2018 Finger Paintings!

[Chad Weatherford]

...I sometimes wish I could post an image without having to type a certain amount of words!

This sketch turned out a bit duller than I hoped.I have versions that are more fresh and vibrant and less worked, but this one was easiest to find

[Chad Weatherford]

2 versions of this sketch. I can't decide which is better, but truthfully not the finest painting town. I was struggling around this time and that helped break my posting momentum here :(

[Chad Weatherford]

Easter was so long ago! Another still life setup at work...

[Chad Weatherford]

Still between the dreary winter and the summer weather. This was one of those welcome April sunshine moments by the water...

[Chad Weatherford]

Back to overcast weather and a mossy tree in the park on my way to the bus stop.

[Chad Weatherford]

Ending this update on a high note because I liked the chroma on this sketch. Maybe could have been a higher key value structure to work better, but I can experiment with that another time potentially. Was painting this from the Iron Workers Bridge in Vancouver. It smelled like burned rubber and oil, and viewing the screen was difficult on account of the sunshine, but got through it!

[HwyStar]

April 31st, #1 is the winner in my book. I think the green moss on the tree trunk pops nicely!

April 2nd, Just wonderful! Such great dimensional relief from the boats to the background. You sure you used ArtRage?

April 3rd LOOKS like a real oil painting. You are getting so many different brush strokes from the program that it is truly amazing! It even looks like you took a real pallet knife and scratched in the grass marks. Wonderful!

Excellent works of art!

[eighty+]

Blows my mind just fantastic

[Chad Weatherford]

April 31st, #1 is the winner in my book. I think the green moss on the tree trunk pops nicely!

April 2nd, Just wonderful! Such great dimensional relief from the boats to the background. You sure you used ArtRage?

April 3rd LOOKS like a real oil painting. You are getting so many different brush strokes from the program that it is truly amazing! It even looks like you took a real pallet knife and scratched in the grass marks. Wonderful!

Excellent works of art!

Thanks so much Robert, I really appreciate it. Yea April 2nd was all the ArtRage app. There might be some Photoshop in April 3rd but a very small amount if any. I've recently discovered that keeping my original pencil sketch (on a separate layer) then locking the layer and painting some variation of a neutral tone can give me that scratching in look...as though I've used the the tip of the palette or handle end of a brush to scrape into the paint.

[Chad Weatherford]

Blows my mind just fantastic

Aww thank you so much eighty...very kind!

[Chad Weatherford]

Another sketch from the Iron Workers Bridge.

[Chad Weatherford]

Last one from the Iron Workers Bridge. Used the trusty technique of enlarging and stretching a duplicate of the painting layer, and erasing bits out to rough up the surface to add some life to an otherwise predictable interpretation of the scene.

[Chad Weatherford]

Back to a concept sketch, started by using heavy smearing of an image of motorcycle armour

[Chad Weatherford]

Another smudge experiment turned environment sketch. Also thought to share some images showing the progression of a smudge process that resulted in the alien head. Most of the expriemental concepts followed a similar line. The alien head was finished in Photoshop, but the smearing and intitial composition was executed in the ArtRage app.

[Chad Weatherford]

Fingerpaint study of some blossoms in April! All ArtRage app with finger.

[D Akey]

Very nice ride around. Loving the show. Keep going. You're doing fantastic.

[HwyStar]

That is so Kewl! From a "HeadBanger" to a "Space Alien"!

Is there a difference? I used to be one... And I'm not saying which one! :)

Nice work, Chad.

[D Akey]

That is so Kewl! From a "HeadBanger" to a "Space Alien"!

Is there a difference? I used to be one... And I'm not saying which one! :)

Nice work, Chad.

I love this game! Okay. First question: You out of the blue or into the purple?

[HwyStar]

Okay, I'll play Big Guy!

Purple...

[Chad Weatherford]

Very nice ride around. Loving the show. Keep going. You're doing fantastic.

Thanks D Akey!

[Chad Weatherford]

That is so Kewl! From a "HeadBanger" to a "Space Alien"!

Is there a difference? I used to be one... And I'm not saying which one! :)

Nice work, Chad.

Thanks Robert, I'm guessing you were a space alien? Me too:)

[Chad Weatherford]

Painting in the parking lot by the water while waiting for lunch from the fish & chips shop.

[Chad Weatherford]

Study of a brass angel at Juliet's Cafe near Kitsalano. Same location as the brass horse sketch earlier in the year.

[Chad Weatherford]

So wanted to add a sci-fi megastructure in the distance on this one. Crisis averted.

[Chad Weatherford]

A lone gull.

[HwyStar]

I don't know if everyone here knows that we have a professional here amongst us. This is Chad receiving his Emmy for his work on Dreamworks Dinotrux posted on Instagram:

95414

Nice work and award Chad!

[D Akey]

Wow! Congratulations! Based on what I've seen of the paintings you've posted, I'm not at all surprised. You really know your color which is I'm sure just the tip of the iceberg. Go man go!!!!

[Chad Weatherford]

I don't know if everyone here knows that we have a professional here amongst us. This is Chad receiving his Emmy for his work on Dreamworks Dinotrux posted on Instagram:

95414

Nice work and award Chad!

Geez now I'm blushing. Thanks Robert

[Chad Weatherford]

Sketch of some boats near Granville Island. Painting in the sun makes me realise I need some sort of sun shield box for my iPad...or a sombrero as someone suggested!

[eighty+]

Hi chad. Yeah went and got a IPad Pro. But it's to far up hi Tec for me I think in the two weeks I,ve Had it. And as yet
I can't find where to draw or how to get a ref image think I shoul have got the one befor the pro. Ok. CIAO. SLAINTE

[DaveRage]

Fantastic paintings, always nice to browse this thread and see the new pieces you've posted. I love the colours and the natural style.

Congratulations on the award! :)

Eighty+ :Feel free to email me at [email protected] if you're having any problems using ArtRage on the iPad Pro and I'll see what I can do to help!

[gxhpainter]

Chad, wow ! now that is something very special, I am so glad it was shared a bit with us. I love your thread it is always interesting and inspiring...

[sabena]

Wow the last painting is fabulous:):)

[pat1940]

Congrats chad on your award, and all your beautiful paintings, I am very familiar with some your scenes,as all my kids 3 live in Vancouver, hope to visit there again soon

[Chad Weatherford]

Thank you so much for the congratulations and kind words everyone! I really really appreciate it. I apologise for being so spotty with appearances here, but I do read every comment and always love to hear what you have to say.

Robert, thanks again for introducing the award pic! I wouldn't have trumpeted that around here myself, so it was great of you to introduce it.

[Chad Weatherford]

This was originally just 1 apple and the container when I sketched this setup last year. It always bugged me, and finally I decided to add a couple more apples, which I think improved the composition.

100% painted in the ArtRage mobile app, save the date stamp and a sharpen filter.

