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Time Flies

It is hard to believe we are already at the middle of 2026. Where does time go? And… how can we make it more productive since it goes by so fast.
While thinking about future projects  it is important to stay in the moment. It is key to achieve and enjoy goals. I plan the week on Sundays knowing that changes are undeniable and expected. Flexibility is part of any plan to avoid disappointment. I have my art times, my exercise schedule and the tasks to achieve all subject to change. As the day goes by, the hours set for exercise might turn to painting due to weather or the reverse. Once the decision is made, there are no regrets. I enjoy the moment whether it is the rays of a sunny day or the drops of the rain. Staying in the moment creates enjoyment which actually turns into more productivity without regrets. At the end of the week, it seems all items from the list are crossed out and achieved.

My paintings were submitted to six exhibitions in the first trimester of 2026 and I am delighted all six paintings were accepted in each of the exhibits.

We have all used color pencils in our childhood. Coloring books are a rite of passage. That might be the reason we tend to underestimate color pencils as an art medium; however, color pencils as well as graphite pencil can bring the inner essence of the subject to the surface. They can capture movement through fast lines or brilliancy through layering.

In terms of necessary tools required, it is an easy and accommodating medium. A sharpener, pencils and paper are basically all the materials needed. Washing brushes and cleaning time are not necessary thus one can just get up and continue the next day without worrying. Sounds simple enough, doesn’t it? However, working with pencils demands patience and accuracy. Mistakes are not easily erasable and, in fact, they are quite unforgivable. In oils and even acrylics, if something does not work, it can be covered. Erasing with pencils leaves marks that are very difficult to hide or cover. Erasing will not lift all the color from the paper surface leaving a noticeable area. 

Color pencils is also an art of relaxation. Soft pressure to start and slowly building up the layering from light to dark tones applying the layers in different directions. Pressure can slowly increase to insure coverage of the surface and specially the valleys of the paper.

In essence, patience, control, precision and a calm spirit are the best attributes for a color pencil artist to succeed.

Spring is always a busy time with art. Lots going on... from finishing touches for paintings, to shipping art to galleries and to attending the grand openings. On top, Spring is a good time to catch the beauty of flowers to be the subject of new paintings. Fresh, vibrant colors start to emerge... music to a painter' s eyes, a melody of contrasts and saturation.

This Spring is not an exception. My paintings were accepted into seven exhibitions within the last two months. While three of the exhibits are online and therefore do not require shipping, the other four exhibits called for appropriate framing, box preparation, forms and on time shipping. It is not an easy task when your mind wants to wander around the inspiration for your next project, when your artistic spirit see brushstrokes in every cloud in the sky, in every tree branch, and in all the petals of the season.

My painting, Raindrop and Roses, left to go to the 59th Richardson Exhibition in Texas; Another, Hiding in the Dark,  jumped in a plane or truck to reach the 29th National Biennale in Hilton Head, South Carolina; a small but beautiful flower arrangement went to the Best of America Small Works Exhibit at Eisele Gallery in Ohio; and a fourth one, Bygone Tea Time, is leaving for the International Guild of Realism Exhibit in Santa Fe, New Mexico.

As the art is being packed and shipped, I also realize I might never see it again if sold at the shows. Part of the artist also leaves in that box. If it doesn't come back, you know it will touch the heart of another people, it will spring its wings to show the beauty seen in a past inspiration. Its future is unknown. While it might hang on a wall for a while, who knows where it will end. It is bound to survive for hundred of years and thus a touch of this Spring, our Spring, will hold on a little longer.

As 2024 comes to a close, I look back to a great year in art participation and I want to thank all the individuals and organizations that made it possible as well as my family and friends for their support.

My artwork was juried and participated in 14 national exhibitions from the Biennial National Art Exhibition in Punta Gorda, Florida to the Expanding Horizons AWA Exhibition at the Loveland Museum in Colorado. My deepest respect goes to the work and dedication put forward by art organizations such as the National Oil & Acrylic Painters Society (NOAPS) and the acceptance of my work in their two Best of America Exhibits and their Online International Exhibits. I am thankful to the International Guild of Realism (IGOR) for the acceptance of my art into their prestigious 2024 exhibits. I am also proud of the inclusion of my art in the American Artists Professional League (AAPL) exhibits 2024, the Allied Artists of America shows and the Richeson75 Still Life exhibit. Closer to home in Texas my gratitude goes to the Conroe Art League, The Bosque Art Classic and of course the Dutch Art Gallery in Dallas, Texas for showing my art year-round and in their exhibitions.

To all these organizations and galleries, my gratitude and appreciation for making a difference not only in my art but also in the art world.

Thank you and to all happy holidays!

