Saturday, July 14, 2018

'John Sketch,"

"John Sketch," 9x12 in. Oil on Gessoed Canson 140 lb watercolor paper. I could have dug into the details and crisped up the sketch but loved the energy at this fairly early stage and decided to leave it unfinished. I went for this pensive gesture which differed slightly from the final pose he maintained. I love when John poses for us but have never captured his likeness before today.
My color palette was odd for me today: Rembrandt Yellow Ochre, Gamblin Cadmium Orange, Rembrandt Cadmium Red Deep, Utrech Burnt Sienna,Rembrandt Cinnabar Green Medium,  Williamsburg Ultramarine Blue and Gamblin Pure Titanium White

Sunday, May 13, 2018

"Mementos in Turquoise and Copper,"

"Mementos in Turquoise and Copper," Oil on Masonite Panel, 8x10.  I decided to choose some favorite objects and combine vibrant turquoises with pinky copper tones. I have long wanted to paint this hexagonal copper pot and had the inspiration to use the ceramic Blue bird and cup from Istanbul pulling it all together with an enameled and gilded box that I love.  It was so much fun to do this painting.My ceramic treeasures were wedding gifts from a dear friend.
 My palette here was: Winsor & Newton Naples Yellow and Yellow Ochre Pale, Utrecht Burnt Sienna, Utrecht Cad Red Light, Old Holland Vermilion Extra, Williamsburg Alizarin Crimson, Vasari Capuccine Red Deep, Utrecht Thalo Blue, Old Holland Genuine Manganese, Williamsburg Ultramarine Blue, Gamblin Asphaltum, and Gamblin Pure Titanium White

Sunday, April 8, 2018

"Study Break"

"Study Break," Oil on Wood Panel, 20x24 in.  What a whirlwind and transformation this painting has been through this week. When we set up the model leaning her arms on a pedestal with a pillow under her arms, who knew what would come of it. As I lived with my reference photo for the last year or so, her ennui and gesture reminded me of  someone lazily slumped over books during an all-night study session in college. Daydreaming... she would  rather be elsewhere. I originally started a full figure version and spent the month of March on it. Something was bothering me about the composition so four days ago, I realized that i'd lost the focus of my original concept which was the expression on her face, the boredom, dreaming state she had. So I scraped the whole painting down, sanded it and focused on her.
My palette was slightly new and loved the flesh tones I could achieve with it.  Gamblin Pure Titaniam white, Windsor Newton Yellow Ochre Pale, Windosr Newton Light Red, Old Holland Vermillion Extra, Utrecht's Cerulean, Rembrandt's Viridian. I added a few colors for the books: Venetian Red, Williamsburg Alizarin Crimson, Williamsburg Ultramarine Blue. 

Saturday, March 31, 2018

"Aaron Sketch"

"Aaron Sketch," 9x12. Black charcoal and white chalk on strathmore 400 Series Toned Grey paper. From Life in Dominique Medici's Charcoal a Drawing Workshop today. While I missed the mark a bit on getting an exact likeness, there was a more important endeavor at hand That of learning to make the most of toned paper, maximizing one's time and honing one's observation skills when doing a straight on fully lit portrait. Most of the face was lit so it was a challenge to achieve the subtle value shifts in the lit part of the face. Lots of trial, sweat and tears to be done going forward to do this as it should be done. However, so much was learned today that I hope will find itself into my life drawing and studio practice. 

Tuesday, December 26, 2017

Painting of Today: Pomegranate with Brie

"Pomegranate with Brie," 8x10. Oil on Masonite Panel.
This painting was much more difficult than I anticipated. What drew me to the subject was the glorious half of a pomegranate of course. I did this as a Direct Alla Prima painting so the wet in wet mixing appealed to me since I thought it would be a quick project.  The plate cause the most frequent issues but was a great learning tool for me. I had to re-paint most of it on the second session to correct the plate issues so then my initial spot on and spontaneous lively painting of the brie and pomegranate were unfortunately lost. Nevertheless, I am satisfied with the painting. I also learned that still life set up is definitely a learned skill that I am determined to master. My palette for this was Holbein Lead White, Gambline Titanium White, Vasari Dutch Yellow, Gamblin Cad Yellow Light, Utrecht Cad Red Light, Williamsburg Alizarin Crimson, Williamsburg Quinacridone Red, Williamsburg Quinacridone Magenta, Rembrandt Viridian, Williamsburg Ultramarine Blue. My support was a gessoed Masonite panel prepared with mid-toned Grey Gess sanded lightly.

