When I was a young boy in a family with six children, we could not afford art supplies. My mother would bring home paper from the butcher for me to draw on, and I used drawing to escape into my own world. I still have the same experience of excitement today when I turn a three-dimensional scene into my own expression on paper or canvas. The process of painting or drawing is a challenging and stimulating discovery of my subject.

One Shy Charro, watercolor, 10¾ x 13½" (27 x 34 cm) 

 

In the 30 years I have been painting in watercolor, I have often been told, “that’s not how you paint a watercolor.” I work, like most artists, from the value scale. But rather than starting light and working to dark, I first paint the darkest possible value of my subject. With nine being the darkest value and one being the white of the paper, I start with number nine. Finding the darkest value from the beginning frees me from muddying or overworking my painting.

Comfort Tractor, watercolor, 22 x 29" (55 x 73 cm)

 

After completing a value sketch, I start with an extremely detailed drawing that gives the foundation of my work. Next, I paint in the darkest values, then apply brilliant and exaggerated color. I glaze a shadow wash over the color, which subdues and allows a rich and textural quality. Finally, I touch up the painting, adding highlights and more color or shadows as needed.

Hat Walk, watercolor, 19 x 29" (48 x 73 cm)

 

I am most drawn to subjects with strong value contrasts and a certain moody or atmospheric quality. I am excited by many things such as the prickly texture of a cactus, the rust on an abandoned tractor, the excitement of light pouring into a window, the quirky personality of an animal or a stormy landscape. I have a similar approach in my favorite mediums of watercolor, gouache and oil. I believe in using whatever method it takes to achieve the results I want and that successful artists use a variety of techniques to achieve their visions.  

My Art in the Making Chama 484

Reference Photo

 

Chama is a small town in Northern New Mexico known for its old trains and natural beauty.

Stage 1

Stage 1  Value Study

I begin the piece with a pen and ink value study.

Stage 2

Stage 2  drawing

I then create a detailed drawing of the train and tape it down.

Stage 3

Stage 3  Mixing Darks

Next up, I’m mixing the darkest dark, which is a combination of ultramarine deep and burnt sienna, until it reaches a thick honey consistency.

Stage 4

Stage 4  Applying Darks

I’m now beginning to apply my darkest darks to the locomotive. 

Stage 5

Stage 5  Continuing On

Here, I am simply continuing to add the darkest darks, steadily building form in the overall piece. This is where you really begin to see its shape and three-dimensionality come together.

Stage 6

Stage 6  Adding Color

At this stage, I am starting to introduce other colors, using a mixture of neutral tint, Payne’s gray, cerulean blue and burnt umber for the shine on the front. The train light is a mix of cool and warm yellows with some Davy’s gray.

Stage 7

Stage 7  Steam and Smoke

Next, I’m adding more color, as well as the steam and smoke. I added the orange brick building using burnt sienna, vermillion and raw umber. The smoke was created using ultramarine deep, burnt sienna, neutral tint, Payne’s gray and while still wet, I added titanium white opaque. I’m using my Holbein spritzer and tilting my board, and adding white splatter with my brush loaded. The foreground was painted using the same colors.

Stage 8

Stage 8  Shadows

I’m mapping out my shadows, which I used a pencil to outline.

Stage 9

Stage 9  Mixing Shadow Color

Mixing my shadow color, I used a watery mix of ultramarine deep and burnt sienna. I mixed and applied with a #3 Da Vinci squirrel mop brush.

Stage 10

Stage 10  Finished Artwork

Chama 484, watercolor, 22 x 14" (55 x 35 cm)