made a quick decision to jump ship and started another panel. The sun suddenly became an intense yellow with the surrounding atmosphere a warm liquid creamy gray.

This painting, one of my favorites is also a good example of how the sun bleeds into the sky and landscape.

Notice the dramatic change 15 minutes made between #87 to #88 and again the sun is not painted round, but irregular which seems to have movement.

I also made my trip to the art store, I found a couple possibilities in Holbein - HOC H212 Scarlet Lake and Williamsburg handmade Fanchon Red or Rouge Vermillion.

As it turned out the Scarlet Lake was the more useful. I liked the saturation of both colours and will eventually replace all my colours with high saturation handmade pigments. Until I started painting the sun I was happy camper with my pigments.

It would be several weeks before another opportunity at the coral sun.



15 Minute Sunrise #107 painted July 12, 2009

I tried my new Scarlet Lake colour on a panel previously washed with cadmium yellow deep. 

One of my earlier thoughts was maybe undercoating would be the answer, but once I started I thought the washed pre-toned panel was a mistake and I still do.

It has merit and certainly worked, but I might leave the sun area brilliant white, because of its reflective value especially when using mediums such as Gamblin Neo Megilp with transparent pigments.  

I’m much closer with this painting and at some level I accomplished my goal. I finally found my missing colour and Alizarin Crimson was back in play. My new colour, Scarlet Lake did not turn to mud and because of its saturation, very dominate over other pigments.

I prefer painting on a brilliant white surface. The toning diluted the purity of my pigments, especially at this stage of the sun.



Photo taken July 14, 2009 (several days later)

I recently purchased a UV filter for my camera. Even with the UV lens a direct shot of the coral stage still made the sun appear white hot with a red ring as in my photo. I improved the shot by using the trees as an additional filter.

I’m glad I did because it showed the bleeding suns reflection on my foreground trees. The camera doesn’t record many of the details we easily see with our naked eye. This is also one the elements typically missing in most sun paintings.

The suns colour in fact bleeds throughout the entire landscape and it’s much more saturated than you would expect.

Several examples studio paintings of the suns coral stage using Scarlet Lake



Libby Terrace Sunset #123 painted 8/3/2009 from a photo reference and recent memory of the previous evening painting en Plein Air. The haze helped filter the sun making it more visible and much easier to view with the naked eye.

The Last 15 Minutes #183 – started 12/08/2009 – completed 12/10/2009

The setting is one of my favorite views of the James River from the Western tip of Belle Isle. Painted at the end of 2009, I finally capture the first minutes of the bleeding coral sun painted back in July



Detail of # 183

In conclusion, I dramatically improved my painting, advanced my understanding of colour and especially my observation skills. All this was accomplished in a very short period of time painting the sun. In all fairness I started with the ability to paint and an innate understanding of Colour.

When asked, I now tell every aspiring artist….paint the sun! It was my best art lesson ever!! I’m not sure you can teach someone to paint, as you can see and know, it’s very complex in nature.

I do think you can encourage, make suggestions, but they have to develop on their own, some will struggle and some won’t. It helps to be a self starter with a positive attitude, because it takes discipline with or without talent.

I’ll continue painting and studying the sun because I know it will always show me something new and interesting to paint.

Because of this series I also realized doing a warm up study at the beginning of each and every day has much the same benefits as painting en Plein air. Develops great discipline, keeps you creatively fresh and eventually painting becomes second nature. 

Missing many great moments, I’m now more prepared. The last few sessions I started doing quick back to back 8x10 panels. At most my studies are 10 minutes apart and more controlled as opposed to the more chaotic brushwork at the beginning. I’ve become comfortable with the process, but regardless I’m still chasing the sun. 

  

 My tenth 15 Minute Sunrise #84 painted June 29, 2009

It was overcast on a cool early morning, but nice, the sun was peeking through the misty field. My kind of day!

