Avid Art

A Gasp of Air

2012-01-25T09:20:00.000-08:00

"Vincent Thomas Bridge #9"

oil on panel, 2011
9” x 6” (22.86cm x 15.24cm)
Available, contact me at davidteter@att.net

Bridge Series:
Bridges carry a certain civic pride much like state and country pride. Their primary function may be utilitarian but for locals are a source of identity.

This view of the bridge from below and outside the roadway is breathtaking. With nothing to visually hold you up its like a huge gasp of air. Showing very little of the bridge itself, with the focus on the channel it emphasizes the drama, height and span of the bridge.

I should point out this is one of those paintings I had great difficulty photographing. Even doing some editing/color correcting I could not get it right, specifically the dock. The original looks far better.167

Click on image for larger view

How Do I Pronounce That?

2012-01-22T18:10:00.000-08:00

Here is one of those sites that must be passed along. In our online global community we all encounter words we don't know how to pronounce, words foreign to us.

I discovered this site from a post on Ingres over at Charley Parker's blog 'Lines and Colors'.

If you are like me then you sometimes have trouble deciphering other languages and the correct pronunciation of words, specifically artists names.

FORVO provides pronunciations in the native tongue, (click blue triangle), as well as a map showing the region of that diction in male and female voices.

Urban River #3

2012-01-15T22:00:00.000-08:00

"Santa Ana River #3 Footbridge"
watercolor on paper, 2012
7" x 10" (17.78cm x 25.4cm)
Available, contact me at davidteter@att.net

Here is the third painting of this river. The other two, here and here.

Each explores the man/nature theme.
This one showing the man made structures of pedestrian bridge in the middle ground, two traffic bridges and the power poles and towers in the distant background. So more of this composition is of the man made vaguely looming over nature.

I experimented by placing the more saturated color across the middle with the top and bottom nearly monochromatic and more loosely painted.
This one was done on hot pressed paper which takes the watercolor differently. Besides being untextured (like cold pressed) watercolor washes heavy with pigment tend to go down slightly softer around the edges, as though the surface has the slightest bleed. It also seems to dry to a more velvety finish. I like the difference but it will take some time to get used to it.166

Click on image for larger view

Vincent Thomas Bridge #12

2012-01-12T08:45:00.000-08:00

"Vincent Thomas Bridge #12"
oil on panel, 2011
8" x 6" (20.32cm x 15.24cm)
Available, contact me at davidteter@att.net

Bridge Series:
Bridges carry a certain civic pride much like state and country pride. Their primary function may be utilitarian but for locals they are a source of identity.

Views looking up like this are described as a worms eye view. Not immediately recognizable as the bridge tower but still a dramatic composition. Visible are the two 'X' braces at top left.

The point of view here is just below and outside the roadway, essentially like hanging off the side of the bridge. On the other side of the chain link fence at left is where the traffic is whizzing by.
This is the bridge tower being wrapped in scaffolding, which will reach to the top, in preparation for painting. The scaffolding will then be wrapped in plastic to contain the work.165

Here is another view that shows the tower completely wrapped.
Click 'Vincent Thomas Bridge' Label below or at right to see more from this series.

Click on image for larger view

Urban River 2

2012-01-06T11:30:00.000-08:00

"Santa Ana River #2"
watercolor on paper, 2012
8" x 11" (20.32cm x 27.94cm)
Available, contact me at davidteter@att.net

Looking forward to a new year as I have set many goals for 2012. Of course that now means signing the date '12. Darn, the two ones of '11 were so much easier. Oh well.

Here is my first finished piece of 2012, literally done on January 1st. This is the second of this urban river.
Much like the first, done in oil, it's the juxtaposition of the natural and man-made world that I find fascinating to study.
The lazy meandering river takes its time moving through the frame from right to left. The razor sharp line of the highlighted bike path slicing across the picture, the verticals of power poles and towers and the flat plane of the river bank contrast nicely with the organic flow of water and vegetation. 164

Click to see "Santa Ana River #1"
Click on image for larger view

2 Watercolor Landscapes from Series

2012-01-02T21:25:00.000-08:00

"Burnscape #9"
watercolor on paper, 2011
8" x 11" (20.32cm x 27.94cm)
Available, contact me at davidteter@att.net

"Oil Plant #10"
watercolor on paper, 2011
7" x 10" (17.78cm x 25.4cm)
Available, contact me at davidteter@att.net

Here are two recent watercolors done near the end of 2011.
I'm still searching for my own 'visual voice' in watercolor. Up until the last six months, I had not painted with it much the last couple of years, at least in a more traditional direct approach.

I have a love/hate relationship with (this kind of) watercolor. I do enjoy it's direct, fast dry properties over oils but often I'll lay down a color wash and later realize it's wrong and I'm stuck with it. Or an area that got too dark and I can't lighten it enough. That is tough to take since I've invested the time and may otherwise like the painting, but it is essentially ruined by that.
It takes a different kind of planning I know, but it generally goes against the way I prefer to work.

I also dislike the early stages, the first few steps or washes. Mine always look so ugly and I have to remind myself to push through these initial steps and not give up. I don't have that issue with oils.

In both of these my initial intent was to work looser. They ended up tighter but that's okay for now. It is going to take a conscious effort to get to that goal without loosing the substance and solidity I want. That said, I'm still happy with the way they turned out.162,163

*Update:
I found this quote from Jamie Wyeth that best sums up the last paragraph above. I'm happy that even the greats face(d) the same predicaments.

"Painting to me is constant searching. I can see what I want, but I can’t get there, and yet you have to be open enough that if it goes another way, then let it go that way." Jamie Wyeth.

Click 'LABELS" below to see more from each series
Click on images for larger view

HAPPY NEW YEAR!

2011-12-31T16:18:00.000-08:00

HAPPY NEW YEAR from AVID ART!

Thank you to every one who helped in all the successes in the past year.
And Thank you to all of my followers and visitors to my blog. Thanks for all your support.

Without help, hard work and interest from others we would just sit in our studios and go nowhere.

David-

Vincent Thomas Bridge #11-Containment 2

2011-12-30T01:25:00.000-08:00

"Vincent Thomas Bridge #11 (Containment 2)"

oil on panel, 2011
8” x 6” (20.32cm x 15.24cm)

Available, contact me at davidteter@att.net

This painting overlaps two series
Bridge Series:
Bridges carry a certain civic pride much like state and country pride. Their primary function may be utilitarian but for locals they are a source of identity.
Containment Series:
A series on modern construction techniques. Today everything gets wrapped in heavy plastic or tarps to contain the work, a sort of cocoon, keeping dust from contaminating the surrounding environment.
Twenty or thirty years ago it was not done and open construction was more prevalent. Modern green thinking has changed our approach to not only recycling but how we do everything.

This view is of the outer perimeter of the containment area standing against the plastic sheet wall, looking at the bottom of the roadway.

My other painting, "Vincent Thomas Bridge #8 (Containment 1)", is nearer the center so it shows the darker core of the containment area, with the light filtering in from both sides. This one, at the outer confines, is higher key in value , so it's brighter, and has more pops of color in the purple rope, touches of yellow and the warm toned concrete.

The red in both is the primer used before the iridescent green finish.
It is obvious from the red floor how much over spray would be lost into the environment if the work was not contained. I'm sure it serves the dual purpose of making the work easier and the work area more comfortable by defecting winds.161

See another similar view without containment here.

*Update
Thanks to a comment from a follower it occurred to me that this view mat not be obvious or understood. Having been there I did not even think about it. I can see the point. Here is a better explanation from my response comment: This painting shows the area inside the containment, think of it as a butterfly cocoon hanging off a tree branch, and is literally hanging off the bottom of the bridge, underneath the road way. Set up to paint the bridge as part of its maintenance.

Click on image for larger view

Maniacal Snow Drift

2011-12-27T03:03:00.000-08:00

"Snow Drift" sculpture
foam, plaster, wire, acrylic paint on mat board

"Jobin Study" painting
oil on panel,
2011, private collection

Sometimes you just have to break away and try something for the simple pleasure of creating. Something outside of the normal scope of work.
Here's a fun little project I did as a Christmas decoration.

My inspiration came after seeing the Tim Burton show at LACMA. I just had to do something grim and maniacal for a change. I love doing projects like these. It takes me away from the usual art I do and has a way of feeding my creativity when I go back to it. So I find it artistically healthy.

The recipient is a fan of this kind of art. I sent her two emails, prior to giving it her, as a teaser of what was to come and to arouse her curiosity. They were hints based on my ideas. The first an old (modified) philosophical question that was the basis for the piece. The second a short poem I wrote for it.

The first email:
If a tree screams in the forest and no one is there to hear it, does it make a noise?

The second email:
Beware of Serene Scenes

Snow can be evil,

Snow can be grim,

It can rise up against you,

At its own whim.

The small cat portrait is of her (mad) cat,which isn't friendly to other cats, the mad catter you might say. Originally that was what I was going to give her. Upon finishing it I thought, how lame that would be to hand her that! But I still wanted to incorporate it into the sculpture though so I hung it as an ornament. It did not have to make perfect sense, this was all about the fun. No rules.160

Click on images for larger view

Marsh, Tanks, Power Plant

2011-12-26T01:05:00.000-08:00

"Marsh, Tanks, Power Plant"
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Available, contact me at davidteter@att.net

Part of our modern urban landscapes, the mix of industry and adjacent natural areas. Not always good but hard to ignore. This view poses the dense, choked out man made structures against open natural areas. Encroaching sometimes, but always a fascinating juxtaposition.

This is similar in theme to my previous "HB Power Plant - Dusk". If we want to live in the scenic areas, like along the coast, we can't always choose what comes along with that, including the oil storage tanks since this is where the oil is found. At least until we figure out how to build lower profile supporting industry.

We can design and build homes to blend into the surrounding environment, we can restore natural habitats. So someday we'll build industry that is green(er), contained and less visible against these natural areas. It's all about a proper balance.159

Click on image for larger view

'S' Curve and 'I' beam

2011-12-21T23:39:00.000-08:00

"Vincent Thomas Bridge #15"
watercolor on paper, 2011
8" x 11" (20.32cm x 27.94cm)
Available, contact me at davidteter@att.net

When deciding on a painting I hardly ever settle on something randomly. Instead I thoughtfully consider each one beyond doing a mere depiction of the subject. Sometimes that is OK but I prefer to be challenged in some way. I would rather have to tackle some sort of problem, figure out what and how to say something, or choose a view that is unique to the subject. Now all the elements of image making can be used as tools to that end.

