DEB WARD ART

ALL BOGGED DOWN . . .

2012-01-23T09:36:00.003-05:00

Glug . . . gulp . . . . choke . . . .

That's the sound of me, trying to keep my head above water right now!

Once I passed along the ViewPoint show duties at the Art Club I took on Membership, which I thought would not require as much of my time.

I happily spent a good chunk of December painting . . . then January rolled in and all of a sudden, I feel like I'm drowning.

In addition to the Membership duties at the Art Club, which requires a monthly meeting in addition to some day to day work, I agreed to help with re-wording the Constitution. Then I agreed to help out the Club with getting a new gallery space up and running at the Pendleton Art Center in Cincinnati. All of a sudden, that's a top priority and I've become the "go to gal" for typing!

I was elected President of the Greater Cincinnati Watercolor Society which takes effect in March, but before then I'm also typing that constitution! I'm also Membership Chair and update the blog.

All of the entry forms are coming in for the spring shows and I've got two local shows to take my work to at the end of next week. Plus, classes will be resuming soon.

Good grief, this turmoil must end soon or . . . .

So, I may not be posting as frequently for a while until I have a chance to climb up out of this quicksand I'm mired in.

Don't give up on me, I'll be back as soon as I can!

JUST IN TIME FOR CHRISTMAS

2012-01-18T09:31:00.001-05:00

WELL, I'M AN IDIOT!!!

I ACCIDENTALLY POSTED THE COMPLETED PAINTING BEFORE THIS POST, SO I'M GOING AHEAD AND GIVING THE EXPLANATION HERE, JUST OUT OF ORDER!

SORRY ABOUT THAT!

My daughter asked me to paint a portrait of her fiancé. Apparently he has been asking her if she thought I would be willing to paint his portrait, even though he had not asked me! So, as a surprise for him I agreed to at least try.

Then, of course, it became a “must do” as a Christmas gift for him.

I finished it up just prior to the big day and, lo and behold, my daughter, the Princess of Detail (as those of you who follow this blog know) is happy with the finished product! Well, as we say around these parts, if she’s happy we’re all happy!

To see how proficient his investigative skills are, we presented it to him in this way: When they came to dinner I had my geisha painting on the easel. Both my husband and daughter referred to it a couple of times while we were eating. Then, prior to dessert, my husband told him there was something in the garage he needed to see so as soon as they left the room I raced to the easel, snagged my painting off and dashed to the library, tossed that painting (literally!) and grabbed the portrait, set it carefully on the easel, and raced back to the kitchen while my daughter was cutting pie slices in the kitchen, so that when the guys came back to the kitchen the portrait was on the easel, pie on the table and Joe none the wiser.

Then, we waited. I could hardly keep my eyes off of him, but tried not to be too obvious. Finally he glanced into the living room, looked back down at his plate and suddenly his eyes popped open and he whipped his head around, stared at the painting a couple seconds and yelled “AWESOME, that’s AWESOME!”.

So – he likes it!!! Only one problem – he now has two pins on his shirt that he wanted added to the painting, so he came over the next day with his uniform and I took photos of the pins and reference for their placement and have since added them (not seen on this photo).

HANGING ON THE WALL

2012-01-15T01:32:00.002-05:00

I got the two pins added to the painting.

Here is the final painting which I have titled “In the Eyes of the Law”.

Acrylic on canvas, 22x28

ORIENTAL PAINTING - SECRETS OF THE GEISHAS

2012-01-12T09:26:00.000-05:00

Then it was on to the faces. I decided to make the left, main, geisha more real, and also play up the makeup, leaving the other two more plain-faced. So I added the makeup after painting the face, and tried not to be too heavy handed.

I’ve never had a painting that I worked on so long to bring together. Usually I simply take one of my photos, perhaps crop it, and go from there; it’s that simple.

Putting so much thought and effort into this painting, while a lot of work and quite time consuming, was great fun. I’ll have to come up with more ideas along this line in the future.

After much thought and work, here is the completed piece! This will never be a winner of any kind but I like it!

Secrets of the Geishas, fluid acrylic, 22x30, Arches 140 CP

ORIENTAL PAINTING - 7

2012-01-09T09:25:00.000-05:00

The fans were next order of business. I didn’t want them to detract from the geishas, so I tried to mute the colors a bit. In one fan I used a floral motif to tie into the designs on the kimonos and on the other a bamboo effect to blend in with the kanji symbols.

After a friend’s critique and offer of her Japanese fan, I decided to add “Mt. Fuji” to the bottom fan along with and some striations which her fan had.

Once the painting was mostly complete, I misketed the symbols and flower design in the border, then taped off the border and used gold gesso – this was my homage to Judy Morris.

ORIENTAL PAINTING - 6

2012-01-05T19:25:00.000-05:00

Well, after my disconcerting discovery, I decided to forge onward.

Color was put into the hair ornaments of all of the geishas – and then it was on to the kimonos.

From my original (??) concept, I had planned on the main geisha to be wearing red and black with some gold.

The small geisha on the right was planned to be in similar colors to the flowers, so that she just sort of blended in.

I got out all of my oriental fabrics to help me decide on the colors for the center geisha, and decided on a vivid blue and teal with gold design work.

I tried out, or “auditioned”, my color choices on some Dura Lar. This is a thin acrylic sheet which I can lay over my painting and color on with my Caran d’Ache crayons. You can also use the thin acrylic sheet from an old poster if you (or your kids) have any. This lets you see how the color (or values) will look before you actually paint onto your picture. I’m sure most of you are aware of this, but some of you “newbies” might like this tip.

Just be aware that the colors might appear a bit gaudy since you can’t really blend colors nor soften the edges – but it can be a big help, especially if you only need help with your values.

My original geisha idea seemed to be working and I decided to keep the round fan in violet. However, I decided to change my left fan to red and put some red into the kimono of the left geisha.

I also changed the kimono on the left geisha to purple.

At this point I took a little break from the geishas to begin a watercolor - working at one table on the geishas and at another table on the watercolor!

HAPPY NEW YEAR TO ONE AND ALL!

2012-01-01T18:21:00.001-05:00

The beginning of a new year is a lot like a painting – literally a blank canvas. We haven’t had time to screw anything up yet, all possibilities are bright and shiny and we are optimistic – “this year (painting) will be better than the last”.

I spent most of my day painting and listening to the wind blow – it’s very windy here, guess it has arrived from the far west where semis were being blown over on the highway. Not THAT windy, but our lake had waves and there were some thumps and bumps not normally heard that indicate something was blowing around outside.

Also spent time cleaning – even “hot mopped” – and creating an impromptu family dinner. Originally it was just me and my husband, until my daughter called. I had spoken to her yesterday and she never mentioned coming for dinner, but I should have known. Joe was working and she didn’t want to eat alone, especially when she found out pork chops were on the menu. And Joe might come. (I’m learning that means he will be here come heck or high water, since he can drive his patrol car anywhere. Of course, that also means he may fly out in the middle of dinner if he gets a call out). So . . . another package of meat to thaw and a quick spot clean (mostly my spotted kitchen floor) with the hot mop. Now I’m back to painting – oh yes, and typing while paint dries!

I’ve been painting all through the holidays on very detailed paintings (gee, I’m sure you are all very surprised to hear that last bit of info!!!). It’s very zen-like and gives me plenty of time to let my mind wander to ponder various offbeat items, and to daydream. (See my photo and notes below about my new favorite brush!)

Today I got to pondering about people without hobbies or friends. Whether you find painting a hobby or your full time career, consider yourself blessed. You have a way to occupy your time in a productive way and create something wonderful. It’s very fulfilling. And if you are lucky you have found other like minded people and have created a group of artists/friends to paint with, which makes the whole enterprise even more enjoyable. I’m blessed to have found that and regularly meet with one or two and yearly meet with our special painting group for a fantastic week. I would probably not be sane without them!

Sometimes, while waiting for paint to dry, I read or . . . . . fritter away time watching TV. Particulary HGTV. I’m fascinated with wealth (who isn’t!) which is not to say I need a vast amount of wealth to be happy. (I refer you to the prior paragraph!). But that doesn’t mean I would say no to someone handing me boatloads of cash. (If you have a few extra million laying around you don’t need, email me and I’ll send you my address)!

Lately HGTV has been showing the “Millions” programs. “Million Dollar Houses”, “Million Dollar Pools”, “Million Dollar Outdoor Spaces”, ad nauseum. Which is why I’m currently feeling Candy Spelling’s pain. After all, she’s downsizing and was forced to move from her home within 30 days after she sold it.

Now, is it just me, or isn’t it usual to move out of your house after you sell it? And, isn’t 30 days a fairly normal amount of time to do this? And, don’t most people move on their own without a “staff” to assist. And don’t they normally accomplish their move in one moving van versus a fleet?

Oh well, I still feel her pain. After all, she is downsizing - into a space the size of her prior attic. Now, I’ll bet you are feeling her pain too as you contemplate being forced to reside in your own attic. Oh yes, feel her pain - until I tell you the size of that attic - which is to say – 17,000 square feet. Or, as I figured out, a space about 8.5 times the size of my house (give or take a 1,000 square feet). Down from a 100 room, 27 bathroom mansion. I’m sure there were some servants quarters in there somewhere too, but who’s counting? Oh, yes, I’m feeling her pain.

And I’m fascinated!

HGTV is a veritable fairyland for adults. Oh, magnificent houses! In far away places. Where people get to work from the beach or their penthouse condo. Or, not work at all – let the staff do it!

Once a year HGTV will even let people win one of these magnificent houses. (“Oh, maybe I’ll win someday!” I tell myself as I daydream about how wonderful it would be to live in such a place. If only I had entered). HGTV even lets us take a private tour before anyone moves in.

Of course, HGTV doesn’t tell you how you will be able to afford the upkeep on this magnificent home, or what the cost to furnish it will be. Maybe you can call up Candy and she’ll give you a good discount on some of her stored furniture. After all, she probably needs the cash, seeing as how she’s been forced to move and downsize, and all.

Well, enough of my day dreaming! I’ve got work to do! But before I go . . . .

Hope this year is good to you (even if it ends dramatically on December 12 rather than December 31, as per the Mayan prediction). May your painting improve and your life be richer for it!

And remember - if you are having a bad painting day go watch HGTV and drift off into Fantasy Land - maybe you’ll even win a house!

Then I’ll feel your pain.

Here is my new favorite brush.
It's a "Silver" Black Velvet, #6. It's soooo soft, like a sable but at a tiny price, and as you can see the tip
comes to a tiny sharp point. And, best of all, it holds TONS of paint. I think I also have a slightly
larger one, but this one has been my steadfast partner on my last few paintings.

ORIENTAL PAINTING - 5

2011-12-30T09:24:00.002-05:00

I knew the colors I wanted in the flowers from the get go. I allowed the colors to blend in every individual petal and added a touch of violets and blues in the petals. I believe Nick refers to this as “cell painting”.

Then I put the flower colors over all of the corner medallions.

It was at this point that I reviewed some of the kimono ideas and realized that other artists had similar ideas to what I am trying to do. After looking at the kimono photos from the internet, there appeared to be a painting done from the same fabric I was using. Even the figure placement remained the same. Then I found another painting that must have also utilized this fabric. There were changes, but when holding the fabric up to the painting the similarities were obvious.

Now, this is a dilemma.

I don’t know if the other paintings were ever put into shows, but if my painting turns out good enough, can I, or should I, enter it into a show? I swear my idea stemmed from the ideas noted in Step 1 – well before I looked at the online paintings. My concept was original to me, but after viewing the other paintings, would this really be considered “original” as defined in a show prospectus?

I’m curious to hear your opinion.

ORIENTAL PAINTING - 4

2011-12-27T09:23:00.002-05:00

My next step was the background. I used Nicks’ “batik like look” technique of spraying in the background areas.

