30x36 oil on masonite.
The blues are not that blue in the original. No one will ever convince me that digital is as good as slide film. The computer in the camera sees a color and sometimes really goes after it. But you get the idea anyway.

Rocks and Sea off Cape Elizabeth, Maine

16x20 oil on masonite

Crescent Beach, Cape Elizabeth, Maine

The two playing with the yellow bucket are my grand children, Aidan and Lucas

Here's a watercolor I did on a cloudy day at Lobster Cove on Monhegan Island. It was a demonstration for my students at the time. While I was painting an artist walked down the cove and began a painting right in front of me. There she is in the center of the painting. It turned out to be a good thing as it gave some idea of the size of the cove.

Rocks And Sea at Prouts Neck

I found these rocks just as you see them at Prouts Neck. Yes, the same Prouts Neck where Winslow Homer had his studio.
I made up the sea around the rocks as the ocean was very calm on that particular day.
It's a rather large painting at 24x36 oil on linen stretched canvas.

October Snow

Snow in October make for great painting opportunities as we can work the warm colors of the gold and red leaves against the cool shadows in the snow.
Everything in the scene is exactly as it was in nature, however I invented the stream. 
The painting was done on a 18x24 oil primed linen canvas board.

Step 1, Jewel's Falls,

This was the initial sketch for the painting. I was looking for a sense of rhythm in the design.
I did the sketch with ultramarine blue and transparent red oxide.

Step 2, Jewel's Falls

I tried to lay in the major masses of color and the darkest values first. The grays are combinations of cobalt blue, rose madder and yellow ochre.  The dark water in the foreground were just about the same colors perhaps with a switch to raw sienna instead of yellow ochre in order to make the green darker.

Final Painting

Here's the painting just about complete. I added a few final touches with the brush but the painting remains a work mostly done with palette knife.

Approaching Storm In Mexico

We were out painting in the campo outside of San Miguel de Allende, Mexico. I was just about finishing a watercolor of a beautiful old church in the center of town when a dark cloud approached. It stared to rain so we headed back to the car. I did this painting from the back seat as the dark clouds were passing over. Sometimes misfortune turns out to be fortunate!

Western Wind

Published in this winter's American Artist Watercolor Edition this painting was the end result of a demonstration done in the magazine. The article showed the step by step procedures leading up to this final resolution.

Surf At Two Lights State Park, Cape Elizabeth, Maine

Like the painting below, this was also painted on illustration board and like the painting I had a few problems to solve. The high spray in the center was there without any rocks near it. I thought it was fine at first but then after looking at the painting a few months later I decided to add the distant rocks to give a reason for the additional foam shape in the center.
I'm still not sure about the "pinching" effect of the two rock forms meeting at the right center. I think I'll fix that too now that I mentioned it.

Surf Below White Head

I think it's obvious that the entire painting was done in the studio from my memories of Monhegan. There was, what I think, an awkward form in the breaking wave and I couldn't solve the problem so I put in some rocks (center) where the breaking water was giving me trouble.
Did anyone notice that?
Oh yes! Another note:  The painting is on heavy rough 300 lb. Arches paper.

Rising Tide At Lobster Cove

Once in a while I'll paint a watercolor on illustration board. Of course there are pros and cons to this technique.
One of the pros is the fact that you can lift the paint a bit, just a bit. The con side is you loose control of the paint more easily as it doesn't have the tooth of my usual 140 lb cold press paper.
I started with the sky and work forward, painting the dark rocks last designing them to move the eye back towards the breaking wave.

Heavy Seas

I first had the idea for this watercolor when I first took the cliff walk at Prout's Neck most especially the from the sun shinning on these particular rocks.
The painting was done in the studio. The preliminary sketch in pencil came first then I worked from the sky forward. As you can see the sky set the color scheme for the entire painting.

The colors at low tide on Lobster Cove are just too juicy to pass by. My students had left the island the day before and I leisurely set up my easel and quickly painted this 18x24 watercolor.
Once again I had to capture the cast shadows on the beach quickly as the sun seems to move faster in the morning. (of course it doesn't) but the early morning light had to be captured fast. .

Painted with a mix of watercolor and casein, it was done in the studio from an imagined scene.
The cool colors in the rock was inspired from some rocks in the neighborhood. I think they work in harmony with the cool greens and blues in the sea.

It had rained the day before and I just managed to get a feeling of wet ground the next day. I wish I started painting earlier as the puddles of water were more striking.
The light on the ground was extreme because they put down some straw to get the grass seed going.
Painting like this is always a challenge as the sun moves quickly and therefore changes the entire subject.
The subject is the Old Black Duck fish house on Monhegan Island, Maine.

This watercolor was a demonstration I did for my students on Monhegan. It's the laundry room of the Trailing Yew.
As in most of my watercolors I started with the light washes of color working towards the darkest in the doorway. I dry brushed the gray of the roof to give it sparkle from the sun.

Another falls painting from Acadia. As in the other Acadia paintings all the stone and rocks were done with palette knife. The finer lines in the fallen tree were also done with the knife.
The colbalt blue touches in the foreground water are much more subtle in the painting but the digital camera pulls them out way beyond the desired effect. In any case, you get the idea.