One of the best and most unique features of the Vincent Thomas Bridge is its signature 'S' curve (actually a reverse 'S') formed by the two approaches of the San Pedro and Long Beach sides.
This view from the Long Beach side of the channel looking west really exploits that 'S' curve from an unusual perspective.
The covered near tower, referred to by the bridge workers as the Long Beach tower, is seen through the supporting columns of its approach.

The sun behind one of the columns casts a dramatic shadow and adds a visual support to the top heavy composition.
I certainly could have chosen a different time of day and still had a good image, still shown off the 'S' but by selecting this late afternoon view I got a little bit more out of it. A composition that echos the construction of a bridge by creating an 'I' beam shape similar to its supporting beams without being too literal.
The shadows and light patterns also echo both the arch design of the bridge and sweeping curve of the approach above. I ended up with the image loosely constructed of the same elements that make a bridge.
That for me is the fun of creating.158

The overlay is a bit clumsy but still gets the point across.

Click on image for larger view
Click 'Vincent Thomas Bridge' Label below to see more from this series.

BNSF Slogging

2011-12-17T15:30:00.000-08:00

"BNSF Flooded Road"
oil on panel, 2011
6” x 8” (15.24cm x 20.32cm)
Available - Contact Randy Higbee Gallery (714)-546-2156

kingofframe@gmail.com, randyhigbeegallery.com

Two of my favorite subjects, trains and rain.

A BNSF locomotive slogging through the rain near the top of the Cajon pass headed to the high desert in Southern California. Rounding the bend in a heavy rainstorm as shown by the flooded road in the foreground. An autumn scene with just a hint of orange trees showing through the fog.

The train, somewhat inconsequential within the composition and placed high in the picture plane, gives it a feeling of isolation and puts more emphasis on the landscape. But while that is true the lines of the landscape still all lead to the train.
With two thirds of the composition being foreground/middle ground this demanded the road have a strong design. The foreground and middle ground get divided by the rain water washing over the road. Each share similar angular shapes but vary enough in shape and size to keep them from becoming boring. It's really about avoiding design 'twins' and breaking up the larger mass into smaller supporting ones. That also allows for the recession of space, leading the eye through the weather to the locomotive.

For the engineer, this must be the most solitary part of their job, which is what this painting is about.
The design and the weather itself both serve as vehicles to that idea, instead of the primary subject. The smallness of the train against the larger landscape and the isolating nature of stormy weather.157

Click on images for larger view

Winter Tree & Alien Landscape

2011-12-14T00:46:00.000-08:00

"Winter Tree"

"Burnscape"

"Winter Tree"

Pelikan brilliant brown ink on paper, 2011
6" x 8" (15.24cm x 20.32cm)
Available, contact me at davidteter@att.net

"Burnscape #7 (Hills, Path)"
Pelikan brilliant brown ink, Pelikan blk india ink on paper
Monte Blanc blk ink (looks green), 2011
6" x 8" (15.24cm x 20.32cm)
Available, contact me at davidteter@att.net

A single tree in winter. Sometimes a simple object can be seen for its design and that is enough. I love the branches of the tree reaching up for the sky, the purest form of the tree seen only when leafless.

Setting the trunk against a dark background emphasized its graceful, delicate spiral.

This ink drawing/painting is from my Burnscape series. Living in Southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn’t for its destruction... but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the stripping away of old layers for a fresh start, the way Mother Nature intended.

It is how She manages her jurisdiction, by controlling dense undergrowth. We usually get in the way.
Man has traditionally prevented fires, the growth becoming so thick that when fire does occur it is devastating. Another topic on the Man vs Nature theme.

This was a result of walking thru a burned area. When areas that are dense with dry brush and chaparral finally burn, the landscape is stripped bare. Its former identity completely lost. Taking on the quality of an alien landscape.
The formally vegetation softened hills become a jagged harsh environment.155,156

Click on images for larger view

Industrial Drapery

2011-12-10T10:07:00.000-08:00

"CHOC Drapery #1"
oil on panel, 2011
7” x 5” (17.78cm x 12.7cm)
Available, contact me at davidteter@att.net

My Containment series on modern construction techniques. These days everything gets wrapped in heavy plastic or tarps to contain the work, a sort of cocoon, keeping dust and materials from contaminating the surrounding environment.
Twenty or thirty years ago it was not done and open construction was more prevalent. Modern green thinking has changed our approach to not only recycling but how we do everything.

This painting of the new Children's Hospital Orange County also gave me an excuse to tie together my industrial subject paintings and the long tradition of classic drapery in art history.154

Click on image for larger view

Followers Gadget

2011-12-10T00:17:00.000-08:00

For some reason Google's followers gadget is still broken, at least from my view.
Apparently they are fixing it but it has been on the fritz for a while.

At first followers would fall off or not always show, now (the last 3 followers) almost never appear any more. It's annoying. It supposedly has something to do with when they combined the Followers gadget with Google Friend Connect. Maybe one day they will figure it out, if not there's always WordPress.

*Update: Here's a link that may help... http://starsunflowerstudio.blogspot.com/2011/10/help-for-missing-gfc-followers-gadget.html#

Portrait of an Oil Plant

2011-12-04T12:55:00.000-08:00

“Oil Plant # 9 (Broken Pipe)
oil on panel, 2011
6” x 6” (15.24cm x 15.24cm)
Available, contact me at davidteter@att.net

This is the third of my paintings in the 6" Squared Exhibition and Sale at the Randy Higbee Gallery , Saturday December 3rd through Thursday December 22nd.
The opening was packed as usual with lots of little painted gems. The real joy of a show like this is the wide variety styles and artistic approaches among the 500 or so artworks, including some fabulous watercolors and pastels. Impossible to pick a favorite. In addition to the art, meeting the collectors and other artists is always a highlight of the evening.

When I have a visceral reaction to something I sometimes have to pause, really look and figure out what it is I’m seeing. It is not always obvious. I initially responded to this view of the storage tanks for its clean, neat and tidy nature. Not too cluttered, no scattered remnants of the broken plant other than the broken pipe, which was my own invention.
What I eventually saw in this view was an industrial version of an old face, wrinkles and all... a portrait of the oil plant ... solemn, dignified. It reminded me of a man with most of his years behind him, who had a well lived life, worked hard, but is still vital, still fastidious and loaded with silent stories.153

Click on image for larger view

Industrial Purgatory

2011-12-03T11:30:00.000-08:00

“Old Dredge”
oil on panel, 2011
6” x 6” (15.24cm x 15.24cm)
Available, contact me at davidteter@att.net

Here is second of my 3 paintings in the 6" Squared Exhibition and Sale at the Randy Higbee Gallery tonight, Saturday December 3rd, and hangs through December 22nd.

An old relic, left in the cold shallow waters, listing to the right, about to face another winter storm, half heartedly covered by the yellow tarp.

Hung up by the dock and unable to sail it’s stuck between two worlds in a state of purgatory. It’s no longer needed but not pulled ashore. It can’t sink anymore but is contained by jetties in the protected harbor so no storm will be able to put it out of its misery by dragging it to the bottom where at least marine life would have it as a home, an artificial reef.

Too outdated for work but neither is it salvaged to be put back into service in some new form. It is forgotten in plain sight.152

Click on image for larger view

Herculean Muscle

2011-11-30T21:01:00.000-08:00

“47 Bridge (Three Tanks)”
oil on panel, 2011
6” x 6” (15.24cm x 15.24cm)
Available, contact me at davidteter@att.net

Here is one of my 3 paintings that is in the 6" Squared Exhibition and Sale at the Randy Higbee Gallery this Saturday December 3rd.

The 47 Bridge, its design born more out of its practical need than aesthetics. The middle spans raise up to allow boats and ships to pass in the channel underneath, the reason for its boxy towers. The two near towers for auto and truck traffic, the two far ones for the railroad.

But its very utilitarian design gives it a herculean look, one of muscle. It is not a design to be admired for its grace or beauty. There are no sweeping curves of suspension cables or steel arches, no ornamentation. It belongs to no school of design other than its industrial purpose. So it stands disproportionately tall for the channel it crosses.

An obvious approach to support it’s brawniness would be a worms eye view but that would say nothing of its relative place in the bigger picture of the harbor mechanisms.
The high vantage point I’ve done here doesn’t minimize its stature but instead allows it to dwarf the surrounding area, both the background and the foreground tanks sitting low in the composition.151

Click on image for larger view

Tiger Stripe Shadows

2011-11-29T22:51:00.000-08:00

"Train Bridge (w/ Shadows)"

watercolor on paper, 2011

6" x 8" (15.24cm x 20.32cm)

Available, contact me at davidteter@att.net

I love this late afternoon view of the bridge. The shadows from it and the unseen section stretching across the pavement resemble tiger stripes, giving it a nice linear aspect. It makes for a busy composition so a limited palette serves it better than a more colorful one, which would have made it too chaotic.150

Click on image for larger view

6 Inch Squared Show

2011-11-27T14:34:00.000-08:00

Here is the announcement for the square format show and sale at the Randy Higbee Gallery.
Artists from all over the country are participating with all the paintings done in the 6" x 6" (15.24cm x 15.24cm) format.
The opening night and artists reception is December 3rd.
The show will hang until the 22nd.

Encina Power Station at Dusk 1 & 2

2011-11-23T19:55:00.000-08:00

"Encina Power Station-Dusk 2"

"Encina Power Station-Dusk 1"

"Encina Power Station - Dusk 1"
oil on panel, 2011
6 5⁄8” x 10” (16.83cm x 25.40cm)
Available, contact me at davidteter@att.net

“Encina Power Station - Dusk 2”
oil on panel, 2011
7” x 5” (17.78cm x 12.7cm)
Available, contact me at davidteter@att.net

You won't see this palette from me very often. I have an aversion to pinks and most purples. However it was unavoidable here to accurately depict the time of day.
In "Dusk 1" I pushed the pink/purple as far as I could towards a slightly dirty earthy color, by adding burnt sienna, so it was not Easter lavender (yuck!).
In "Dusk 2", which I prefer over the two, zooming in allowed me to loose the pink altogether and again the purple is earthier, more like a dusty desert chaparral color. I then substituted an orange for pink at the horizon. The black helps to kill the 'pastel' palette too.

These are from my series on power plants.
Two elements of our coastal landscapes and a common motif in my work. The mix of industry and nature. Not beautiful to some but in scenes like these I see themes that go beyond the mere industrial or nature images alone. Themes in the tradition of Homer and Hopper.

Man and nature side by side. Industry has to be placed somewhere so it’s impossible to ignore. Since we like to live in beautiful areas we end up with power stations becoming part of the landscape.