After deciding on a dark blue, I began with the small areas in the flower petals. This was a time consuming process, since I could only do a few small areas and then spray or the areas got too dry. It took a while to get an idea of how long to wait for the drying process before I could spray, and I had to re-paint and re-spray some of the areas more than once to get the effect I wanted. I liken this to the salt technique – the timing has to be “just right”.

Then it was on to the flowers, which I knew I wanted to be in shades of red violet and fuschia.

ORIENTAL PAINTING - 3

2011-12-23T09:22:00.002-05:00

FINALLY - when I was convinced the drawing was what I wanted, I again traced it onto Cheap Joe’s tracing paper, had it copied again, and I was ready to begin.

First, I miskited the large kanji symbols and covered the faces.

As previously mentioned, Nick Simmons was my inspiration, so I wanted to utilize some of his techniques.

First, tossing paint! This was a dilemma, since I would have had to tape the paper up on a wall. I don’t have a place to do that! So I thought about doing it outside, but there was nothing to tape the paper to. If I leaned it up against a post it would be too low, and probably get dirty in the process. I thought about taking some small nails and tacking it up to a post, but was afraid it would fall and that would be a real mess. So I finally just laid it on the table and tossed the paint onto it. So, finally, paint on paper – yippee!!!

At this point I had an idea of colors for the flowers, and knew I wanted dark around the main face, and the main geisha to wear red and black, but no preconceived idea of other colors.

ORIENTAL PAINTING - 2

2011-12-20T09:21:00.001-05:00

Using tracing paper to fit a half sheet of watercolor paper, and my copier, I brought together my ideas onto the tracing paper. My first “draft” was done in pencil and many alterations were made. When I was satisfied (or so I thought!!) I retraced everything on the tracing paper with a Sharpie fine tip pen.

Then it was off to Staples where I had the picture enlarged to fit a full sheet.

After that, I realized there were some more things I wanted to add and a few other alterations to make before I would be happy. A Sunday afternoon was spent making all of those changes. Then I taped the drawing to cardboard and placed it on my easel to live with it for a few days.

Then more alterations as my ideas changed! I used correction tape and also taped paper over areas of change. Then I lived with that drawing another day or so.

ORIENTAL PAINTING

2011-12-17T09:56:00.001-05:00

Lately I am pulled toward Oriental-looking subjects.

While walking through our local Joann’s fabric store, I saw some material that made me think about Nick Simmons, since the material contained geisha faces and some oriental symbols. That got me to thinking about creating a painting utilizing the faces from the fabric and incorporating some of Nick’s trademark techniques.

This seemed a simple enough undertaking, so I began a plan for a ½ sheet painting, nothing elaborate.

But, as soon as I got home and began looking at the geisha faces, ideas began pouring into my brain. As I began incorporating more information into the painting, I realized this could actually turn into a cool painting, but would definitely need to be larger - so after I had incorporated all of my ideas (or so I thought!) I took it to Staples and had it enlarged to fit a full sheet of w/c paper. Then I lived with the ideas for a few days but came up with more ideas, which necessitated several changes to the drawing. Again, I lived with it a few days.

Finally, I traced the drawing again onto some Cheap Joe’s tracing paper, had another copy made and then, finally, I began painting with fluid acrylics.

I’ll go through all of the process in the next several posts.

The idea taken from the fabric faces led to an online search for kanji symbols which led to an online search for geisha makeup and Japanese kimonos and fans. The fabric patterns in the kimonos were derived from silk fabric which I already had. The background design is from a book of oriental designs which I have had for a long time. The idea for the border came from a Judy Morris painting I saw last year in the traveling AWS show.

OUT OF MY COMFORT ZONE - 4

2011-12-14T09:50:00.001-05:00

Here are the finished paintings all together. I don’t have a large enough wall space to hang them properly, so placing them on the easels together will just have to do!

Since I’ve never done a triptych before, nor worked with as large a canvas before, nor played with various acrylic mediums before, this painting sent me out of my comfort zone, for sure! Way out – perhaps into the Twilight Zone!

But now that I’ve completed the paintings, I’ve got more confidence and will definitely play with ideas in the future – what have I got to lose!

By the way, Nancy loved the paintings!

OUT OF MY COMFORT ZONE - 3

2011-12-11T09:37:00.002-05:00

Since it had been a while since I completed the other two panels, I was worried I would not get a good match on colors but I took my time and constantly referred to the other two panels and got them matched well.

I began working on the background flowers, not sure they were turning out right, but not unhappy with the initial result.

I then brought the large flower into focus as I had done with the other two paintings.

Then it was time to paint the bee, and tweak the painting.

OUT OF MY COMFORT ZONE - 2

2011-12-08T09:28:00.000-05:00

Then it was on to the larger center canvas (24x36). I have not worked on anything that large before and was quite intimidated until I convinced myself that it wasn’t much larger than a full sheet of watercolor paper (DUH!)

I wasn’t sure how the background flowers would look, but wanted to keep them obviously less interesting and bring up the single sunflower and the bee.

I drew in the shapes with charcoal, lived with the drawing for a while and tweaked it a time or two, and then began painting.

OUT OF MY COMFORT ZONE - 1

2011-12-06T13:28:00.001-05:00

Finally, a new post! Thanks for hanging in there and waiting for me.
For the past few weeks I’ve really been trying to take time for ME! and have been making painting a priority.
Having just read Rhonda Carpenter’s latest post, I realize this post follows in that same vein (not something I planned, it just happened). As my post title would indicate, this turned out to be a new painting experience for me. I definitely got out of my “rut” with these three!
* * * * *
As payment for all the help she has given me, I agreed to paint 3 paintings for a friend of mine.

The paintings were to be of sunflowers and bumblebees, using photo references she supplied. I wanted the bumblebee to flow from the first panel, through the center panel and onto the third.

I began with the two side canvases, each 20x20.

SLOGGING THROUGH THE OLD STUFF . . . 4

2011-11-28T09:57:00.002-05:00

This photo is a little odd in color, but you can see the addition of a stem for the left flower.
As usual, when I do a demo, I’m not really invested in the painting and probably don’t care whether I ever complete the painting. However, since I was in a sunflower mood (!) I decided to complete this one - at least, I think it’s complete – any suggestions? - and please don’t say (like my daughter does) “needs more detail”!!! (LOL)

This is fluid acrylic on a 10x20 canvas.

SLOGGING THROUGH THE OLD STUFF . . . 3

2011-11-25T09:55:00.002-05:00

Here I’ve added to the greenery, deepened the sunflower center and added the leaves.

SLOGGING THROUGH THE OLD STUFF . . . 2

2011-11-22T09:53:00.000-05:00

When I picked up the painting again, I wasn’t sure if I’d remember the colors used, but have them pretty close. Obviously, here I have worked on the left sunflower, then some more on the right.

SLOGGING THROUGH THE OLD STUFF . . .

2011-11-19T08:50:00.000-05:00

It’s been a while since I’ve really had time to paint, and in order to sort of “get back into the swing of things” I’m working on something that’s quite old.

This one was started for a demo some time ago, then left to sit.

As noted, this was a demo – so I had part of the sky, some of the yellow on the right flower, some of the greenery completed before the demo, then added some to the painting during the demo. You can probably see where the sky was stopped and started at the top of the left sunflower – I let a petal run off the page at that point.

TEAPOT AND ORB - 8

2011-11-08T09:45:00.000-05:00

I have auditioned my pinks and am ready to begin the background – nothing ventured, nothing gained, right??
Well, definitely nothing gained!!!

At this point I'm ready to give up. The blue paint is lifing too much, the background and shadows are too blotchy and I'm not happy. I may try adding some fluid acrylics at this point, or I may just give up.

Looks like the painting won after all! Remember that score card? Now it's Painting 3 - Deb 2.

Win some, lose some. I lose.

But it's definitely worth another try.

ENTERING ART SHOWS - PART DEUX - JUDGING THE AWARDS

2011-11-05T09:47:00.003-04:00

Our ViewPoint show opening was a huge success last night; great crowd, beautiful show. Watching the judging on Wednesday prompted me to write this post.

So, you entered the show properly and your painting was accepted into the show. Hurrah!

Now it’s time for awards judging.

What you will never know, and what I never realized until watching the judging process take place, is that your painting might have been in the running for an award!

In my (vast!!!) experience, the judge will take time to walk around the gallery several times, perhaps closely inspecting some of the paintings. If there are specific awards that need to be chosen (such as an award specifically for pastel or watercolor or a local artist or . . . ) the judge must take those criteria into consideration during the judging process.

Finally, on one of those walks around the room, the judge will begin to put a post-it note or some other indication on or next to some of the paintings. This process can take a while and sometimes the judge asks questions about certain paintings. Maybe a post-it note will come off one painting and go onto another painting. Maybe that will happen several times. At last, a decision will be made for each award and the judge will probably take at least one more walk around to ascertain that the final decisions have been made.

So, you never know, your painting may have been up for an award for quite a while until some criteria changed the judge’s mind to give that prize to another painting.

In addition, that old saying about not “painting for the judge” really is true, in my experience! A capable judge will be looking at each painting for its own merits and just because that judge paints in a particular medium or in a particular style doesn’t necessarily mean that only paintings done in the judge’s style or medium will be juried into the show. You may be surprised what that judge puts in. And those judges know when people are “painting for the judge” and guess what – they don’t really like it!

Always enter your best work, whatever it may be, and trust in the integrity of the judge and the organization running the show.

And, take heart, and consider yourself a winner any time you get a painting accepted into a show, especially a national show of any sort. You weren’t competing with local artists, but those from around the country, and your painting is holding its own and hanging on the wall next to some of the best painters in the country. And maybe, just maybe, it was up for an award for a while!

How cool is that?

Well, not as cool as winning that award, but still pretty darn cool.

And now you know the “inner secrets” of how an art show is judged!

* * * * *
I would like to add here Greg Albert's (ViewPoint judge this year) juror's statement - wise words, indeed.

Juror’s statement by Greg Albert
11/2/2012
Judging an art show is always difficult. No piece is perfect and most will have many, but different, qualities that make choosing some over others a challenge. But in the end, a judge must do what the artists themselves had to do: draw the line somewhere. Although I attempt to be as objective as possible and consciously apply the established principles for assessing the relative quality of artworks, I recognize that in the end, all judgments about art are subjective and personal. Another judge would most likely make different selections using the same criteria. That alone should remind the artists not to take any one judge’s decisions too seriously, or become discouraged by the results.
A judge can only see and assess a work in front of him. No juror can know the background or context of its creation. The effort, energy, frustration or satisfaction the artist experienced in its creation is not known. It’s unfortunate an award can’t be given to the artist who had the most fun while making his or her art.
There are two generally accepted criteria for judging art in a show: concept and execution. Concept is the idea behind the work. Is the idea original? Is it significant? Is it interesting? Execution is how the idea was expressed in perceptible form, which includes composition or design, the use of color, line, contrast, as well as craftsmanship or control over the materials used. These criteria apply to both representational and non-representational artworks. An unoriginal idea, no matter how well executed, or a poor execution of an idea no matter how brilliant will not get this judge’s nod.
Seeing such a variety of great work in this year’s Viewpoint Exhibit is a thrill. I hope everyone who participated will be encouraged and inspired to continue producing more great work.

HAPPY HALLOWEEN!

2011-10-31T00:01:00.001-04:00

While you enjoy looking at all of the paintings on the blogs noted below – I’ll be having fun accepting the dropped off paintings for the ViewPoint show at the Cincinnati Art Club!
Our shipped works have already arrived and now I get to see all of the works “up close and personal”. Show opens Friday evening and we are expecting a large crowd – join us if you are in the area – Friday, November 4 from 6-9, valet parking available and awards presented – 1021 Parkside Place (corner of Parkside and Martin Drive in Mt. Adams).