[Chad Weatherford]

Sketch of a work colleague a couple years back. There are some brush strokes added in Photoshop, so not a pure ArtRage Fingerpaint.

Funny, as I've become more comfortable with the whole process now, my recent sketches tend to be more pure.... as in 99.9% ArtRage (mobile app).

[Chad Weatherford]

Impromptu still life sketch from last year. Small Photoshop brush touches on the edge of the table (I think).

[pat1940]

Wow cant believe how wonderful you can fingerpaint they are all so good and love to check out your work

[DarkOwnt]

This was originally just 1 apple and the container when I sketched this setup last year. It always bugged me, and finally I decided to add a couple more apples, which I think improved the composition.

100% painted in the ArtRage mobile app, save the date stamp and a sharpen filter.

Great piece. I love this one.

Can I ask how you achieved the textures near the outer edges of this work?

Once again, wonderful piece.

[D Akey]

Love the one with the apples. I can see there was a lot of thought going into it, with considerations of lighting, more accented splashes of color that suited the forms. It was a bit deeper than the comparatively quick sketches where you make your statement as an overall impression. Both ways are good. But the subtlety in the apple one takes it to more of a finished painting. Excellent.

[Chad Weatherford]

Wow cant believe how wonderful you can fingerpaint they are all so good and love to check out your work

Thank you very much! Of course, fingerpainting is just a novelty really....
I don't find it any less capable than using a stylus on the older iPads!

[Chad Weatherford]

Great piece. I love this one.

Can I ask how you achieved the textures near the outer edges of this work?

Once again, wonderful piece.

Thank you very much.

Honestly, that border texture is just a bit of digital trickery. I used a recent oil painting (of an apple, incidentally) and put it on a separate layer with a pin light blending mode I think. That portion of texture was created with a Pallette knife.

In addition to that I experimented with changing the canvas texture and painted some strokey stuff with drier media and erased bits out. Kinda meticulous but fun.

[DarkOwnt]

Thank you very much.

Honestly, that border texture is just a bit of digital trickery. I used a recent oil painting (of an apple, incidentally) and put it on a separate layer with a pin light blending mode I think. That portion of texture was created with a Pallette knife.

In addition to that I experimented with changing the canvas texture and painted some strokey stuff with drier media and erased bits out. Kinda meticulous but fun.

Well it looks great! cheers!

[Chad Weatherford]

Love the one with the apples. I can see there was a lot of thought going into it, with considerations of lighting, more accented splashes of color that suited the forms. It was a bit deeper than the comparatively quick sketches where you make your statement as an overall impression. Both ways are good. But the subtlety in the apple one takes it to more of a finished painting. Excellent.

Thanks D Akey! Interesting observations! That one was definitely enjoyable to paint.

[Chad Weatherford]

Self portrait. I originally had this with exaggerated tired eyes and more Lucian Freud influenced. My wife and daughter were really creeped out about it so I ended up dialling it back.

[Chad Weatherford]

Another self portrait sketch. This one is heavily influenced (ripped off) from some older portrait work by San Fran artist Hsin Yao Tseng.

[Chad Weatherford]

Wip portrait sketch of a long time friend and collaborator.
This took a while to get right, especially as I checked it out with him after working off a specific photo. He felt funny about the face, and sent me a bunch more photos which really helped to get some structural things corrected. Still not 100% accurate but really really close.

[eighty+]

Yeah Chad Like them both Will drive me up the wall trying to copy them when I get my Pen back

But might try on my IPad Pro when I can find how to use it :D:D:D:D:D:D CIAO HASTA LA VISTA SLAINTE

yes and the last as only just seen

[HwyStar]

Awesome work Chad! Your friends portrait is just absolutely excellent.

[pat1940]

Chad, these are so so amazing, so much talent and a joy to view

[Chad Weatherford]

Yeah Chad Like them both Will drive me up the wall trying to copy them when I get my Pen back

But might try on my IPad Pro when I can find how to use it :D:D:D:D:D:D CIAO HASTA LA VISTA SLAINTE

yes and the last as only just seen


Thanks 80! I'm still on an iPad 2 myself...hope to get a pro next year!! Maybe

[Chad Weatherford]

Awesome work Chad! Your friends portrait is just absolutely excellent.

Thank you Robert. That one sure did take a while

[Chad Weatherford]

Chad, these are so so amazing, so much talent and a joy to view

Thank you very much Pat!

[Chad Weatherford]

View out the 3rd story window at work. I see this scene nearly every weekday in some form or another. I'd love to go back into this one and soften some more edges. Fighting the urge to revisit many of these as they are just sketches...and I'm behind on the series as it is!

[Chad Weatherford]

Stream at Ambleside Park.

[Chad Weatherford]

Quick still life sketch from one of the early morning setups at work. All ArtRage mobile app (minus the date stamp)

[eighty+]

yeah the iPad Pro is too advanced and complicated for this old bodger but a piece of cake for you :D done a copy of your 1 st S.P on computer


and tried the same on the Pro for fun but when try to post it only shows on my 1st gen iPad but not to art Gallery :confused: CIAO SLAINTE

[DarkOwnt]

View out the 3rd story window at work. I see this scene nearly every weekday in some form or another. I'd love to go back into this one and soften some more edges. Fighting the urge to revisit many of these as they are just sketches...and I'm behind on the series as it is!

Chad, I was wondering whether you were currently working on anything (digital...) which you would not call "just sketches" or if you had any plans to start such a work?

Given we love your sketches, we'd all love to see what a "non-sketch" piece of yours looks like!

[Chad Weatherford]

Chad, I was wondering whether you were currently working on anything (digital...) which you would not call "just sketches" or if you had any plans to start such a work?

Given we love your sketches, we'd all love to see what a "non-sketch" piece of yours looks like!

Good question...thank you! Currently all the stuff I'm working on that I'd consider more refined is client based stuff under lock and key. Maybe I can share some other stuff if you are curious, but most personal work I prefer to keep sketchy I guess. At least for a handful of these Fingerpaint sketches, I'd like to translate to larger oil paintings. Time will tell how that works out!

[Chad Weatherford]

'Gateway to the Northwest Passage'...a sculpture in Vanier Park I walk by virtually every day. It was only a matter of time before I decided to paint it. All ArtRage mobile app, with a sharpening filter applied in Photoshop along with the date stamp.

[Chad Weatherford]

Lunchtime sketch along with some additional commute work. This is the art director for the show I'm helping out with designs currently. I tend to do a lot of painting, destroying, and then repainting some more in an effort to push some of these. That process of experimentation takes longer than capturing a likeness for me....sometimes.
Another one completed purely with the ArtRage mobile app, save for the sharpen filter and date stamp.

[Chad Weatherford]

As part of this series, I originally planned to do about 30 interior studies. Kind of behind on that pacing...here's one though...