Living in a subtropical climate is not conducive to painting outdoors. Heat, humidity, mosquitoes and other hazards limit the experience; therefore, I look for creativity within my studio walls. Still Life and flowers are perfect subjects.  After attending flower shows or after working in my garden on a daily basis, I want to transfer the beauty of flowers onto the canvas. Sometimes I may choose a flower or two; however, my vision is frequently a giant bouquet that would depict their magnificent glory. I look for potential candidates in every place I go until a bouquet catches my eyes. I use its structure as a skeleton for my composition but I delete some of the flowers and add others to match the vision in my mind. In essence, I create my own bouquet of flowers on the canvas

Sometimes I look for a triangular composition similar to a family portrait where the subjects are the different flower varieties.  Other times, it is a vertical composition or a zig zag one. Peonies are often main characters. A pink, a purple or a white peony might hang alone against the contrasting color of the background or vase. Some placed there purposely to become a focus in the composition. 

Birds visit my garden year-round and I can observe them feeding, flying or nesting. Needless to say, they become part of the design picking their type and colors to match the surrounding flowers. Much to my disdain, snails and other insects become a pest that I constantly battle in my garden; therefore, they are added into my compositions as a symbol of my garden struggle but also as a symbol of the struggle to put this multitude of leaves and flowers all together in one vase.

The creative process of deleting and adding flowers and greenery in different spots of the bouquet are in my mind but I verify possibilities using the computer. Some changes are impromptu while painting and I must admit I often change things even after they have been painted. Due to the changes in composition, the entire artwork is first done in a monochrome tone. Once the monochrome painting is complete, I add layers upon layers of different colors. The final background is decided once most of the flowers have their color. The background is often a mix of the colors used for the bouquet. That way I ensure a certain degree of harmony between the positive and the negative areas. During the inspiration phase, I usually underestimate the number of flowers and greenery I strive to include but during the working process I come to appreciate the magnitude of the task at hand for each piece of art.

There are some basic characteristics typical of my art but the three most commons are reflections, transparencies and the depiction of fabric folding and turning throughout the canvas. Achieving these characteristics requires subtle changes in values. It necessitates allowing the light to penetrate the colors and reflect back to the viewer just as it happens in nature. Glazing or sometimes known as layering is the technique I use to achieve the desired results.

What is glazing? Glazing is an old technique, as old as oil painting. Leonardo Da Vinci used this technique extensively and when you see one of his portraits, you can appreciate the luminosity and smooth value transitions.

The first key to glazing is to know your paints. Each paint has a different degree of transparency. In other words, some paints are see through and some are totally opaque because they block the light. Think of paints as different types of fabric. Sheers are transparent while a fleece type of material is opaque. Many fabrics fall in between the two and they are semi-transparent or semi-opaque. Now, think about putting very transparent sheers one after the other in such a way that allows your eyes to penetrate the layering. You will be changing the colors, softening the edges and adding a glimmering impossible to achieve with an opaque material.

It is not hard to learn the transparency of each paint. It is actually written on the outside of your paint tube. The letters are usually very small but you will be able to find the word transparent in the paint tubes of a Phthalo, a Quinacridone, an Ultramarine or some of the Sienna colors. 

The word opaque is written in many paint tubes and an opaque paint will hide whatever is underneath; therefore, the “sheer” effect will be blocked or at least minimized. For example, a Titanium White or a Cadmium color as a top layer will cover whatever is underneath. Keep in mind that mixing a transparent color with an opaque on your palette will also change the degree of transparency and block the light.

Once you know the transparency of your paints, the second key is to use the colors without mixing them with other colors on your palette. A beautiful glaze is achieved by using the color directly from your paint tube without compromising it and without mixing it. Just add linseed oil or a glazing medium, make sure the paint on your canvas has dried and then apply a new layer to start transforming your art. 

The layers are very thin applications of paint one over the other. If successive layers of the same transparent paint are applied one on top of the other, that area will become darker and thus achieving folds if painting a fabric. If a transparent color is layered on top of a different color it will transform the base color allowing you to create smooth transitions, unique luminosity or perfect shadows. For example, an Ultramarine Blue on top of a red will create a violet or a perfect shadow for a red object located outdoors. If painting a precious stone, glazing will help to shape and add darks to the jewel without sacrificing its luminosity and transparency.

Glazing seems easy enough but where is the catch? Glazing requires time and patience when painting.  Each layer must be dried before the next layer is placed on top. Glazing also requires planning since errors can be easily seen underneath transparent layers. And finally, glazing requires not only the knowledge of your paints but it also requires to follow the rule of Fat over Lean.  In order to avoid cracking, one must start with lean layers and slowly increase the oil content in top layers.

Glazing can give you wonderful effects of luminosity that can not be achieved with colors mixed on your palette or with wet on wet techniques; however, there is no reason not to use the two techniques in the same painting. A glazing can be applied to a dried impressionistic painting. An Ultramarine Blue glaze can push back an area of an impressionistic landscape creating distance. Glazing can be used for a portrait while the background can be done with a wet on wet technique. William Bouguereau, one of the last great masters of the glazing technique, used glazing to achieve incredible skin tones but he used faster and more direct painting techniques in other areas of his paintings. 