From the sublime to the ridiculous!

Chris Beck asked me to participate in a Halloween challenge, so how could I say no?
In defense of my terribly juvenile painting, I went with the idea that Halloween is for kids and on Halloween we all become kids. Put on a silly costume and you do instantly lose your inhibitions and become quite child like!
For years I would dress up like a witch and sit at the end of our driveway (which is more than a mile long, so we did not get trick-or-treaters at the house!) to pass out candy – dressed like a witch.
I’ve been out there in sweltering late season heat and frozen with snow on the ground! I’ve scared more than a few kids, chased some of the “non-believers” around their cars until they became believers, stopped traffic, had my photo taken, flirted with and dissed strange men and generally had a blast! The adults enjoyed it as much as or more than the kids! I even scared myself on a few occasions – you never know what could be lurking in the brush, and when it gets real quiet, no kids or cars around and it’s you all alone, there are certainly lots of sounds to be heard that can be attributed to any kind of strange beast (it is, after all, Halloween!).

Two incidents sadly put a stop to all of this fun. One year a girl on a 4-wheeler thought it would be fun to run me down and grab my hat. (Trust me, it was not). Then the next year a trailer loaded with thieving kids and their drunken parents (most of whom were related to the aforementioned girl) sealed the deal. I decided that it was not a good idea for a lone woman to be out alone after dark.

But it was fun while it lasted and I know I made an impression on many of our neighbors (including a very lasting impression on the drunks, unless they don’t remember it!)

So – enjoy my pitiful rendition of Halloween here, then go see some cool paintings at these other sites:
Challenge organizers:
Chris Beck: http://chrisbeckstudio.blogspot.com/
Pablo Villicana Lara: http://www.mylittlepaintbox.blogspot.com/

Participating artists:
Janet Belich: http://janetbelich.blogspot.com/
Debbie Cannatella: http://www.dcannatella.blogspot.com/
R. Garriott: http://www.rgarriott.blogspot.com/
Jeanette Jobson: http://illustratedlife.blogspot.com/
Ron Morrison: http://watercolourproductions.blogspot.com/
Diahn Ott: http://artbydiahn.blogspot.com/
Suzy Pal Powell: http://www.suzypal.blogspot.com/
Terry Rafferty: http://terryrafferty.blogspot.com/
Kay Smith: http://kaysmithbrushworks.blogspot.com/
Brenda York: http://brendayork.blogspot.com/

TEAPOT AND ORB - 7

2011-10-28T09:38:00.002-04:00

I’ve tried to keep the roses a bit lighter as they go up the page; I can always darken them later.
I also brought more blues into the teapot.

Now I have to consider the background colors.

TEAPOT AND ORB - 6

2011-10-24T09:32:00.002-04:00

Now it’s on to the roses and orb. This is slow going!
I worked on some of the roses and then the orb, which I think is finished – all of this minus shadows at this point.
However, I m afraid I’ve overdone the roses. Once again, all my tight, sharp lines – I’m going to try really, really hard to loosen up on the upper roses, if I can.
While wondering what color to use as the shadow, I accidentally got some violet into the pink – a tiny blob of cobalt blue violet was on the palette.
Serendipity! I had my shadow color!

Score: Painting 2, Deb 2

TEAPOT AND ORB - 5

2011-10-20T09:30:00.000-04:00

However, I’m not in love with the Daniel Smith Genuine Lapis Lazuli. It was a lovely dusty blue the first evening, but overnight it morphed into some gray-ish blue-ish gunk. All I can think is that the gum Arabic has separated from the color, since when I squeeze it out it’s an ugly gray with a lovely blue streak. I have “kneaded” the tube until my hands hurt, to no avail. So, I’m pulling out the blue as best I can and later wiping away the very sticky gunk.

So when you look at this photo you will see the 2 colors from the same tube of paint! I double and triple checked that I hadn’t picked up the wrong tube, but there’s no way I did – it just kind of changed colors overnight.

After kneading the tube and then squeezing it out and separating the color from the gunk, it looks almost the same as the first night’s painting, but not quite. Who knew!????

And, to add insult to injury, one of my Daniel Smith tubes is solid as a rock – Genuine Smalt. I will probably cut that one open and use it like a pan. It may (or may not) be in this painting, since it’s a vibrant blue, maybe too vibrant for this one. And it does not resemble my free tube of Smalt from Winsor & Newton – not at all!

No wonder “they” say watercolor is the hardest medium to learn!

Score: Painting 2, Deb 1

TEAPOT AND ORB - 4

2011-10-16T09:28:00.000-04:00

After getting some color onto the roses I switched over to the teapot and the new Silver Black Velvet round – wow, a big difference! After all my whining in the previous posts, I think I’m falling in love – with a brush! It is small and pointy and I am able to paint in the small spaces of blue on the teapot handily. It’s also great on the rose leaves which I’ve started.

Score one for me: Painting 1, Deb 1

TEAPOT AND ORB - 3

2011-10-12T09:24:00.001-04:00

Since this paper is so soft, I decided to use some new brushes that I’ve been hoarding! I’ve got 2 brand new Winsor Newton – a #6 pointed round and a #8 round - plus a brand new Silver Black Velvet #6 round and an older Silver Black Velvet ¾ in. flat – all of which are quite soft.

I put all of my brand new brushes into clean water to dissolve the sizing on them and began painting in some cobalt with another old soft 2 in. flat – I think that it might be a Stephen Quiller, but the paint has chipped off.

In the meantime I made a swatch of colors I planned on using to decide on my pinks and blues. Several of the tubes refused to open! One was completely hard – a Daniel Smith color - which surprises me. Anyway, after holding a couple of the tubes under hot running water, I was able to unscrew the caps and try out the colors.

Finally it was time to begin painting with the new brushes!

And – the War began.

I always tell people not to fight everything, just one thing at a time. But, it would appear that in this painting I’m going to be fighting the paper (tooooooo soft), the brushes and the paint!

It would appear that these WN tiny pointed brushes morph into gigantic brushes when water is added. They made me think of those sponges you can buy that are shrunk up all tiny and hard but when you put them into water they expand and expand until you think they will fill the kitchen sink! The #8 round got at least 3X it’s original size! And, since all of the brushes are new they have a different feel so I’ve got to get used to that, too.

And I’m using different colors of paint that I’m not used to.

So I’m putting down the water which immediately wants to sink into the soft paper (did I mention that the paper is really, really soft?) with a very soft brush that I’m not used to which is holding and depositing more water than I’m used to and, even using the color swatch, paint that is morphing into a different color as it hits the paper - this one is really going to be a challenge.

So, right now, it’s Painting 1, Deb 0.

TEAPOT AND ORB - 2

2011-10-08T09:00:00.001-04:00

After I had retraced all of my lines very lightly with a mechanical pencil I was ready to miskit some areas. However, as soon as I touched the miskit to the paper I knew I was in trouble; it sank into the paper. I immediately stopped and made a tiny test area on the outer edge of the paper to see how this would look. The miskit pulled up the paper on the test strip. I was in a panic and almost felt sick, having already spent so much time on this painting. I waited until the miskit was good and dry and then very, very carefully chipped away at it with a miskit eraser (rubber cement pickup). It came off pretty good, but, of course, there was one area where it pulled up the paper. Right in the middle of the orb.

(Please refer back to a recent post to see the word that formed on my lips!)

Well, I decided that if that was the only bad area I could probably proceed – WITH CAUTION! I’ve seen framed paintings with scrub outs and even small holes in them, so if “they” can do it, so can I!

TEAPOT AND ORB

2011-10-03T09:00:00.001-04:00

Can you say PINK!

This photo wowed me (and my daughter!) so I decided to go for it.

Because I thought that this painting called for so many colors of pink, I decided to use watercolor for this one, since I have a lot of pinks in watercolor.

Once again, the painting was started from the photo and then redrawn. I decided to use some Fabriano paper I have had for a long time. In checking, this was the only piece like this I had, 300# with “Fabriano” embossed on it, but it doesn’t resemble any of the other Fabriano I have. It’s not Artistico, maybe it’s Uno which I don’t think they make any more?? Anyway, it’s a mystery and it’s very soft.

OVERWHELMED BY ART SHOWS . . .

2011-09-23T11:10:00.001-04:00

I've been slow on the posts lately - sorry for that.

Haven't had a lot of time to paint, too much WORK involved right now with art shows, both entering them myself and working on ViewPoint. In fact, I've been so busy that I completely forgot to pick up a painting - that's not like me (usually, anyway!)

For those of you interested, the ViewPoint entries have been given to the judge for selection and you will be receiving your notification letters at the beginning of October.

With another busy weekend looming, looks like I won't get any painting done again. I'm itching to get back to complete one and re-do another - posts on both coming soon, I promise!

Hang in there!

ENTERING ART SHOWS

2011-09-17T17:17:00.000-04:00

WE INTERRUPT NORMAL POSTING TO BRING YOU THIS IMPORTANT ARTIST INFORMATION ANNOUNCEMENT ABOUT ENTERING ART SHOWS . . . .
We all gnash our teeth when we fill out those tedious art show entry forms . . . . .
How do they want the CD labeled on the outside?
How do they want the paintings labeled on the CD?
How much do I owe?
Where do I send the CD?
How much postage do they want on my SASE?
What the heck is an SASE?
How large can my image be?
How do they want the painting framed?
What media will they accept?
Will they accept a support other than watercolor paper?
Yikes – the list can go on and on and . . . .

BUT –
As the chairperson of ViewPoint for the past three years, I can tell you that those questions are important to the people running the show.

Yes, those questions vary from group to group, most likely depending on the structure of the group itself and the size of the facility where the show will be held.

For instance, if you enter TWSA, forget any Yupo or board or pastel or collage – they want straight up watercolor on watercolor paper. It’s their prerogative – the members have long ago made decisions about what kind of work they want hanging. If you don’t paint in traditional watercolor on watercolor paper, then just save yourself some grief and don’t enter that particular show. Don’t gripe if you send them something they won’t hang and complain that you didn’t make it into the show.

Another watercolor society might think Yupo is dandy and yippee for collage and ink and pastel and . . . anything goes as long as you’ve got some watermedia in there somewhere!

Well, you get the idea.

In the instance of the Cincinnati Art Club, our main consideration is space for hanging. We can take paintings taller rather than wider, so we have a rule not to accept any framed paintings over 40 inches wide, nor taller than 60 inches high. We just don’t have space for too many huge paintings. So don’t ask me a question via email or phone such as “my painting is 60 inches wide, is that too wide?” We all learned to read and follow directions in elementary school and nothing has changed since then. Wide IS wide (no matter what Bill Clinton’s definition of IS is).

I can tell you that it really and truly matters how you label your CD and your entry form. First off, be sure to write or print legibly! When you are messy and nonchalant about your entry, not only do you give the impression that you don’t care much about the entry, but I may not be able to read it, in which case I cannot enter it! If your entry is accepted, but I have trouble reading your name or the name of your painting or your address or your email, there will probably be some misspellings on the title card, program, email list, mailing list, etc.

If you fill out your entry form with titles A, B and C but then label your CD with those items in a different order, or completely fail to label the paintings on the CD, chances are your entry will be rejected. Why? Because when the entries go into the computer program, they are listed in the order you note on your entry form. If you don’t have them in the proper order, when the judge’s CD (composed of all of the entries) is created, and the judge picks your Entry A, what the judge actually just picked is a totally different painting – not the one the judge wanted. Emails or phone calls to figure out this problem (when caught) take up precious time. A good idea would be to load your CD first and then fill out your entry form with the paintings listed in the order they appear on the CD.