[DarkOwnt]

Good question...thank you! Currently all the stuff I'm working on that I'd consider more refined is client based stuff under lock and key. Maybe I can share some other stuff if you are curious, but most personal work I prefer to keep sketchy I guess. At least for a handful of these Fingerpaint sketches, I'd like to translate to larger oil paintings. Time will tell how that works out!

Interesting answer.

I notice you've differentiated between sketchy and "refined". I was careful in my question to refer to "what you would not call" (in your words) "just sketches", because I was unsure what you meant by "just sketches" and generally your use of the term sketch. For example, I was curious, is it reference to the time spent and restrictions on reworking or is it implying a frame of mind that the purpose is along the lines of a technical study or practice rather than the creation of a final work or is it a reference only to the "style" being sketchy with no restrictions about it possibly being used to bring about a finished work in its own right.

I'm sensing that your clients normally ask for something in a different style (refined) whereas you've expressed a personal artistic preference for "sketchy". [[Maybe you could find more "sketchy" clients?... er.. well no one actually wants sketchy clients. :) ]] I believe a "sketchy" style (and in particular your sketchy style which is fantastic) is just as valid as any other chosen style and can be used for producing a valid final piece of work, although I would think it takes a very talented person (like yourself) to be able to spend the full time needed to complete a full blown finished work, with all the adjustments and reworking etc. and still keep it looking fresh and sketchy. If anyone can do it, it's you, and since you've hinted that you have favorites that you might turn into larger oil paintings, I'd like to just say I think that would be fantastic (and maybe you could do a digital test run... and share?)!

Anyway. Love this thread and your work!

[Chad Weatherford]

Interesting answer.

I notice you've differentiated between sketchy and "refined". I was careful in my question to refer to "what you would not call" (in your words) "just sketches", because I was unsure what you meant by "just sketches" and generally your use of the term sketch. For example, I was curious, is it reference to the time spent and restrictions on reworking or is it implying a frame of mind that the purpose is along the lines of a technical study or practice rather than the creation of a final work or is it a reference only to the "style" being sketchy with no restrictions about it possibly being used to bring about a finished work in its own right.

I'm sensing that your clients normally ask for something in a different style (refined) whereas you've expressed a personal artistic preference for "sketchy". [[Maybe you could find more "sketchy" clients?... er.. well no one actually wants sketchy clients. :) ]] I believe a "sketchy" style (and in particular your sketchy style which is fantastic) is just as valid as any other chosen style and can be used for producing a valid final piece of work, although I would think it takes a very talented person (like yourself) to be able to spend the full time needed to complete a full blown finished work, with all the adjustments and reworking etc. and still keep it looking fresh and sketchy. If anyone can do it, it's you, and since you've hinted that you have favorites that you might turn into larger oil paintings, I'd like to just say I think that would be fantastic (and maybe you could do a digital test run... and share?)!

Anyway. Love this thread and your work!

Thank you! Regarding your question. I guess it's a little bit of all those things you bring up, although with more 'resolved' work I do like maintaining a bit of the sketchy quality even lthough the overall read may be tighter. It at least partially has to do with the resolution. I almost consider these postcard sized studies. Admittedly, these are tighter than I might get at that size traditionally, but I do feel like a lot of these sort of fall apart when blown up on a larger screen than an ipad.
I also abandon these after a certain amount of time like you suggested, whereas a finished piece I might work and rework for a longer period of time to massage areas that bug me. In that regard these are more disposable if that makes sense. Time does limit the scope I tend to tackle in a sketch as well.
All that said, I do think a lot of these would just not benefit from further work, and probably look their best as an abbreviated statement or excersise.

[Chad Weatherford]

Wip painting of my wife.

[Chad Weatherford]

LA street from outside our hotel room a couple years back.

[Chad Weatherford]

Another view from a hotel room in Los Angeles.

[Chad Weatherford]

Last LA sketch from a quick trip a couple years back.

[DarkOwnt]

All that said, I do think a lot of these would just not benefit from further work, and probably look their best as an abbreviated statement or excersise.
That's the paradox... a snapshot of an athlete in the moment of execution can only work if he/she are dynamic in that moment... the product is a still life of motion.

I think in a similar way, your sketches convey more about the artistic process than the end result (although it includes both), it captures the motion and dynamism of the artist at work.. capturing reality into strokes... while it is happening Each time you end a sketch... that last stroke is like taking that snapshot of your artistic process while still in the moment of dynamic execution.

Sorry for all the interjections and cluttering the thread... love your stuff!! I'll wander off now!

[D Akey]

So Chad, I would print out that portrait of your wife as I think it would hold up great when enlarged. It's incredible that you can get such a loose representation of someone you are so close to and who you know so well. In my experience it's a major challenge = maintaining spontaneity and not getting all fussy and tightening up on the portrait of a loved one that you know they're going to really scrutinize as to how you see them. I don't know what you think of it beyond the tech challenges of the painting, but I would say this portrait's a real keepsake that deserves a place in the house that can be seen a lot, IMHO.

[damasocl]

Cada trabajo, pintura que tú nos muestras, conserva tu particular estilo, y cada vez, mejor logrado... En realidad, admiro la técnica que utilizas... Muy bien logrado.

[Chad Weatherford]

That's the paradox... a snapshot of an athlete in the moment of execution can only work if he/she are dynamic in that moment... the product is a still life of motion.

I think in a similar way, your sketches convey more about the artistic process than the end result (although it includes both), it captures the motion and dynamism of the artist at work.. capturing reality into strokes... while it is happening Each time you end a sketch... that last stroke is like taking that snapshot of your artistic process while still in the moment of dynamic execution.

Sorry for all the interjections and cluttering the thread... love your stuff!! I'll wander off now!

Wow that was a real amazing way to describe it. Sounds like real solid artist bio/statement.

No worries about the 'interjections and clutter'. I don't see it that way at all...I appreciate your discourse. Thank you!!

[Chad Weatherford]

So Chad, I would print out that portrait of your wife as I think it would hold up great when enlarged. It's incredible that you can get such a loose representation of someone you are so close to and who you know so well. In my experience it's a major challenge = maintaining spontaneity and not getting all fussy and tightening up on the portrait of a loved one that you know they're going to really scrutinize as to how you see them. I don't know what you think of it beyond the tech challenges of the painting, but I would say this portrait's a real keepsake that deserves a place in the house that can be seen a lot, IMHO.

I appreciate that, D Akey. Ill try printing it out and see how it holds up. Definitely it was tightened to a point beyond where I should take a 2000 pixel image, considering the potential loss of quality in an enlargement!

[Chad Weatherford]

Cada trabajo, pintura que tú nos muestras, conserva tu particular estilo, y cada vez, mejor logrado... En realidad, admiro la técnica que utilizas... Muy bien logrado.

Muchas Gracias! Very kind thing to say!

[Chad Weatherford]

Aerial sketch flying out of LA. Love window seats. This one definitely has some Photoshop brushes mixed in, so this is a bit of a hybrid painting.

