Upside down Sandy. I frequently draw upside down, as it increases our subjectivity; we release expectations of what something "should" look like. We have no visual language for how we perceive an animal's features are drawn upside down. Therefore, we tend to see clearly the proper balance of the shapes, which are no longer "EYES." In painting an animal it is best to let his/her dominant features prevail, without filling in every detail, which is called a "photograph," paranthetical sarcasm implied. Any time an artist needs to figure our an area that is troublesome, looking at the image in a mirror or upside down always works because our brains have "dispensations" or imbalances in perception.

Closeup. The graphic designer is often happiest in the different modes of presentation and composition. This section successfully stands on its own, without needing the rest.

Sandy. Pastel pencil on 9" x 12" Bristol paper.

Sandy's parents are Vicki and Sean in Thunder Bay, Canada. 

Mom Vicki said upon receiving the painting that this was definitely her "Can we go for a walk look," which is a challenge in minus 32 degree temperatures. She is able to take care of the essentials, without the walk! I'm going to post "Steps" of the process of painting Sandy.

Kona and Nishka's parents upon receiving package and unveiling the paintings. I think that is Nishka eating the bubble wrap, or so it appears. Now, it's like they have four dogs.

Kona. Oil on 9" x 12" birchwood canvas. 

Kona lives in British Columbia, and I didn't think she was going to make it there. It took well over two weeks, almost three for her to arrive. Phew! His sister, Nishka, traveled with her and I'm going to post a photo or two of her parents opening the box from their long trip.

Nishka. Oil on 9" x 12" birchwood canvas. 

I thought that Nishka was going to be the easier of the two dogs, since her photograph contained a late afternoon sunlight "rim" around her head. However, it turned out differently; this was far harder to do that Kona, which I thought would be difficult with all the layers of white fur.

Roxie. Oil on 9" x 12" canvas.

I love this painting because of the genuine concern in her expression.

 Everyone who looks at this comments on her eyes and the caught emotion.

Sulu

Sulu. Pastel on 9" x 12" Bristol paper.

Sulu was an experiment with a Siamese, who are typically a mixture of greys, yellows, black and whites. Because my pastel pencils have very few greys, I decided to have some fun and allow red and blue to form the dark tones. Sulu lives in Thunder Bay, Canada, but I think she belongs in a sultry film noir.

North Georgia Mountains

Oil on canvas, 36" x 36"

Lonestar

Pastel on pastelboard, 11" x 14"

Sold.

Ocala Horse and Rider

Acrylic wash on illustration board

18" x 24"

Bay St. Louis, Mississippi

Pastel on board, 38" x 24" Sold.

Beach Hammock 

Little Tybee Island, Georgia

Oil on canvas, 36" x 36" Sold.

Blakely Island, Alabama

Oil on canvas, 24" x 30" Sold.

Clark's Hill Lake, South Carolina

Oil on canvas, 36" x 36" For sale.

Dauphin Island Bird Sanctuary

Oil on canvas, 36" x 36" Sold.

Detail of Dauphin Island Grasses

Oil pastel on canvas.

Dauphin Island Grasses

Oil pastel on canvas, 22" x 18" Sold.

Grasses

Pastel on board, 40" x 38" Destroyed.

Delta Grasses

Pastel on board, 36" x 32" Sold.

Lake Junaluska, North Carolina

Oil on canvas, 36" x 36" For sale.

Mobile Park

Oil pastel on board, 18" x 12" For sale.

On the Way to Dauphin Island

Oil on canvas, 20" x 20" Sold.

Outside Yellowstone

Oil pastel on canvas, 20" x 20" Sold.

Point Pleasant, Georgia

Pastel on board, 20" x 27" Sold.

Pickeney Island, South Carolina

Oil on canvas, 12" x 24" For sale.

Storm on the Causeway

Oil on canvas, 34" x 30" Sold.

Sunday Morning on the Causeway

Pastel on board, 32" x 20" Sold.

The Goddess Tree

Oil on canvas, 40" x 52" For sale.