When you photograph your painting, do not include the frame (and not the easel or couch or step you have the painting balanced on and not your smiling spouse holding the painting for you to photograph!) The judge wants to see the painting, and only the painting. Crop out any extraneous items. And set your camera on a high resolution. Before you mail your CD, put it back into your computer and take a look at it on your screen. First off, is there actually an image there? Don’t send in a blank CD. Check to be sure that the image is clear (good resolution) and fairly represents your painting’s colors, and the image is even all the way around.

Send in your entry in a timely manner.

And, of course, it’s always about money! Be sure to send the correct entry fee amount. Some shows are a flat fee for all entries. Others, like ViewPoint, have a schedule of fees depending on how many you send in. And make the check out as specified on the entry form! Do not make the check out to the person in charge of the show – make it out to the entity running the show (i.e., to Cincinnati Art Club, not to Deb Ward!) A check made out to the wrong entity cannot be deposited, so your entry will be rejected.

Be sure to list prices for each painting and to sign the entry form, if required.

Before you call the show chairperson with a question, re-read the prospectus to make sure you have not simply overlooked the information you are going to ask about - such as where to mail the CD or how much money to send in. Trust me, that information IS on the prospectus. Most shows will give you a check list, so double check that before you make a time consuming phone call.

Last but not least – you do not need to protect your CD from a nuclear explosion. Wrapping it in 3 layers of shipping plastic sealed with duct tape inside a sturdy envelope sealed with packing tape is not necessary. You do not need to (nor do we want you to) seal each piece of the puzzle (entry form, check, CD, SASE) inside its own sealed envelope. You don’t need to mail it in a box the size of Rhode Island. On the other hand, you should protect your CD in a CD sleeve rather than just tossing it inside a large envelope where it has surely been sliding around during its transport. The SASE (SELF-ADDRESSED stamped envelope) should be made out to YOU, not me! That is my way of sending you the information you will need if your entry is accepted.

Entry packed to survive nuclear holocaust (requiring scissors or box knife to open).

Oversized entry - note size of actual CD and size of oversized envelope (which also
will require increased postage - not to mention a lot of waste - let's think "green" here, folks!

Mailing your show entry should not be the prelude to a scavenger hunt on my end. While it is good to fold your papers neatly around the CD so that they don’t get cut open as I slice open/pry apart your envelope/carton/container - don’t fold an envelope large enough to mail an elephant several times around each of the items inside so that they all fit into their own separate space. Keep it simple, folks!

Entry with "wrap around" cubbies - totally aggravating to the person who will open it!
Keep it simple, folks!!

The best way to mail, safe and inexpensive, is to purchase a CD and DVD mailer envelope (available inexpensively at Staples and, I’m sure, at many other fine office stores). It’s 5”x5”, compact and holds everything you need. It zips open on my end and is easy to locate everything inside – because there’s nowhere for any pieces to hide! And I can open it and take out the contents in 5 seconds flat! (As compared to 5 minutes trying to cut, pull and pry apart a Ft. Knox box!)

This is all you need - slip your CD into the disc envelope for protection and then
into the CD mailer - a compact 5 in. x 5 in. with zip open.

A few B A D entries:
Left - Unnecessary large box, very hard to open, too!
Center - Large envelope folded over itself - enwrapping parts of the entry.
Bottom - Large envelope with CD encompassed in bubble wrap.

I now know to sit down armed with sharp scissors and to be prepared for anything the envelope might hide!

I’m not trying to lecture you in this post.

What I’m trying to do here is make you aware that the rules you see on an art show entry are there for a reason and you should follow those rules to the letter to ensure that your entry is accepted and your masterpiece will be on view for the world to see, not tossed into the rejection box.

THE PRECEDING HAS BEEN AN ARTIST INFORMATION ALERT. WE NOW RESUME OUR NORMAL POSTING SCHEDULE.

ORIENTAL ROSES

2011-09-04T09:21:00.002-04:00

There are times that we create a painting that comes out on paper just the way we saw it inside our heads. This is one of those paintings.

I had started it before our June retreat week and took it, along with the old rusty car, to work on.
After messing up the old rusty car background, a bit gun shy, I tentatively moved on to this painting.
I find that the paintings that I paint in my head, over and over, are the ones that (usually) turn out the best for me.

I spent the better part of that week working on this painting, edging right up to the last day before it was complete.

I’ve mentioned before that I paint slow, really s l o o o o w, and that watching me paint is like watching grass grow! My friends were all urging me on and were very patient with me, not making a sound during some intense moments. If you knew them, you would realize what a major feat of will power that was!!

When I returned home, the painting sat on the easel for a while as I tweaked it here and there until I finally felt there was no more I could do.

I immediately entered it into a show and hoped for the best; but I knew that if it didn’t get accepted into that show there would be others I would enter – I feel strongly that this is a very good painting.
Here it is!

Oriental Roses, 22x30, fluid acrylic on Arches watercolor paper

PS – This painting was accepted, along with All Mixed Up, into the Rising Sun (Indiana) 8th Juried Art Exhibition. There were quite a few well known and respected area artists in this show, so I felt good about being accepted. However, no award for me! Oh well! My work looked good on the wall, I saw and chatted with some folks I hadn’t seen in a while, and my husband and I had a delicious dinner with friends following the awards ceremony. All in all, a pleasant evening.

ART SHOWS

2011-08-31T11:52:00.001-04:00

I have had two paintings accepted into a regional show. The opening is Friday night in Rising Sun, Indiana.
For those of you in the area here's the info:

Rising Sun 8th Juried Art Exhibition
Opening Reception: Friday, September 2 - from 6-9 p.m. (awards at 7)
Pendleton Art Center
201 Main Street
Rising Sun, Indiana
The show will run through September 23

Also:
Cincinnati Art Club Fall Signature Show
Opening: Friday, September 9 – from 6-9 p.m.
Additional viewing times: September 10, 11, 17, 18 from 1-4 p.m. (Sat. and Sun.)
Location:
Cincinnati Art Club
1021 Parkside Place
Cincinnati (Mt. Adams) Ohio

Hope you can make it to one or both shows!

CLASS DISMISSED

2011-08-24T05:31:00.003-04:00

I finished my summer session of classes a few weeks ago - and two of the students told me “I get it now”!
Wow – it’s always so exciting to hear that, after a long wait! It makes me proud of them (and proud of myself that I was able to impart some knowledge!)
After lots of whining, they all managed to create a landscape of rocks and greenery.
How?
By painting in the values and shapes – nothing more!
They were amazed with themselves.
I was proud of them.

When I do class demos I usually don’t plan on getting a completed painting – I want to show the students “how to” and then help them. I forgot to take my camera to class – but take my word for it – at least one of the students’ work turned out better than mine!

Here it is as I left it from the class demo.

Here it is finished. I'm not a landscape painter - gee, can you tell???!!! But maybe I'll get more interested - there are so many beautiful vistas in our area, not to mention on our property. I'm thinking this fall will be a good time to go outside - cool, crisp mornings, beautiful blue skies, lots of color in the trees - and give it a try!

FARMALL - FINAL

2011-08-20T09:17:00.001-04:00

When the painting was basically complete, I took off the miskit (on the letters and numbers) and then added deeper shadows throughout the painting to unify all of the shadow areas.

I then added some white highlights. Yep – I did use white! I even used black! As I’ve noted before, I do use black and white in acrylics, but still do not use them in watercolor!

Then the background – what to do??? I had some pale blue in from my initial colors but didn’t want that, so I decided on a gray-ish blue. I also decided that could be watercolor, so I looked through my grays/blues that I had and decided on lunar blue (Daniel Smith). However that didn’t work out so well! It got all “thick and thin” due to waviness of the paper. I then put the painting in the laundry tub and lightly washed it off. I have to say, I think it’s the first time I have ever done that! Then I decided to try it again, but using a more controlled wash and larger brush. Last, I took a light wash of “dirty water” and swished it over some of the letters in Farmall to slightly knock them back and added a touch of quin. burnt orange.

I achieved my purpose, painting R E D! When I asked for critique on this one I got “it’s very red” from my favorite critique-ers! And they were right!

I’m not unhappy with this one!

By the way, I began this painting in APRIL! Yikes – speed kills!!!
FARMALL, fluid acrylic on Arches 300# CP, 22x30

FARMALL - 7

2011-08-17T10:40:00.001-04:00

As you can see, this took some time!

FARMALL - 6

2011-08-14T10:38:00.002-04:00

Continuation of the process.

FARMALL - 5

2011-08-11T10:36:00.001-04:00

Continuation of the process.

ENTER VIEWPOINT!

2011-08-10T12:15:00.002-04:00

We interrupt our regularly scheduled painting to bring you this (un)paid advertisement.

If you have not already done so, it’s not too late to enter ViewPoint 2011! (Deadline: Entry Postmark August 31, 2011)

Check out my sidebar for more information on this National Show, chaired for the 3rd (and last) time by Yours Truly.

And no, just because you are my blog buddy, I cannot promise that you will be included in the show if you enter, but, if you feel your work is worthy, I’d love to have you enter the competition. Especially if you work in watermedia – it’s my mission to get more watermedia paintings than oils and pastels entered – so I’m really, really (shamelessly) trying hard here, folks!

Go to the Cincinnati Art Club website and download a prospectus today!

You will be competing with some of the best painters across the nation (and Canada, Eh!). Our prizes are great and each year it’s an excellent show.

Hope to see your entry soon!

And now, back to our regularly scheduled programming!

FARMALL - 4

2011-08-08T10:34:00.002-04:00

Continuation of the process.

FARMALL - 3

2011-08-05T10:32:00.000-04:00

Since the painting was begun in the “3 stages” mode, I continued working it this way, gradually adding more color and bringing in more detail.

FARMALL - 2

2011-08-02T10:29:00.001-04:00

This photo shows how the painting looked for the demo. You can see my process from right to left: in the beginning stages with some light color added; in the middle with more color added; on the left as I begin to bring portions to completion.

FARMALL - 1

2011-07-30T10:16:00.001-04:00

Like “All Mixed Up”, this painting began as a photo taken at the local farm show.
Since I intended to use this painting as a demo, I worked it in 3 stages to use as a “prop”. I began, as usual, by wetting the paper all over and dropping in color. I used simple red (quin. rose), yellow (hansa yellow) and blue (French ultramarine and cobalt).
When that had dried, I began adding more colors to the left and center, gradually building up some definition in layers.

OH $#!+

2011-07-28T22:03:00.000-04:00

I hope this post will not offend anyone, but after seeing what my son brought home, I couldn’t resist!

So many quotes to incorporate into this post!

Here are a few that come to mind:
What a load of $#!+
What the $#!+ is that??
Full of $#!+
Holy $#!+!

Yes, folks, what you are looking at is a very big pile of $#!+ on the right. My husband is standing there so that you can have a reference for the size of the pile. The small pile back on the left is wood chippings from tree trimming.

My husband is composting and has found two horse farms close by who are only too happy to have him come to truck away their horse $#!+

So a couple of times a year he and my son become long haul truckers of $#!+

Composting THIS large pile of $#!+ is going to be different than the way my husband has done it for the past couple of years. Then it was placed in “wind rows” – long skinny ropes of $#!+ that were turned periodically. But because that had to be done on flat ground (of which we have very little!) apparently that took up too much of the pasture area. This large pile is a different technique. So we shall see what works the best. The pile will be turned periodically and will gradually break down and shrink; when it becomes black and crumbly it will be spread on the pastures.

This is a truly amazing thing – to be making earth! When the process is complete you can pick up the compost and it will be soft and moist and have a lovely earthy scent! It’s good for the soil and good for the environment – no chemicals.

