"Equinox Road"

This painting was posted shortly after it was completed in April 2008.  In that post, I talk about this work being metaphorical and composed just to communicate the way I sense the change of season between winter and spring – more about this painting can be found here.  A large cool shadow area covers most of the bottom third of the painting. Below are some other newer and older works that feature similar compositions.

"Deep Autumn"

"Winter Light"

"Cape Time"

"October Blues"

So, how come?  Why does this compositional convention show up so often in my landscape paintings.  The answer I gave during the demo is true – it works well as a compositional tool.  Beyond that, I have an affinity for the play of light in nature.  In a painting, the only way to convey light is to contrast it with shadow or shade – meaning that there must be some variety of darker values near the lights.   As I alluded in the earlier post, and as I try hard to convey to students in my classes, the composition of value shapes is what provides structural strength (or weakness) to a painting.  Personally, I like a solid visual step at the bottom edge of a painting, which is the reason that I so often include it in my work.   What would Sigmund Freud think?  Something deep, dark and troubling no doubt!    I prefer to think it’s just my best efforts at good composition. That said, perhaps I’ll mix things up in work to come – stay tuned!

"Park-McCullough View"

"Breaking Light"

"Afternoon Farm"

"Golden Afternoon"

"Rural Route"

Contact me if you have an interest in these or any other paintings on the site. Email me at tc@tonyconner.com or by phone at 802-375-5548.

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"Side Street"

12″ x 20″

This painting began as a demonstration painting created for the residents of Equinox Village in Manchester Vermont.   The scene is adapted from pencil sketches done on Cape Cod in the early 1990′s.    Though the sketches are older, the sense of place from that July morning has stayed with me.  Although the Cape is a popular vacation area in the summer, and has all the things that go with that, the backroads and village streets away from the tourist areas are as quaint as one would expect.  The original sketches were created on a July morning, with bright sun already raking the streets, creating dramatic shade and shadow in contrast to streets, yards, fences and homes washed in brilliant light.

The challenge for this painting was two-fold: first, painting for an audience presents its own challenges in trying to balance speech – explaining techniques, color choices and thinking – while maintaining a focus on the work in progress; Second, balancing the many shade and shadow areas with the sun-struck portions of the painting.   Speaking while painting I managed.  More difficult was getting the shade and shadow areas just dark enough to convey the point without creating the sense of a “black-hole”.  The bottom half of the painting – edge of a building to the left, its small side yard, the large expanse of street, a white picket fence line, and the yard with tree to the right, are all shadow.  Since the main focus of the painting is the white cottage home in the upper center-right, the value difference between this large area and the brightly lit street that leads to the house needed to be minimized.   Low intensity color in the mid-value range accomplish the sense of shadow without creating too much contrast.  Detail is also kept to a minimum in this area – in fact there is not much detail in any area of the painting – only the illusion of it.

My audience commented on the choice of color for the secondary house, the red-orange one, in the upper left.  True, it was somewhat of a dangerous or – can I say it – daring choice.   Yet it was a conscious to add that color in that location in order to help draw the eye into the background  where the focal point is placed.  The painting is dominated by cool color – green, mostly, with cool blues and violets as well.  The introduction of the warmer hues provides movement, contrast and relief from the overall cool dominance.  Red, as the complement of green, adds a glow that helps convey the sense of bright sunlight ” bounced” from lit surfaces into the shady areas.   By the way, this red color is a low intensity red that looks brighter because of its placement in an environment that is saturated in its complement. The color itself is a hue called “Quinacridone Burnt Scarlet” produced by Daniel Smith Artists Materials.  It is a deep, cool, gray red,  and is a favorite color of mine. It mixes quite well with a range of blues to produce transparent grays and gray-violets.

In addition to the red house, a number of warm areas were introduced into the painting to support the sense of bounced light and to keep the eye moving through the painting.  The extreme foreground fence post had a good bit of warm grey-orange on the foreground face.  From there, one can find touches of warmth in all of the fence lines as well as in the doorway of the focal point house, in the tree trunks and in the cast shadows.

I have made several paintings out of these sketches, all very similar in composition.  Below is another version done some years ago.

"Cottage"

11″ x 15″

Private collection

This version takes a similar perspective of looking up the street toward a house catching the raking light of a summer day.   Notice the differences in the two paintings in terms of color choices, point of view &  value range

Contact me if you have an interest in this or any other paintings on the site. Email me at tc@tonyconner.com or by phone at 802-375-5548.

