Put "Veins" on it

I didn't feel I would be able to make out bark by painting layers in the same way. So I decided to use a small brush and draw the "veins" on the tree trunk. Now it more looks like a tree trunk.
I'll go back to mid-size brushes and add layers between the veins.

Filling with darker colors

Still filling up darker parts. Since not much shadow in this frame, I probably need to make darker color part more darker than real, to keep balance and avoid bleached out painting.
I realized the ocean part is one of the darkests.

Still Tackling With Bark

Still can't figure out how to paint tree bark. Probably it would take more to come up with something that would satisfy myself. I just don't want to give up yet and will keep trying and trying. Strangely I'm not so frustrated.

Desmond O'Hagan 3 day workshop

Just came back from Desmond O'Hagan's workship on Bainbridge Island.
It was about reiteration of dark to light method with a larger brush (#8)  even on 9x12 surface, but it also exposed me more to realization of warm/cool color temperature handling and its effects.
Those two outputs were half completed by O'Hagan himself so I can't claim 100% credit. However, I intentionally picked his subjects (I regularly don't do stilllife, figures nor cityscapes) to learn from his style and technique. Although I have no intention of changing my subject matters at this moment, I'll definitely experiment more with warm&cool.
It was very good workshop after all.

New Monterey/Carmel Painting

Everytime I start a new painting, I get excited thinking about how this painting could go.
No exception with this painting, which I painted at Monastery Beach just north of Point Lobos State Reserve in a morning. That day, Point Lobos was closed due to bad weather a day before.
Quite horizontal format because I wanted to put crest of wave hitting beach in the composition. 20x32.