St. Lawrence Market

12 x 12 Oil on canvas

 I thought I would revisit this scene using a different colour palette. This scene is from Front Street in front of the St. Lawrence Market. The gorgeous flower arrangements dominate the scene and a Beck Taxi waits out front. The Gooderham Building, also known as the Flatiron building is visible in the background.

Verticals on Bay Street, Toronto

12 x 12 oil on board

There is no rhyme or reason for the way the light falls in the city. With so many glass buildings creating reflections on other buildings, light and shadow pop up anywhere. This scene was around five o'clock, just in time for rush hour. A beam of light contrasts with the verticals of the tall buildings as it cuts across Bay Street in the financial district of Toronto. The old City Hall clock tower is visible at the end of the street.

Royal Alexandra Theatre, King Street

8x10 oil on board

People often ask me to do streetcar scenes, so I often include them in paintings. Although I do point out that it is almost impossible to take pictures on some Toronto streets without finding a Streetcar or Beck Taxi lurking somewhere in the photograph. I do enjoy the colours, the bright reds adding a nice touch to a grey day or night scene.

 This scene features the Royal Alexandra Theatre on King Street West.

Thanks to Ben Roffelsen for the photo reference.

Umbrellas on Dundas Street, Toronto

12 x 12 oil on board

Back to a rainy day scene with this picture of colourful umbrellas on Dundas and University in Toronto. I'm adding a few more colours for this rainy scene, but still keeping it very muted and atmospheric.

For this scene I used a very popular palette of Ultramarine blue, alizarin, yellow ochre, cadmium yellow dark and light, cadmium red, titanium white.

Pedestrians wait to cross the street or head to the subway station at Dundas and University in Toronto during a down pour.

Queen and Spadina, Afternoon Sun

12 x 12 oil on board

I'm trying to work out some "sunny day" colours that are somewhat true to the scene as well as maintaining harmony. From the pevious post, I decided to do a 12 x 12 rather than going larger. 

This scene features a Toronto Streetcar, the colours glowing in the afternoon sun against the shadows created by buildings. This scene is from Queen and Spadina.

Queen and Spadina

8 x 8 oil on canvas paper

So the big question is, did I maintain the atmosphere even with adding more colours to the picture? (See previous post) I think the limited palette conveys more "heat" from a hot sunny day. The other feels a little cooler. (to me)

Which painting shows more atmosphere? I'd love to hear your opinions.

Sunny Day, Queen and Spadina

8x8 oil on canvas paper

I'm finding that more and more I like to do a study or two before I start a larger painting. This scene has many more colours than this, but I wanted to try for  atmosphere with a limited palette and then decide where to go from there. 

This is a very busy corner at Queen and Spadina.

Late Afternoon Light, King and University

24x24 oil on canvas

I did an 8x8 version of this scene and wanted to try it on a larger scale. I wanted to keep the looseness and spontanieity of the smaller picture. I tightened up more that I would have liked, but I'm ok with the result.

The late afternoon light is reflected off high rises, creating some shadows and highlights. The Union Building which is home to the Elephant and Castle is illuminated in the background.

(There is some glare on the picture, which I will correct when it dries and rephoto)

En Plein Monitor

8x8 oil on canvas paper

I am hoping to get into the city to do some plein air painting. I think it is important to have some idea how we will approach a scene when we are out there. There are many ways to start a painting. We can do a monochrome value study, draw it in, or block it in and paint from there. In my "Plein Monitor" painting, I chose to block in with thinned paint and a large brush and work from there. I kept to a limited palette of ivory black, viridian, yellow ochre, cad red, and white. (I often use this for rainy scenes). I also worked from a black and white photo to get my values right. (I won't be able to do that out doors).

How do you approach a painting? I would love to hear some thoughts and opinions.

I will be doing the other 8 x 8 in a less limited colour palette and will post that one shortly.

Plein Air, Early Morning Light

8 x 10 oil on canvas

I have been spending some time on our sailboat and took some paints along hoping to get some plein air work in. This scene was viewed from the dock beside the boat. The early morning light was great, so I tried to sketch in the lights and darks before the light totally changed and clouds moved in.It was also very windy, so the dock was bouncing around. I got more seasick from the dock than the boat. This took about an hour and a half. I would have liked to work on it some more, but the conditions deteriorated so much, I decided to leave it as is.

Plein Air, Green Rover

8x10 oil on canvas panel

Another attempt at plein air painting. This scene was very close to home. I walk by it almost every day when walking my dog Bailey and always remark to myself that it would make a great painting with the touches of red roses and the copper beech tree. Of course the green Rover (1950's?) stole the show. I wanted to get the car right, and so I did a bit or preliminary drawing on the car. I still think I have the nose too short, but I'm sure I will be corrected by the car buffs in the family.