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"Bridge In Morning Light"

4″ x 9″

Private Collection

Since it has been non-stop snow here lately it has been hard to get outside for new material.  In the case of this small watercolor painting, I went back to my sketch books.  Covered bridges are plentiful in Vermont and are painted by many.   It can be hard to take on a subject so well explored by artists over time.  Most of what is to be said about the subject has been said.  That said, I dove in anyway.  The watercolor paper chosen for the painting is by Sennelier, a French art supply company known for its fine professional grade watercolor paint.  The paper is from a small watercolor block shaped in this long horizontal (or tall vertical) format.  The paper itself has a heavy coat of sizing which makes it “slick” – the pigments lie on the surface of the paper rather than becoming absorbed into the paper fibers.

The focus for this work was getting a good composition onto the unusual dimensions of the paper.   A long span of covered bridge seemed to be a good fit for the page.   Without any particular color scheme in mind, I chose colors that are favorites of mine – cerulean blue, Daniel Smith’s Quinacridone Deep Gold (I blogged about this color in a September post) and Dioxazine Violet.    Deep Gold suggests autumn, so the painting depicts the bridge in autumn.

I am always attracted to light effects.   Light as it appears early and late in the day is particularly appealing in the way the slanting warm light affects all the surfaces it touches and causes any standing object to cast long shadows.    The combination of two cool colors and one very potent warm color suggested a play of light and shadow on the long side of the bridge.

The finished work seems to have captured the look.

Contact me if you have an interest in this or any other paintings on the site. Email me at tc@tonyconner.com or by phone at 802-375-5548.

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"Barn Snowscape"

“5 x 7″

Private Collection

This small work began as a study for a larger composition and took on a life of its own.  The main challenge for this work and for the larger painting was in balancing the warm and cool areas and in unifying the colors.  The background went in first with yellows, oranges and mixed violets for the forest and the trees.  I wanted to use blue  for the snow shadows – primarily cerulean and ultramarine – which I did.  The problem was that the foreground and back ground did not relate.

The solution was to pull background color into the mid and foreground, while bringing the cool blues up into the sky areas.  The barn itself contains colors from all areas of the painting.  Because of this and because it is the focal point of the painting,  it created a great deal of harmony and unity on its own.

There are three other significant locations where color was added specifically to create unity – the silo, where an intense spot of cerulean blue was added high, so that it would overlap the background, while using the deep violets from the woods on the lower parts;  the left forground snow cover has both violets and a spot of warm orange mingled with the ultramarine; and the fence post to the right, which anchors in the foreground and overlaps the mid-ground and background.  The post was the last item painted and received cool blues where it overlaps the background and warm orange-grays where it overlaps the cool snow shadows.

This and other works on this site are available for purchase. Contact me if you have an interest in this or any other paintings on the site. Email me at tc@tonyconner.com or by phone at 802-375-5548.

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Having lived in Vermont for the past 20+ years has not made it easier for me to endure winter.  It is long, cold and dark. Worse, there is usually not a warm spring with gentle rain and bright flowers as a reward.   People from places that have warmer, or at least, milder winters ask how I get through.  The answer I think is in the fact that while the weather can be a challenge, the winter landscape is quite visually beautiful and exists in a unique serenity.   The sun can seem to be absent for days at a time when, suddenly, the clouds open, the sun shines and the snow cover changes from flat white to mottled white, grays, blue, violet and even warm hues of ochre and yellow.  It is at those time that trees and saplings cast their sharp shadows across the snow.  Such was the case when I created this small painting.  The sun appeared briefly after several days.

This and other works on this site are available for purchase. Contact me if you have an interest in this or any other paintings on the site. Email me at tc@tonyconner.com or by phone at 802-375-5548.

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Family takes  priority during family vacations, so I sketched and painted less than I might have.  Still, I was able to get some work done on our recent trip to Hilton Head.   Living in New England means that I have very little opportunity to see and paint trees from the southeast.   Trees are a favorite subject of mine and are often featured in my paintings.  It was pleasing to be able to see and paint trees from a new area.  Obviously, palm trees don’t grow in the forests of the northeast.  The two sketches below are of a palm located in the courtyard of the condo complex where we stayed for the week.  The pencil sketch captures the reality of the tree, while the watercolor sketch is a study in color, light and shade.