Dusk 1 - This one shown in a panoramic view encompassing the lagoon with the station at it’s center.

Dusk 2 - Set in a palette of soft muted colors but contrasted with black. A calm lagoon and clear sky, it’s all there... maybe even therapeutic.148,149

See the nocturne version of Encina Power Station here.

Click on images for larger view

UP Yellow

2011-11-19T08:30:00.000-08:00

"Union Pacific Yard"

"Union Pacific 8381"

"Union Pacific Yard"

watercolor on paper, 2011

6" x 8" (15.24cm x 20.32cm)

Available, contact me at davidteter@att.net

"Union Pacific 8381"

watercolor on paper, 2011

6" x 8" (15.24cm x 20.32cm)

Available, contact me at davidteter@att.net

"Union Pacific Yard" A simple watercolor broadly painted, large shapes. This view from across the street gave me the compositional device of framing the rail yard with fence, tree, pole and ground plane shadows, highlighting the bright yellow locomotives.

The "Union Pacific 8381" in the heart of the LA Harbor passing an industrial plant. Here is a great example of how the UP bright yellow locomotives stand out against the blues, silvers and grays of the harbor industry landscape as well as showing the gritty unglorified nature of industry without apology.

This is not a painting where the medium, in all its transparency, is celebrated. It is not flashy brush work. It is not pure vibrant colors that sing like a songbird.
It is the subject first. The medium takes a back seat. That inspiration comes from studying (and reading about) the watercolors of Edward Hopper who did not want the medium to overcome the subject, which he felt was more important and a notion I agree with.

This was done by applying the watercolor in repeated washes, more than is typical of the medium, and by scrubbing out then reapplying more washes, building a dense, solid almost inpenetrable wall behind the locomotive, which is placed low in the composition and establishes its place in the greater picture of industry. It is the engine in its environment, working, in the same way wildlife artists might show a bull, an elk or a bear in its own harsh but true surroundings.146,147

Click on image for larger view

OMA Store 5

2011-11-16T17:00:00.000-08:00

"Tree Nocturne (Downhill)"
oil on panel, 2010
5” x 4” (12.7cm x 10.16cm)
Available, contact; website Oceanside Museum of Art Store
phone (760) 435-3720

This painting is the 7th of those at the Oceanside Museum of Art store. Click label below to see the others.
The nocturne ... its origin, mid 19th century French from Latin, nocturnus, meaning ‘of the night’.
Like most from my Tree Nocturne Series this is from a combination of imagination and memories, which lends it a subtle surreal quality. Working this way I allow things like the slightly off kilter street, the rustling tree wrapping around the streetlight, the distant harbor veiled in a marine layer. All to give it a more dreamlike quality.145

Link to value thumbnail here.

Click on image for larger view

Update-Previous Post & Acres of Books

2011-11-14T07:00:00.000-08:00

*I have posted an update on the demise of the old Art Deco Building from my previous post 'State of Limbo' and the watercolor painting above "Acres of Books (backside)".

Burnscape Series - Black and White

2011-11-12T16:35:00.000-08:00

Ashen Landscape

Singed Tree

"Burnscape #6 (Ashen Landscape)"
watercolor, Pelikan blk india ink on paper, 2011
6" x8" (15.34cm x 20.32cm)
Available, contact me at davidteter@att.net

"Burnscape #5 (Singed Tree)"
watercolor, Pelikan blk india ink on paper, 2011
6" x8" (15.34cm x 20.32cm)
Available, contact me at davidteter@att.net

Burnscape Series - Living in Southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn't for its destruction... but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the way Mother Nature intended.
It is how She manages her jurisdiction, by controlling dense undergrowth. We usually get in the way.
Man has traditionally prevented fires, the growth becoming so thick that when fire does occur it is devastating. Another topic on the Man vs Nature theme.

TOP: Certain vegetation produces white ash resembling snow. I sometimes refer to these as California fallscapes, winterscapes or snowscapes. Also revealed in the barren terrain are these odd lunar like holes (animal burrows) usually concealed under the growth.

BOTTOM: Grassy vegetation turns a charcoal black. Fire passes some trees when the grass is low to the ground, the heat turning some leaves brown but leaving other parts untouched and green. For composition and design reasons I focused on the pathways left by the fire trucks.143,144

Click on image for larger view

Atomic Number 16 & Caterpillar Yellow

2011-11-08T21:07:00.000-08:00

"Sulfur Piles #3 (w/ Palm)"
watercolor on paper, 2011
6" x 8" (15.24cm x 20.32cm)
Available, contact me at davidteter@att.net

"Cat Hydraulic Excavator 320C"
watercolor on paper, 2011
6" x8" (15.34cm x 20.32cm)
Available, contact me at davidteter@att.net

Two of my recent watercolors, and different approaches, in the industrial genre.
On top is another view of the sulfur piles in the port. The high chroma bright lemon, sometimes cad yellow piles are quite a sight among the more earthy and somber colors of industry. A subject I simply can't pass up.

Below, in this one I let go of an absolute realistic depiction, having some creative fun. Wanting to give it something extra I decided to place it in a setting that looked more like a play in both lighting and staging, imparting some drama. A dark background and artificial type lighting to accentuate the bright yellow Cat and orange web fencing.141,142

Click on images for larger view

Thank You Again

2011-11-07T20:32:00.000-08:00

Again I would like to Thank those who have joined/followed my blog, Thank you!
As I said before the whole google friend connect/send a message doesn't make sense to me. I have never been able to figure out how it all works.

In fact, it's all screwy... at times followers avatar/favicons/photo URL's fall off the followers list only to re-appear the next log-in or refresh, I don't know why. I finally gave up, deciding I was put on this earth to make the art, not figure everything out.

I do notice and appreciate everyone who takes their time to visit and/or leave comments.
I know how busy I get and how little time there is in a 24hr day.

David-

Urban River 1

2011-11-04T18:00:00.000-07:00

"Santa Ana River #1"
oil on cradled panel, 2011
12" x 24" (30.48cm x 60.96cm)
Available, contact me at davidteter@att.net

Urban nature is a sort of oxymoron. It took years to come to terms with seeing our rivers encased in concrete banks as part of the natural world. I could never quite call them rivers.

But this is how we modify nature as it passes through our cities before being returned back to nature and into the ocean. There is a push and pull of man/nature going on. Concrete and manicured rock banks, then natural silt islands and vegetation growing in the middle. Nature briefly contained and on display. Ebb and flow.

I do see the beauty in both, the smooth hard man made surfaces and the delicate organic forms of nature. They simultaneously compliment and contrast each other.140

Click on image for larger view

OMA Store 4

2011-11-01T15:18:00.000-07:00

"Tree Nocturne (Billowing Tree)"
oil on panel, 2010
5" x 4" (12.7cm x 10.16cm)
Available, contact; website Oceanside Museum of Art Store
phone (760) 435-3720

Here is another of my small paintings at the Oceanside Museum of Art Store.

The nocturne... its origin, mid 19th century French from Latin,
nocturnus, meaning ' of the night '.

My Tree Nocturne series. I've kept the series compositionally simple, focusing on the tree and usually an unseen light source.
This painting breaks from that slightly.

There is more of a surface showing in the street, the cracks and buckling of decades old concrete, before asphalt. The sidewalk, hints of commercial storefronts and power poles all adding to its more urban setting.139

Link to value thumbnail here.

Click on image for larger view

Burnscapes - Man vs Nature

2011-10-28T15:25:00.000-07:00

"Burnscape #4 (Charred Pine Stand)"

"Burnscape #8 (Charred Cactus)"

"Burnscape #4 (Charred Pine Stand)"
watercolor on paper, 2011
6" x 8" (15.24cm x 20.32cm)
Available, contact me at davidteter@att.net

"Burnscape #8 (Charred Cactus)"
watercolor, Pelikan india ink on paper, 2011
6" x 8" (15.24cm x 20.32cm)
Available, contact me at davidteter@att.net

Here are two recent watercolor/mixed media's from my Burnscape series. Both were at my solo show at the Randy Higbee Gallery. See previous posts.

Living in Southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn't for its destruction... but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the way Mother Nature intended.
It is how She manages her jurisdiction, by controlling dense undergrowth. We usually get in the way.
Man has traditionally prevented fires, the growth becoming so thick that when fire does occur it is devastating. Another topic on the Man vs Nature theme.

Top - #4 Trees are meant to survive fires where brush is low to the ground, the fire sweeping through too quickly (and frequently enough) to wipe them out. This pine stand didn't look like it would survive so to accentuate this I set its blackened silhouette against a background of unburned green.

Bottom - #8 As fire sweeps through dry brush, here... all that's left of a thicket, sometimes all that is left behind is high water content vegetation like cactus. What caught my attention was how the left side of the cactus clump seemed to have leaned away from the fire.137,138

Click on image for larger view

Harbor Line - Bridge Shadow

2011-10-26T00:01:00.000-07:00

"Pacific Harbor Line 20 (Bridge Shadow)"
oil on panel, 2011
5" x 7" (12.7cm x 17.78cm)
Available - Contact Randy Higbee Gallery (714)-546-2156
kingofframe@gmail.com, randyhigbeegallery.com

The Pacific Harbor Line, the workhorse of the LA Harbor. This newer one is part of the low emission line of locomotives for the move towards a greener port. Black and shiny as tar with striking graphics, they don't blend in, they stand out. Not graceful looking, they look like they mean business. The back end diagonals point down, the front point up to distinguish front from rear when seen head on. Its side panel graphics angling forward. So a nod of beautiful work to the designers of these burly beasts of burden.

My Pacific Harbor Line series. This one, the #20, is a remote control locomotive and is often parked here near the base of the Vincent Thomas Bridge.
Here it sits in the afternoon at the shadow of the Vincent Thomas Bridge as the marine layer begins to settle in over the port.136

Click on image for larger view

Matrix 2

2011-10-22T23:28:00.000-07:00

"Power Plant Interior #2"
oil on panel, 2011
5" x 7" (12.7cm x 17.78cm)
Available, contact me at davidteter@att.net

Here is another view of the power plant interior, the first here and a drawing here.
I could do dozens of these and not tire of it, even slightly different views. In fact I have a larger 24" x 30" in progress. I love the limited palette of muted ochre/yellow and sienna, with punctuations of earthy greens and reds.

One of the most fascinating buildings...several stories high...the interior nearly wide open... a matrix of pipes, valves, steel... deep and cavernous.

