INDUSTRIAL ART

BIG RED (oil on canvas board 12x16)
The first five paintings were exhibited at Just Looking Gallery in San Luis Obispo, Ca. The show featured Urban Landscapes by William Wray. Wray is a highly regarded Urban Impressionist. The gallery had invited a few of the local artists to take part in the show.
I was in Santa Maria one day and was lucky to find the old engine barn opened and was able to take some photos These first two paintings were done from those photos. I liked the way the light from the windows reflected off the hood of the faded old truck.


PORTABLE GENERATOR (oil on canvas panel 12x16)
Well I think it is a generator. The gray tube on top is an exhaust with muffler, and the square on the back is a radiator. The trailer is attached to the back of Big Red. I liked the composition with the little yellow trailer against the dark interior of the engine barn.


TANDEM ENGINES (oil on canvas panel 11x14)
These engines and flat cars were in front of the San Luis Obipo railroad station. Nothing like a punch of yellow to attract the eye. I was painting this en plein air and a man came by and asked if I was going to get the water tank in the painting. It's just above the engine and I was told it is an octagon tank and a rare relic. I had to work on the two palm trees to get them to appear separated from the background trees.


GRAFFITIED TANKER (oil on canvas panel 12x16)
This tanker was in Santa Maria Ca. I thought the painting was OK and I was happy with it. It was hanging in my garage gallery, for a while and has made it in to my office. However there is a glaring error in the painting, can you detect it? It is interesting how we painters don't see obvious errors in their work, but others will see it right away. I think this is because of the time invested and we have grown to accept the errors. Setting a painting aside for a few days or looking at it in a mirror will help you see your own errors.
I will tell you the error at the end of this post.


CEMENT PLANT (oil on canvas panel)
This cement plant is in San Luis Obispo Ca. The light and shadow patterns on the tower are interesting. You can find cement plants in almost any town and they can be good subjects for paintings.


BOBS' TOYS (12x16)
I was with the plein air painters at one of our members homes, and her son opened his barn and pulled out a couple of his restored old cars for potential subject matter. I looked past those shinny beauties and painted the old Ford. I really enjoyed painting all the stuff in the barn. He and a bunch of old model air planes, and lots of tools. This painting required quit a bit of studio work to finish after the plein air sketch.

Did you see the perspective error in the Graffitied Tanker?
Notice the angle of the railroad ties for the track on the far left, they are all going off to a vanishing point to the distant right. The ties for the track the tanker is on should be at the same angle.

PORTRAITS

GENERAL (oil on panel 12 x 16)
This Painting was done in an Eric Petersen work shop in Morro Bay Ca. Eric brought in black and white photos and some of his works done form these photos. One of his pieces was done with the light areas in greens and the darks in brown tones. This is a fun way to work and relieves you from the concerns of getting the color correct. I like the light violet grays in the General's hair, and the greens on his cheek. I had to do some research to see if his jacket should be gray on blue. The collar emblem indicated he was a Confederate General.


PRIDE (oil on panel 12 x 16)
Another Peterson work shop painting. The center of interest of most Portraits seems to be the eyes. That may have more to do with human interaction than contrast or color intensity. In this painting the light on the upper eyelid and bridge of the nose against the dark of the eye socket draws you to the eye. I left some of the alizarin background as shadow on the cheek and like the way that worked out. Working from these photos has the added advantage of forcing you to focus on the values. I believe value is the most important component in all art.


FRANK (oil on panel 18 x 29)
This is an earlier painting from a live model at Allen Hancock College. For me painting portraits from life is the most challenging form of art. I liked the lighting on the nose and the mustache.