Saturday, November 22, 2008
Monday, October 27, 2008
Saturday, October 18, 2008
Thursday, July 17, 2008
Friday, July 11, 2008
In May I took a workshop with Janet Walsh on painting florals as still lifes. In one of the first exercises Janet had us hold a flower in our hands and paint it. I chose this beautiful dark magenta tree peony. Later in the workshop we got to try some liquid acrylics for backgrounds, and I added a yellow green background. I thought it needed a more interesting background, so yesterday I toned down the yellow green with some greens, blues and pinks, and added more leaves.
These two Rhododendron paintings were painted simultaneously - I worked on one while the other dried. Both were started with an underpainting, and then painted negatively without drawing. I like the soft gentleness of the first one, and stopped painting earlier than usual so I wouldn't lose that. I worked on the second one a little more to get some depth into the darker flowers.
Friday, June 27, 2008
This collage was done for a project on WetCanvas. The object was to take an old painting and cut it up, and weave another painting, or other paper through it, adding other media, to make a new piece of art. I cut the old amaryllis painting into strips, and used matte medium to paste it onto black paper. I interspersed five strips of gold scrapbooking paper and went over the watercolored stamens with a gold pen. Now I need a name for the new piece.
Monday, June 23, 2008
Thursday, June 12, 2008
This is a quarter sheet painting of my 10th and newest grandchild. Isn't he a cutie! I'm not completely happy with the composition, and I may end up cropping some of the bottom off, but then I keep changing my mind. I won't cut unless I'm positive.
I love that rosy cheeked, innocent "newborn" look, and they don't stay that way long. Louis is now three months old and he has already changed a lot.
Saturday, June 07, 2008
This duo was painted from a photo I took at Grey's Iris Garden last year. I like the rich red/purples contrasted with the lighter tops.
"Twin Irises" 15x11
Saturday, May 10, 2008
I painted this one from life on a quarter sheet of Masa paper, using my favorite crinkle technique. I did something different this time, in that I usually adhere the Masa to a piece of watercolor paper first, and this time I didn't. Supposedly it is better to mount first because the paper is very delicate when wet, but it was only a quarter sheet and it was fine. I actually liked the feel of painting on it unmounted and may stick with unmounted sheets unless I am working much larger.
Monday, March 31, 2008
Sunday, March 16, 2008
Day 5, the last day of our workshop. We were ending early on Friday, so we only had time for one painting. This time the exercise was in IMAGING. The object of the lesson was to work without reference material, and to "image" a painting from memory. Again, we were to make thumbnails of a subject, choosing several elements that we wanted to include. At first I didn't think I could do a landscape without a reference, but decided that if I could, it would probably have to be of Maine, because I can probably paint Maine in my sleep. So I decided on a lighthouse, rocks, the sea, and beach roses - all things I have painted enough times that I should be able to "see" them in my mind. After 5 thumbnails, I chose this vertical view.
On Friday evening, we had Gallery Night. The rooms were cleaned up and everyone had several paintings matted and hung. We dressed up, and enjoyed wine, hors douvres and piano music as we viewed the paintings of our class as well as the other classes that were there that week.
It was a great workshop, and I was very sorry to see it end. I learned a lot and hope to incorporate the things I learned into my future landscapes.
On Day 2 we were able to use our own reference photos. But there was a catch! We were to choose a few elements from our photo - white house, rocks, pine trees, lupines, sea and rearrange them in several thumbnail sketches, then choose 2 of our sketches to make paintings. This would be our routine each day - to do two different paintings from the same reference/references. I enjoyed doing this one, using a photo that I had taken in Maine a few years back. Great minds think alike, because my sis ended up chosing the same sketch as I did of the barn on Day 1, and her day 2 paintings also had Maine, and lupines as subjects. You can see Joan's workshop paintings at www.watercolorsbyjoan.blogspot.com
Last week I took a watercolor workshop in Myrtle Beach with Gerald Brommer. My sister Joan and I took this workshop together. The emphasis of the workshop was on CONTENT.
We started day 1 out by looking at slides of landscapes, and we had approximately 5 minutes to do a sketch of each one. You could hear the groans as the class tried furiously to sketch each one. Then we were assigned to take one sketch and do two paintings from it, one high key and one low key. I chose this barn because it seemed to be the least complicated, and therefore, the easiest to translate from my far from adequate sketch into a painting. I wasn't really crazy about the high key version, since I really like color, but I was pleasantly surprised at the low key one.
Here are the results from Day 1.
Thursday, February 21, 2008
This iris was done using a technique made famous by Cheng Khee Chee and Roland Roycroft. I wet my paper thoroughly, and dropped in some blues, greens and purples, and while it was still wet I used a "thirsty" brush to wipe out the white iris. Of course, it didn't come out pure white, but that was okay - in fact, my reference was a pale blue iris. When everything dried, I added some shadows and the yellow beards. It's an interesting technique, and I felt that I really struggled with it, but I like the effect.
Thursday, January 31, 2008
I started this collage before the Masa one and gave up on it. But I don't like to give up, so I went back to it today. The camera cropped it a little close on the sides - it's really a square. I'll try to get a better photo if the weather is better tomorrow. This was done with stained and torn washi (rice papers) mounted on Arches 300 lb. rough 11 x 11 inches. The element of design is still "texture".
Thursday, January 24, 2008
Saturday, January 19, 2008
I don't sketch enough. In fact, I rarely sketch at all unless I am doing a painting en plein air. So when I read about Worldwide Sketchcrawl, I knew I had to try it. A sketchcrawl is an all day sketching event held simultaneously all around the world. I wasn't expecting the next one to be in January.
It was cold, so my sister, Joan, and I went to one of the local parks where I knew we could sketch through the observatory window. We did a few sketches through the window, and some from the aquariums and displays inside the building. Then we drove to another park which had a little zoo. Many of the animals were gone or inaccessable for the winter. The only ones we could find were a few bison which were too far away to sketch, and some farm animals. I sketched a cow and started on a sheep. By then we were freezing, and the zookeeper actually made us leave before I finished my sheep drawing because it was getting late. So we went to a nearby mall for coffee and sketched some people and called it a day.
You can see the rest of my sketches at http://www.sketchcrawl.com/forum/viewtopic.php?t=2789
Friday, January 11, 2008
This version of the Ti leaves is all about shape, so I painted the shapes negatively. I first poured the background - Winsor Red, Winsor Blue and Winsor Yellow, and then painted behind shapes layer by layer, going darker with each layer. This was a relaxing painting to do. The hardest part was waiting for each layer to dry.