Not to sound too preachy, but there is a movement across America to get back to the basics of agriculture. The new words are “permaculture” and “sustainability” but I call it getting back to the basics, just like our grand- and great-grandparents did it. Of course, my husband is using tractors instead of horses, but you get the idea! In the few years he has been working at it, his pastures are becoming lush!

Next step will be to start slaughtering and eating our very own grass fed beef – sometime in the distant future, I believe!!!

I’ll keep you posted! (but not com-posted!)

I promise that my next post will be about art!

ALL MIXED UP - 4

2011-07-24T13:33:00.003-04:00

Colors used were (mostly Daniel Smith): cobalt, quin. rose, raw sienna, cobalt teal, burnt sienna, Venetian red, Indian red, French ultramarine, payne’s gray.

I must remember to ask my daughter if it “needs more detail”!
All Mixed Up, watercolor, 22x15

ALL MIXED UP - 3

2011-07-21T13:29:00.001-04:00

The beauty of this painting was the small spaces; I could paint a portion of the painting and then go back in the same sitting to fine tune some of the details since the paper would already be dry. I also incorporated quite a bit of dry brush.

ALL MIXED UP - 2

2011-07-17T09:19:00.001-04:00

Once again, I had painted this one in my head, even knowing the colors I would be using! This is a half sheet and there are lots and lots of lines, so I wanted to keep the colors very simple.

For some reason, lately I have been painting like a typewriter!!! From left to right, from top to bottom, Have no idea why!

But it seems to be working well for me! On this painting, I was able to go back to areas painted in the same painting session; due to the small areas they dried quickly.

Once again, many hours and days of painting; I really do mean to keep track of the time spent, but I almost always forget once I sit down to paint – after all, it’s painting time, not book work time!

ALL MIXED UP - 1

2011-07-14T09:57:00.010-04:00

This painting began with a photo from the local farm show.

I cropped and enlarged the photo, traced and then reworked the drawing and went over my lines, let it sit for a few days to review, making a few adjustments here and there and then finally began painting!

My final drawing, taped to a plastic board.

In the next photo I have wet the entire paper and dropped some colors onto the wet paper, allowing them to float around, generally in the areas that will ultimately be those colors. Note how the paper is buckling and you might be able to see a shine - I get my paper really wet at this point.

The next photo shows the paper the next day - you can see that allowing it to dry naturally overnight allows the paper to shrink back down and get flat. Essentially I "stretch" my paper this way, but without the soaking and stapling, and with getting my first light washes onto the painting. The key is to ALLOW THE PAINTING TO DRY NATURALLY - no hair dryers! This usually will take an overnight wait.

The next photo shows the beginning of the paint application - I usually begin pretty light and, as I say "sneak up on the color"!

The next couple of posts will show the progression of the painting.

MY KLEPTOMANIAC DOG!

2011-07-11T05:30:00.002-04:00

Whenever we go out, even for a short while, and leave the dog at home, he feels the need to surround himself with something of ours.

It started with one of my husband’s slippers, then both slippers. Then one of my Skechers slip ons, then both; then one sneaker, then two.

Now it seems he cannot do without the TV remote control! The first time he stole that it caused quite a catastrophe – until I found it buried under his SECOND bed - the one by the big glass doors! (His THIRD bed is either in the mud room or the garage, depending on the weather!) Now I try to remember to put it on top of the TV when we leave!

The above photo is typical of what we return to after a short jaunt in the car! There were probably more objects scattered around the living room, too. And he only does this when we are gone! So far none of the shoes have been eaten and I’m hoping there won’t be a “first time” for that!

THE (NOT SO) ROYAL WEDDING!

2011-07-09T09:15:00.001-04:00

Apropos of nothing, and way past the proper time to have posted this, here is a photo of Kate (or, since she and I are not exactly on a first name basis, should I say Her Royal Highness Princess Katherine) at her recent wedding and me at my not so recent wedding.
I know, it’s really hard to tell the difference, but as a hint, she’s on the left and I’m on the right!

Note the similarities in our “gowns”. Who knows how many thousands hers cost; mine $50.00 - on sale at The Limited during prom season (circa 1977)! I also had a “train” on my “gown”. Since I’m so short, the seamstress simply hemmed the front of the dress and let the rest drag on the ground behind me! Quite classy, huh?
By the way, Kate’s got good taste, don’t you think?

Hope you got a good chuckle - just thought I’d share this with you!

ART GROUPS

2011-07-02T09:24:00.002-04:00

As mentioned previoiusly, I recently attended my annual painting retreat with 5 other wonderful ladies. This was our 10th year – wow!

Then, in looking at some other blogs, I see that Mollie Jones and Jant Belich have also recently posted about a trip they made with other woman they met via blogs and an online art group.

It gives me great pleasure each year to get together with my friends and paint for a week. What began as a painting trip has turned out to be so much more and is a highlight of my year. We’ve had our ups and downs, shed tears of grief and tears of laughter, and through it all have continuously improved our painting skills. We are strong, resilient women who have grown to love each other as sisters.

Do any of you have a group that you paint with, either on a regular basis or annually? I’d love to hear about your experience.

If you don’t have a group of painting friends, I would strongly recommend that you find a group to paint with – or create a group! You will reap rewards not only from learning painting techniques, getting input through critiques and improving your paintings, but also from the friendships you will make.

CATCHING UP

2011-06-30T08:28:00.002-04:00

Since I returned from my annual painting retreat, I’ve been playing catch up.
No, I haven’t been eating burgers all this time – I said “catch up” not ketchup! (Bet you missed my humor while I was gone!)
In looking over my photos (of which there are only a few since my camera does not like to take photos at night, never has and apparently never will) I came across this one you might find of interest.

One of the ladies had some M&Ms made – they are cute as a button! They helped to commemorate our 10th year together. Turns out she and I are the only 2 who have made it to every single retreat!
A decade of painting together – that certainly says something about our friendship!

In case you cannot read these they say:
Create Art
Let’s Paint
CIAG* 10 Years
ESP* Friends

*CIAG – the name of our group – Carolina and Indiana Art Group
*ESP – Eat, Sleep, Paint

SEEN THE USA - 5

2011-06-27T08:22:00.001-04:00

Some time ago I had painted a series of old cars and I decided to look back at them to compare to this old Chev, to see if I felt that progress has been made.

So, for the swan song of this painting, here is another old rusty Chev that was done some years ago for comparison to the new Chev.

I’m not really sure that I’ve made any painting progess – I still like the old one!

What do you think?

SEEN THE USA - 4

2011-06-23T08:15:00.003-04:00

Well, now I’m starting on the background – first coat of light washes.

More work on the background. Can this still be ruined??? Why, of course it can!
My thought was to layer miskit and paint, gradually building up the darker colors.
I also added some vegetation around the car.

At the end of this process, I hate the background. After removing the miskit it looks too “scratchy” to me. I may try more paint, or some collage or . . . it’s a do-over (which is the direction I’m leaning).
I had such high hopes for this one. Oh well, lesson learned. I’m very happy with the car itself, though!

SEEN THE USA - 3

2011-06-19T08:11:00.003-04:00

I'm baaaaaaaaaaack from my annual painting retreat - didja miss me????

While I was gone, I worked on the old Chev some more.

Here more rust has been added – on the trunk . . . .

. . . . and top.

Here is a close up of the rust.

SEEN THE USA - 2

2011-06-08T09:49:00.002-04:00

Starting to add the rust.

This old car was in a cow pasture down in Tennessee. A friend and I ventured "off the beaten path" to get some photos. Fortunately, we live to tell the tale!

SEEN THE USA - 1

2011-06-01T09:31:00.015-04:00

Finally – an artful post! Oh well - slow but sure.

However, due to my schedule, I may not be posting often for the next couple of weeks or so, but promise to have more soon.

Here is a little more on the car I began for the art club demo. I am going to post this as I work on it; usually I "edit" my posts so you just get the better, but I'm taking a chance with this one! I'll have more next week.
As a refresher – here is the start.

I’ve added some raw sienna on the body of the car and some (I think) cobalt (or maybe french ultramarine??) and manganese hue in the windows.

PHOTO OP AND AN ART RELATED ITEM

2011-05-25T00:22:00.000-04:00

Yesterday I waited until mid afternoon for the sun to come out as our local forecasters had promised. As soon as I saw a light glow in the sky I got together some items for still life set ups and ran outside. I managed to get a few good shots that may be paint worthy, but I got a couple very interesting photos of butterflies.

I noticed this group sitting on a concrete footer. They were all flapping their wings and eating, I guess. What, I have no idea. I just found this interesting since I’ve never seen that many together at once. Maybe some of you know what type of butterflies these are, and what they could be doing??

AND NOW FOR THE ART RELATED ITEM:
Go to the NWS website and check out the front page – top left. That’s a painting by my good friend and one of the annual painting retreat ladies, Cora Mae Pipkin.
She’s probably going to be mad at me for putting up this info but I’ll chance it - I’m so happy for her and proud of her.

Way to go lady!

GLASSES ANYONE?

2011-05-22T09:16:00.005-04:00

In my recent vertigo post I joked about the doctor locating my glasses inside my empty, dizzy head.

In reality, I do seem to keep misplacing my reading glasses. Not to be confused with the bifocals which I actually purchased at Lenscrafters to the tune of a couple hundred dollars, including frames. But I did get them in about an hour. These are my 3rd pair of bifocals.

The very first ones never were correct and the optometrist never made a proper correction, so I never wore them.

My 2nd pair are the sunglasses I currently have and they are great. (Got them at Lenscrafters too.) But my last pair are very narrow and I think that is why I have to elevate them on my nose for close up and push them down for distance. Very annoying, so I don’t wear them unless I’m driving on sunless days, pushed halfway down my nose, and even then I usually end up with my sunglasses on – looking very Hollywood in the gloom, quite a lot like Raquel (Welch)!!

Hence the 5 pair of el cheapo readers that are scattered about the house. You would think that with that many laying around somewhere there would always be a pair within reach but, no, you would be wrong. I think that they currently reside – in the kitchen, in the bathroom, in my art box, on my drafting table and . . . um . . . crap . . . . See what I mean – I am simply incapable of keeping track of them. Maybe I need a clapper or beeper or something affixed to them. But, what the heck, the last 2 pair cost $1.00 each so guess I can afford to lose them periodically.

Just yesterday I was in a panic - couldn't find the sunglasses. Well, don't blame me on that one - haven't needed them in ages since we have not had any sun for weeks! I remembered wearing them in a car, but whose car? Looked in mine, nope. My husband's, nope. Thought I'd left them in my daughter's but decided against making that call until I had exhausted all other possibilities. Maybe left them in my friend's? Didn't want to bother her at dinner, so looked again. Then again. Finally, on the last search I found them on the chair behind the purse covered with several light jackets, an umbrella, a pair of winter gloves, the dog leash and, for some unexplained reason, an unopened package of roach traps.

HELP ME!

DEMO

2011-05-18T09:59:00.000-04:00

The beginning of my demo.

The last couple of weeks (in between bouts of dizziness and doctor visits) I spent some time working up paintings in fluid acrylics for a demo for an art club that I belong to. Any time I give a demo I worry that the audience will be bored, or that I won’t be clear in my presentation. But the group seemed to enjoy the presentation and I had some audience participation so I know they weren’t asleep!

Since there was less than an hour for the presentation, and since I paint at the speed of a slug racing a snail, I decided to do work on more than one painting (at home) so that I could show them different processes and possibilities for their own paintings, should they want to try fluid acrylics. And, this time, I decided to work on paintings that I am really interested in bringing to completion for myself, rather than a generic painting for show and tell.

In the beginning there was a very wet sheet of paper . . . .

During the demo, I began one painting, showing them my usual process, then went on to show some paintings in process, and by then the time was up!

. . . that became the start of a painting . . . .

Besides some favorable comments on my paintings, I think they also liked my apron which I made years ago. It says “So little time, so much to paint”!

