MikeMeniusStudio

evolution of blue abstract painting, image

2012-03-01T11:15:00.000-08:00

Evolution of blue abstract painting

2012-03-01T11:14:00.000-08:00

In this latest version, there are more architectural elements and deeper values, to make the bright areas stand out.

Blue Abstract, image

2012-02-25T17:55:00.000-08:00

Blue abstract, work in progress

2012-02-25T17:54:00.000-08:00

This abstract, based around colors of blue, is evolving into some sort of space environment. Whether it is indoors or outdoors is unclear. That's the ambiguity.

Native American images, abstract

2012-02-12T16:54:00.001-08:00

Native American Images

2012-02-12T16:53:00.000-08:00

This is a revised painting, adding more dimensions, using Native American colors and symbols, in an abstract format.

Healdsburg Art Center reception

2012-02-04T17:46:00.001-08:00

"Lofty Horizons" image

2012-01-23T11:15:00.002-08:00

"Lofty Horizons"

2012-01-23T11:15:00.000-08:00

The underlying peach abstract has now evolved into this form, with identifiable images and more colors & shapes. I'm never sure where this comes from; it just emerges.

"Abstract in Peach," oil on panel board

2012-01-12T14:31:00.000-08:00

"Abstract in Peach"

2012-01-12T14:30:00.000-08:00

Today I added architectural elements (columns and cupolas) across the composition, to suggest flight and weight at the same time.

"Portal" painting evolving (image)

2011-12-28T10:01:00.001-08:00

"Portal" painting, evolving

2011-12-28T10:00:00.000-08:00

The "Portal" painting now has more color, more warmth, more contrast and drama. Many, many hours - and more to go. Truly a labor of love.

"Portal" painting, edited to warmify

2011-12-04T10:40:00.000-08:00

"Portal" painting: 48"H x 36" W. oil on canvas

2011-12-03T17:58:00.000-08:00

"Peach Abstract," beginning stage

2011-11-28T10:28:00.000-08:00

Using variations of peach, I'm applying very thin glazes, to suggest architectural elements, in some type of space.

"Peach Abstract," stage 1

2011-11-28T10:24:00.000-08:00

"Luminescence" painting

2011-11-22T12:44:00.000-08:00

"Luminescence" painting

2011-11-22T12:42:00.000-08:00

This is a re-worked painting. The original version seemed to have too much warmth, so I added more cool colors, both dark and light. The result is very different.

"Edifice, Fog" image

2011-11-14T12:12:00.002-08:00

"Edifice, Fog"

2011-11-14T12:12:00.000-08:00

The speeding cars and traffic lights are added below. More layers of glazes applied in the sky and fog, to make the colors pop out more dramatically. Comments? Interpretations?

"Edifice in Fog," image

2011-11-12T17:34:00.001-08:00

"Edifice in Fog"

2011-11-12T17:33:00.000-08:00

Still a work in progress, I'm building up the fog effects, with wisps going everywhere. Eventually, the dark band at the bottom will have brilliant touches of color, to suggest the motion of traffic. Sky is tranquil and airy; earth is racing along in motion.

"Flow of Life," image

2011-11-06T18:23:00.000-08:00

"Flow of Life," abstract

2011-11-06T18:22:00.000-08:00

This is the current work in progress in the studio. Swirls of energy, in alternating warms and cools, lights and darks, etc.

"Edifice" evolving (image)

2011-11-02T14:11:00.000-07:00

"Edifice" evolving

2011-11-02T14:10:00.000-07:00

Today in the studio, I added more glazes to the original glazes. I'm going back and forth between playing with the dots, and applying richer and richer layers of glazes to the other areas. The drama of the painting is building.

"Edifice" painting, stage 2 (image)

2011-10-29T10:10:00.000-07:00

"Edifice" painting, stage 2

2011-10-29T10:06:00.000-07:00

The "Edifice" painting is evolving: hundreds upon hundreds of dots, suggesting fog, a soft sun set, and the soaring architecture. Comments and reactions are invited, please.