I found myself reaching for the knife more often than I normally do, to get the golden colors to sit on top of the darker background.

Although I prefer moody rainy subjects, I can't plan the weather. I am enjoying a bit of change in the colour palette.

I have a pochade box that has been altered to hold 8x10 and 4x6 and  sits on a camera tripod. I don't normally use a styrofoam tray for a palette, but I forget one and grabbed this at the last moment.

Green Garden Door, Dundas

8x10 oil on board

I have been wanting to get outside and do some plein air work. It is a nice break from doing larger studio paintings and hopefully can help incorporate more spontaneity in brushwork and the overall energy in a painting. Signing up for shows on a regular basis leaves little time for plein air work, but I feel it is important...and it is fun.

I need to get over my shyness which has always been a problem with getting outside, especially in a town or urban scenario.

My first attempt in a long while was done in my town of Dundas. my focus was the ivy covered brick wall with the green garden door. The afternoon light was crisp and cool, which required warmer shadows. I forget my thinner, so it was a learning experience trying to keep my color mixes clean and reserving brushes for either darks or lights.

Late Afternoon Light, King and University

8x8 oil on canvas

Thanks to all the wonderful people who came to my booth during the TOAE in Toronto. It is the communication and feedback that makes shows like this worthwhile and one of the reasons I like to get out and do these venues.

I have been focusing on learning and painting grays, mostly painting rainy muted scenes. I want to add more varieties of light conditions and a few more colours to my palette while incorporating what I have learned about grays.

In late afternoon, as the sun moves behind buildings, the light bounces around,reflected off of the highrise glass. This study is from University and King Streets in Toronto.

Morning Light in Liberty Village

16x20 oil on board

Early morning light illuminates a Toronto Streetcar on King Street West in Liberty Village. The light in this image was very subtle, with no strong colour contrasts. The colour of the light effects all objects in an image and for this reason, I find that a limited palette works best to try to keep the harmony in the painting.  For this picture, I used primarliy Ultramarine blue, terra rosa, transparent oxide red, cadmium red, cad yellow, yellow ochre, titanium white.

Thanks to Ben Roffelsen for the photo reference.

 

Rainy Day Shopping on Spadina

24x24 oil on canvas

I've painted this scene a couple of times, but I wanted to visit it again, trying to capture the misty rainy feeling of the day. It should be a "fun" scene to paint with so much going on, but this also makes it difficult to bring the two sides (bright signage, misty background) together. It was more about leaving out details and looking at what made the image interesting.

This painting will be available at the Toronto Outdoor Art Show, Nathan phillips Square, July 5, 6, 7.

TIFF Bell Lightbox in Blue

18x18 oil on panel

When I find out that I have been accepted into a show, its as if everything else in my life goes on hold and my total focus goes toward preparation for the show. It doesn't matter how many paintings I may have in the studio, there are always some that I want to get done. I recently received notice that I am accepted into the Toronto Outdoor Art Show at Nathen Phillips Square in downtown Toronto. This is a great show, and I feel honoured to be a part of it this year.

This painting features King Street with The Bell  Lightbox Building on the left.

Thanks again to Ben Roffelsen for the photo reference. 

Crossing the Bathurst Street Bridge

24 x 24 oil on canvas

I'm finding working out color temperature in  night scenes is quite difficult. In a sunny scene, one can default to warm light and cool shadow and have the picture work. Even if the photo reference tells me an object is warm, I need to work with the picture and use my own judgment. I had to use the black and white photo reference most of the time after I had of my color mixes. I decided to get out the knife to add interest.
 It was a much more difficult picture to do than I originally thought.
Thanks to Ben Roffelsen for the photo reference.

Crossing the Bathurst Street Bridge

8x8 oil on canvas

Doing small studies is a big help in deciding what images will work out on a larger scale, but it is no guarantee. Sometimes the smaller images are more spontaneous and looser with more focus on the abstract qualities.Of course, as I always say, there is no way to find out how an image will look larger unless you paint it larger.

I really like the abstract quality of this image. It has  strong verticals and a nice balance of darks and lights. So, guess I'll get the large canvas ready.

Sometimes I want to stop learning and just start painting. Maybe that never happens.

This scene is from the Bathurst Bridge at Front Street.

City Lights on Wellington Street, Toronto

24x24 oil on canvas

This is the same scene as the previous post, but on a larger scale. I used the same color palette as the small study. At this stage, I need to leave it around for a bit and see if it is done. Sometimes its good to leave it before I start adding more details.

Thanks to Ben Roffelsen for the photo reference for this painting.

Night Study

8x8 Oil on board

In this study I used a combination of cobalt blue, transparent oxide red, cad red, yellow ochre and white. I usually use ultramarin blue as a combination color for darks, but I liked the colors resulting from this mix.