Depicting the bustling lunch scene at the weekly farmer's market at the Ferry Building in San Francisco, this tiny 3"x4" was accepted into the juried 2019 Small Works Exhibit at Key West, Florida, and sold on opening night.
This spectacularly fascinating building-boat thingy sailed up to the dock while I was sketching. I was more concerned about how long it would stay as I rushed to finish this en plein air.
This was painted quickly and loosely with a size 20 round so that I wouldn't be bogged down by detail.
Painted en plein air, the intricate white railing is what drew me to this historic water tower at Holbrook-Palmer Park, Atherton.
Painted en plein air on a windy day, I had to constantly be careful that my paper, supplies, and hat didn't blow away. I was quite at risk of the same perilous prospect.
The perspective of this building was challenging enough without having to do the drawing standing up at my easel. This was completed en plein air.
I enjoy painting this in monochrome as the success of the painting simply lies in the darks and lights, and has nothing to do with color.
Commissioned by the Los Altos History Museum store for cards to be sold there, I enjoyed doing this quick watercolor resplendent with watermarks.
Many, many color and value studies later, this painting on hot press paper is all about form and shadows.
This shed with old tools and a tractor that still starts with a noisy roar is my favorite space in Los Altos, and reminds me of my grandmother's farm from years past. This was done en plein air.
This was done en plein air - the bright light through the open doorway at the back of the shed is what drew me to this scene.
I was responding to the cold weather when I chose the color palette for this architectural subject. I welcomed the bright sun for enhancing the brilliant whites of the building, which I left unpainted, but it did little to warm me as I painted this en plein air.
At the risk of life and limb, I painted this en plein air precariously perched on a 3 foot wide median between roaring San Antonio Road traffic.
I was drawn to the diagonal shadow pattern from the trellis, falling on the column as well as the sidewalk, in contrast to the deep shadows and the bustle of activity inside.
I returned from my 10-day silent meditation retreat on Mother's Day in May 2018 to find these on the dining table. I had to paint them!
I've had this funky orange vase and the succulent for over 15 years. The lemon is not quite so old.
A collection of eclectic items from all over - lavender from a neighbor's yard, vinegar from my daughter's trip to Italy, and the glass cherries from a quaint store in Potrero Hill in San Francisco.
What drew me to this was the criss-crossing of the truss from the crane on the Bay and the trusses under the road of the mighty Bay Bridge - what a difference in scale and load carrying capacity! And yet, when they cross, they just cross. This was done en plein air sitting in the farmer's market outdoor plaza at the San Francisco Ferry Building.
An amalgamation of several images from Scotland, this fictitious scene uses a limited color palette for harmony.
Painted en plein air, the warm color palette hints at a perfect summer's day at Santana Row.
One of my earlier plein air attempts, this tries to captures the beautiful and intricate details at this hidden architectural gem in San Jose.
My son was putting on his shoes for his basketball practice, and I caught the dazzling sunlight hitting his left side.
I was drawn to this tractor and the shadows on the building beyond. When I was almost done with this painting, I realized it needed some life, so was happy to put in one of the hens that was pecking at my palette and water container. I think that was what her clucking was all about in the first place.
Painted en plein air sitting on the sidewalk, this is a pen and ink sketch under watercolor. What drew me was the sharply contrasting colors of the orange building against the complementary blue of the ferry building beyond.
I was drawn to the octagonal shape of sunlight on this building as it broke and fell on the different planes of the facade. Interestingly, I drew this directly in pen without a pencil sketch underneath. Paradoxically, I feel more confident when I know I cannot erase
I was in Copenhagen for just a day, a sunny afternoon in a very bustling place. It's interesting how you look a place differently if you know it's ranked as the happiest place on earth - confirmation bias, no doubt. I took the reference picture for this painting from a boat on the river.
Painted from a photograph, I enjoyed playing down the colors of the urban backdrop as I wanted to enhance the connection between the man with the bright yellow umbrella rushing to catch the bright yellow cable car. The city is still alive as is evident from the lit yellow windows in the background.
One of my earlier watercolors, I was trying to be loose, and what better subject for that than nature, forgoing my favorite and usual architecture subjects.
This was the second painting I sold - very encouraging for a new artist. Painted en plein air, this contrasts the more contemporary colored stucco structures against the historic water tower in downtown Campbell.
Always challenging to paint in green, the goal here was to add a rich variety of greens to suggest depth, shadow, and texture.
Another green painting, the lighter yellow-greens suggest sunlight coming in from the left. This is painted from a photo taken at Maison du Lac, Los Gatos.