Green abstract, almost complete

2011-10-26T17:32:00.000-07:00

The fundamentals of the painting have now been applied. Some more refining to be done, but this photo gives the general idea of this abstract piece.

Green abstract, nearly complete

2011-10-26T17:29:00.000-07:00

Green abstract, stage 3

2011-10-23T17:43:00.000-07:00

In this stage, I'm increasing the contrast in the upper area, so the bold colors show through. Suggestions are welcome. This is an exploration process.

Green abstract, stage 3 (image)

2011-10-23T17:40:00.000-07:00

Green abstract, image

2011-10-17T18:17:00.001-07:00

Green abstract

2011-10-17T18:16:00.000-07:00

The green and blue glazes have been applied. Now I'm adding touches of orange, red-orange, etc. More color abstractions to follow.

"Edifice" stage 2, image

2011-10-17T18:13:00.001-07:00

"Edifice" stage 2

2011-10-17T18:11:00.000-07:00

The blue and pink glazes have been applied. Now I'm adding hints of a tall building and fog around it. More color and abstraction to follow.

stage 1, abstract (image)

2011-10-13T13:03:00.000-07:00

Stage 1, abstract

2011-10-13T13:02:00.001-07:00

This is one of two paintings I'm doing together: one horizontal and one vertical. Here, in stage 1, thin layers of gray (dark and pale) are applied in abstract patterns. Color will then be applied on top of this gray abstract foundation (see stage 2 below).

stage 2, abstract (image)

2011-10-13T13:00:00.001-07:00

Stage, 2, abstract

2011-10-13T12:59:00.000-07:00

This is one of two paintings I'm doing together: one vertical and one horizontal. In stage 2, color glazes are being applied to the original abstract patterns in grays and whites. For this (vertical) painting, the colors are Cerulean blue and a mix of Cerulean and Alizarin red.

large abstract, "Earth & Sky"

2011-10-10T17:47:00.000-07:00

"Abstract, Sky and Earth"

2011-10-10T12:44:00.000-07:00

"Abstract, Sky and Earth"

2011-10-10T12:42:00.000-07:00

This large painting, 48" H x 36"W, is based on earth tones, with colors added in dots, dashes, and swirls. The colors are there, but the viewer can see "through" them to the space beyond. 46 hours on this painting. Oil on canvas.

2011-09-26T22:15:00.000-07:00

varnishing day

2011-09-26T22:14:00.000-07:00

Today in the studio, I applied varnish to several paintings which have dried completely - including this triptych. The doors and windows are open, and the ventilator fan is running. All is well.

blue abstract, 48"H x 36"W

2011-09-19T10:13:00.001-07:00

Blue abstract, 48"H x 36"W

2011-09-19T10:12:00.000-07:00

This is a large painting, exploring blue (in various hues). The overall effort is to create a transparent effect, where the viewer can see through, into the depths beyond.

The foundation palette is umber/burnt sienna, applied in random strokes across the surface, in light and dark shades. From there, it is a process of applying small bits of colors - all tinted with umber/burnt sienna. There are many colors, but the emphasis is on blues: cobalt blue, cerulean, ultramarine, also warm and cool greens.

candle light painting

2011-09-12T16:26:00.000-07:00

candle light painting

2011-09-12T16:25:00.000-07:00

This is an unusual painting, done in the dark, with only the candle providing illumination. A difficult task, but it creates a special mood.

Blue curtain, abstract (image)

2011-09-04T13:21:00.000-07:00

Blue curtain, abstract

2011-09-04T13:19:00.000-07:00

This painting has an abstract "curtain" in blue, painted over a traditional landscape of northern California. The blue curtain has vertical folds of color added, but the viewer can still see through the curtain, to the depths beyond.

2011-09-04T13:16:00.000-07:00

Green curtain, abstract

2011-09-04T13:11:00.000-07:00

This painting is an abstract "curtain" painted over a traditional, realistic landscape (Yellowstone national park). The green "curtain" has vertical folds in touches of bold color.

First pass, abstract in blue (image)

2011-08-30T12:10:00.000-07:00

First pass, abstract in blue

2011-08-30T12:09:00.000-07:00

This is phase no. 1, laying down the foundation palette of umber-burnt sienna, in differing values. Believe it or not, this painting will ultimately be primarily in blues, but first we lay the groundwork in palette and composition.