[Chad Weatherford]

Anther aerial sketch, a bit more abstract and looser. This one was all ArtRage app except for the date stamp and a bit of unsharp mask in Photoshop for crispness.

Incidentally DarkOwnt, since we were talking about it, I generally wouldn't run a sharpen filter on a finished piece...but it does bring out the illusion of detail in these paintings anyways.

[Chad Weatherford]

Last aerial for now!

[D Akey]

I appreciate that, D Akey. Ill try printing it out and see how it holds up. Definitely it was tightened to a point beyond where I should take a 2000 pixel image, considering the potential loss of quality in an enlargement!

I may not get your exact meaning, but there are some pricey but effective programs out there that enlarge pics without getting all aliased and so forth. I forget their names offhand but I tried one with a small photo and it worked pretty well. I think one can even do a fair job in Photoshop, but I may miss that you're saying that the original was not so clean combining and manipulating bits in an offhand way and I don't know if it would just make those irregularities too distracting. On the other hand, if it does work to your satisfaction in general, you may find it's a boon to your technique to be able to enlarge any number of your sketches for printing.

[Chad Weatherford]

I may not get your exact meaning, but there are some pricey but effective programs out there that enlarge pics without getting all aliased and so forth. I forget their names offhand but I tried one with a small photo and it worked pretty well. I think one can even do a fair job in Photoshop, but I may miss that you're saying that the original was not so clean combining and manipulating bits in an offhand way and I don't know if it would just make those irregularities too distracting. On the other hand, if it does work to your satisfaction in general, you may find it's a boon to your technique to be able to enlarge any number of your sketches for printing.

I'm definitely going to look into it t. I admittedly haven't printed anything out yet so I shouldn't overspeculate! I think you are correct in that Photoshop can do a fairly good job at resamplling for larger sizes. I hadn't known about the other programs that do this potentially better. Thank You!

[Chad Weatherford]

May the 4th be with you.

[Chad Weatherford]

From our deck a year and some change ago.

[Chad Weatherford]

Another cloudscape...quicker and more abstracted.

[gxhpainter]

Chad, I love studying your beautiful brush work and use of color, always spot on and still very painterly... a joy in painting I am glad you share with us!

[eighty+]

Hi Chad Have you done a touch up on O4 or are my eye's getting used to looking at it :D:D:D CIAO HASTA LA VISTA SLAINTE

[Chad Weatherford]

Chad, I love studying your beautiful brush work and use of color, always spot on and still very painterly... a joy in painting I am glad you share with us!

Thanks Gary, I really appreciate you kind words. Didn't you have a gallery showing a few months ago? If so, how did it go?

[Chad Weatherford]

Hi Chad Have you done a touch up on O4 or are my eye's getting used to looking at it :D:D:D CIAO HASTA LA VISTA SLAINTE

Not certain what you mean...but I haven't done a touch up since I posted it. Is it hard to read?

[Chad Weatherford]

English Bay in Vancouver.

[Chad Weatherford]

Another boat sketch near Granville Island...

[Chad Weatherford]

One more boat!

[gxhpainter]

Thanks Gary, I really appreciate you kind words. Didn't you have a gallery showing a few months ago? If so, how did it go?

Hi Chad , thanks for asking, I did have an opening at the Colorida Gallery in Lisbon, Portugal in mid May and it was fun and my first opening. I even made a sale the first night of a pretty big work. I have made it into a
national juried show in Glendale CA at the Brand Library and Art Center. It was juried by a well know LA art critic Edward Goldman. It open Sept 8th and runs for a couple of months . They only selected 79 artists out of
1,093 entries so I was pretty pumped to get selected. I can't make it down but my step-son has committed to go as my representative.

best regards - gary

[gxhpainter]

wow some beautiful brushwork in that boat in the foreground, love this one!

[pat1940]

As always Chad love your paintings, the boats are amazing

[HwyStar]

I just learned about Wu Guanzhong, a Chinese artist that painted some of his paintings in the style of Chad's paintings. He could give us all a lot of inspiration in the many different forms of paintings that he did in his lifetime. I do not think (IMHO) there is a single painting displayed in this video that is not enjoyable to "gaze" at. He provides us with so many directions we can wander into.


http://www.youtube.com/watch?v=05E8dyqGI2s

[gxhpainter]

Thanks for the post, I really enjoyed it!... such beautiful brushwork and wide range of style and content.

[eighty+]

Thanks. HwyStar was good viewing did enjoy. CIAO. SLAINTE

[Chad Weatherford]

Hi Chad , thanks for asking, I did have an opening at the Colorida Gallery in Lisbon, Portugal in mid May and it was fun and my first opening. I even made a sale the first night of a pretty big work. I have made it into a
national juried show in Glendale CA at the Brand Library and Art Center. It was juried by a well know LA art critic Edward Goldman. It open Sept 8th and runs for a couple of months . They only selected 79 artists out of
1,093 entries so I was pretty pumped to get selected. I can't make it down but my step-son has committed to go as my representative.


best regards - gary

That's an amazing accomplishment, congratulations!!! Are the pieces you are showing your digital works?

[Chad Weatherford]

wow some beautiful brushwork in that boat in the foreground, love this one!

Thank you, Gary!

[Chad Weatherford]

That's cool! Thanks for sharing. I can definitely see some similarities in a few of those paintings. It's interesting that the artist enjoyed a certain graphic style but could still paint quite realistically when the urge presented itself. Some of them almost look like ArtRage paintings.

[gxhpainter]

That's an amazing accomplishment, congratulations!!! Are the pieces you are showing your digital works? Yes I only pick shows that allow digital paintings as an art type, which is happening more and more. So the show in Glendale the work is an ArtRage painting with a few color tweaks in Photoshop. Also just had two works also digital now showing in the Rossocinbro (http://www.rossocinabro.com/artworks/available_works_hopkins.htm) gallery in Rome!... as a self taught artist this forum and ArtRage has been a big factor in my decision to put my work out in the world.

[Chad Weatherford]

That's really great to hear, and the fact that giclee or digital art is getting more of a look by galleries is really encouraging. Congrats again!

[Chad Weatherford]

Near the Burrard Bridge painting in the shade of a tree.

[Chad Weatherford]

Did 2 versions of this one featuring daisies in Vanier Park. I couldn't decide on the sky...though the brighter one was closer to the truth that day.

[Chad Weatherford]

Really growing to love the mottled paper texture in ArtRage. You can get quite a lot of texture out of it and the canvas lighting sort of evens out all the varied marks and makes it a bit more cohesive in the end.

[HwyStar]

You are achieving such a great realistic look in AR now Chad!

Thanks for the tip on the mottled paper. It feels and looks a lot like UART 400 grid pastel paper - nice!

