In the studio now ...
Come back often to watch a selection of my paintings develop from start to finish.
​I usually work on several paintings at a time, particularly with oils, which involve multiple glazes planned out ahead of time, each glaze needing to dry before the next. 
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Experimenting with painting on different grades of Belgium linen panels

I'm always trying to learn something new. Most of my favorite professional artists paint in oils on linen. The best linen is Belgium. At present I'm trying several grades of Belgium linen. It's a new experience working with the linen's slub. I find it grabs the paint better, but larger slubs are a challenge. You can see what I mean in the first two photos of the developing oil painting below. The linen is affixed to a panel and doesn't fit my easel's grooves properly, so I've taped it to a drawing board. Keep checking back to see the final result.

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​A study in contrasts and reflections

The setting sun gilds branches, softly mirrored in a freshwater pond

Someone asked me why I transfer a drawing to a dry, underpainted canvas, as indicated in the captions on the progress photos below instead of drawing directly on it. I seldom do a drawing beforehand, but when there are a lot of subjects, like trees, or buildings, with a lot of thin lines (in this case tall Loblolly pines and wild cherry trees) and I want a certain placement and rhythm, I'll draw first on very thin translucent paper taped to the canvas. I can see the colors through the paper and place things where I feel they're right (and remove what I don't like) without marking up the canvas until I have the rhythm and balance I'm striving for. When I'm satisfied with the drawing, I put art transfer paper under it (in this case blue) and use a stylus to loosely transfer the drawing. A lot is roughed in, but this process eliminates time-costly errors. I hope this helps those studying my processes. Please feel to ask questions through my contact page. ~ Ellen

Morning Song

This is a small (8" x 8") oil study of a young male Indigo Bunting.
You can watch it develop from start to completion below. I took a sidestep or two on this one,
but really like the final results.

​"First Light" (sold while in progress)

​A hazy summer morning and gentle lapping waves come alive in this 8" x 6" oil on gallery wrapped canvas
​In this painting's case there were no preliminary drawings.

"Westerly Breezes"

Strong westerly breezes on the edge of a nor'easter blow the tops off 15 - 20 ft. swells on the outgoing tide

Capturing the ocean's energy
This 8" x 16" oil is still in the studio getting final touches

"Sunrise"
The sun peaks through on a misty, cloudy morning (sold)

Private commission
Sometimes there are no photos that show a departed loved one as you'd like to remember them.
Here, a number of photos were used to recreate a favorite memory of  a couple's late fur child.

"​At Water's Edge"

Paintings are often windows into places and the artist's thoughts as they paint.
​I might have called this one "cathedral".

​19" x 25" pastel "Radiance" in progress
This painting was originally to have been unveiled last year.
A health problem due to breathing pastel dust put it on hold. It will appear here when completed. 
​Take care to not breathe in pastel dust when painting with them.

Nor'easter Blowing

 See the progress of this 9" x 12" seascape from start to signed finish. Sold.

"Wild Horses"

8" x 16" oil on canvas

"Roxy" family portrait

Captions explain the process step by step as this 11" x 14" oil painting takes shape.

"Spring Promise"

This was my first painting of a bird and my only acrylic. I enjoyed the process beyond the limits of acrylics.
It was done for one of the most special people in my life as an artist, now sadly gone but never forgotten.
​I miss you John.