# 114 Cappuccino Girl

Using the undertones again for the shadow part of the face, the same way we used to do it by leaving the brown paper showing through on our pastel studies. JLC

# 113 Mora Caballero

Snaped this photo of a real cowboy as he waited in line, the light was right so I painted it; where's the hat? A real cowboy takes his hat off when he enters a restaurant. JLC

# 112 Spanish Woman

Today's portrait is more refined, working on the skin's surface appearance a little more carefully led to a more finished look. JLC

# 111 Waitress

Getting home late today, I was able to post yesterday's piece. Today's painting was from a drawing I had done earlier, luckily, yesterday's palette colors were still wet. This is a very hasty piece, it shows the Lucien Freud side of me. JLC

# 110 Student

This portrait is my favorite so far, her simple straight forward gaze was intense and serene all at once. JLC

# 109 Olive Complexion

Perfecting the lighting before the sitting, define warm and cool colors and their placement, mix all colors into each other to stay harmonious, keep brushwork loose but adhere to shapes and values; these are my new mantras while painting. JLC

# 108 Sidelight Study

Using different lighting to achieve dramatic shadow and illumination on the model has become just as important as the actual painting process to me. The side light allows practice painting the face in shadow. JLC

# 107 Gypsy Dancer

When I think of gypsies, all of these other things come to mind as well; namely castanets, guitars, energetic foot dances, clever craftsmanship, exotic costumes and a travelling existence. I have had the priviledge of camping with a two family band in Mexico on a surf adventure, they were very thoughtful, courteous and welcoming, their music was unbelievable. JLC

# 106 Focused Profile

By placing the paint directly over paint without blending I can control the form and color at the touch of my brush. JLC

# 105 Window Light

The magic brushwork of Franz Hals is my ideal, today I paint differently than I did a month ago from viewing a handful of his works. JLC

# 104 Waiting for a Ride

Sunlight on the edge of a face is a great study, sometime opportunity just opens itself up to you. JLC

# 103 Girl in a Sun Hat

Working with warm rose tones under cool purples and lilac blues, the warm and cool colors work so nicely together I will use them again. This is yet more knowledge gleaned from my recent visit to the National Gallery. JLC

# 102 Felix's Curious Head

Horses are great animals with extreme sensitivity to individuals, I have much respect for their size, strength, and beauty. SOLD JLC

# 101 Twilight Run

Okay, Okay, I know it's a horse, but it's a "portrait" of Felix the Arabian horse. SOLD JLC

# 100 Spanish Farm Woman

Our National Portrait Gallery affected me so deeply by it's fine collection, my paintings will undoubtedly begin to show the signs of this influence. Today we have reached 100 works since April. JLC

# 99 Young Poet

I am always amazed at how color communicates itself to me in a painting, at times I look right at the subject, and yet the color is shielded from my senses, only to get a suggestive glint out of thecorner of my eye of its' true nature, like the lilac color on his forehead and chin. JLC

# 98 Journalist

Using different color palettes allows painters freedom to change the light of a scene, just one of the many tips I picked up @ Plein Air Easton this year. JLC

# 97 Farm Girl

Finally back from Easton Maryland, beautiful, beautiful , beautiful. An enlightening experience, hopes of returning next year are made difficult by the extreme level of competition one faces. Now then, where were we? Oh yeah, I was doing a painting a day, now to play catch up to get back on track. I will post extra pictures on certain days until I am back on schedule with my "365 paintings in one year". JLC

# 96 Farm Worker

This will be the last post until my return from Maryland on July 19th. Upon returning, I will add the missing 14 posts to remain on track with my one year and 365 paintings goal. JLC

# 95 Torso Figure

Another experiment using the base-tone of a relatively cool "grey cardboard color" for the middle-tone, it mimmicks fleshtone well and aids in seperating warm from cool colors. This painting is from a drawing of a wooden sculpture. JLC

# 94 Piano Teacher

Artists and musicians make great models, artists know what looks good, and how to make a "comfortable sit" for a spell. Musicians on the otherhand, become so engrossed in what they are playing, become oblivious to what the painter is doing. JLC

# 93 The Model Fell Asleep!

Quick and loose brushwork made this piece come together. I toned the background to the color of brown paper, then as I painted the portrait, I tried to use the background color as a middle fleshtone, adding subtle darks and lights to bring out my figure. It is a painting done with subtle tints over this single background tone, this leads one to a tonalist style of painting. JLC

# 92 School Teacher

July's theme will be "Portraits and Genre", "genre" is the correct term for "paintings of people doing everyday things". Aspiring to become more known for my portraits, now is as good a time as any to begin warming up my brush to paint more of them. During the late 80's and early 90's, I had the good fortune to study with a group of very talented portrait artists. To this day, it was their knowledge and shared skill, combined with the influence of Franz Hals, Joaquin Sorrolla, and John Singer Sargent, that I consider my finest teachers in art. JLC