[gxhpainter]

I just love the variety of strokes and colors you use to build up trees... the skies are both great the darker one seems to imply a thunderstorm approaching a sure sign of summer weather.

[Chad Weatherford]

Thanks Robert, yea it does give a soft fuzzy quality a bit like pastel

[Chad Weatherford]

Thanks Gary! I liked the darker sky myself. I think the brighter sky has had more votes with others that have seen that painting.

[Chad Weatherford]

An interior study from a couple years ago. When I look at this, I'm a honestly bit dissatisfied with the separation of all the elements, in that I feel like there could be some larger value grouping I'm missing.

[Chad Weatherford]

Lunchtime sketch around Granville Island.

[Chad Weatherford]

One of the still life setups at work a couple years ago...rendered in an 80s/90s color scheme.:rolleyes:

[Alexandra]

Such dynamic work. Outstanding in each and every way.

[sabena]

This is stunning very good painting congratulation:):):)

[Chad Weatherford]

Such dynamic work. Outstanding in each and every way.

Thank you Alexandra!

[Chad Weatherford]

This is stunning very good painting congratulation:):):)

I appreciate that Sabena, thank you!

[Chad Weatherford]

Another still life study from a couple years back.

[D Akey]

So how are you doing on the painting a day challenge you set for yourself? Pretty ambitious cranking out masterpiece after masterpiece. Life does tend to take up a lot of time. Anyway, they all look great, new or old. Still loving the colors especially.

[damasocl]

Sencillamente: Asombroso!!!

[Chad Weatherford]

So how are you doing on the painting a day challenge you set for yourself? Pretty ambitious cranking out masterpiece after masterpiece. Life does tend to take up a lot of time. Anyway, they all look great, new or old. Still loving the colors especially.

Aah well, I'm about a month and a half behind so not so good. I will say that it isn't as ambitious as it sounds since I've been chipping away at these for a few years so I have a number in the backlog. Sometimes it's just dusting one off from a while back and adding some additional marks to try and solve remaining problems. Even with that I'm finding it super tough to keep up. As long as I end up with 365 of these at the end I will have accomplished my goal!

[Chad Weatherford]

Sencillamente: Asombroso!!!

Oh, Gracias!!

[Chad Weatherford]

Another still life with one strange vase. Used some Photoshop for the noisy stuff at the edges.

[Chad Weatherford]

Lunchtime portrait and of a work buddy. Some extra time was taken to finesse. Again, used a bit of Photoshop brushes to distress the surface in areas. Heavily influenced by Carolyn Anderson.

[Chad Weatherford]

Study of a stump from Lynn Canyon Park. I didn't have time to do this live, so I snapped a crappy photo (which was really blown out in the lights and bleached of color). The trick was to sketch it not too long afterwards...before the true approximate values and color faded from memory.

[pat1940]

Chad all your paintings are so wonderful, enjoy every one of them

[gxhpainter]

Love this Chad, I think your ability to portray dramatic lighting in a convincing way is what really separates your work from the average competent plein aire work... I am not sure where you picked up that ability
but it is a gift!

[gxhpainter]

wonderful textures in this, I like the loose expressive quality of it as well.

[Chuck_M]

Inspiring stuff here, that portrait looks awesome... I like the way you apply the right amount of texture and color.
Great work Chad!

[Chad Weatherford]

Love this Chad, I think your ability to portray dramatic lighting in a convincing way is what really separates your work from the average competent plein aire work... I am not sure where you picked up that ability
but it is a gift!

Thanks for the kind comments, Gary.

[Chad Weatherford]

Chad all your paintings are so wonderful, enjoy every one of them


Thank you, Pat!

[Chad Weatherford]

Inspiring stuff here, that portrait looks awesome... I like the way you apply the right amount of texture and color.
Great work Chad!

Appreciate that, Chuck...thank you!

[Chad Weatherford]

Another forest sketch from Lynn Canyon Park. This one was mostly from life.

[Chad Weatherford]

Last one from Lynn Canyon Park, along with the 10 minute block in. I would have spent longer, but it was cold under the canopy and I wasn't dressed appropriately enough. Plus the light was changing extremely fast!

[Chad Weatherford]

Real rough,..the water in particular could use some refinement.
Actually have a process video of this one if anyone is curious. I'll try to upload to YouTube so I can embed it here.

[gxhpainter]

Really loving these forest sketches, they remind me of area in Oregon, that I used to love to explore and just hang out in... and as you say it was usually damp and cool. and there was always a pungent odor of moss and fungus....hope you get some of these up on You Tube!...

[sabena]

Beautiful and fantastic work Chad.:)

[Alexandra]

Outstanding work, each and every one!

[D Akey]

Looking great as ever. Still loving the color choices. They're very pleasing, and they're aptly descriptive. Nice stuff.

[Selby]

Gorgeous Chad- I love the way you capture the light! The way you use it reminds me of the Chiaroscuro in the old masters works with the juxtaposition of the light to the dark

[Chad Weatherford]

Really loving these forest sketches, they remind me of area in Oregon, that I used to love to explore and just hang out in... and as you say it was usually damp and cool. and there was always a pungent odor of moss and fungus....hope you get some of these up on You Tube!...

Thank you Gary! I love the eerie stillness in some of the forests around here. Just gotta dress a bit warmer!

[Chad Weatherford]

Thank you so much!!

[Chad Weatherford]

Looking great as ever. Still loving the color choices. They're very pleasing, and they're aptly descriptive. Nice stuff.

Thanks D Akey. I’m happy to know they read even with the abbreviated marks!

[Chad Weatherford]

Gorgeous Chad- I love the way you capture the light! The way you use it reminds me of the Chiaroscuro in the old masters works with the juxtaposition of the light to the dark

Thank you very much! I would actually like to force myself to not push the contrast so much. I always seem to gravitate to those light/dark contrasts as it helps create drama for me.

[Chad Weatherford]

Morose self portrait! All ArtRage app with this one. Trying some warm neutral tones after the green overload of the forest sketches. One thing I like about self portraits is I can study the structure of the face without a lot of pressure to get the likeness dead on.

[eighty+]

:D. Just Fabulous so casual

[D Akey]

I agree about the model for a self-portrait. The least complaining model on the planet. Cool. This shows your process in a fairly direct painting.

Did you take a selfie on the spot to work from or do you most often look into a mirror?

[Chad Weatherford]

:D. Just Fabulous so casual

Thanks Eighty!!

[Chad Weatherford]

I agree about the model for a self-portrait. The least complaining model on the planet. Cool. This shows your process in a fairly direct painting.

Did you take a selfie on the spot to work from or do you most often look into a mirror?

Haha yea exactly. Although others seem to complain about my self portraits like my wife.

I used both...a selfy pic for drawing and the mirror for lighting

[Chad Weatherford]

Finger Illustration based on some random smearing using a palette knife and a photo. Included the stage just beyond the intitial smearing as comparison. Fun exercise that’s reactive to a composition/color scheme rather than planning things out from the getgo. Drawback is trying to get a story to fit the shapes and colours without completely losing the basic foundation that sparked it off in the first place.