I have no idea why I was waving this painting around?????

Yep, that’s me standing in front of the group looking so gorgeous, don’t you think! Make especial note of the hair, since I’m trying to let it get a bit longer; it’s in that weird stage of not short enough to be bangs but just long enough to curl into your eyeball, so I have to keep it clipped back. Oh yeah, quite stylin’!

Like I always say, the only reason my friends keep me around is to make them look good in comparison!

Here is the start of an old car. I had painted a series of old cars many years ago and when I saw this one in a field in Tennessee I had to take it's photo. I've got high expectations for this one, but, as always, we shall see!

VERTIGO UPDATE

2011-05-14T17:52:00.000-04:00

Had a quick in/quick out visit with the doctor on Thursday. (He’s nothing if not “to the point”.)

It seems that my “condition” is BPPV (benign paroxysmal positional vertigo) and just something that I’ll have to get used to living with. Apparently this is just “one of those things” that occurs, comes and goes, and who knows why.

The ear therapy did seem to help, and, combined with the meclizine, I’m driving again. If I get the vertigo bad again I can go in for another therapy treatment. And I’ll use the meclizine as my “fire extinguisher” the way I’m using my nitro pills for my heart. (When my cardiologist gave me the nitro pills he likened them to a fire extinguisher – you have one, but have never used it, but it’s nice to know it’s there in case you need it).

It seems like each day it’s a little better. I can look up farther and down farther before the dizziness begins, but I’m still not about to do a twist and turn of my head. I’m able to roll to my left side to sleep, so that’s nice, and I’m hoping that eventually I’ll be able to roll right without taking a “trip”. Maybe by the end of weekend I’ll be able to lay flat enough to get back into my own bed, although the recliner is becoming quite comfy!

Since I just heard some bad health news about some people I care about, it makes my ditsy dizziness seem minor, indeed.

So I’m just going to “suck it up”, “man up”, keep my head in plane, walk like I’m wearing a neck brace, turn like Frankenstein - and get on with my life.

Here’s hoping now I can get back to painting more – I’ve got several things “in the works” but haven’t gotten anything ready to post yet. But soon . . . .

Thanks to those of you who follow and care!

p.s. I’m still looking for my glasses!

WHAT’S UP WITH ME?

2011-05-10T09:18:00.001-04:00

Some of you may be wondering why I haven’t been posting enough art related subjects lately.
Here’s the scoop.

I’ve been too busy with other stuff, like getting ready for a demo, getting ready for a class, working on the ViewPoint prospectus and mailing list and working on the Greater Cincinnati Watercolor Society blog.

I’ve also been, as we call it here in the rain soaked southeastern part of Indiana – “doctorin’”.

That’s a verb meaning having health problems and going to a doctor frequently. When I was young(er) I always got a kick out of someone using that term; now it ain’t so funny.

No, for those of you who might be worried (all one of you!), it’s not my heart. It’s my head.

I’ve always known there was something wrong up there, but now it’s about to be verified. For the past few weeks I’ve been suffering and “doctorin’” for vertigo. I know a lot of you have had it, currently have it, or know someone who has/had it. Apparently this is a common ailment that, like hemorrhoids, is never mentioned unless someone else mentions it. (Ewwww, there’s a visual, what if hemorrhoids were in our ears!)

But I digress.

If you’ve never had vertigo, I pray you never get it. The world is spinning around you and it is the most terrifying thing I can imagine. Besides that, I don’t feel comfortable driving, and so am reliant on being driven around, like Miss Daisy, by my ever lovin’ hubby who is rapidly getting tired of it!

Anyway, after the tests were run and I picked up my shaking, quaking, crying body, along with what was left of my dignity (which now fits easily into my jeans pocket) I came home to collect myself before another doctor’s visit in a few days.

I’ll let you know what (if anything but air and a few paint chips) they find.

SHADEMOBILE – ANOTHER ART-LESS POST

2011-05-06T09:00:00.007-04:00

My husband built a new “shademobile” for the cattle, this one much sturdier than the old one, and, perhaps some of you remember the original with its umbrella???
Perhaps some of you farmers and farm gals out there are interested, or you are just a friend of Mike’s and want to learn what he’s up to now. If cows and equipment and inventions don’t interest you, then just skip the rest of this post!

Anyway, here’s a glimpse of the two shademobiles side by side, and it’s apparent that this one is built well, even, perhaps, overbuilt. But it has so far weathered our “severe thunderstorms with hail and damaging winds” as noted by the area forecasters, and it has done well. As you can see from the photo, the old one has survived a couple years in service but not without some severe damage to itself after similar storms. Mike will be rebuilding the roof on that one and it will service the “bull herd” we now have achieved.

Here is the front, where you can see the two water containers (blue tubs) and a partial blue tub in the middle for hay. You will also note the long door on the front which is the head gate. It’s exactly what it sounds like – the cow sticks her head in there and then Mike can push it tight and then can milk her. (Maybe!!! – but only time will tell once she has had her calf). In the next photo the front is down and in the next it’s been cranked up so that it can be moved.

Head gate lowered (in center)

Head gate raised (in center)

The “wings” of awning and the head gate are operated via cables.

Here Mike is letting down the sides – he has a bracer bar that attaches to the side to hold the awning in place and you can see that hanging down in the middle of the awning. The bracer bar acts as a stabilizer for the awning when it is up.

Here it is, ready to mooove. The tractor will be hooked up and then the two jacks on the front will be raised and he can haul it around the property. He has a series of underground pipes around the property that he can hook the hose to and the water tubs are made to swing freely, just as the old one did, so that they remain level even on all of our hills.

And, I know that some of you are wondering what in the heck those things are in the background of some of the photos. The round things are culverts which have been cut down to about 5 foot lengths and then filled with cut and split wood for winter. They work great! In our garage are 5 wooden carts that these can be put on (using the tractor with a "fork" implement) and as we use up the wood my husband and son move the empty culvert out and a new filled one in. Mike used to have to move the carts up and down the hill to fill them so this is a much better system. The square things are also wood carts that my son uses for firewood in the shop.

As Paul Harvey would have said – “and now you know the rest of the story”!

ANTS AND OTHER PERILS

2011-05-01T09:15:00.002-04:00

I guess I could tell you that it’s spring in southeastern Indiana just by looking at my countertop or desk top.

“What???” I can year you asking.

Well, it seems that every year there comes that day when I look at my kitchen countertop – a speckled Corian – and it appears to be moving.

“Huh???” you say?

It appears to be moving because some of the moving specks are actually little black ants. Where they come from and how they get in, I have no idea. They just appear about this time every year.

They also appear on the desktop in my office, no where close to the kitchen.

I squish them as I see them. Then, just as suddenly as they appear, they disappear.

Who knows.

They are just one of those mysteries of nature that we must accept.

We have also had an infestation of strange green and gold striped bugs about the size and shape of a wasp, with long antennas. They don’t appear to fly, at least not yet (thank goodness). I have never seen anything like them and have been searching the internet for them. They were all over our garage, so I’m blaming the stove wood for them.

I spent a happy 10 minutes the other day crunching them underfoot.

I tried to get a photo of one, but my camera refused to comply, no matter what setting I put it on. Apparently it also has an aversion to bugs. (Since my husband found lots of holes in the wood and wood dust in the wood bin recently, after an internet search I think they might be metallic wood borers - I must show them to my future son-in-law, the arborist, for confirmation!)

It’s also time for the mating of the bumblebees, or so I call it. Again, early spring every year the bumblebees that live in the deck roof begin going crazy, flying around each other in circles. Since they are large insects and rather ungainly, these bee “dances” can sometimes interfere with human activity on the ground. And, for me, this is a particularly frightening time, since:
(1) I hate bees in general;
(2) I am terrified of bumblebees in particular – I mean, come on, have you seen the size of these things? Some are as large as a hummingbird for goodness sake;
(3) bumblebees home in on me like moths to a flame – they follow me, I’m not kidding.

Prior to exiting the house, I carefully look through the kitchen window and survey the vicinity of the door before I open it so as not to allow a bee inside. Once outside I’m ever mindful of that “bzzzzz” sound and am particularly fearful when it gets louder – “BZZZZZ” – since I know they are heading in my direction.

As if that’s not enough to keep a girl inside all day, there’s also the pollen count. We here in the Greater Cincinnati area are known for our allergies and sinuses. This is because our area is a perfect “bowl” to hold all of the pollen and mold spores, which the wind then picks up and blows along the entire Ohio River Basin. Lucky us.

And here in the country, we can add to that mix the fertilizers and pesticides that the local farmers shoot into the air. Yummm.

And then, let’s not forget the “spring rains” (spelled m o n s o o n) that create lots of mud, flooding and hydroplaning on the roadways and you realize just how dangerous it is “out there”.

I prefer to stay inside during these dreaded times, waiting for the inevitable drought that appears mid-July.

IRIS - FINAL

2011-04-28T09:57:00.001-04:00

I puttered with the flowers and buds and sharpened them a bit.

Then a loose, washy background and the painting was completed.

IRIS - 1

2011-04-25T09:47:00.001-04:00

This was a demo painting for a class. As you can see, I began with the main iris stem crossing another, and then decided I didn’t like it.

I completed the iris, and then redrew the stem going more straight down.

EMERGING - FINAL

2011-04-21T09:00:00.000-04:00

I applied some salt to the background in the final wash of dark green.

After paint was applied to all areas, the masking tape and miskit were removed.

I loosened just a bit of the paint in a few areas to create shadow areas, and the painting was complete.

This worked out better than I had anticipated!

Emerging, Watercolor, 22x15

EMERGING - 1

2011-04-18T09:00:00.001-04:00

This painting is an experiment in taping, but was begun by miskiting the white areas.

Then a blend of yellow was poured loosely in the areas I anticipated keeping yellow.

Tape was applied, rather than miskit, on each successive layer, building up the darks.

GEORGIA WATERCOLOR SOCIETY

2011-04-12T09:30:00.011-04:00

Now I can sign it . . . .

. . . since I just earned my Signature (status) from Georgia Watercolor Society! Yippee!!

I’m very excited, and honored (especially since the other person just earning his signature in the Society is none other than Laurin McCracken. I’m in no way comparing my abilities to his, far from it; but, wow, it’s exciting to me to think that I’ve got something in common with him!

GWS has a point system: ½ pt. for a members’ show and 1 point for a National Exhibition. And, all of their shows are juried, so it doesn’t matter whether you are a member, you still might not get into the shows. Well, over the past couple of years I have entered 4 paintings which have been accepted into 2 national and 2 members’ shows! Since there are always different judges, and I never bribed any of them (ha, ha) I have concluded that maybe I can paint.

I’m aware that some artists do not want to participate in pursuing signature status in any of the watercolor societies, believing that it is elitist and/or political. But, it’s only human nature to want to know “where we stand”. Having your painting hanging on the wall next to other artists’ work is one of the best ways to figure that out. As far as I’m concerned, achieving signature status is a validation of an artist’s skills and hard work.

In any event, I’m very happy about this and just wanted to share with you.

This was one of those paintings that I loved from the start. In other words, very rare!

I “painted” it in my head first, and it was beautiful! Then came the hard part – actually painting it!

Once I had decided on this subject – a photo taken a few years ago at the local farm show – I cropped and enlarged the photo. Then I decided to use watercolor, full sheet.

I have found that the paintings that I work out in my head and take my time with usually turn out the best. Gee, planning and execution – who woulda thunk it!

Industrial Revolution, watercolor, 22x30.

A CLARIFICATION

2011-04-09T09:20:00.004-04:00

Some of you followed along with my watercolor pencil lighthouse a while back.
My husband told me that it “wasn’t up to my usual standard” and that I should not have posted that series.