The light and colors seen here are faithful to the actual site...the walls and pipes painted in these ochres and creams, the floors a mixture of reds and greens, worn and distressed...deep earthy orange reflected light, then the translucent glass filters the outside light...a cool pale yellow.135

Click on image for larger view

Vincent Thomas Bridge #5 - Color study

2011-10-18T00:25:00.000-07:00

"Vincent Thomas Bridge #5 - Color Study"
oil on panel, 2011
9" x 6" (22.86cm x 15.24cm)
Available, contact me at davidteter@att.net

Here is another version, in oil, of the watercolor / gouache study from an earlier post.

On this one I experimented with a different color and value scheme to cut back the amount of lime green that shows in full sunlight. Throwing a soft shadow across part of the bridge allowed for multiple greens, from the lime green it shows in bright light to its signature chrome green and into a deep bluer green. The roadway a chocolate brown, the foreground structure a warm olive green.
Doing that also changes the design of the value distibution. With the towers in light and shadow a stronger more dramatic composition is achieved.134

777- Google's 7 Dynamic views

2011-10-13T18:54:00.000-07:00

The Seven Dwarfs, The Seven Samuri...
and now Google has introduced 7 new different ways to view blogs.
And while they are still working on it to allow for better customizations, blogs can still be viewed in them without switching the template over. Click link below to view Avid Art in any of the seven Dynamic views starting with Flipcard. Each has its own characteristics.

http://davidteterart.blogspot.com/view/flipcard

You can also at any time click the link 'Google Dynamic Views' in the right hand column at top.

Flip card is best for seeing all images currently on blog at once and allows for sorting by Recent, Date, Label, and Author.
One of the best features all share is infinite scrolling, no clicking older or newer posts.
No matter where you are in scrolling you can access the drop down menu by edging the pointer just over the black line under the title.
Hover over the arrow next to Flipcard to see others.
Have fun with it.
Click on blog title 'Avid Art' to return to this template.

PS- I'm not sure why some images do not appear in Flipcard and Mosaic. But the image is still there to click. On others, images are missing, maybe a result of this being a preview and not a selected template.
Also there seems to be some spacing issues in the translation.

Problem Solving- "Vincent Thomas Bridge #4"

2011-10-12T02:30:00.000-07:00

"Vincent Thomas Bridge #4 - Catalina Express"
watercolor on illustration board, 2011
11.75" x 8" (29.845cm x 20.32cm)
Available - Contact Randy Higbee Gallery (714)-546-2156
kingofframe@gmail.com, randyhigbeegallery.com

Here is a fairly common view of bridges. But a good one because there is a great sense of height when seen from the ground from underneath.

This is the finished painting of one I posted (here) back in March as a work in progress. One intended for my October Show.
It was one of those that at the beginning I had a clear vision of what I was going to do and how it would look. A quick painting, in a method I had done many times. I like those, they are fun and satisfying.

Then about halfway through I realized (OH NO!) it isn't working... it was just sort of dying right in front of me. So much for fun and satisfaction. This one is going to battle me. Should I panic? No... not really my style.

Problem solve, no problem. Think fundamentals, that is where most trouble lies. It's not the flooring, the curtains, the sofa etc., no, no, no... its the foundation, the framing or the roof. No point moving forward till I figure it out or I'm in for some wasted time.
Most of the time I know what to do... that is to 'let it go' and keep painting, keep forging ahead. Not this time, I sat back and stared at it and for the life of me I had no idea where it was failing. Ok, it's only half way done I thought soooo... start checking... the drawing or perspective of it really isn't off, maybe a little, but thats not it, those kinds of minor corrections take place as I refine the painting, working to the end.

It's too premature to really judge the color, or more specific... color relationships. If everything else is working; design, values etc, then color is usually secondary.
The point of view? nooo... god forbid otherwise the whole thing gets scrapped. Bad choices you can't fix.

The composition? ... uh... maybe... shoot, that would mean significant changes.
Forget texture or detail or surface... technique, these are usually more superficial, usually not the make or break of an image, more along the line of the refinements/corrections, at least the way I work.

I don't always know where things went wrong, right away, but I know WHAT TO DO.
That is to STOP looking at it. Put it away, turn it around, don't think about it, work on something else. Come back later for a fresh look.

So thats what I did. I came back to it, (more than once I might add), with a fresh eye...then it hit me! like a ton of bricks! It's lifeless! Stupid thing! Duh! I remember thinking " ...it's dying right in front of me" the opposite of life, how did I miss the connection?
OK! Now what? Give it some life.

Sometimes, fundamentals or not, if I have an image that starts slipping away it unconsciously affects my enthusiasm and I start to lose interest which shows in the painting. The sooner I identify that the better. Then surprisingly few changes need to made.

Start by introducing the warmer tones in the sky, it's far too cold in color temperature.
Too much residual green from my initial lay in, the early washes, substitute blues in place of greens.
Break up the silhouette and soften edges. I was going for a strong graphic pattern from the start but now that I see it, it's too rigid, even for a bridge.
Extend the foreground a bit, it's too slight to visually support the bridge

Whew! It wasn't that far off... looks like I won... HA, HA, HA, it did not defeat me this time.133

Click on image for larger view

Vincent Thomas Bridge #8 Containment 1

2011-10-10T00:38:00.000-07:00

"Vincent Thomas Bridge #8 (Containment 1)"
oil on panel, 2011
5" x 7" (12.7cm x 17.78cm)
Available, contact me at davidteter@att.net

Bridges carry a certain civic pride much like state and country pride.Their primary function may be utilitarian but for locals they are a source of identity.

This painting also overlaps into my containment series, a series on modern construction techniques. These days everything gets wrapped in heavy plastic or tarps to contain the work, a sort of cocoon, keeping dust from contaminating the environment.

Twenty or thirty years ago it was not done and open construction was more prevalent. Modern green thinking has changed our approach to not only recycling but how we do everything. This painting shows the painting of the underside in progress.

A broad view of the containment area shows all of the working tools and materials needed to paint the bridge.

A platform is hung underneath then everything is wrapped in plastic; wall, floors & suspension hooks. Nothing allowed to escape into the environment.133

*Update:
See the "Vincent Thomas Bridge #11 (Containment #2)" here.

Click on image for larger view

'Lines and Colors'

2011-10-06T01:25:00.001-07:00

I am happy to announce and thrilled that Charley Parker over at 'Lines and Colors' has done a post on my work here.
I have followed his blog for some time and it is a great place to discover artists, both past and present, as well as museum websites, art related events, products etc.

Be sure to check out his other websites on the left hand side under 'My other sites' as he also does website design, comics, iPod and iPhone apps and cool dinosaur stuff.

Thank you Charley!

"Vincent Thomas Bridge #13"

2011-10-06T01:25:00.000-07:00

"Vincent Thomas Bridge #13"
oil on panel, 2011
7" x 5" (17.78cm x 12.7cm)
Available, contact me at davidteter@att.net

Bridges carry a certain civic pride much like state and country pride.
Their primary function may be utilitarian but for locals they are a source of identity.

A bright day and back lit, a close-up of one of the towers partially unwrapped, the painting recently completed. A small pulley is used to haul up tools and materials from a platform below that extends out from under the bridge roadway.132

Click on image for larger view

One Man Show Opening - Randy Higbee Gallery

2011-10-04T17:25:00.000-07:00

Me and Jennifer Teter-Mitchell
just before the show opened

Artist Wendy Wirth and Me

The opening night of my One Man Show at the Randy Higbee Gallery looked fabulous.
The highly professional presentation is the norm for the Gallery but is never as easy as it appears. It is achieved through lots of hard work by the entire staff there; from the framing to the hanging, the advertising and right down to the little finishing touches. All done with smiles and enthusiasm.

Here are some iPhone pics of the opening night. I'll post more pics soon. Here's a link to more art in the show, which will hang until October 15th.

Here at Avid Art, before it even becomes a show, there is the same hard work happening behind the scenes.
Jennifer Teter-Mitchell, who handles all the marketing and graphic design at Avid Art, deliveries, ephemeral material and far too many little but equally important tasks was tireless.
And Susan Laumen, who handles all the accounting, inventory, and archiving documentation, typing and the same... multitudes of minor details, was also tireless right up to the end.

None of us can do it alone, it requires a concentrated effort by too many people to mention individually.
So I thank every person in helping to make the show a success.

One Man Show - Seascape

2011-10-03T19:54:00.000-07:00

"Seascape #5 (Rock Outcrop)" SOLD
oil on canvas, 2011
24" x 36" (60.96cm x 91.44cm)
Randy Higbee Gallery ; kingofframe@gmail.com, randyhigbeegallery.com

Another of my seascapes that is hanging in my show at the Randy Higbee Gallery and was sold on opening night. The show will hang until October 15th so there is still time to see it.

This Painting is loosely based on a real location off the California coast. Viewed from above but zoomed in for a slightly closer look so I could paint a classic seascape. That meant making certain compositional decisions and thus throwing out elements from the actual location to achieve that goal.

The foreground rocks, slightly soft focused, were designed to lead down into the composition.
The water surrounding the outcrop of rock had to be completely invented to really work as a convincing seascape so I carefully observed the actual behavior of the water and how it interacted with the rock, making sure to use my knowledge of art fundamentals as much as what I was seeing in real life.131

Click on image for larger view

Vincent Thomas Bridge and Containment

2011-10-01T15:23:00.000-07:00

"Vincent Thomas Bridge #6 - Gold" SOLD
oil on panel, 2011
16" x 20" (40.64cm x 50.8cm)
Randy Higbee Gallery (714)-546-2156
kingofframe@gmail.com, randyhigbeegallery.com

One more for the show tonight...

Bridges carry a certain civic pride much like state and country pride.
Their primary function may be utilitarian but for locals they are a source of identity.

This painting is from my Vincent Thomas Bridge series as well as overlapping into my containment series, a modern construction method of covering structures entirely while building and maintaining them.

Presenting the bridge in various lighting conditions allows me to show it without having to always use its signature chrome green color.

Late on a hazy day and with the east tower covered, no green at all is present but the bridge is still recognizable by the architecture of the west tower.130

Click on image for larger view

Temper Tantrum

2011-09-27T04:59:00.000-07:00

"Seascape #9 (Angry Wave)" SOLD
oil on panel, 2011
24" x 36" (60.96cm x 91.44cm)
davidteter@att.net

One of my larger works that will be in my show at the Randy Higbee Gallery this Saturday October 1st 2011, (See previous posts for more info). And a nice contrast to the harder edged works I do.

