"The Haunted Pumpkin Patch" 9x12 inches. Gouache on watercolor paper mounted to board.
Sergio Lopez Fine Art
@sergiolopezfineart.bsky.social
Artist, cat lover, gouache maven
Here's one more painting that I'll be showing for the Christopher Queen Gallery's 50 year anniversary, opening tomorrow! 16x20 inches. Oil on linen board Can anyone guess which beach this is? Hint: Northern California
One of seven new paintings I'll have at the Christopher Queen Gallery 50-year anniversary exhibition! I think this is my favorite of the group. Show opens October 18th.
Not great at that whole "line it up with the subject" thing
One of the most "photographic" paintings I've done. The photo takes away some of the atmosphere I tried to build into this painting
Work in progress. I'm a sucker for richly saturated dark skies
My least favorite part about working on a painting over multiple sessions is getting back into "mixing shape." You know what I mean? Could be the same photo, same brushes, same paint, same everything, but a different state of mind is the difference.
Which blue is warmer: French Ultramarine, or Manganese Blue? youtube.com/shorts/JWANe...
which blue is cooler?
YouTube video by Sergio Lopez Fine Art
youtube.com
3 paintings in a day? I'm rarely this productive
Unwritten plein air rule #1: if the scene is complex, go loose
I like to think of the highlights on my paintings like these as salad crispies 🥗
I'm proud to share with all of you this wonderful collaboration that I became a part of! For years I've wondered if/when I would get to have my art on a beer can. I'm so glad to tell you that it's finally happened!
Yesterday, I taught a workshop for the Monterey Bay Plein Air Painters Association. I was asked to come teach plein air oil painting to a small group of the members. I had a great time! Folks enjoyed my demo, and it sounded like everyone was really happy with my advice and guidance.
Despite my extreme lack of energy today, I managed to get a lot of this done tonight. What's left is the thick application of paint to really bring the highlights to life.
Sometimes I like mixing secondaries to get a "primary." It's the illusion of blue that I created by mixing my greens with dioxazine purple. This was a fan little start
I don't know if gouache is pushing me into a more detailed way of remembering, or if I was always drawn to this method and gouache is better suited to it than oil? Either way, I'm enjoying going down this path.
Who says gouache has to be flat and chunky?? Once you really learn the medium (and how to paint) you can get an amazing amount of subtlety from it. This was mainly done by texture and subtle layering, but it takes less time than you might think to get this effect.
Much like springtime itself, the scene really didn't come alive until the flowers came to be.
The next step is to make the flowers not look pasted on
I like the clouds so far, but I'm not totally convinced they are as good as they could be. I think I'll work on the foreground more then reassess.
The foundation of that first layer allows me to build a more complex tapestry of color and texture over it. There is still another layer or two before it's finished, but each one builds upon the others to create the illusion of depth and detail.
The gorgeous yet terrible-for-the-environment sea figs of Sea Ranch. Beautiful Intruders.
"Gold Along The Path" 7x12 inches. Gouache on paper mounted to board.
In atmospheric subjects,I tend to work from back to front. I like to establish the amount of value/color contrast in the background as soon as I can. Helps me set a range to work inside of.
Been working on this one here and there over the past week or so. Gouache is great for just picking up, doing a few things to the painting, then stepping away for a while. It's pretty much always there when you want to paint. The ultimate convenience medium.
I thought I had a picture of the first layer, but alas. This is from Ring Mountain last year during a particularly good bloom up there. All the flowers will come in the next layer