What appears to be the sun is really a reflection. The sun was behind the low cloud cover and may not have risen yet. In some respects I have two different time frames. The foreground seems more in line with the suns cadmium stage. This wouldn’t surprise me at all, given I’m chasing a moving target.    

The suns reflection under the mist on my foreground field is vivid and very difficult to capture. The surrounding tones, always much deeper than I think, making it darker helps, but you have no time to think about it. Sooner or later you eventually make the adjustment.

 Most of the times you think you’re working with mud and no colour is bright enough, but once you get back in normal lighting it comes together.  

  My eleventh 15 Minute Sunrise # 85 and second of (2) 8x10 panels painted 6/27/2009

 As the sun moves to its cadmium stage the game changes rapidly from a cool tonal value to this lush colouring. Not the first time I’ve experienced it, but the first time I was able to paint it en Plein Air.

 Never ceases to amaze me the amount of yellow it takes.

 I think these two paintings demonstrate the value of painting the sun. I can’t think of any other subject that even comes close to the lessons learned – you have no time, no second chance it’s just you and the sun…….  

 I always think.... I didn't get it....nuts….lost it....oh well - keep going nothing to lose....once I go through that process.....I get it :=)

 Don’t forget, I’m still chasing the molten coral sun which started the whole thing so this game isn’t over yet!

My last 15 Minute sunrise #67 was one of those light shows you take notice of. The colour intensity and saturation almost unreal and changing extremely fast. Originally it was about capturing the molten sun, now the landscape would be as equally important.
  
This morning would also confirm a pivotal point in my painting. I would shift from painting almost exclusively en Plein Air to my studio and commingled the two. En Plein Air,clearly is something I enjoyed doing, but it would no longer be my main focus, simply a tool in my paint box.

My sixth 15 Minute Sunrise # 76 - Painted 6/23/09 around 6:30 am

This morning I focused more on the distant sun and landscape beyond the tree line, basically an old abandoned farmer’s field. If we have dew on the ground the sun’s rays will reflect off it creating stunning atmospheric conditions. This was such a morning.  
We  also have a  large pond just under the sun, which I can't see from were I'm painting, but I can from my studio window just behind me. The morning mist off the waters surface amplifies the suns effects.

Normally I start with the sun but this time I focused on the field and left the sun for later so the colouring of #76 represents a very early stage. As the sun rapidly rose and moved into it's cadmium yellow deep stage, I found myself observing the scene before me more than trying to capture it with paint. The moment passed so I moved into my studio and immediately painted two back to back 11x14 panels - #77 & #78. It was important to capture something I saw, but didn’t have time to paint.

Painting #77 - painted 6/23/2009 in studio

I was close on this one, not as intense or saturated as I wanted. I also used one of my Byrd Park lake photos as my setting ......Still fresh in my mind I choose to do another panel.

 
Painting #78 - painted 6/23/2009 in studio

#78 was spot on to what I saw painting en Plein Air earlier this morning. I got the intense yellow reflecting on the farmers’ field and peeking through the heavy ground fog caused from the pond right below my cadmium sun.
Note: This was a very detail focused view.  The outer surrounding areas would fad out to normal landscape colouring.  The sky above would be pale cobalt blue

 After 70 or so en plein air panels I decided  most of mine,  while charming were not worthy of wall space, nor the quality I wanted in my work....however they were exceptional learning tools!!!

 I like loose efficient brush work and  natures purity of colour, clearly visible in my studies. The real trick would be pulling off larger formats in the studio.

The warm up study for me really started some time ago when I started my 15 minute sunrise series back in 5/23/09. I did about 30 panels over 6 month period, most from the same location in my back garden.
Still almost painting exclusively en Plein air, this particular event would change everything and be what I now considered my most important art lesson ever.



  My first 15 Minute Sunrise # 45 - 8x10 Painted en Plein Air 5/23/09

I started late and wasn’t prepared so…I ended up with little time, hence the name 15 Minute Sunrise. The object was to catch the intensity of the sun. The problem, it’s difficult to get the colour values right around the sun so it will pop. You have a tendency to make it much too light, mostly because the sun alters your colour perception.