I told him that it was posted as a simple learning device that would enable people to follow along if they so desired, and that I had stated as much in the post.
If you, like my husband, thought it was below standard, that is the reason – it was not meant to be a masterpiece, but a learning device.

It has been my experience that I must paint a demo to encourage rather then intimidate my students.
The lighthouse painting was done for the 3-hour “make and take” class, and I think that the painting met its purpose well.

PUTTING IT ALL INTO PERSPECTIVE

2011-04-06T09:18:00.002-04:00

Did you wake up with a few aches and pains today?
Was your coffee weak or your eggs runny?
Was traffic slow on your way in to work?
Long line at the check out?
Did your favorite TV program fail to record?
Did you complain?
Next time you face these big daily problems . . . .
. . . . think about Japan
. . . . just for a moment.
Then I dare you to complain.

Let's all say a prayer instead - and be thankful for all that we have.

SHAKER FAST FOOD - 4

2011-04-03T06:33:00.001-04:00

Here is a list of colors used in this painting – do you think it was too many??? By my count, there are 28 colors listed below! I just don’t understand that “limited palette” idea!

Table - Sepia, Van Dyke brown, quin gold deep (limited), monte amiata
Background and areas on the various cans - Hooker’s green, sap green, thalo blue and thalo turquoise
Beets - Quin magenta, perylene maroon
Lima beans - hooker’s green
Tomato – quin sienna, perylene scarlet, quin gold deep (limited)
Cans - sodalite
Also – appearing in a supporting role – quin gold, indanthrone blue (seems I can’t paint a painting without these two!), quin. burnt orange, permanent brown, permanent lemon yellow, arylide yellow, aureolin yellow, Venetian red, Indian red, French ultramarine, raw sienna, cobalt teal, cobalt blue, cerulean blue
Most of these colors are from Daniel Smith.

Shaker Fast Food, watercolor on Arches 300#, 15x22

SHAKER FAST FOOD - 3

2011-03-30T06:28:00.003-04:00

Some might call this “paint by number” and they would probably be right! But I am enjoying the challenge to get the colors similar to what is in the photo. This is not photorealistic (like Jacqueline Gnott or Laurin McCracken) but as close as I’m able to get! I thoroughly enjoy these detailed paintings. Maybe because I can paint a small area and while it’s drying I can start dinner or switch the laundry and by the time I’m back the painting has dried enough for me to continue working.

Another layer of paint over the words.

More work on the cans. I decided to do the labels first since they are so detailed, and then I’ll do the cans all together and then I’ll mix up some black for the lettering and labels.

I have never done a painting this detailed before. I even had to buy a “0” round brush for all those little spaces and letters!
I enjoy seeing this painting come to life!

SHAKER FAST FOOD - 2

2011-03-27T06:18:00.001-04:00

These cans were set up on an old table in a dining area and the colorful labels caught my eye. It was a revelation to me that they had canned goods “back in the day”! (This is the source of the painting’s name). I’ll have to do some research on this! So this painting captures both a happy memory and a little slice of history in a colorful way!

I applied the miskit on the words, which took several hours! I used the miskit since I want to remove the graphite before I apply the last layer of paint to the background. When I remove the miskit it will take off most of the graphite and then I can erase any residual before I apply that last background layer.

I put on a few layers of green and blue over the background.

Then I began layering on browns in the table area.

Then I started on the cans.

SHAKER FAST FOOD 1

2011-03-24T06:09:00.002-04:00

We always have a reason to create a painting and viewers want to know that reason. If you follow this blog you know that I have painted some still lifes which incorporate items left to me by my mother and grandmother; simple items that, while not worth much monetarily, have sentimental value for me. I’m told that those paintings tell a story and go beyond just seeing the objects. If so, that’s great, but I don’t usually paint with a deep psychological bent; I just paint things that have meaning for me and if that comes through to the viewer, all the better.

This particular painting is one of what I hope to be a series of paintings from my trip to Shaker Village at Pleasant Hill in Harrodsburg, Kentucky last year with Rhonda Carpenter and another friend. (To see another painting composed from that trip go here . It was the first time we had traveled together so I was a little concerned how it would work out. Turns out there was no cause for concern – the three of us had a blast! – and I got some decent photos to work from.

Here are the cans drawn out - the edges were taped so that when I added the words I wouldn’t accidentally trace them over the cans.

THANKS FOLLOWERS!

2011-03-22T09:32:00.003-04:00

Just a quick shout out to my “followers”.
Each time I see another name go up on the sidebar I get a little smile on my face and a chuckle – makes me happy to think that someone wants to “follow” me!
I usually think I need a sign on the back of my car (or pinned to my shirt) that clearly states NOT to follow me or you are soon going to be lost or headed for the longest line in the supermarket!

However, Followers, now I’m going to tell you that I know something about all of you!
“How can that be?” you are probably asking.
Well, I know for sure that you are highly intelligent folks who appreciate good art and enjoy a good laugh now and then!!
See, I told you I knew something about you!
So, thanks to you, my Followers!

WATERCOLOR PENCILS

2011-03-20T12:18:00.001-04:00

I received some favorable feedback on the watercolor pencil lighthouse tutorial!

So . . . . let me know if you created a watercolor pencil painting as a result of this series of posts!

You can either email the info to me in the form of a small resolution photo and I'll post it, or you can send me a link to the painting on your blog.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO – 11 - FINAL!

2011-03-18T09:17:00.002-04:00

I added some red stripes to the flag – and noticed that the tree on the right had bled into the lighthouse.

Once again I used the scrubber brush to lift that paint – see below.

After the paper had dried, I reapplied the green more carefully to sharpen up the edge of the lighthouse. I also added the blue to the flag. When that dried I used the gray pencil for the flag pole.

Then I added the lines of the blocks with the black pencil and then went over the lines with a damp brush to soften them.

I lifted out some “waves” on the water and checked the picture. I added some darker blue/green at the base of the trees – and called it DONE!

Please don’t be too critical of my work here – remember, it is aimed at *Newbies!

Hope you had fun seeing this little picture completed.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO – 10

2011-03-16T09:12:00.001-04:00

I decided to combine two colors to create the roof color. I believe I used a burnt sienna and the red for the color on the left; not sure what I used for the color on the right, but that was too pink.

The colors were scribbled on top of each other and then water was brushed on.

I colored in the chimney and then used the black pencil for the windows and lighthouse markings. I wet the tip of the black pencil and colored in the black areas, then went over the right side of the lighthouse with a damp brush and blotted to lift some of the black.

I sharpened the pencil for the smaller area at the top of the lighthouse, and used an ultra fine Sharpie marker for the small black lines.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 9

2011-03-14T09:05:00.001-04:00

I’m ready to put some shadows onto the buildings, so I’m using the gray pencil again. Above I am wetting the tip and below you can see that I have colored in some small shadow shapes. They look a bit dark because the color is more intense when you draw with a wet tip.

Above, I have painted over the shadow shapes with a wet brush . . . .
And below I have blotted those areas with a tissue to lift some of the excess paint.

Above, I have used the gray pencil on the lighthouse. This time I have colored a line slightly off center, and then wet it with the brush and pulled the color out on either side of the gray line.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 8

2011-03-12T09:59:00.001-05:00

I used a drybrush technique over some of the grass area.
*Newbie Alert – drybrush is a misnomer. Your brush isn’t really dry, it’s just slightly damp. To create the drybrush effect in watercolor, you can dip your wet brush into paint, then take a tissue and hold it to the base of your brush, absorbing most of the water in the brush, then swipe across your painting using the side of your brush. Alternatively, you can wet your brush, then wipe it with a tissue to absorb most of the water, then dip it into fairly dry paint and swipe across your painting using the side of your brush.
On this painting I wiped my brush across the tip of a wet w/c pencil and then swiped it across the painting.

While the tape was still on, I darkened a few spots in the trees adjacent to the lighthouse; then I removed the masking tape. Sometimes when you remove a resist, it lifts the pencil marks, so you may have to go back over some of the shapes on the buildings or the rings around the lighthouse at this point.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 7

2011-03-10T09:43:00.004-05:00

But look what I discovered when I lifted that green spot – a long, straight line on the bottom of my cloud. YUK. Again, guess I’ve ruined the painting, since you can’t correct watercolor.
Oh – but wait, didn’t we just learn that “oh yes we can”!
Here is where the scrubber brush will come in handy.
*Newbie Alert – scrubber brushes are stiff bristled brushes specifically manufactured to scrub over watercolor paper and lift paint. I like to call them “nudge-er” brushes, since I like to gently nudge the paint into lifting rather than doing what the term “scrub” implies, which is a harsh abrading of the paper. And I will always try to “scrub” the area with a soft brush first so as not to damage the paper. If that doesn’t work, then I go to a scrubber brush.

Both of these are true scrubber brushes, the left one very round, the other more of a filbert shape.

Here you can see the tips better.

*Newbie Alert - the proper way to “scrub” is to wet the area you want to remove and allow the water to sit a few seconds to begin soaking into the paper. In this photo, you can see the shine of the water on the paper.
Then take your wet scrubber and gently rub small circles over the offending paint. Then gently blot with a tissue. The paint should be removed.

Here you can see the hard line has been softened at the bottom of the cloud.

I will go through the same process on this hard line at the top of the cloud.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 6

2011-03-08T09:39:00.001-05:00

Ooops – well, look what I did – got green paint on my finger and then laid it down in the sky. Guess this painting is ruined, since we all know that “you cannot make corrections to watercolor”!
Or – can you?? Look below – now you see it, now you don’t!
Wow, must be magic!

Sorry to burst your bubble – but it’s not magic!
I simply took a wet tissue and wiped it over that green spot – and lifted it right off!

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 5

2011-03-06T09:20:00.001-05:00

I colored in various shades of greens, yellows and browns for the grass area.

Then I used my flat brush to go over the area with water.

Here it is after the first colors had dried.

I decided that the area needed more depth, so I added some darker greens in some areas.

I wet those areas and blended them into the rest of the green.

*Newbie Alert - Here is a close up – you can see how some of the area at the bottom of the painting feathered up – that is called a “blossom”. A “blossom” occurs when the painting is beginning to dry and then you add more wet paint (in this case, more water). The dryer, yet still wet, area of the painting acts like a sponge and draws the wet paint (water) into it, creating an odd edge effect in the paint. Sometimes blossoms are good, sometimes bad, but this one didn’t bother me, I think it has a grassy effect.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO – 4

2011-03-04T09:59:00.001-05:00

Next, the beach and trees.

I used some yellow and some raw sienna for the base color, coloring them over each other. Then I wet a brush and painted water over the sand area.

To create a “sand” effect, I took a wet toothbrush and rubbed it over the tip of the w/c pencil to pick up some color, and then “spritzed” it onto the paper over the sand area.
*Newbie Alert – I hold the toothbrush with my 4 fingers on top, and use my thumb to pull against the bristles, which causes the paint to spray off the brush. You will want to practice doing this until you get the hang of it.
You also don’t want to hold the toothbrush directly over the painting or you can get big “globs” of water-y paint to fall onto your painting. Instead, hold your painting up at an angle and hold the toothbrush in front of it; the spray will go onto the painting and any water-y globs will drip harmlessly onto the table.

As you can see, I got some “overspray” onto the grassy area, which didn’t bother me since that will be painted later.
To protect your painting, you can hold your hand over the area you want to keep clean, or use some pieces of scrap paper or even tissues to cover up any area you don’t want sprayed.

Now I’m working on the trees. Obviously, I already added water to the right tree. Below you will see the left tree as I’m adding the water.
*Newbie Alert – use whatever size brush you feel comfortable using for the area you are working on. I used a 1 in. flat brush to paint in the sky and beach, but this round brush is good for the smaller tree area. I will usually rub the round brush in a circular motion for trees, but will stroke the flat brush back and forth for larger areas.

