Sergio Lopez - North SF Bay Area Fine Artist

Upcoming Shows and Events

•Spoke Art: April 7, 2016. "The 5th Annual Moleskine Show." San Francisco, CA.

•Bakersfield Museum of Art: April 9th, 2016. "Kern County Plein Air." Bakersfield, CA.

•Christopher Queen Gallery: May 1st, 2016. "The Golden Hour." Duncans Mills, CA.

•Abend Gallery: May 13th, 2016. "Contemporary Figuration." Denver, CO.

•Paso Arts Fest: May 26th, 2016. "Signature Exhibition." Paso Robles, CA.

•Los Gatos: June 18th, 2016. "Los Gatos Plein Air." Los Gatos, CA.

Sonoma Plein Air: September 10th, 2016 "Sonoma Plein Air." Sonoma, CA.

•Modern Eden Gallery: September 17th, 2016. Beautiful Bizzare Invitational Show. San Francisco, CA.

•Christopher Queen Gallery: October 2nd, 2016. "A Splendid Journey: 40th Anniversary Show." Duncans Mills, CA.

Tuesday, October 21, 2008

Why A Limited Palette is Awesome...

There's something about having a limited palette that forces you to think in a different way. The lack of any strong colors makes you consider different combinations that may actually be more accurate than if you could get to the "right colors" with a full palette. When your strongest red is Transparent Brown Oxide, your brightest yellow is Yellow Ochre mixed with white, and your deepest green is YO mixed with Ultramarine, it limits you considerably yet harmonizes everything better. Actually the most fun is trying to keep warm colors warm with very muted warm colors. You know how white just totally cools your color mixtures? The only choice you have is to mix in some yellow ochre and some transparent brown oxide and HOPE it looks warm enough. Very challenge but very enjoyable.

Major props from the onlooking geezers on this one:

Tuesday, October 14, 2008

The Simple Addition of Yellow Ochre...

So I'm still trying the super-limited palette ala Erik Tiemens, it's quite the challenge. You can't fake the values and temperature shifts like you sort of can with a full-color palette (not that you ever should) so it's definitely a workout. It's fun. My colors were white, black, ultramarine blue, burnt umber, and transparent brown ochre(a warmer more transparent brown than burnt umber... a substitute for van dyke brown). There was no real way to do a green, so that was a struggle. Probably the wrong subject for this subject. I was also experimenting with a more unorthodox composition.

The second one I did has the simple addition of yellow ochre. There is still a real muted quality to the painting, but there is an obvious opening of the color spectrum. It still holds on to the most important aspect of the limited palette, which is a built-in color harmony. Notice that there are no strong primary colors. I think Arnie can be very proud of this palette...

Sunday, October 05, 2008

From The Erik Tiemens Workshop

So I just tookthe workshop with Erik Tiemens. Man was it good. Not only was it really affordable, but it was full of good info and was well-put-together. He crammed in as much teaching as he could, and it felt like he could have given way more if time permitted... He did a lot of demonstrations, and was genuinely interested in giving as much help as he could. He layed out his own method and went through it pretty thoroughly. I can see myself exploring for a while because I found it so natural, useful and effective.

First thing he had us do was use this scrap piece of toned paper to do some compositions from our head to warm up, and also get used to this super-limited pallette.

He then sent us out into the field to sketch and gather ideas for a finished piece based on our observations.

Focusing on the planes of this coastal rock

After the first day of class we went to sketch outside again.. I'm pleased with the way the clouds came out... A lack of proper preparation actually helped out a bit here...

The foreground rock came out ok, but the clouds looked way better before they dried...

In class we did some more thumbnails to work out what we wanted to do for our final piece.

We then got a chance to go out and sketch some more. I got some more details for the painting I wanted to do.

these detail studies help you out more than a photograph does, actually.

The final piece I did in class. It took about an hour and a half, roughly... Much quicker than I could have executed this in oil. I would consider this a good preliminary for a large scale painting. I'm planning on doing this in oils.

After class we were still pretty juiced to do more painting. We went out and sketched again for about an hour. I did this painting in that time. I found that this painting was just as fun to do as an oil painting, and much quicker.

Anybody in the bay area, if you want Erik to keep doing workshops around here, contact him and let him know you're interested in taking a
workshop with him. It's a huge amount of bang for the buck...

Wednesday, October 01, 2008

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