By the time I did this watercolor sketch, I had adjusted my color mixtures to be more representative of the colors of the plants and foliage in the Hilton Head area.   My initial works lacked a bit of authenticity since I was using colors – particularly greens – that are more like those found in New England.  The sketch below of a beach and salt marsh near where we stayed shows the difference.  The green areas in the fore and middle ground are tall marsh grasses.  As sketched, the green is more like the green of a grassy field in the northeast.  Marsh grasses in this are tend to be a somewhat more intense yellow green than as depicted.

Port Royal Sound marsh & sky - Hilton Head Island

On this particular morning, the sky was overcast.  I was pleased to find that my favorite combination of cerulean blue and cadmium red did work well to capture the look of the sky.

]]> http://tonyconner.com/2009/07/27/vacation-sketches/feed/ 1 http://tonyconner.com/2008/04/22/new-work-not-spring/ http://tonyconner.com/2008/04/22/new-work-not-spring/#comments Tue, 22 Apr 2008 01:32:43 +0000 TC http://tonyconner.com/2008/04/22/new-work-not-spring/ My latest work is a departure from the paintings inspired by the current season. This work is titled “Crow Foot” and represents a departure from my “normal” work in several ways.

“Crow Foot”

20″ x 20″

This work looks more like autumn than any other, although I had no particular season in mind. This work is more about color and design than anything else. The important subject is the play of light and shadow on the foreground tree trunk and on the ground. The contrasting of light and dark,warm and cool is a favorite concept for me. This painting uses both to present a view into a shadowy forest on a warm, sunny day. In many ways this is a minimalist work. There is little texture on either the tree trunks or on the forest floor or even in the paint marks themselves. There is consistency in the treatment of edges – nearly all shapes are hard-edged. The combination of these elements along with the warm dominance are unifying factors. The work uses simple shapes and forms with the rhythm of shadows providing movement and excitement. The square format is unusual for me and not really deliberate, although it seems to contribute to the modern, minimalist feel of the work. The original sketches, shown below were drawn in squares – for no particular reason, except that the square format appealed to me at the time. If you are interested in the process, read on….

As is often the case, I perused some old sketchbooks for ideas for this painting. In this case, one contained this series of three sketches of the foot of this old tree in the woods. The sketches are undated but it seems as if they had been done within the past few years. All were completed in an unusual square format. The sketches, shown below, are thumbnails each being approximately 2″ x 2″.

Thumbnail Sketches for “Crow Foot”

These sketches explore the composition of the shapes and values for the finished work. It is only since sharing my work on this blog that I have discovered how creation of a painting actually stretches over very long periods of time for me – months or years. Without dates, there is no way to be certain exactly when these sketches were completed. Clearly the pencil thumbnails convinced me that the composition should feature one main tree trunk with roots in the immediate foreground and lit by side light – since both color sketches feature that composition. Generally, the color sketches are completed after finding a value thumbnail sketch that I am comfortable with. As I recall, these were done sometime in the past year, although, again, they are undated. In rummaging through a portfolio of older works, I came upon these two color sketches, after I had completed the two studies shown below.

Color Sketches for “Crow Foot”

Two small compositions based on the same sketches. After discovering the pencil sketches, I completed these two color studies. Although they began as studies, I brought them to the stage of finished work and gave them titles.

“Old Crow 1″ “Old Crow 2″

Each of these works explores a slightly different viewpoint and points of emphasis. Both are somewhat less lively, even more foreboding and moody than the larger work. As studies, each helped in the decision process, especially in terms of color, shape and placement.

]]> http://tonyconner.com/2008/04/22/new-work-not-spring/feed/ 0 http://tonyconner.com/2008/04/01/new-painting-celebrates-the-change-of-season/ http://tonyconner.com/2008/04/01/new-painting-celebrates-the-change-of-season/#comments Tue, 01 Apr 2008 14:09:42 +0000 TC http://tonyconner.com/2008/04/01/new-painting-celebrates-the-change-of-season/

“Equinox Road”

20″h x 27″W

This work is available – contact me for more information

This work, with its final details and adjustments made only a few days ago, represents the final statement of a series of explorations in paint. It’s title, as well as the painting itself is more metaphorical than literal. The idea began with a quick color sketch in early February. That sketch, show below, was created on the fly focusing on composition and color rather than subject.

