It's Worldwide Sketchcrawl Time Again

Saturday was the 20th "Worldwide Sketchcrawl", but it was not the greatest day for outdoor sketching. My sister Joan and I started out at a local park where I knew we could sketch from a gazebo and from an indoor observatory. Unfortunately, the building was closed, but we did manage a sketch of the pond from the gazebo. It was only drizzling at this point. Since we couldn't get into the building, we drove off to the site of a historic building called the Hermitage in HoHoKus. It's an old "gingerbread" type house with lots of additions - all sorts of roofs, chimneys, and windows - perfect for someone like me who has trouble with perspective. :-) We found a parking spot with a good view of the side of the building - no parking at the front. It was raining harder by now, but we were all warm and cozy in the car. I actually enjoyed sketching all the nooks and crannies of the building. Then we moved on to a local plant nursery where they had pumpkins on display. By now it was POURING! We were right in front of several pumpkin displays but could only see them for a few minutes at a time, before the windshield was so covered with rain that the pumpkins were a big blur. Whenever Joan saw me squinting, she would put the wipers on for a few seconds to clear things up. After that, we attempted to sketch at Barnes and Noble, but it was very crowded - all the tables at the cafe and all the seats in the reading area were taken, and the occupants didn't look like they were leaving any time this century, so we decided to call it a day and went home with only three sketches. All in all, I think we did pretty well considering.

Group Show

Last year six friends and I formed a watercolor group for the purpose of exhibiting our work in local venues. Today we "hung" our second show at the Louis Bay 2nd Library in Hawthorne, NJ. I'm really proud to be a part of this excellent group of artists.

Peony

This pale pink peony was so much fun to paint with it's ruffly petals and the soft yellows, pinks and blues.

May Bouquet

This is another of the paintings I started in the Janet Walsh workshop in May. It was started without drawing. I just started painting in the flowers as I saw them, starting from the top and letting the paint run downward, for the first wash. I did draw in a few of the azaleas after the first wash dried, so that I could paint in the deeper shadows, and I drew the bowl in after the flowers were done. I think I am going to leave the background white on this one.

11x15 on Arches cold press

Tree Peony

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.

Rhodies 1 & 2

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.

Amaryllis Collage

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.

Sketchcrawl 19 - Carousel Dragon

This was the last sketch I did during the "Sketchcrawl #19" on Saturday. I never got to finish it because they closed the carousel at 5:00 p.m. sharp, and started to lower the metal doors that closed it in while I was still sitting there. The rest of the dragon is a dark green with some yellow green accents. I had to pick up and move a few times since the dragon did not always stop in front of me when the ride stopped. You can see all the sketches that my sister Joan and I did, and read all about our sketchcrawl here http://www.sketchcrawl.com/forum/viewtopic.php?f=38&t=3106

What is a "Sketchcrawl"? Several years ago an artist named Enrico Casarosa from California spent an entire day sketching in the San Francisco area. He thought it would be more fun to do it again with friends, and he made a blog about it, and the "Worldwide Sketchcrawl" was born. You can read about this fun activity at http://www.sketchcrawl.com/

Baby Louis

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.

Irises

I painted these irises from life at my Thursday painting session with my friends. Anna, one of the other artists, picked these from her garden for us to use as reference. I love the purple/yellow/green combination.

"Anna's Irises" 11x15

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

Tulips

Nothing says Springtime like a bunch of happy tulips!

11x15 on Arches cold press

Bouquet on Masa

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.

Trying a New Medium - Pastel

Every once in a while I get the urge to try a new medium, so when a one day pastel workshop was offered less than two miles from my home, I was there! Below is a still life that I did in the workshop by Christina Debarry http://www.debarrystudioarts.com/ , and a solo attempt at some dogwood blossoms that I did after the workshop. Both of these were done on Strathmore paper with Nupastels.

March Madness and SketchCrawl 18

March was a pretty busy month for me. It started out with the Gerald Brommer watercolor workshop in Myrtle Beach (see below for workshop paintings). I came home to my street blocked by a fallen tree and no electricity, heat, internet, or phone. It took 10 days before everything was restored to normal.

My newest grandson was born in March - Louis Joseph - a bouncing 9 pound 10 ouncer, and my 10th grandchild.

I celebrated my 63rd birthday on the 28th.

And I finished the month by participating in SketchCrawl 18. This was my second SketchCrawl. My sister Joan and I started at the Fort Lee Historic Park and our first sketch was the George Washington Bridge. I couldn't believe how close we were to the bridge. It seemed to be right in our laps as we sat and sketched. We did a few other sketches in the park, one of them a sketch of a gentleman who was dressed in period costume in front of a soldier's hut sewing a pair of "britches". While I sketched he told us a lot about the living conditions of soldiers in Revolutionary War times. On the way home, we stopped at the Celery Farm in Allendale where I did a watercolor pencil sketch of the marsh from one of the observation platforms set up for bird watchers.

Gerald Brommer Workshop Day 5

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.

Gerald Brommer Workshop Day 4

On Day 4 Jerry did a demo on fog, and he pinned up several other paintings depicting interesting weather, times of day, or seasons, explaining that each of these were another way to show CONTENT. I chose to depict fog and rain, which, in hindsight, look quite a bit alike except for the slight streaks on the "rain" painting. It was a challenge to keep the colors muted and pale in the distance, and darker and slightly more colorful but still somewhat grayed in the foreground. I decided to go back to my white house reference for this exercise.

Gerald Brommer Workshop Day 3

It's day three and Jerry had a new challenge for us. He handed out a printed sheet of adjectives that described MOOD. We were to choose three adjectives for each of two paintings - again using the same reference. This time I had a simple house framed by two trees. My adjectives for the first painting were PEACEFUL, QUIET, COZY, and for the second SNOWY, ISOLATED, BLEAK. As you can see, I tried to make them as different as possible. They don't even look like the same subject, but if you look at the second one, you can see the same house way off in the distance, framed by the two trees. We wrote our "mood adjectives" on the back of the paintings so that Jerry could try to guess what we were trying to say. I really enjoyed this exercise.

Gerald Brommer Workshop Day 2

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

Gerald Brommer Workshop Day 1

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.

Wiped Out

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.