2011-08-08T17:21:00.000-07:00

Abstract, umber-burnt sienna

2011-08-08T17:16:00.000-07:00

Abstract, umber-burnt sienna

2011-08-08T17:15:00.000-07:00

The palette for this abstract is a warmer, more soothing umber: it has the red of burnt sienna mixed in. The past two abstracts were based on umber-ocher, which has a yellowish brown tone. This is a work in progress. I'll post the finished product later.

2011-07-27T13:46:00.002-07:00

2011-07-27T13:46:00.000-07:00

Abstract #2, Umber-Ochre

2011-07-27T13:44:00.000-07:00

Here are two images of the second of two abstract paintings, based on the palette of burnt umber and yellow ochre. This painting relies more heavily on the umber-ochre under painting, so it has a more earth-tone look. The two photos show the painting in different temperatures.

Abstract in Umber-Ochre

2011-07-17T16:00:00.000-07:00

Abstract, based on Umber-Ochre

2011-07-17T15:58:00.000-07:00

This is a work in progress. It is based on a tone of burnt umber & yellow ochre, mixed into each of the colors on the palette. The combination is giving a deep warm richness to the overall look. Plus, the colors seem to hang together, since they are all tinted with umber-ochre.

Abstract, "Lagoon"

2011-06-18T18:27:00.000-07:00

Abstract, "Lagoon"

2011-06-18T18:25:00.000-07:00

This is a large painting, 36" x 48." It began as an exploration of the foundation color, French Ultramarine, in varying shades. From there, it simply grew into this abstract. Some viewers see it as the Santa Rosa lagoon, hence the title. For me, it is simply an abstract composition which evolved in colors, textures, temperatures, etc.

Abstract in Multiple Colors (image)

2011-06-11T19:34:00.000-07:00

Abstract in Multiple Colors

2011-06-11T19:31:00.000-07:00

This painting began with several random strokes on the canvas, each in a different color. From there I began applying dots and dashes, which radiated in various directions from the original brush strokes. The radiating patterns interacted with each other, creating an energetic flow. In stage 3, I applied very thin glazes of strokes of lower value (dark gray purple) in vertical lines and arcs. The effect gave an architectural feel to the abstract image below, so I added horizontal lines, vaguely like stairs. Perhaps this is an homage to Piranesi's engravings of imaginary architectural settings.

Abstract in Blue

2011-06-11T19:08:00.000-07:00

Abstract in Blue

2011-06-11T19:04:00.000-07:00

This painting began with several random brush strokes, in varying shades of blue. From there, I painted dots and dashes of different hues, radiating in many directions from the original blue strokes. In stage 3, I apply a "curtain" of vertical dots and dashes across the original abstract design. The result turned out to be a landscape/abstract in multiple dimensions. Who knew what direction this painting would take?

"Afternoon Light"

2011-05-05T07:18:00.000-07:00

"Afternoon Light"

2011-05-05T07:17:00.000-07:00

This piece was recently juried into the national exhibit of the Colored Pencil Society of America. "Afternoon Light" is 24"H x 18"W. It uses Prismacolor wax based pencils on gray Canson Miteint paper.

"Crown of Love," stage 2

2011-04-11T15:37:00.000-07:00

"Crown of Love," stage 2

2011-04-10T17:21:00.000-07:00

In this stage, complementary colors are applied over the original brilliant ones. The result tones down the overall palette, while creating a glow in each area. The first layer was water soluble colored pencils. Stage 2 uses wax based colored pencils. Fun!

"Crown of Love" in complementary colors

2011-03-28T17:48:00.000-07:00

"Crown of Love," stage 1

2011-03-28T17:32:00.000-07:00

Here is the first stage of a colored pencil piece. It uses water soluble colored pencils, which turn brilliant when water is applied. In stage 2, the complementary colors will go on top of this brightness, creating a calmer more subdued color scheme, but with the bright under glow of these colors.