We like to give human characteristics to inanimate objects and the sea is no exception. Here I experimented with a soft edged focus to play against the somewhat angry wave violently slamming down like a child throwing a temper tantrum.129

Click on image for larger view

One Man Show - HB Power Plant

2011-09-24T14:39:00.000-07:00

"HB Power Plant - Dusk" SOLD
oil on panel, 2011
12" x 16" (30.48cm x 40.64cm)
Randy Higbee Gallery (714)-546-2156
kingofframe@gmail.com, randyhigbeegallery.com

Here is the painting from the postcard announcement for my show at the Randy Higbee Gallery next Saturday, October 1st 2011. See previous posts for more info.

Two elements of our coastal landscapes and a common motif in my work. The mix of industry and nature. Not beautiful to some but in scenes like these I see themes that go beyond the mere industrial or nature images alone. Themes in the tradition of Homer and Hopper.

Man and Nature side by side. Industry has to be placed somewhere so it's impossible to ignore. Since we like to live in beautiful areas we end up with power plants like this one becoming part of the landscape.

Here the setting sun and the marine layer provide a dramatic backdrop to both the power plant and the wetlands of Huntington Beach.128

Click on image for larger view

Oh No!... Chrome Green

2011-09-13T19:00:00.000-07:00

"Vincent Thomas Bridge #5 - Study"
watercolor/gouache on wc paper, 2011
9" x 6" (22.86cm x 15.24cm)
Available, contact me at davidteter@att.net

A study for my Vincent Thomas Bridge series and included in the upcoming show. See previous post.

A few months back I began to ponder this series, especially regarding the show, and how it would present itself.
The challenge I found myself faced with was the color of the bridge itself. If I wasn't careful I would end up with a bunch 'chrome green' paintings... and green is a tough color, too much and your'e sunk. My Dad used to say "There is no such thing as a bad color... only a bad application of it."

Who would buy paintings with lots of green? Kermit the Frog. Shrek. The Incredible Hulk. They're not real so that leaves... Ed Begley Jr.?

The green of the bridge itself is spectacular in real life, the iridescent light reflecting paint, shimmering even on overcast days. But the moment it becomes a painting it's a different set of problems. Artistic decisions must be made. You can't merely copy real life.

I decided I had better use atmospheric conditions and time of day, light and shadow to control the green of the bridge within the paintings. This allowed me to modify the palette. Darken it by throwing it in shadow, lighten it with bright sunlight, increase the saturation, decrease the saturation or step on it (as Stapleton advises), use very little of it by featuring more of the surroundings, or eliminate the green altogether. All of which I've done in various paintings for the show.

This study shows the bridge in the afternoon under full sunlight, giving it more of a lime color. Lime green could easily overwhelm too, but used sparingly (as Dad would do) it pops, its bold, like it or not it's unexpected.
For a study I was free to throw down color. Here I put the more saturated color in the top half of the composition, the blue sky and the bridge, while the lower portion is deeper and richer in color and tone, chocolate brown and forest green, which helps anchor and keep the saturated colors under control.
To better integrate the bridge into its environment I allowed the warmer tones to spill into the background.127

Click on image for larger view

One Man Show at Randy Higbee Gallery

2011-09-07T22:48:00.000-07:00

Here is the postcard announcement for the show at Randy Higbee Gallery. More info on this show here and here.
All above paintings are new and were painted for this show so this is the first preview of what the show will look like.

Rabbits Everywhere and Looking Forward...

2011-08-29T11:21:00.000-07:00

Posts here on my blog may start getting rather sparse as I finish work for the upcoming show at the Randy Higbee Gallery October 1st 2011. Click here and here for earlier info on that show.

I'll do my best to post something at least once a week, but even doing that requires time to assemble and write and that is time better spent on painting. I will post some random images of work for this show as it approaches, so stay tuned.

The amount of work always seems like a daunting task with research, preparing panels, and all the other details I seem to forget about before I can even begin putting down paint. Even with all the help I get with calendars, schedules, gallery contacts, framing, accounting, archiving current work and too many other mundane tasks to mention it can seem overwhelming.

Some chores like cleaning and re-organizing get left out though, my studio is becoming choked with works in progress, materials strewn about and stuff I call 'Rabbits'... those little odd things laying around that seemingly come out of nowhere and multiply when I'm not looking (you know, clutter). Sometimes I have to hopscotch thru my studio. Bummer dude.

I am however excited, already have some work done, several larger works in progress and am chomping at the bit to begin others. This kind of nervous energy is always positive thing. It's the energy that feeds and drives me towards a goal. I like deadlines, I find I'm much more decisive with less time for second guessing. Those gut instinct decisions are usually right. My best work is usually born out of necessity.

One Man Show - Coast Magazine ad

2011-08-19T21:47:00.000-07:00

Here is the first formal announcement for my show at the Randy Higbee Gallery this fall. Above is the ad for Coast Magazine.
More info on what I will be showing here.
The above image, "Catalina Pacific Concrete (View from North)", blog post here.

Click on image for larger view

California Brown Pelican

2011-08-15T13:28:00.000-07:00

"Pelican #1"
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)
private collection

The California Brown Pelican is found all up and down our coast and in the 1970's was in danger of becoming extinct due to DDT, a pesticide.

Pelicans with their huge beaks appear gangly but are so graceful in flight. Simple subject, simple design.
The challenge with the single object is trying to avoid the 'clump' or 'bullet hole' smack dab in the middle of a composition.

Fortunately birds, with their wings especially, make the design easier to manage. Even centered this configuration allows for a more dynamic composition of angles and interesting shapes.

After that not much more was needed. I put the lightest value along the bottom to put air underneath the pelican and provide a visual 'lift' and subtly echoed the head and feather shapes in the darker clouds to set up an opposing angle to the two wings.
Cool light from above, warm shadow or reflected light from below.126

Click on image for larger view

Update-Previous Posts

2011-08-08T20:01:00.000-07:00

*Updates
Here are three updates to previous posts.
Sometimes at the time of posting images I am either too busy or haven't yet collected (written) my thoughts to include them in the post, or I've rather hurriedly put down incomplete thoughts. Whenever possible I'll go back to update those to round out my blogs original intentions of putting down my own insights relating to my work, whether individual, series, or in general.

Click on titles to see update.
"Chandlers - Study #1"
"Harbor Line#70 - Study #1"
"Power Plant Interior - Study #1"

OMA Store 3

2011-08-01T11:51:00.000-07:00

"Sulfur Pile #1"
watercolor on paper, 2011
5" x 7" (12.7cm x 17.78cm)
Available, contact; website Oceanside Museum of Art Store
phone (760) 435-3720

Here is another of my paintings at the Oceanside Museum of Art Store.
This one is framed and ready to hang, shown here unframed.

These sulfur piles were to hard to resist, bright lemon yellow in the middle of all these earthy, rusty browns, grays and blues. Clean, pure, high chroma colors are unusual in industrial settings.

I'm sure they are at least 30 feet high, so they reflected the sunlight like a beacon. Impossible to miss.125

Click on image for larger view

OMA Store 2

2011-07-28T19:53:00.000-07:00

"Encina Power Station Nocturne"
oil on panel, 2011
4" x 5" (10.16cm x 12.7cm)
Available, contact; website Oceanside Museum of Art Store
phone (760) 435-3720

Here is another of my paintings at the Oceanside Museum of Art Store.

No moon, the darkness of night slowly consuming the fading light.
The lagoon for now still visible, but just barely. Soon the only interruption to the inky black will be a thin strand of smoldering embers at the horizon, nothing else till morning.124

Click on image for larger view

OMA Auction Paintings SOLD & OMA Store 1

2011-07-24T16:06:00.000-07:00

I'm happy to report that my two paintings for the Oceanside Museum of Art sold saturday at their 'Summer Soirée'. Links to previous posts on this here and here or see below, a couple posts back.

I'm also fortunate to have some of my paintings offered in their museum store. 7 small oils and one watercolor.
The 3 below currently on my blog here, here and here. The train used for my Avatar/Favicon/Photo URL in a cropped version.
The others will come in (near) future posts.

Available, contact; website Oceanside Museum of Art Store
phone (760) 435-3720

Early Announcement - Fall Show

2011-07-23T21:49:00.000-07:00

Besides recent and current projects, I am incredibly busy preparing for an upcoming show in the fall at the Randy Higbee Gallery.
Up to 50 works, paintings and drawings in various mediums including mixed media, at assorted sizes from the smaller 5" x 7"s up to at least 24" x 36" maybe larger.

I plan on showing several current series; my favorite assorted industrials, trains, burnscapes, seascapes and especially the bridge series which the show will center around and one I haven't yet really shown other than a couple of 6" x 6"s at previous shows. I'm also going to try to include a small percentage of works (hints) of new series which have been rolling around in the back of my head for some time.

As the show nears I'll post a few random images of whats to come, so stay tuned...

OMA Auction Paintings

2011-07-19T02:51:00.000-07:00

Top: "OMA #1" SOLD

oil on panel, 2011
10" x 7.5" (25.4cm x 19.05cm)

Bottom: "OMA #4" SOLD

oil on panel, 2011
10" x 7.5" (25.4cm x 19.05cm)
View the complete art auction online; Oceanside Museum of Art Blog
For more info or to place a bid on any artworks in the silent auction call 760.435.3722
or email ; danielle@oma-online.org.

Here are my two paintings for the Oceanside Museum of Art Auction/Fundraiser. See previous post for more info.
Having visited the museum during the day as well as after dark to really study the architecture I decided to focus in on its entrance instead of a panoramic view, choosing two slightly different views, each taking advantage of that time of day and night.

"OMA #1"
This is the most dramatic nocturnal view of the Oceanside Museum of Art entrance. Lit up from inside, the architecture has a completely different character with an emphasis on it's warm interior.
Diagonal lines of light, the stairwell and interior corridors converge on the museums strong signature "O" located prominently at the center base of a pyramid shape formed by the lights of the upper hall and highlighting the reception area.

"OMA #4"
This is my favorite view of the Oceanside museum of Art; it transforms the formal architecture into diagonal planes and highlights the strong lines in the windows.
The reflected light off the unseen side of the glass provides extra drama against the dark marine layer.
The Museums strong signature "O" logo is prominently featured against the dramatic glass architecture of the entrance and draws in artists, art patrons and the public.122,123

Click on images for larger view

The Oceanside Museum of Art 'Summer Soirée'

2011-07-15T19:49:00.000-07:00

The Oceanside Museum of Art, a hidden gem in north San Diego County California, recently held the artist donor reception (June 26th) for their 'Summer Soirée Art Auction 2011'. I had the pleasure of meeting lots of interesting people, including other artists whose work is also part of the auction.
Events like this are always a treat because it gives us artists a chance to give back to the museums, the venues that in turn support our love of creating and earning a living through art.
The auction/fundraiser is June 28th through July 23rd, culminating in their Summer Soirée held Saturday July 23rd at the museum. All proceeds from the sales of art go to support the museum. Bidding is open to the public.