The trees completed – for now!

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 3

2011-03-02T09:53:00.001-05:00

Those blank white clouds were staring me in the face so I had to do something with them. Using gray, you can see how I added some shapes throughout the clouds to add some shadows in them.

I added water to the gray marks I had made, but it wasn’t dark enough for me. I then took a wet brush and ran it over the tip of the pencil to pick up more of the gray directly onto my brush (see above). I then painted that gray onto the cloud shapes.

Now I think t hose clouds look a bit more realistic.

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO - 2

2011-02-28T09:56:00.001-05:00

Please note that I consider this a painting and will refer to the watercolor pencils as paint from time to time. So, don’t be confused – paint means the watercolor pencil.

I didn’t decide to blog this whole process until after I had begun the picture so . . .

What you don’t see is just the first step, which was to draw out my picture onto the watercolor paper. Since I don’t have any lighthouse photos of my own, and since this painting is only for educational purposes, I used a photo from a magazine. You can use my drawing here, or perhaps you have your own lighthouse photo to use as a guide.
*Newbie Alert - COPYRIGHT INFO – always remember – if you are going to put your painting out for sale, be sure you use your own photo or get permission from the photographer to use a photo. Never put anything out for sale, or in any show, that is not completely, totally, 100% your own. It is OK to use a photo for educational (learning) purposes – just don’t enter it in a show or sell it.

After drawing the picture onto my w/c paper, I used masking tape as a resist, covering the lighthouse and the buildings.

*Newbie Alert – a resist is anything used to prevent paint from adhering to the paper. There are special resists for watermedia called, variously, masking fluid, miskit, maskoid, and drawing gum, all liquid resists; and friskit film or watercolor washout tape, both sticky plastic tape. You can also use other tape, such as good old Scotch transparent tape, packaging tape, and masking tape.

In this instance, the masking tape is going to keep my lighthouse and buildings white while I paint in the rest of the picture. Then I will paint those objects.

In the photo below I already painted in the sky, leaving cloud shapes white.
After my sky was dry, I took another piece of tape and laid it along the edge of the horizon line so that I would have a sharp line for my horizon line between the sky and water.

*Newbie Alert – never adhere tape to a wet or damp painting; either it will not stick, or it will stick and then later tear your painting when you try to remove it. Also, the term “dry” means 100%, totally, absolutely, Sahara DRY; not even the tiniest bit damp! You can use a hair dryer or walk away for a while to let the paper dry on its own.

You will see here the difference between the sky and water – the water looks very “crayon like” while the sky looks like it has been painted. The difference is – water!

The sky was laid in exactly the way I have laid in the water – simply coloring in the area with the w/c pencil. Then, take a wet brush and wipe over the applied pencil and you are painting the picture!

NOT JUST FOR NEWBIES* - WATERCOLOR PENCIL LIGHTHOUSE DEMO

2011-02-26T09:45:00.001-05:00

(* This means everyone, even experienced painters, can try painting with watercolor pencils in the safety and comfort of your own home!)

Throughout the year I teach classes in different mediums to people with varying skill levels, which can be challenging. The classes are designed to allow the students to complete a painting in 3 hours!

My most recent class was in watercolor pencil. It got me to thinking how we take so much about painting for granted; we just assume that people already have an understanding of what we are doing. Our assumption is no different from those experienced in many other fields.

For instance, did you ever buy a sewing pattern that gave directions aimed at experienced seamstresses - which you aren’t! Since the pattern assumed you already knew sewing terms, and therefore gave no definitions, you could not understand what you were supposed to do. So it is with most blogs about painting – they expect that you have some experience in the medium.

Well, the next several posts will be a detailed lesson in how to paint with watercolor pencils for all of you *Newbies to this medium.

Think of the watercolor pencil like a stick form of watercolor. As a matter of fact, a couple of paint companies have recently come out with “watercolor sticks” – a larger solid form of watercolor than the watercolor pencils, and probably of better quality pigment. I’m assuming that both watercolor pencils and the new watercolor sticks are aimed primarily at artists “on the go” who like to paint outdoors. A combination of these would allow the artist to make a sketch on site and not even have to carry water with them; they could just wet the paint later to complete their painting.

OK, now we are ready to begin our project. Have fun and follow along; I hope this painting turns out well for you – and if it does, please let me know! Results may vary!

Here is a list of supplies you will need for this project – graphite pencil, ruler, masking tape, eraser, pencil sharpener, watercolor pencils, watercolor brushes (one round, one flat), scrubber brush, tissues, and watercolor paper. I used Arches 140# CP which I cut down into 1/8 size - but you could use another brand.

You probably have all of these supplies, except possibly the watercolor pencils.
*Newbie Alert - If you don’t have a scrubber brush, you can use any stiff brush; I’ve used fabric brushes and even an old toothbrush. You can also use an oil painting bristle brush.
As far as tissues, use plain white rather than colored, since it is possible that you can add color from the tissue to your paper when you blot; also, never use any tissues with lotion in them!

*Newbie Alert – Arches watercolor paper can be purchased just about anywhere. 140# denotes the thickness of the paper, and this is the standard thickness of most watercolor papers. This paper will stand up to being erased and scrubbed. A full sheet of this paper measures 22 in. x 30 in. If you cut (or tear) this in half you will get a sheet that is 22x15 – referred to as a half sheet. Cut or tear that in half and you have a quarter sheet (11x15) and then cut or tear that in half and you have a 1/8 sheet (11x7.5). These are the standard sizes used by watercolorists.
To tear watercolor paper – fold in half, then flop the paper back on itself and re-fold on the crease you just made. Do this several times and the paper will have weakened to the point that you are able to tear it. This is how the “professionals” do it! But, if you don’t want to bother, fold it in half and then cut with scissors along the crease.

Below are some watercolor pencils you might look for, and I’m sure there are more on the market. As with any new medium, just buy a small set to see if you like this medium. Even if you don’t, you can still use these watercolor pencils to draw out your watercolor pictures. They also will come in handy if you have a l-i-t-t-l-e t-i-n-y space you need to fill in on a painting - so they won’t go to waste.

Top – Staedtler watercolor pencils – used for this painting
Next – Mongol – I’ve had these so long I don’t know where I got them or if they are even made any more
In the middle – Derwent solid pencils (no wood)
On the right – Cretacolor Aqua Monolith – also solid (no wood)
On the bottom – Caran d’Ache – solid. Sorry – the flash obliterated the name. They look more like a crayon than a pencil. I bought this set for about $15 years ago, don’t use them much. A set like this will set you back a bit; mine must have been on a clearance rack or something!

SYCAMORE LEAVES - FINALLY COMPLETED!

2011-02-24T09:08:00.005-05:00

Thanks to all of you who voted on the proper orientation for the sycamore leaves.

Looks like View #3 won – so here it is, finally completed - with your help!

Sycamore Leaves, Fluid Acrylic on watercolor board, 20x16.

YUPO PEONY 7 - FINAL

2011-02-22T09:01:00.002-05:00

I added some paint to define petal edges and put in the pink center. I’m not sure if that is too much pink so I’m living with it right now. If I decide to knock that back a bit, I’ll use some alcohol on a Qtip to rub it out.
Well, guys, I’m still not a Yupo lover, but I may do a few more paintings in this genre and hope they turn out as good as this one!

Peony, Fluid Acrylic on Yupo, 13x18.5

YUPO PEONY 6

2011-02-18T09:01:00.002-05:00

Here are some images of the edges of the petals to show how it looks “up close and personal” where the paint bled under the tape. It gives that crinkly look that is called “the batik look”.
I’m not convinced there is skill to this technique – I think it’s more pure, dumb luck!

YUPO PEONY 5

2011-02-14T09:57:00.003-05:00

As my friend says, “removing the tape is like opening a Christmas present – you never know what you are going to get.” Well, I’m pretty happy with this “present”! I like the purity of the colors and am happy with the way the colors bled under the tape on the edges of the petals.
I was surprised that there was no bleed with the masking tape initially used, even though paint was added on top of it several times.

The taping technique gives a unique look to a painting, but it does take patience. Of course, doesn’t watermedia always require some patience!

I’m pleased to say that there wasn’t much problem with the tape peeling up the paint – other than a few areas where the background paint was a bit thicker. I had anticipated that problem, and was extremely careful to pull back into the peony so that I minimized the amount of paint torn away.

YUPO PEONY 4

2011-02-10T09:54:00.001-05:00

Yupo peony 4

Can you say BLUE PAINTER’S TAPE! This photo will brighten up your computer screen!
I applied the painter’s tape to the entire flower, then added some darks around the edges.
After taking this photo, I decided the background could be even darker, so I added 2 more layers of paint, using sap green and dioxigin purple in addition to the aforementioned 4 colors to get a nice dark.

I didn’t really have to cover the entire flower with tape, since I was only going to put more paint along the edges, but, since this was an experiment to see if the tape would lift the paint, I just went ahead and did it anyway!

YUPO PEONY 3

2011-02-06T09:48:00.002-05:00

If you have taken classes from me, you know I always say to use regular masking tape as a resist because the colors of other tape can compete with the paint colors.

Well, “never say never”. But I have a good reason for doing this. Since painting on Yupo with acrylic is painting plastic onto plastic, I’m afraid that the regular masking tape will pull up the paint when I remove it, so I’m using some other tape with less “stickiness”. Here I’ve used “Frog tape”.

The photo above shows the second layer of paint applied.

More tape, this time blue painter’s tape, and another layer of paint.

YUPO PEONY 2

2011-02-02T09:44:00.002-05:00

I taped off areas I wanted to keep white – here I used plain, old masking tape.

I’ll be applying the fluid acrylics with a brush, since my aim here is to build up light, thin layers.
This is how it looked following the first layer. The colors used are DaVinci hansa, quin. gold, cobalt and quin. rose.

YUPO PEONY

2011-01-29T09:54:00.005-05:00

Well, folks, I never said I couldn’t paint on Yupo, just said I don’t like it.
To prove to you that I’m capable, here’s a Yupo demo utilizing what some call the “batik look”. This painting is my first experiment with using tape on Yupo.
To see another painting I did on Yupo – with watercolor - see my post here on ------ yet another painting of a peony!

I’m using fluid acrylic and my trusty peony photo for this project.

My first step was to get “high” on the alcohol fumes! You use alcohol to wipe over the surface of the Yupo to rid it of any smudges or dirt. I have a feeling this is more crucial if you are using watercolor instead of the fluid acrylics.

Using a watercolor pencil, I drew the flower directly onto the Yupo. If I made a mistake, I “erased” the line with water. The next time I do this I will probably wet the tip of the pencil first to make it a bit darker, since I kept losing my lines and had to redraw several times during this process.
The beauty of using this photo is that I can probably screw up the drawing and it will still come out looking like a peony!

CUTE CARTOON

2011-01-25T08:50:00.002-05:00

My friend gave me this cartoon – said it sounded just like me – and, sadly, this IS ME!

I must give credit to “Pearls Before Swine” by Stephan Pastis

SYCAMORE LEAVES - 3 - HELP!

2011-01-21T08:30:00.022-05:00

Well, I have finished the leaves - but now am thinking about the background. Which I don't want to work on until I decide which way to hang it - and I need help with that - from YOU! (Yes, I'm talking to you there behind that computer screen!)
So . . . here are all 4 ways -

Leaves 1

Leaves 2

Leaves 3

Leaves 4

Let me know which you like best so I can get this thing finished!!!!

SYCAMORE LEAVES - 2

2011-01-16T09:00:00.001-05:00

I gradually – s l o w l y !! – work up the colors on each leaf. At this point I’m wondering if I need something else in the right open space, but think I’ll wait until the painting is farther along to decide.