2011-03-23T15:15:00.000-07:00

Doorway abstract

2011-03-23T15:09:00.000-07:00

The mid-tone was a muddy brown. On top, I added thicker brush strokes of umber, purple blue, lavender, etc. It all looked muddy and confused, so I added parallel passages in viridian green and very high value viridian. The result was something vaguely like a door, leading out of this muddy mess.

"Orange & Green" abstract

2011-03-23T14:59:00.000-07:00

"Orange & Green" abstract

2011-03-23T14:56:00.000-07:00

The background treatment consisted of varying hues of orange. The foreground consists of abstract shapes, based around viridian green and ultramarine blue.

"Tea Jar"

2011-03-16T16:53:00.000-07:00

"Tea Jar"

2011-03-16T16:49:00.000-07:00

This is a porcelain tea jar, painted in blue and white, with the complementary color, orange, used as the background and floor.

"Orange"

2011-03-15T21:13:00.000-07:00

"ORANGE"

2011-03-15T15:01:00.000-07:00

Today's muse was this orange. Tomorrow morning, it will be juice. I created two palettes of orange: one using cadmium red (for the illuminated side); one using alizarin crimson (for the shaded side).

GREEN MUG, 3 PENCILS

2011-03-06T17:15:00.000-08:00

The vintage green mug has been around for years. This is a small painting, using the old mug and three colored pencils, those dear friends from so many works on paper. These days I'm painting in the dark in the studio: overhead lights off, shades on the studio windows, a single light trained carefully on the set-up.

GREEN MUG, 3 PENCILS

2011-03-06T17:10:00.000-08:00

USING BLUE AS A STARTING POINT

2011-02-28T16:12:00.000-08:00

This abstract painting began as a study in various shades of blue. Then I played with the complementary color, orange. I mixed in umber, sienna, yellow, cobalt red, alizarin crimson, and white - to keep the orange changing throughout the composition. The oranges were applied with a palette knife, then smeared with my finger tips.

ABSTRACT, "COMPLEMENT OF BLUE"

2011-02-28T16:00:00.001-08:00

ABSTRACT, RED CIRCLE

2011-02-27T12:18:00.000-08:00

ABSTRACT, RED CIRCLE: The background is a cool, neutral gray. This gives strong contrast to the glowing red circle, whose edges are soft. The horizontal gray bars have sharper edges.

ABSTRACT, RED CIRCLE

2011-02-27T12:11:00.000-08:00

2011-02-27T12:00:00.000-08:00

"Green Pear"

2011-02-27T11:56:00.000-08:00

This is a miniature still life (5 " x 7"). It calls for using only a few brush strokes, to capture the light, shadow and composition. The background colors are complementary to the pear's green.

"3-Tier Cake"

2011-02-07T20:27:00.000-08:00

This oil painting was done a few months back, as a way of doing a traditional still life, but with "FUN" included. The warm background and the table cloth folds were the free-and-easy part. The cake, the plates, and the cake knife were the tight, detailed part. The cake knife is about to fall off the table, to add some motion and tension to the whole piece. Oops! There it goes!

"3-Tier Cake"

2011-02-07T20:23:00.000-08:00

4 Abstracts: a series painted together

2011-02-02T19:07:00.000-08:00

Here are 4 abstract oil paintings, painted together over a period of a week. The starting point was to cover the canvasses with random brush strokes in the same color: pale Cerulean blue and Payne's gray - in impasto thicknesses and thin washes. After all that had dried, I began adding various colors, using palette knife, brushes, finger tips and crinkled up paper. It was all fun, fun, fun.

2011-02-02T18:59:00.000-08:00

2011-02-02T18:55:00.000-08:00

Clock Tower, Healdsburg, CA

2011-01-23T10:06:00.000-08:00

This is the clock tower on the historic town square in the charming town of Healdsburg, CA. Wine tasters pass through this area as part of the tour of wine country.

Clock Tower, Healdsburg, CA

2011-01-23T10:00:00.000-08:00

Winter scene

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

Here is a landscape, based on my yard, years ago, when I lived in Washington, DC. It is sunny in California, but the East coast knows about snow!