ONE HOUR OF MY TIME COLLECTION

 

Photo from my studio window at the start of my warm up study yesterday morning 1/8/2010
I especially liked how the deep cadmium yellow glow was reflecting off the fresh snow. I also like how the foreground dogwood became equally important as the sun.  

My second photo and typically what I’m after.
The suns intense bleed around the trees making the tree trunks invisible




8x10 oil study # 214 - painted from life 1/8/2010 

My study, as it turned out was not much different to the first glow photo, than the second I was after, nor did I get the foreground dogwood. While painting I became more interested in the suns glow on the snow to the left side fields’, a soft clean cadmium yellow highlight

The cadmium yellow sun was painted first including a large part of the sky and foreground. Once I had my trees layered in, it became obvious I didn't get the sun bright or intense enough. I chose not to do anything more to the sun and opted more for a colour chip instead to be used later.  The primary colour used was cadmium yellow deep.

I have enough to produce a nice studio painting from my photo references and warm up study. My easel is ready for a new one and I am too!!

ONE HOUR OF MY TIME COLLECTION


8x10 Warm up study - painted 1/6/2010 -  London Tower Bridge # 212 
See other studies in collection and painting of the day on my home page
 

I frequently use the sun as my model. I see it from my studio window and today was no exception. It was an especially nice sunrise too.  

I've been thinking a lot lately about my London series, but as it stands, I’m in the 4^th day of my current easel painting. Historically, I never do another painting until my current is complete and signed off, until now……

My new series “One Hour of My Time” allows me a great opportunity to use my creative time painting studies of London at the same time……how cool is that!

I used a photo reference for the bridge. The sun and sky was painted as I saw it from my window. I covered the complete panel as if it were all sky, at the same time my tonal base was established. I added the bridged, water shadows, finally a few highlights and details like the birds.  

Today was a good day indeed. I got to work on both London and my studio painting.

ONE HOUR OF MY TIME COLLECTION 

 2010 I’m devoting one fresh hour every morning painting at least one 8x10 warm up study, before starting my daily routine as an artist.  

 Why would this be one of my goals? Practice comes to mind, but it’s really about a little creative time before returning to larger more time consuming works still on the easel.

 The purpose for me is purely creative in nature, but for someone like my artist buddy, a part time painter with a professional goal, it would also be beneficial.

 Committing one simple hour to your art comes hell or high water. Hard to find when working, certainly tired and beat at days end.

 Maybe the solution is getting up earlier so you can give your first fresh hour to art, as I do.  If you’re serious and dedicated you’ll find it!

 I would spend my hour practicing my intended craft. Creative thought has a time frame so I would keep it simple and start fresh each day.

 The quality is not as important as the doing...which will certainly improve.

 I can tell you from my own experience the benefits will be monumental, developing discipline, quality and finally achieving your goal.

2009 went like a fast wind, but here we are with a new year, a fresh start and bunches of new goals.

For me as an artist, all my 2009 goals were met and exceeded....how cool.....or maybe they were just too easy. Looking around at others trying to reach similar lofty places with our art, I don't think some of my goals were easy. I never thought I couldn't, I just started with a plan at the beginning  and jumped in. Looking back, the plan was one of the most import things I did at the front end. It's much easier to hit a home run when you've set a target.  

March of 2009 I reopened my paint box after a very long absence. Why was it closed? Thirty years ago I made a serious choice and gave my sole attention to  my design career.  Good choice on my part, I was doing well as an artist, but I liked design more. Now my sole attention is on being an artist again. I take it as seriously as I did design. The only question... as a social pleasure painter or as a professional career?  That was easy...I wanted to play with the big boys!

I set a 15 year goal to become known and represented internationally as an artist. To do this I had to develop good marketable and consistent works of art galleries would be interested in and buyers would want hanging on their best walls.  I also knew I had to join artist organizations, enter competitions and win some awards, in other words join the art community, read everything I could and most important, know and study my competition...all you other artist out there....love you all but..........