I had the honor of painting two pieces for the auction (bottom photo), choosing to focus on the stunning architecture of the museum.

As you can see from the first two photos, the huge plate glass windows are actually sliding doors that allow them to turn the museum reception area into an open air event, perfect for the summer.

For more info on the art auction click here.
Click images for larger view

Update-Previous Post- "Value Thumbnails"

2011-07-11T22:11:00.000-07:00

*Based on a comment from a follower (Thank you Erin) I have posted an update to the "Value Thumbnails" post here.

Something that did not occur to me at the time was to go back and update the original post as well as link the finished paintings back to the thumbnails. All relevant posts now link back and forth.

This shows part of the process artists go through in creating images, whether they are paintings or other mediums. Part of the process because sometimes there are steps in between thumbnails and finished work, on these I felt further study wasn't needed.

International Survey 2011

2011-07-07T04:43:00.000-07:00

The Crussell Fine Arts International Survey 2011 that I am included in and mentioned in an earlier post here is now available here on Lulu.

Jeffrey Crussell Fine Arts has been exceptionally generous in promoting all the artists represented in the periodical by passing out the above postcard at art fairs, galleries and gallery openings around the US, including Miami, NY, LA, San Francisco and Orange County California. Additionally they have been showing the book to galleries, collectors, curators and various industry professionals including architects and developers.

My Thanks to Crussell Fine Arts for all their hard work.
Links: Crussell Fine Arts website. Crussell Fine Arts blog. Jeffrey Crussell Books on Lulu.

Click on images for larger view

Park Nocturne

2011-07-02T16:06:00.000-07:00

"Tree Nocturne (Park Hillside)"
oil on panel, 2009
7.75" x 7.25" (19.685cm x 18.415cm)
Available, contact me at davidteter@att.net

The nocturne... its origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

From my Tree Nocturne series. This was painted in one sitting or alla prima. Alla Prima, derived from Italian meaning 'at the first'.
I very rarely complete a painting in one sitting since I prefer working in layers but sometimes the image just 'falls out onto the surface' as it did here.

Painted from my imagination having seen so many urban and suburban parks. Hints of buildings, a walkway and sloping grass was enough.121

Click on image for larger view

Figure #4

2011-06-25T21:23:00.000-07:00

"Figure #4"

pencil on paper, 2010

10" x 8"(25.4cm x 20.32cm)
Available, contact me at davidteter@att.net

Here's a linear figure sketch done from my head, no model or reference. Something I plan on doing more of in the near future, getting back to the simple pleasure and joy of drawing. It does not take all the preparation of painting. A surface and a marking tool of some kind is all that is needed. Easy. Give a child paper and a box of crayons and they dive right in.

I sometimes forget to draw for drawing's sake alone. It really is relaxing when I don't have to focus so intently on 'making it right', when there is no end purpose as studies for paintings can be.

Ironically, even when I'm too busy with paintings for shows, commissions etc. and I don't think I have time, drawing this way is actually therapeutic and has a way of clearing my head, allowing me to refocus on work and deadlines. So the busier I get the greater the need for drawing.120

Click on image for larger view

Urban Seascape 2

2011-06-11T08:35:00.000-07:00

"Seal Beach 2" SOLD
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)
Randy Higbee Gallery (714)-546-2156
kingofframe@gmail.com, randyhigbeegallery.com

Seal Beach is quietly tucked between the two more well known Long Beach and Huntington Beach. Long Beach known for it's Grand Prix race every year and Huntington Beach, a major surf town, for it's surfing competitions.
This is the second painting of Seal Beach and is a variation of the first, "Seal Beach" click here. The first focused more on the water, this one features the sand more prominently.
Both are of the same time of day. A hazy, warm summer day, late afternoon. Silvery surf and bronze sand set against the backdrop of the LA Harbor. Visible are the harbor cranes, an oil drilling island, downtown Long Beach and the Palos Verdes Peninsula in the distance.
The beach is fairly empty after some kind of event earlier in the day and a few of it's remaining denizens lazily head for home.119

Click on image for larger view

Crussell Fine Arts-International Survey

2011-06-04T11:23:00.000-07:00

I am excited to announce and honored to be included in the 2011 Crussell Fine Arts International Survey, a reference journal for curators, gallery directors and collectors.
My painting "Oil Plant Backside (w/ Storage Tanks) will be featured in the journal along with my contact info.

See my original blog post for this painting here.

Click on image for larger view

Washed in Gray Green 2

2011-05-26T15:48:00.000-07:00

"Tree in Rain/Fog"
oil on panel, 2011
7" x 5" (17.78cm x 12.7cm)
Available - Contact Randy Higbee Gallery (714)-546-2156
kingofframe@gmail.com, randyhigbeegallery.com

I have always liked rain images, washing over the landscape
in grayish green tones. Even the most mundane scene
becomes far more interesting and worthy of pause. The middle
of a street takes on different patterns of light while wet and
can easily become the central focus. Although the tree in
rainy foggy weather was my original intent, it's the wet street that shines.118
To see another similar painting click previous post here Washed in Grey Green
For others click rain or weather Labels below this post.

Click on image for larger view

...Port in a Storm

2011-05-22T00:05:00.000-07:00

"Union Pacific 4259" SOLD
oil on panel, 2011
6" x 8" (15.24cm x 20.32cm)
Randy Higbee Gallery : kingofframe@gmail.com,randyhigbeegallery.com

The 4259 headed into the port and right into an approaching storm, the last bit of sunlight illuminating the well worn bright yellow locomotive. I like the lightening bolt red stripe of the Union Pacific and that is what inspired me to portray the locomotive charging head-on into a storm.117

Click on image for larger view

Subdued Energy 2

2011-05-16T00:54:00.000-07:00

"Tree Nocturne (2 Figures, City View)" SOLD
oil on panel, 2010
5" x 4" (12.7cm x 10.16cm)

The nocturne... it's origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

Like most from my Tree Nocturne series this is from my imagination and maybe distant memories.

Being more of a night owl I love the faint buzz of the nighttime air. As Ray Bradbury so perfectly described in one of his books... it's "... the gentle hiss of distance...". I could not say it any better than that. It is not quite silent, but you can't really hear it either. It's just there.
Although it dominates the composition the tree is not the main focus. The figures overlooking the city, silhouetted against the bright lights, command the attention, even if small.
I designed the foliage of the tree to radiate outward from the center and pushed the color saturation a bit to give the scene more life, that subdued energy of the suburb and urban setting.
This is what I had in mind for this painting as well as the other one under the same post heading 'Subdued Energy' here. 116

Link to value thumbnail here.

Click on image to enlarge

*Update - previous post original value thumbnail here.

Studio Pics-Gallery

2011-05-13T16:34:00.000-07:00

Here are a couple pics of the gallery area of my studio where I receive clients. The interior designer did a beautiful job setting up the gallery to be warm, inviting and showcase my art.

Bird Study-Greater Pewee

2011-05-09T10:57:00.000-07:00

"Greater Pewee"
pencil on paper, 2011
image area 5" x 3.5" (12.7cm x 8.89cm)
Available, contact me at davidteter@att.net

This drawing is a bit more 'studied' than previously posted bird sketches, here and here.
The focus is more on the values in the bird (hence the transparency of the branch) and it's soft feather texture.115

Click on image for larger view

Desert Bridge at 6 x 6

2011-04-30T19:34:00.000-07:00

"BNSF 7318 Bridge" SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Randy Higbee Gallery ; kingofframe@gmail.com, randyhigbeegallery.com

The BNSF 7318 at the top of the El Cajon pass on a cold, foggy day on one of many small desert bridges that hop over culverts and access roads.

The square format was a challenge to keep the locomotive substantial due to it's horizontal shape without resorting to an end view. Placing it high in the composition atop the bridge helped achieve that. The painting is now about both the train and bridge; the train due to it's brightness against the subdued desert palette, the bridge due to it's central position within the composition.

The zig zag line of hill, concrete, and vegetation on the right feeding into the road and leading the eye back up to the bridge and locomotive.114

Click on image for larger view

6" Squared Show Video

2011-04-28T02:16:00.000-07:00

A video has been posted on the Randy Higbee Gallery Blog of the recent 6" Squared Exhibition and Sale.
This wasn't even the busiest part of the night. At some points you could hardly get through the crowd.
I managed to make a couple of unknowing appearances.
A fun night night meeting other artists, collectors and talking art. I even bought another artists' work (here)and was fortunate enough to be able to hear her thoughts behind the painting... something you don't always get... and oh what a story! When I saw the painting I knew it was mine... some things you just know.

Oil Plant at 6 x 6

2011-04-27T00:05:00.000-07:00

"Oil Plant #7"
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Available, contact me at davidteter@att.net

From my Oil plant series, it was an oil pumping station. I'm told it collected oil from local wells then pumped it, via underground pipes, to various oil refineries around the South Bay. It looked like it was built in the 1930's, although that's an educated guess. I wish I knew more about it.

Th oil plants dead and lifeless state emphasized by the climbing vegetation. The pipes or valves also seem to be sprouting from the bottom, adding to their anthropomorphic manner along with the two lights atop the the wooden structure that appear to be looking down.113

Click on image for larger view

6" Squared Show Pics

2011-04-18T21:36:00.000-07:00

Random show pic

Fellow artist Vicki, myself, gallery staff member Terry

Gallery photographer Jessica and I think.... Don King

Gallery staff member Terry and her son in front of my paintings

Here are some pics sent to me from the Saturday night 6" Squared Artists Reception. Thank you Erich.

It was an exciting and enjoyable night.

Click on images for larger view

6" Squared Show Packed

2011-04-18T14:51:00.000-07:00

This reception at this past weekends' 6 x 6 show was quite packed.
I had the pleasure of meeting and talking to many artists and collectors.
There was lots of great art hanging, including some of my favorite artists.

The show itself will hang through May 6th so it's not too late to get down there and see for yourself.

Waiting for some pics from the show taken by their photographers, when I get them I'll post them here so stay tuned...

BNSF at 6 x 6

2011-04-13T01:26:00.000-07:00

"BNSF 6631 Rain" SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Randy Higbee Gallery ; kingofframe@gmail.com,randyhigbeegallery.com

My fourth painting juried into the 6" Squared Show at the Randy Higbee Gallery. The 3 others here and here and here. If you are in the area it's worth checking out. The show promises to have lots of great art on display and for sale.