Mixing techniques could even be an advantage that will help to draw the eyes of the viewer to the glazing areas. 

In essence, glazing brings wonderful effects to a painting by harmonizing the work, by achieving subtle hues, by softening edges, by creating distance, by simplifying shadows and by adding a luminosity by the imperceptible penetration of light through the transparent colors.

Once in a while I venture outside to paint en Plein Air; however, I must admit that while the taste of adventure is attractive, the vicissitudes are not always enticing.

Artists have been observing and studying the subjects of their art since the very beginning through sketches and drawings. Painting in the “open air” became popular with the invention of the paint tube in the 1840’s. The portable easel and the pochade box made it possible to carry all the painting materials while stepping out into the environment. The Barbizon School of painting elevated the “en Plein Air” practice in France which was followed by impressionistic artists such as Claude Monet and Pierre-Auguste Renoir. Since the natural light qualities constantly change outside, there was an adaptability to paint faster with loose brush strokes and softness of form. At this time, and almost 200 years from its elevated practice, the “en Plein Air” movement continues to be popular.

Texas summer weather, wild life and bugs detract desire from venturing out to paint. Undoubtedly, the air condition, music and less distractions become important factors to remain in the art studio. The key is to be able to do both: en Plein Air occasionally and studio painting when conditions are not the most desirable. Fast and loose style sometimes and detailed work other times. It is a choice of style. If an artist can do both, then the artist has the right to choose.

Rocks and Water, showing here, is one of my Plein Air paintings and it is available for sale

Painting reflections has always been part of my art and the reason is twofold.

As an artist, the effects of light fascinate me and, in realism, it is an integral part of being able to convert a two-dimensional surface into a three-dimensional illusion. We basically paint how the light hits things by using a range of values. And, of course, the darks play an important part by accentuating the presence of light. There is no light without dark!

However, there is more to light. There is reflection which occurs when a ray of light approaches a surface and bounces back. When the reflection occurs on smooth water or on a shiny surface, suddenly, the viewer starts debating what is real and what is reflection. The reflection, similar in shape and color, leads to a deeper interest and to question our own reality. It is a dichotomy between what we consider the real world and a created one by the bounces of light.

Reflections vary according to the surface. The reflection on a smooth lake, on a mirror or on a shiny flat object will be a virtual image. The reflection on a very rough or irregular surface will be different. The mirror will reflect all of the components of white light while a rough surface might absorb some of the light components and reflect the others in multiple directions. The curvature of the reflective surface also affects what can be seen. For example, a rounded, shiny tea pot will receive the reflection and change the curvature producing sometimes distorted or elongated shapes. Sometimes when painting a reflection, I have to analyze where a reflected shape is coming from. It is warped, different or unexpected.

Painting reflections in art is painting the light that is thrown back by a body or surface. Here is where the twofold reason comes in. The word “Reflection” has two definitions in the dictionary; one talks about the reflection of light but the other definition is “serious thought or consideration”. Reflection is considered a “deeper form of learning” and thus encourages the individual to consider new ideas, to be creative and to come to the understanding of information. By painting reflections, not only I learn but also the viewer is thrown or submerged into trying to understand a world of possibilities. Is this part real or is it a reflection of something else? 

As an artist, painting reflections is trying to understand the creative power of what I do: painting the light!

                                                On my easel now taking shape                                            My actual garden taking shape

My two daily passions are art and gardening and there is without doubt a close relationship between them.

To start, we might find that a lot of artists are also good gardeners. Why would that be? Gardens immerse us into nature; they bring inspiration as well as similar feelings that we experience while creating art. A garden, same as art, is a place to relax, a space of comfort that brings serenity to our inner souls helping us to develop and grow.

In many ways, both art and gardening involve the creative process. There is an idea, a molding or exploration of how to achieve the idea, planning, problem solving and execution. And, like in art the expected outcome might be different than what was originally in mind. In essence, plants and flowers have a mind of their own and so does art from beginning to completion.

I read that a good gardener is “creative, curious, passionate, adaptable, knowledgeable, observant, hardworking and enjoys bringing plans to fruition”. Wait! Aren’t those the qualities of a good artist? Definitely! An artist is used to work alone. Artists are inspired by nature, by beauty or by the mundane and ordinary. We come up with ideas and plant the seeds. We nurture our project with patience and love, taking care of all the details, solving problems in order to achieve the materialization of the initial idea and then we share it with the world. Hold on! Am I talking about planning, planting and bringing a garden to fruition or about getting an inspiration for a painting, starting it and achieving its completion? I am actually talking about both because their similarities are astonishing.

My garden inspires me and, in front of the canvas, I want to depict what I have seen growing day after day. Art for many of us is like nurturing a living thing. I nurture my garden and I try to give it additional life through my art.