[Chad Weatherford]

This one came about with some experimental mashing of layers in different blending modes, and squashing and stretching. It’s actually little hard to describe the process in words alone, but here is the result. Endulged in a bit of photobashing as well to quickly produce the details that were particular to the concept.

[eighty+]

Chad. On this last one I think. You’ve. Been reading too much. Si Fi. Ok. :D

[Chad Weatherford]

Chad. On this last one I think. You’ve. Been reading too much. Si Fi. Ok. :D


Hahaha. Maybe watched too much of it. I always gravitate to it for fun.

[D Akey]

Oh come on. . . It's the final frontier. You just gotta. ;):p:rolleyes:

[Chad Weatherford]

I know right?:p

[Chad Weatherford]

A quick bot sketch off an initial abstraction. 15 minutes or so. There was some Photoshop in this one as well.

[Chad Weatherford]

A bit more of a planned sketch than a reactive experiment. I normally wouldn’t go this far into refinement on the mobile app for something like this, but did so for the sake of this Fingerpaint series.

[Chad Weatherford]

A Ben Aronson study that turned into a Spider-Man sketch

[Chad Weatherford]

Okay...last sci fi one for a while. I promise.

[eighty+]

Hi Chad. That no27. The back curve of the armchair makes it look like he’s on oxygen in a space helmet��✌��������
CIAO. SLAINTE

[firstrazor]

Hi Chad, I am amazed by your works with only fingers on iPad. Do you mind to share how you normally set the brush and knife so that it gives that kind of random feel?

[Chad Weatherford]

Hi Chad. That no27. The back curve of the armchair makes it look like he’s on oxygen in a space helmet��✌��������
CIAO. SLAINTE

Hah, yea I can see where you get that

[Chad Weatherford]

Hi Chad, I am amazed by your works with only fingers on iPad. Do you mind to share how you normally set the brush and knife so that it gives that kind of random feel?

Thank you. Maybe you can identify a section where you see this randomness and I can try to explain how it was achieved? Otherwise, I use pretty standard settings for the oil brushes and palette knife. Sometimes a series of parallel strokes with the pencil (varying the color a bit) can be smeared in the same direction using the hard out smudge to create the illusion of a loaded paint stroke from an unclean brush. For oil brushes, I tend to use the dry clumps, normal, and thick gloss. For palette knife I use the hard out smudge, frost, and harsh chaos the most.
Oerlaying another painting on top of your working painting using pin light or another layer blending mode manufactures randomness by providing some unexpected visual noise...I use that technique quite a bit as well. That requires a bit more experimentation to see what works.

[Chad Weatherford]

Sketch while waiting at the bus stop, finished on a successive trip.

[Chad Weatherford]

Another painting while waiting for the bus.

[Chad Weatherford]

sketch underneath the Burrard Bridge.

[D Akey]

I really like the colors in #30. All are good but that one is particularly nicely keyed.

[Chad Weatherford]

Thanks D Akey I’m glad you like it. I should do a unification pass more often I think.

[Chad Weatherford]

An impromptu still life at Denny’s. About 10 minutes before our food arrived and someone grabbed the ketchup bottle.

[firstrazor]

Thank you. Maybe you can identify a section where you see this randomness and I can try to explain how it was achieved? Otherwise, I use pretty standard settings for the oil brushes and palette knife. Sometimes a series of parallel strokes with the pencil (varying the color a bit) can be smeared in the same direction using the hard out smudge to create the illusion of a loaded paint stroke from an unclean brush. For oil brushes, I tend to use the dry clumps, normal, and thick gloss. For palette knife I use the hard out smudge, frost, and harsh chaos the most.
Oerlaying another painting on top of your working painting using pin light or another layer blending mode manufactures randomness by providing some unexpected visual noise...I use that technique quite a bit as well. That requires a bit more experimentation to see what works.

Dear Chad, thanks a lot for the nice tips! Your thread has become one of my favorite ones, really enjoy all your art works.

[Chad Weatherford]

No worries, hope it’s useful. Thanks firstrazor!

[Chad Weatherford]

Really quick study. I like this stage where it is somewhat abstract but the picture is basically constructed.

[Chad Weatherford]

Still life from group painting session last year.

[Chad Weatherford]

Lunchtime painting of a colleague. Actually burned a couple hours after the intitial painting... finishing and experimenting with the colours.

[D Akey]

Looks good.

I always erred on the side of working over reference when I could get it, because it took out of the workflow one area I could screw it up and create anxiety. It always seemed like the part of my brain I used in drawing was very disconnected from the side that did the painting. I mean I was fair enough when I was doing it a lot, as in a live studio set up or something, but for the most part drawing and composing were miles away from painting. And drawing was so much more flexible without gooping up a surface. But if I couldn't find good reference I was undone until I found something from which to work. I guess that's the difference between painting for yourself vs. being somebody else's finisher as with advertising illustration where I most often got a drawing that had gone through the approval process with the client and all. That makes you really good at painting, but leaves a lot under-educated when it comes to composing at the rate some commercial artists had to. Many of those guys seemed to do variations on the same theme which solved the problem of cranking out a lot -- selling art by the yard so to speak. But they often couldn't do so well past the drawing stage. Those artists who could do both stood well over everybody else.

Anyway, just curious. Which do you prefer, painting over a photo or fairly complete drawing or would you rather just dive in to the painting?

[Chad Weatherford]

Looks good.

I always erred on the side of working over reference when I could get it, because it took out of the workflow one area I could screw it up and create anxiety. It always seemed like the part of my brain I used in drawing was very disconnected from the side that did the painting. I mean I was fair enough when I was doing it a lot, as in a live studio set up or something, but for the most part drawing and composing were miles away from painting. And drawing was so much more flexible without gooping up a surface. But if I couldn't find good reference I was undone until I found something from which to work. I guess that's the difference between painting for yourself vs. being somebody else's finisher as with advertising illustration where I most often got a drawing that had gone through the approval process with the client and all. That makes you really good at painting, but leaves a lot under-educated when it comes to composing at the rate some commercial artists had to. Many of those guys seemed to do variations on the same theme which solved the problem of cranking out a lot -- selling art by the yard so to speak. But they often couldn't do so well past the drawing stage. Those artists who could do both stood well over everybody else.

Anyway, just curious. Which do you prefer, painting over a photo or fairly complete drawing or would you rather just dive in to the painting?

Personally I prefer to dive straight into the painting, as color and light are what I’m most interested in capturing. I can get away with that more in natural landscapes. I can block people in pretty fast as well I guess, but I’ll pass a point where I need to spend time drawing it more carefully if there are no strong shadow shapes to facilitate a block in.