The BNSF 6631 near the top of the El Cajon Pass headed to the high desert in Southern California pulling a short string of passenger cars instead of the usual freight cars and cargo containers. Seen here punching out of the mist and into a clearing.
With it's lighter than usual load this train was moving pretty fast and despite it's climb up the steep long grade it rolled around the corner and was gone in a flash, traveling with a sense of urgency.112

Click on image for larger view

Refinery at 6 x 6

2011-04-11T12:35:00.000-07:00

"Refinery" SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Randy Higbee Gallery ; kingofframe@gmail.com,randyhigbeegallery.com

Here is the third painting in the 6" Squared exhibition and sale April 16th at the Randy Higbee Gallery in Costa Mesa California. Two other's here and here.

One of the many reasons I love industrial subjects is the palette of colors usually found. The blues, greens, grays, earthy and rusty browns, ochres, creams, whites and black. This struck me for the taupe of the refinery and the clean crisp white steam set against the stormy gray blue sky.

Refineries are very complicated to paint but fascinating to study. Although made from simple forms they are incredibly complex in their construction, a seemingly endless configuration of pipes, tanks, towers, catwalks, poles, lights... miles of steel, aluminum, asphalt and concrete. Formally arranged, hard edged and grid like contrasted by the softer organic forms of steam and clouds.111

Click on image for larger view

Vincent Thomas Bridge at 6 x 6

2011-04-09T19:19:00.000-07:00

"Vincent Thomas Bridge #2" SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Randy Higbee Gallery ; kingofframe@gmail.com,randyhigbeegallery.com

Here is a second painting that will be in the 6" squared exhibition and sale at the Randy Higbee gallery April 16th. For more info see my previous post below.

From my Vincent Thomas Bridge series.

Here’s a view of the bridge from below the roadway looking west toward the towers, the far tower barely visible behind the scaffolding being erected on the near one. It takes about six months just to wrap a tower for painting, first in scaffolding from the ground up, then wrapped in a white tarp to contain the work. The maintenance of the bridge is a constant job, never finished. This series will show not only the grandeur of the bridge itself but also serve as a tribute to those who maintain and keep it beautiful.110

Click on image for larger view

6" Squared Show - Randy Higbee Gallery

2011-04-06T09:28:00.000-07:00

Click here and here for previous posts on this show.

Click on images for larger view

Bird Sketches

2011-04-02T18:08:00.000-07:00

each-pencil on paper, 2011
4.5" x 5" (11.43cm x 12.7cm) image area in framed bird, top.
5.5" x 4.5" (13.97cm x 11.43cm) two birds unframed
Available, contact me at davidteter@att.net

Here's a couple more quick little bird sketches.
Framing as always, is best done by professionals. I'm ok at it but these people do it everyday and have a far better eye for it.
The frame was selected by an interior designer and one of the staff at Art and Frame Company in Costa Mesa California (Randy Higbee Gallery).108,109

Graphite frame and gray matte really compliment the simple drawing rather than overpower it.

Click on images for larger view

Last Kiss

2011-04-02T12:46:00.000-07:00

"Sunkist Packing Plant (w/ Contrail)"
oil on panel, 2010
8" x 6" (20.32cm x 15.25cm)
Available, contact me at davidteter@att.net

A section of the Sunkist Packing Plant in Orange County California, recently shut down and I feared was slated for demolition. Fortunately it looks like it will survive, a local college has begun taking over the site.

It served the citrus industry since 1945, collecting fruit from local farms, processing and packing it for shipment onto trucks. Here, the west side of the plant along the Amtrak rails receives the last kiss of sunlight, the wind raking away at the contrail.107

Click on image for larger view

'Of the Night' 3

2011-03-31T00:35:00.000-07:00

"Nocturne-Lucy (Cat)2"
oil on panel, 2010
5" x 7" (12.7cm x 17.78cm)
private collection

The nocturne... it's origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

A perfect subject for the nocturne, the cat. Surreptitiously slipping through the hushed night without a sound. Low to the ground, quick light steps with a purpose. It's shadow the only thing to keep pace.

My sister's cat Lucy. I spent what seemed like forever trying to capture the night shot, no tripod, handheld, just clicking away... far more challenging than the daylight, especially a moving subject. I would get the shot but not the action, the action so familiar to us... fleeting, almost unseen.

She finally had enough running around then just sat there watching me, with her curiosity, tilting her head and staring.106

Click for "Nocturne-Lucy (Cat)"
Click on image for larger view

Snowscape

2011-03-27T11:18:00.000-07:00

"Burnscape Color Study" SOLD
watercolor/ink on paper, 2009
12" x 9" (30.48cm x 22.86cm)

This watercolor is from my Burnscape series. Living in southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn't for it's destruction but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the stripping away of old layers for a fresh start, the way Mother Nature intended.

The fascinating thing about some burned areas is the white ash from certain types of vegetation. It appears like snow. I sometimes refer to these as California fall or winterscapes. A bit eerie to walk through.

This was a color study done on a sheet of 12" x 9" paper, hence the color test splotches.
Experimenting here with finding that balance between the image looking like a snowscape initially then the realization that it is a burnscape.105

Click on image for larger view

Monoliths

2011-03-25T09:05:00.000-07:00

"Oil Plant #8 (w/ Tree)" SOLD
oil on panel, 2011
6" x 6" (15.24cm x 15.24cm)
Randy Higbee Gallery:
kingofframe@gmail.com, randyhigbeegallery.com

This painting was just excepted into the 6" Exhibition and Sale (show) at the Randy Higbee Gallery.
The Gallery reports the show promises to be an even greater success than their December show with twice as many artists entering this one. I don't doubt that, there was some terrific art at the last 6" show.

From my Oil Plant series, it was an oil pumping station. I'm told it collected oil from local wells then pumped it, via underground pipes, to various oil refineries around the South Bay. It looked like it was built in the 1930's, although that's an educated guess. I wish I knew more about it.

Here it is seen from a distance, framed by a dead, leafless (read lifeless), tree. The tanks or towers, I'm not sure of their technical name, remind me of ancient stone monoliths from bygone civilizations, silently standing long after it's inhabitants have left, the structure slowly decaying around it.104

For others in this series click 'OIL PLANT' in labels below this post or in 'LABELS' column at right.

Click on image for larger view

Burnscape

2011-03-23T09:51:00.000-07:00

"Burnscape w/ Staircase" SOLD
watercolor on paper, 2009
9" x 12" (22.86cm x 30.48cm)

This watercolor is from my Burnscape series. Living in southern California and seeing so many wildfires it would be easy to focus on the destruction. My attraction for the burned landscape isn't for it's destruction but instead how it modifies the landscape, turning it into a charcoal terrain... it is rebirth, the stripping away of old layers for a fresh start, the way Mother Nature intended.

Here it exposes a long staircase previously hidden by years of growth, like a bony spine down the hillside. The only life is the green vegetation capping off the top of the hill, protecting the unseen home from being lost.103

Click on image for larger view

Puddles

2011-03-18T08:37:00.000-07:00

"Long Beach Cityscape #1" SOLD
watercolor on paper, 2009
12" x 9" (30.48cm x 22.86cm)

A Long Beach cityscape looking west at sunset. Recently sold, an experimental watercolor, one not in my usual method. Here I laid down the paint in puddles of color to build the forms and shapes. This allows me to see in terms of color, value and chroma instead of being too concerned with rendering surfaces and textures.
Every so often it's good to practice other means of working. It reminds me to always remember the fundamentals and ends up strengthening my work.
I did do some scrubbing out in areas that were becoming muddy in order to keep the painting fresh and originally planned to bring some areas to a higher degree of finish but decided that unnecessary considering my original intent.102

Click on image for larger view

New Series Teaser

2011-03-14T16:27:00.000-07:00

untitled work in progress
watercolor on illus. board
10.75" x 8" (27.305cm x 20.32cm)

Being out sick for 3 weeks has put me a bit behind. With a million things to do... well you know, it happens to us all.
For my 101st posted image, a new series for 2011... a teaser of what's to come (Thanks Bill).
Numbered posts include only images posted for the first time, so this does not count posts with repeated images due to an update or an all text post, photo post, gallery or show announcement.

This will be an extensive series with many images in various media... pencil, graphite, charcoal, watercolor, oil, mixed media. I'm anxious to really get into this one, especially since I've been 'sitting on' this since early November '10 but had other projects to finish up first.
It's one I have been looking forward to for some time.

This series of the Vincent Thomas Bridge will also include some views of the surrounding harbor as seen from the bridge itself even though you may not see the bridge in that image.

Shown uncropped since it is a work in progress. Not the first in this series but representative of the beginning of it (see another here). Starting from the ground up. Apropos I think.
Most of the time I have a pretty good idea of the finished image, but as sometimes happens, I reach a point in the process where I'm not sure what direction to take it... like here... I did at the start but as sometimes also happens that changes midstream, not a bad thing...

So here you go, a little more than half done. I'll post the final image when it's finished.101

*Update - The finished painting here.

Click on image for larger view

Studio Pics

2011-03-07T10:52:00.000-08:00

I spent most of February with the flu so I wasn't back in the studio much. I don't get sick but every 3-4 years so when I do get it, it knocks me out.

I'm now back in the studio working hard on commissioned projects, upcoming shows, and other misc work. Here's a couple of pics of my studio and works in progress.

Click on images for larger view

Thank You Followers!

2011-02-16T22:46:00.000-08:00

To all of you who have joined/followed my blog so far, Thank you!
My intention was to thank each as you began following but alas I can not figure out how to 'send a message' via Google Friend Connect...

I hope you all enjoy my art and I always welcome your comments.
Been busy, hence the lack of posts lately. That will be changing soon. As I produce work in groups there will be flurries of activity, so stay tuned.

David-

Spring 6" Squared Show

2011-02-12T00:51:00.000-08:00

Another exhibition and sale will be held at the Randy Higbee Gallery in Costa Mesa California.
Like the one in December it will feature art all sized at 6" x 6" from artists all over the US and who knows, maybe other countries as well.

I will post a couple teaser 6" x 6" images of my work as the show nears.
The December show was a great success and it was exiting to see so much diverse art in one place, all for sale at affordable prices, so if you can make it I highly recommend attending.

An open call for any and all representational artists, for more info check the two links below.

http://randyhigbeegallery.blogspot.com/
www.Onlinejuriedshows.com

TERMINATED

2011-01-31T11:48:00.000-08:00

"Oil Plant Nocturne" SOLD
oil on panel, 2011
4" x 5" (10.16cm x 12.7cm)
contact me at davidteter@att.net

My 100th posted image. Numbered posts include only images posted for the first time, so this does not count posts with repeated images due to an update or an all text post, gallery or show announcement.
I originally planned to feature an image from a new upcoming 2011 series on the Vincent Thomas Bridge as the 100th but upon discovering the recent demise of the oil plant I decided it would finish out the first 100. The new series starting at 101.