“Winter Sketch”

Thumbnail sketch 3″ x 4″

Although the idea was to explore a winter theme, once completed, the sketch appeared to feel more like the the time between winter and spring, where winter hangs on in patches of snow while the brightening sun spreads warmth over the cold landscape. A few days later, after having considered the initial sketch, and mulled over the image, I created another thumbnail sketch, shown below.

This sketch was created specifically to explore a color scheme that would better convey the contrast between gathering warmth and retreating cold. There are more warm hues and warmer mixtures of the cool hues and a stronger play of direct light.

After completing this sketch I decided to do a larger study to help work out composition, color and color mixes. This work, shown below, is the result. It was compelling enough to be given a title. More importantly, it was invaluable in discovering where I would encounter problems and showed where the the composition would need adjustments.

“Equinox Time”

8″h x 12″w

This work is available – contact me for more information

In earlier posts I have talked about the process of creating a painting. The question is often asked and it is a struggle to answer because, for me at least, so much of the process occurs in thought and consideration rather than in action. This post includes four physical works completed between Feb. 4 and March 30 – almost two months. While these were not the only sketches and paintings started, worked or completed in that time, the question could be asked as to whether these four couldn’t all have been completed in just a few days. The answer is both yes and no and has to do with the internal, non-linear, often wandering, parts of the process.

Thanks for taking a look at this latest work. Enjoy the coming of spring!

The beginning of our winter was snowier than usual, so it had me thinking about the landscape as it looks and feels covered with snow.

All new paintings have to start with an inspiration and an idea. When beginning a new work, I often look back at sketchbooks – new and old – for the inspiration. This time around, I came upon a pencil sketch created over two years ago.

The sketch was made on site in an area west of Shaftsbury, VT. I call it the Myers Road area, because it’s generally the road I take to find a good painting or sketching spot.

Although the sketch was done on a cloudy and – according to the notes scribbled on the page – windy November day, there was no snow on the ground. When looking at the sketch this time around, the value arrangement was such that I was reminded of a snow covered landscape. The inspiration was found – rolling hills and farmland on a cold winter day.

When creating a studio painting, I create many sketches – both in pencil and with watercolor. In a way, these sketches are the process since they allow me to explore various arrangements of shape, color and value that will support the main idea of the work. For this composition, the initial few pencil thumbnail sketches and color compositions were created concurrently, working on one, going to another, maybe coming back to an earlier one and so on.

This is the page with my pencil sketches – it is the page from a 9” x 12” sketchbook. All of the sketches, even the larger one at the top took minutes to complete, at most. Although it may appear that they were all were created at the same time, they were actually created individually, from top to bottom and left to right between January 16 and January 22, as a reaction or response to an earlier pencil or color sketch.

The first color sketches were created based on the first (topmost) pencil sketch.

This sketch explores abstract design and color. Another initial color sketch, not shown here,  was painted to explore shape and certain details.

After a couple of days of living with the initial sketches, I went back to work on the composition. For this part, I wanted to create some additional color sketches in order to explore some different color mixtures and different treatment of the sky. In all, four color studies were created, each about 6” x 9” in size. The sketch below seemed to best support the main idea.

All four sketches explored color combinations and value shapes as they might appear in the finished work. At this stage,  none of them grabbed me. I liked the composition of shapes and value, but felt that none depicted the emotion and drama I wanted in the painting.

I took a break from working on the sketches and decided to refresh the paint on my palette. Maybe it was the look of the paint as it oozed from the tubes, but a couple colors that I hadn’t considered previously really caught my eye. I quickly  worked these colors into three new color sketches shown in order below.

These sketches came together quickly. The first is very abstract, concerned more with shape and value. The second is a bit more representative and focuses on balance, contrast and movement. The third explores color and refines the foreground detail just a bit.

If you are still with me this far, congratulations and thank you. In some respects, the process is tedious and boring looking in from the outside.  It was difficult to keep the description of it this short. Creation of  this composition played out over the course of about one week.  In reality, this process can stretch out over the course of days, weeks or months. What is described here is the externally active parts of the process. What I have left largely un-described is the back and forth action between activity and thought; between exploration and evaluation. It is in this part of the process that the painting is truly created.

With inspiration, idea and composition in hand, the paper and board were prepared, the composition transferred and the painting underway. The painting that results from this process will be posted as soon as it is done, most likely within the coming week.

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