Mind you, I'm only in  my first 9 months of my 15 year plan....haven't reached the finish line yet...not even close, but I've made some serious progress. 

I applied and was accepted by OPA as an associate member, submitted and accepted for the OPA 2009 Eastern Regional exhibit held at the Corse Gallery and Atelier in Jacksonville, Florida...I was happy just to to be a member, one of my 2009 goals. It will take a while, but  I want to be a signature member...I want the OPA after my name.

Side note: I was just happy to be in the OPA exhibit and I didn't care if my painting sold or not, but it does cost money. In the end you don't want it coming back. Art is bought and sold regionally, fact of life. Someone in Florida doesn't necessarily want a painting of the Richmond skyline. Well  my painting is coming back, when submitting to the various competitions it's very important to consider were the host gallery and it's buying public is located...my first lesson....price it right and paint regionally or generic for the event. I won't make that mistake again!

Another of my 2009 goals was a first class web site or a platform, virtual studio, a place to show my wares. I found Fine Arts Studio online off another artists site and followed the trail. That was one of the best moves I made very early in the game. It's been invaluable on so many levels. My favorite, the art competition because they handle some of the best, the competition is stiff and it's a great informational tool, just follow the links!!

Next I wanted to make contacts with others, I joined a few blogs and art related sites and met a few people, which led to some unexpected results. One of those was submitting 3 of my Venice paintings for the WH. Patterson's annual  2010 exhibit Venice in Peril opening this month in London, they accepted two of the three paintings. It would have never happened if  I had not made some international art friends and because of one I got interested in Venice and started a series that ended up as a collection and then got an unexpected bonus...now that is very cool indeed!

Last, but not least,  I needed to paint marketable paintings by years end, that meant getting back in good painterly form, developing paintings and being consistent. Learning what I had forgotten or maybe never knew. I had a secrete weapon as a Designer, I had a good idea what the buying public might want on their walls. I like to paint, but I want to paint paintings people will want on their best walls, not my attic! 

I started with en Plein Air straight out of the gate, I actually thought in the early months it would be my main stay, but about 60 panels in I realized they were valuable,  but only to me and what I learnt while doing it. Some were good, but most had flaws or were simply too small....the nature of en Plein Air. Slowly I moved back into the studio  and went out only to study a specific subject, like the James river rapids or my favorite the first 15 minutes of the sun....incredibly valuable. It changed my direction and what I would paint going forward. 

2009 I was able to establish my foundation for my art career, it would not have happen if I had not put a plan with some goals together at the start and finally committing the time and effort required.  It's very difficult to do this part time and make any real progress....   
    

10x8 Oil on linen panel - painted from life 12/21/09 started 7:30 AM and completed 8:30 AM

Like I said, I needed to add burnt sienna back into my palette and it really was the answer, I found my new winter palette worked with a very limited number of colours. 
I changed my approach from a mid tone block out and stated with the sun and sky, the brighter and lighter colours. My reason, the sun was behind the tree line.
Once I had the sun worked out,  I added my dark trees over my wet sun and sky. This gave me a nice variety of tones and my sun started to pop because of the contrasting trees made up of Sienna and ultramarine. The sun was reflecting on the snow so added cadmium yellow deep and scarlet lake to warm my snow up a bit. I also used some cerulean blue in my snow, mostly to contrast against the warmer grey blue tones.  My white highlights had a touch of cad yellow deep.  

Hint: I use mineral spirits to remove excess paint to the bare canvas to beef up my highlights. I can add clean or pure colour back in with a minimum of over blending. In this painting I only did it at the sun, but I could have also used this very effectively on my snow, especially the sun's reflection!
It can also be done over very wet paint with Neo Megilp medium and a soft brush, but you only get one stoke to accomplish your goal.

My favorite part is my white Birch tree.