Although this nocturne features trees, it is from my Oil Plant series. This building was on the same site as the oil plant and served as the office.
Now shut down, the windows boarded up, the only signs of life are the trees and the lone light needlessly illuminating the parking lot.

I saw this in the day time but turned it into a nocturne, so I needed to figure out or imagine how it would look at night with the light on and other ambient light at the horizon and the left side.
About the time I painted this, I revisited the site and much to my dismay it was gone, the plant razed to the ground (actually a pumping station I recently found out), nothing left but a lot scraped clean and piles of dirt. TERMINATED.

So with that in mind... it's final night.
The power pole, with it's wires, function as a cross much like you would see on a grave site. Although it is usually considered bad design to split compositions in half, sometimes I will do so just to see if I can 'break a rule' and still make it work, a challenge I enjoy. See three others with the same premise here and here and here. In this case I made it work by keeping the dissector, the pole, the same value as the tree so that it did not prominently show the near mid composition split.

Then deciding the distribution and the balancing of the warms and cools; the front of the building cool, the back warm, via the light (which probably wasn't actually working since I doubt there was power to the site). But in making an image, changes can be made to strengthen an idea or composition, so on it went. With the focus on the lower right corner, typically another design no-no, the taller tree was lit by another warm but unseen light source, to set up a diagonal and give it balance.100

Click 'Oil Plant' label below for more from this series
Click on image for larger view

"Chandler's-study #1"

2011-01-19T16:03:00.000-08:00

"Chandler's - study #1"
Graphite on paper, 2010
8" x 10" (20.32cm x 25.4cm)
Available, contact me at davidteter@att.net

A study of a cement retaining wall at the backside of a rock quarry. Perhaps one I will turn into a painting at some point. With a couple of commissioned projects in the early stages, so many current series going as well as some new ones planned for 2011... I'll be busy. So as of now I don't know if this will see the light of day in paint, but we'll see.

Vigorously drawn, focusing here on the arrangement of values, referred to as a value comp or sketch.99

Click on image for larger view

*Update
A study of a cement retaining wall at the backside of a rock quarry.
Focusing here on the arrangement of values, referred to as a value comp or sketch but with a bit more information than a thumbnail.

The key to making this otherwise simple subject of concrete wall and railing exciting was to instill some action in an inactive, static image by using vigorously drawn strokes swirling around the center and not being too literal with the depiction of trees and surrounding landscape.

Jackson Hole Wyoming-Horizon Fine Art Gallery

2011-01-14T14:40:00.000-08:00

There is tons of snow in Jackson Hole Wyoming. If you are headed there to ski don't forget to stop by Horizon Fine Art Gallery at 30 King Street, it's latest location.

Click here or above for a preview of all the great art featured at the gallery.
With over 70 artists, painters and dimensional, there is plenty to see.

Flycatchers-Sketches

2011-01-14T00:42:00.000-08:00

"Eastern Phoebe"
pencil on paper, 2011
5" x 4" (12.7cm x 10.16cm)

"Eastern Wood-Pewee"
pencil on paper, 2011
3.75" x 3.25" (9.525cm x 8.255cm)

Here's a couple quick little sketches of flycatchers. Called flycatchers due to there manner of feeding or hunting, perching in one spot then flying out to catch insects out of the air. Both are rather plain or even drab in their color and markings but no less beautiful than more fanciful species. The Eastern Phoebe (top) is a slim flycatcher that perches low along streams. The Eastern Wood-pewee perches high among foliage in forests and is rarely seen.97,98

Click on images for larger view

Update-Previous Post- "Water and Power"

2011-01-09T15:14:00.000-08:00

*Most of the time when paintings are done and framed they are out of my hands so I don't get a chance to photograph them framed. Occasionally I do. I've posted a photo of the painting "Water and Power" on the original post 'Concrete Facades' from the May 2010 archives.

Click on 'Concrete Facades' above or the label 'update' below to see original post.

"Figure Study-Hips-Legs"

2011-01-06T21:41:00.000-08:00

"Figure Study-Hips-Legs"
oil on panel, 2010
7" x 5" (17.78cm x 12.7cm)
private collection

A quick figure study. My focus here was more a study in paint application than an anatomical study, so an experimental study. When it comes to the figure I am still searching a bit for a 'visual voice' in all it's forms.
I usually prefer to have something to say or represent about the subject. Some kind of impression or response that helps guide decisions or gives me direction when it comes to the elements of art and design. Elements like paint application, value, edges, color etc. as well as the more emotional and conceptual responses. This is one of my goals for 2011... to really start working more with the figure until something begins to emerge, to search out some kind of expression then find a way to articulate it visually.96

Click on image for larger view

HAPPY NEW YEAR!

2010-12-31T14:34:00.000-08:00

Goodbye 2010... Hello 2011!
Hope everyone has a great New Year!

Thank you to all who have given me support in 2010! None of us can do it without the help of others and I am fortunate to have so many people involved in my successes.

Here's to an even bigger and brighter 2011!

David-

Subdued Energy

2010-12-26T13:52:00.000-08:00

"Tree Nocturne (19th St.)"
oil on panel, 2010
3.5" x 5" (8.89cm x 12.7cm)
Available, contact; website Oceanside Museum of Art Store
phone (760) 435-3720

The nocturne... it's origin, mid 19th century French from Latin, nocturnus, meaning 'of the night'.

My Tree Nocturne Series. I've kept the series compositionally simple, focusing on the tree and usually an unseen light source. This small painting breaks from that slightly.

Here I show the foreground and middle ground source of the street lights with light emanating from the distant LA Harbor. All, the orange sodium lights. This also is a more zoomed back view than previous tree nocturne's, including more of the surrounding landscape. The color saturation is pushed a bit to give the scene more life, the subdued energy of the suburb and urban setting. In contrast to the previous post.95

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*Update - previous post original value thumbnail here.

Sleeping Giant

2010-12-22T01:26:00.000-08:00

"Industrial Plant Nocturne" SOLD
oil on panel, 2010
"3.5 x 5" (8.89cm x 12.7cm)
Randy Higbee Gallery ; kingofframe@gmail.com, randyhigbeegallery.com

Gilded a bronze tone by the orange sodium lights from the harbor, light speckled, a cool night.
Although most industry goes 24 hrs a day, this looked to me like a sleeping giant when I saw it.
That impression was all that I needed for this painting. A simple grid composition, horizontal format for rest, very little color. Dark and still.94

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Phantom Cloud

2010-12-15T12:30:00.000-08:00

"Oil plant #5 (Phantom Cloud)"
oil on panel, 2010
8" x 10" (20.32cm x 25.4cm)
Available - Contact Randy Higbee Gallery

714-546-2156

kingofframe@gmail.com, randyhigbeegallery.com

I love this view from below the tangle of pipes. Seen late in the day the shadows stretch out and colors deepen.

As I was working on the sky nothing seemed to fit, I then laid in some quick gestural strokes and this phantom shape began to emerge. Recognizing the drama it added and the nice contrast of loosely applied paint to the straight, harder lines, a bit of refining was all that was needed.93

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6" Squared Show Award Announcements

2010-12-12T21:55:00.000-08:00

The recent 6" Squared Show at the Randy Higbee Gallery was a sight to see, as I mentioned previously. Click here to see that post.

A lot of hard work went into the show and competition by all involved, from the judges to the staff at both Randy Higbee Gallery and Art and Frame Co. I can't imagine preparing and framing over 300 works in such a short time.

The results were announced on the New Randy Higbee Gallery Blog. Link here... Gallery Awards

As you will see, there was/is (show runs till Dec 23rd) so many great paintings, I'm glad I did not have to decide because the quality was superb. Many of my favorites were chosen as award winners, and deservedly so.

Solar Eclipse

2010-12-10T20:10:00.000-08:00

"House in Tree's (Eclipse)"
oil on panel, 2010
4" x 5" (10.16cm x 17.78cm)
Available - Contact Randy Higbee Gallery714-546-2156

kingofframe@gmail.com, randyhigbeegallery.com

I like the way the house tucks back into the dark mass at this time of day. However, the actual lighting wasn't really going to do much else for the image so a conscious decision was made to alter it in some way without losing that shape of tree's and shadow wrapping around the house.

Other than rain, most other atmospheric conditions like haze, fog, clouds etc., meant using a middle or high key value scale, which I did not want, so I stayed with the deep tones.

The lighting now is very similar to the conditions of a solar eclipse... full sun veiled, giving the painting a slightly eerie cast and supporting the visual of the overshadowed house.92

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Crossroads

2010-12-07T13:45:00.000-08:00

"Harbor Line #50 Crossing" SOLD
oil on panel, 2010
5"x 7" (12.7cm x 17.78cm)
Randy Higbee Gallery ; kingofframe@gmail.com, randyhigbeegallery.com

The older #50 from my "Pacific Harbor Line " series. Shown here at a crossroads. Though outdated by technology and being replaced by the newer low emission models, it's still operating.

Placed in the center of the composition, a potentially boring design, but made to work by the dark tree at left and the line of power poles.
The other reason is to place it at the center of a subtle compositional X, formed by tracks, road and cloud shapes, marking it's eventual work stoppage, the sweeping lines of the wires leading the way.

Nostalgic maybe, but not sentimental. A reason I like industrial subjects. They represent hard work, without regret, then step aside for the next generation.91

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A Show of Color

2010-12-05T08:09:00.000-08:00

"Oil Plant #6 (Two Stacks)" SOLD
oil on panel, 2010
6" x 6" (15.24cm x 15.24cm)
Randy Higbee Gallery ; kingofframe@gmail.com, randyhigbeegallery.com

This is the fourth of my paintings from the 6" Squared Show, December 4th-23rd, Randy Higbee Gallery.

My Oil Plant series. Here a close-up. The sense of scale in industrial images is not always evident. The two stacks are huge, prominently standing at least 7 or 8 feet tall. Years of service, then years of weather have left them multicolored, glazed in rusty orange and dark chocolate, iced in white, heat tempered in blue, in stark contrast to the more somber wooden structure.

I'm not sure if they were originally painted white or if it is oxidation, but either way all the process' metal goes through, producing bursts of color upon color, is spectacular. The roof too is alive... it's amazing the range of hues found on old metal.

It is usually mother nature who gets credit for such splendor... sometimes we forget to look elsewhere. Dormant while still putting on a show in color.90

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