I hear what your saying about reference. I usually rely on it for concept work, to the point of building basic 3D models to plot stuff out more accurately. Occasionally I’ll paint over a photo as well when time is limited. It all depends on what my goals with the image are.

[Chad Weatherford]

Aerials. So love doing them...this was during a flight from Vancouver to Chicago.

[Selby]

love your areial landscape- enough details to keep the mind interested but plenty of room for it to play. it makes me think of adventures to be had.

[Chad Weatherford]

love your areial landscape- enough details to keep the mind interested but plenty of room for it to play. it makes me think of adventures to be had.

Thank you for the kind words, Shelby!

[Chad Weatherford]

Sketch of my sister. I want to go back into this and re-jig the color. Too yellow:(

[Chad Weatherford]

Quick sketch of my mom during a visit to Illinois a few years ago. This trip was also the last time I saw my grandmother alive. She had degraded quite a lot since I had last seen her in person and suffered multiple strokes. It was sad. She taught me to oil paint when I was 7. Seeing pictures of her around my mom’s house (when she was my age!) really hammered home the feeling of mortality and the limits of the time we are given.

[Chad Weatherford]

A quick sketch of my mom's dog 'Cody'. If you say the words, 'dog show' he runs up to the TV and stands on his hind legs to try and peer into the television. Apparently he likes the dog on old Frasier reruns. If the dog goes offscreen he hunts for it around the fireplace. He's a pretty entertaining pooch.

[Chad Weatherford]

Study of a boat that felt super empty... until the lightbulb bloomed over my head and I added some seagulls.:D

[Chad Weatherford]

Lunchtime sketch of a work colleague.

[Chad Weatherford]

study while standing in my driveway at night. Always suspicious doing iPad sketches at night.

[Chad Weatherford]

Summer onions!

[Chad Weatherford]

We from our deck looking across the Burrard Inlet.

[Chad Weatherford]

This is actually more of a throwback than usual. First surviving Fingerpaint from my iPad 1 going back to 2012 or so. Sketch of my daughter watching morning cartoons.

[Chad Weatherford]

Another throwback sketch. My daughter and cousin in Auckland New Zealand, back when fairy wings were still a thing. This was probably 10-15 minutes, so pretty quick to sketch, but messed with some adjustment layers in Photoshop later on.

[Chad Weatherford]

Quick still life set up from a few years back.

[pai]

Great thread. Beautiful paintings. Thanks for sharing. :)

[Chad Weatherford]

Great thread. Beautiful paintings. Thanks for sharing. :)

Thank you pai! I appreciate the compliment.

[Chad Weatherford]

Lunch sketch of a work colleague. So love when I have strong shadow shapes to work with. Makes things so much easier.

[Chad Weatherford]

Boat study near Granville Island

[Chad Weatherford]

Another lunchtime sketch of a work colleague, Michael McRae. This guy just won a silver award in Spectrum... amazing young artist

[D Akey]

That's cool. Never heard of Spectrum, but I would assume it's a great accomplishment and certainly encouraging for someone choosing the life of an artist.

All good stuff above.

[Chad Weatherford]

That's cool. Never heard of Spectrum, but I would assume it's a great accomplishment and certainly encouraging for someone choosing the life of an artist.

All good stuff above.

Thanks D Akey. It’s an annual which features sci fi and fantasy art.

[Chad Weatherford]

Lunchtime boat sketch. Actually monkeyed with the comp quite a bit on this simple painting. In the end I just settled on the comp I could find, but not sure this was the best one. It wasn’t even radical changes...the different compositions...just minor changes trying to find a proper balance. That tells me I’m being overly finicky or it’s a symptom of a larger issue I’m not satisfied with. Hmmmm

[Chad Weatherford]

Ambleside Park...

[Alexandra]

Such beautiful works. I enjoyed them immensely. Such talent!

[Chad Weatherford]

Such beautiful works. I enjoyed them immensely. Such talent!

Thank you Alexandra

[Chad Weatherford]

Peachland, BC. Got too fussy with this one

[Chad Weatherford]

Okanagan area, BC. This one was a study from Google Earth

[Chad Weatherford]

Quick impression of road trips through Washington and B.C. more imagination than a faithful depiction of a specific location. Some Photoshop used in this one...

[Kunanimate]

Amazing! You are a master of painting colors. How do you do that?

[zeddartha]

Pretty fresh colors and strokes, nice!

[Chad Weatherford]

Amazing! You are a master of painting colors. How do you do that?

Thank you! I’m not sure if I’m masterful at colours really. Most of the time I’m trying to be accurate to what I see ...with some embellishments along the way.

[Chad Weatherford]

Sketched this from the window of a condo in Kelowna, BC.

[Chad Weatherford]

This image is from a few years back in Auckland, New Zealand. I saw this scene practically every night for a year outside Oktobor Animation studio. I had to park in the garage nearby which turned out to be quite expensive. Eventually I bought a motorbike and could park outside the studio doors to save on fees and petral. Anyways...sketched this and forgot about it. Opened it up recently and destroyed and rebuilt it several times trying to find the sweet spot of representation vs abstraction. Never quite found it.

[Chad Weatherford]

Painted on a street in Kelowna, BC.

[D Akey]

Not masterful at colors? Please. . .such modesty. For anybody who has tried to paint landscapes of a common scene, they would recognize that comment as being far too humble. We all know just how precise one has to be to make such mundane painting subjects sing. It's a real trick.

I once heard an old film maker commenting on what we look back on as a sort of anachronistic sentimentality and charm of earlier romantic comedies that showed lots of heart. And we think it's the way things simply were -- a kinder, gentler time where they just existed in that bandwidth of sentiment so it was authentic. But that wasn't the case. What the film commentator said was that it was really a chore to not cross the line because the main pitfall was to get the heart across but not make it sappy. And he pointed to that being the strength of whichever director he was talking about (Frank Capra or George Stevens?)

Point I'm making is that one can do landscapes that have no life or that on the other end look forced and technique heavy. But you create a lens that both adds life and mood to the subject but it somehow only enhances the experience of the subject. Your colors are the culprit. The brushwork too, but the color is the basis of why the images are compelling.

[zeddartha]

Really nice stuff!

[Selby]

Beautiful! i love how much you can convey in a scene while still keeping it so loose and relaxed

[Chad Weatherford]

Not masterful at colors? Please. . .such modesty. For anybody who has tried to paint landscapes of a common scene, they would recognize that comment as being far too humble. We all know just how precise one has to be to make such mundane painting subjects sing. It's a real trick.

I once heard an old film maker commenting on what we look back on as a sort of anachronistic sentimentality and charm of earlier romantic comedies that showed lots of heart. And we think it's the way things simply were -- a kinder, gentler time where they just existed in that bandwidth of sentiment so it was authentic. But that wasn't the case. What the film commentator said was that it was really a chore to not cross the line because the main pitfall was to get the heart across but not make it sappy. And he pointed to that being the strength of whichever director he was talking about (Frank Capra or George Stevens?)

Point I'm making is that one can do landscapes that have no life or that on the other end look forced and technique heavy. But you create a lens that both adds life and mood to the subject but it somehow only enhances the experience of the subject. Your colors are the culprit. The brushwork too, but the color is the basis of why the images are compelling.

I apologise for taking so long to check back. Life’s been squeezing me like I’m a rat caught up in a boa constrictor.
Thank you, DAkey Super kind of you, and the film analogy was really well played. Your dialogue is always thought provoking and intelligent and I want you to know I truly appreciate it.

I should be clear, I have reached the point where I am able to balance colors quite well and I am happy with the power that gives me over creating an image. I know what I’m doing in most cases. I think where I reject mastery is by knowing that my paintings could be keyed better in many cases, where the hues could be tied together thematically as opposed to a local color fest. I am probably being overly harsh. I guess for me, it’s enough of a struggle sometimes it feels more like hard work than mastery :)
I suppose theres the aggregate of everything in that struggle though...composition, values and color. Confusion sometimes happens when they are being tackled simultaneously.

[Chad Weatherford]

Really nice stuff!

Thank you zeddartha!

[Chad Weatherford]

Beautiful! i love how much you can convey in a scene while still keeping it so loose and relaxed
Thanks for the kind words, Shelby!

[Chad Weatherford]

I pass this just about every day. The Burrard Inlet from the Lions Gate Bridge.

[Chad Weatherford]

Ambleside Park. Painted from a smartphone photo.

[Chad Weatherford]

Summer, I barely knew ya. Sketch on our deck.

[iceaxe]

Where did I put the orange juice?

[iceaxe]

Re the Fingerpaint study of some blossoms in April! All ArtRage app with finger. on page 7 past midway somewhere

I had to come back to this one, love this, its like i am really there but in the youth and prime of midday, conveys so much feeling and energy. You have an extraordinary ability to work the colour, a lost world of adventure reality somehow greater than the present. so much shining through such a small rectangle. Vibrant clean idyllic
Great stuff!

[eighty+]

Hi Chad. No 01. Formidable. :D

[Chad Weatherford]

Re the Fingerpaint study of some blossoms in April! All ArtRage app with finger. on page 7 past midway somewhere

I had to come back to this one, love this, its like i am really there but in the youth and prime of midday, conveys so much feeling and energy. You have an extraordinary ability to work the colour, a lost world of adventure reality somehow greater than the present. so much shining through such a small rectangle. Vibrant clean idyllic
Great stuff!

Thank you very much! I had a version of that same painting with Kim Jun Un standing under the trees taking photos. He wasn’t really there in real life, but I deliberated about putting him in because it was kind of funny.

[Chad Weatherford]

Hi Chad. No 01. Formidable. :D

Thanks Eighty!

[Chad Weatherford]

Observatory near Vanier Park.

[Chad Weatherford]

Quick painting near Granville Island. Raked a PSD texture brush over this one in a few areas. Otherwise all ArtRage app.

[Chad Weatherford]

Train yard near the Vancouver Waterfront Terminal.

[Chad Weatherford]

View towards English Bay. Worked from a combo of photo and observation.

[eighty+]

.
Chad great depth. like it :)

[D Akey]

Yeah, looking great. Like traveling with a particularly skilled impressionist.

[DaveRage]

Always impressed how well these scenes are set without tiny detailed strokes, really enjoying this thread!

[eighty+]

O2. Could be almost a Sifi one. With his head coming up out of the ground maybe a little bit more. Work on his face.

Isaac would be pleased. Chad ���� CIAO. SLAINTE

[Chad Weatherford]

Yeah, looking great. Like traveling with a particularly skilled impressionist.

Thank you, D Akey!

[Chad Weatherford]

Always impressed how well these scenes are set without tiny detailed strokes, really enjoying this thread!

Thanks Dave! Love the app. I might as well be selling copies on Instagram...I constantly get asked about what software I’m using. Kudos to ArtRage.

[Chad Weatherford]

O2. Could be almost a Sifi one. With his head coming up out of the ground maybe a little bit more. Work on his face.

Isaac would be pleased. Chad ���� CIAO. SLAINTE

Ha yea...like the Iron Giant with a bleached head.

[Chad Weatherford]

Mean streets of Vancouver. ;)

[Chad Weatherford]

View across the Burrard Inlet. A lot of second guessing and mind changing went into this sketch. It’s usually those ones I think are least successful for some reason. Maybe it turns into a struggle and is less fun...which could show up in the final result.

[Chad Weatherford]

Sketched on my lunch hour a few years ago. I wish I could recall the name of the person this bust commemorates.

[Chad Weatherford]

There was a bit of Photoshop used in this one. My wife has told me it needs something to complete it, but I personally enjoy the simplicity.

But towards that end ...maybe it needs something removed. The water ripples? I may try brushing those out.

[Chad Weatherford]

View from the Burrard Bridge towards English Bay.

[Alexandra]

So beautiful, all of them. What a pleasure to view.

[Chad Weatherford]

So beautiful, all of them. What a pleasure to view.

Thank you Alexandra!

[Chad Weatherford]

Walking path around the Museum of Vancouver. Sketched at lunch and finished over a bus ride home.

[Chad Weatherford]

Quick evening sketch

[Chad Weatherford]

This one was sketched down our street. I wanted to move down a bit to get a better angle down the driveway, but I was being creepy enough as it is. Jotted this down fairly quickly... No sense hanging around. Besides being suspicious, there is always a slight risk of getting mauled by a mountain lion in this area.

[Enug]

I look forward each day to viewing your paintings.:)

[D Akey]

That's not a pitfall they usually teach in art school -- mountain lion attacking you in the Vancouver bush. However that may be why they included in the art supply list a rope, a stake, a hammer and a live goat? Plein Aire has never been less plein.

[Chad Weatherford]

I look forward each day to viewing your paintings.:)

That’s really kind of you to say, I apologise my updates have been so spotty.

[Chad Weatherford]

That's not a pitfall they usually teach in art school -- mountain lion attacking you in the Vancouver bush. However that may be why they included in the art supply list a rope, a stake, a hammer and a live goat? Plein Aire has never been less plein.


Hahahaha! I knew a guy at work who was doing plein air painting and looked around to find a bear stumbling in his direction. Next time he might think of forking over a little extra and splurging on the Vancouver Bush plein air pack.

[Chad Weatherford]

Took a trip to Sooke on Vancouver Island a few years back. It was an amazingly beautiful spot positioned opposite the coast of Washington state near the Juan de Fuca Straight.

[Chad Weatherford]

No idea what this structure was on the beach...but the colours of the rust and paint attracted me to paint it, as well as the yellow coloured lichen clinging to the rocks everywhere.

[Chad Weatherford]

Another from Sooke, Vancouver Island. A touch of Photoshop in this