Monday, December 18, 2017

Painting of Today: Pomegranate

I decided to set up a few still life compositions to try painting them. I like the chiaroscuro mood so went for some low side lighting with a dark background.

"Pomegranate," 5x7. Oil on Masonite.

I love the cherry pinks in pomegranates and had to paint this lone fruit. My technique here was Alla Prima/Direct painting. It took roughly an hour and a half. The palette for this one was Holbein Lead White, Vasari Dutch Yellow, Gamblin Cad Yellow Light, Utrecht Cad Red Light, Williamsburg Alizarin Crimson, Williamsburg Quinacridone Red, Williamsburg Quinacridone Magenta, Rembrandt Viridian, Williamsburg Ultramarine Blue. My support was a gessoed Masonite panel prepared with mid-toned Grey Gesso sanded lightly.

This was my first time using Lead White. I had been reticent to use it because I felt I would not know how to use it to best effect. Well, I love it. There is no chalkiness that I was used to when using pure titanium white. I loved its silkiness and the subtleties that one achieves.  Definitely will be a keeper on my palette. I have a variety of brands for the Lead White to try and we'll see which ones I like best.

Sunday, January 18, 2015

Thought of the Day

     Last night, I was thinking that, due to some chance meetings with strangers, my life was changed irrevocably.  The unwitting strangers challenged me and I whole-heartedly jumped into the void without fear and grew beyond measure - artistically. The first meeting with a stranger was in 2008. I met a co-worker who had beautiful watercolors on her walls. We got to talking and she invited me to take watercolor classes with her. I had not thought about painting in over twenty years. I started painting at 16 and worked in oil for 8 years and stopped due to career pressures in another field. Fast forward to 2008 and I said ok I'll go for it and took watercolor without any prior experience with it. I jumped in, loved it and found a passion. Thank you my co-worker. 
     I was serious about art again. No fear, just did it and haven't looked back. Of course, the plunge meant really learning all sorts of things like learning to draw again, learning composition, perspective, values, as well as watercolor technique. So my soul mate husband, also an art lover, took me on an art history adventure with him and I learned about art of the past too. 
     Over the years since, I greedily immersed myself in art, honing my skills and trying to find a voice, a type of art that I could do and become proficient at in Watercolor - Experimenting and deciding what I liked and didn't like for me. Two years ago, my oil painter husband and I had a joint solo exhibition at a local venue. We had what can only be said to have been a successful show based on the comments from the venue which said it was one of the best shows there to date. Of course, the husband's work shone through like a beacon. He's a wonderful and thoughtful painter. 
     During the reception, a stranger comes up to me and liked my work enough to invite me to partcipate in an exhibit that she was curating on women by women artists. The challenge for me was to do portraiture for the first time. So again, no fear. I just jumped in and worked on a composition in watercolor for three months. I also painted a full watercolor sheet (22"x30") for the first time. I pushed my boundaries beyond what I thought I could achieve at that point. I had not painted a portrait in color. I had only done one or two pencil portraits. My watercolor painting was color, large and not only a portrait but a double portrait! I go the whole way when I take a plunge!!
     This year another challenge presented itself. I had to come up with story-telling painting and large. What did I know about story-telling and presenting a voice at this point? I was still just working on technique. I was pleased just getting something down on paper that reproduced my reference, never thinking about changing it up, moving things around for better composition. In watercolor, one has the constant technique predominance, the struggle with the water-paint thing. Having a voice seemed far far away in time, something that I may not achieve. The true magic makers of this ilk were the illustrators, those magic makers who could create a whole world from a concept. I figured in about 10 years I'd be able to voice!
     Well, again I dove in. I took on the figure, large canvas and worked in oil! Aside from a small painting in oil of a month ago, I had not done an real oil painting in over twenty years. By the time I decided to do this particular painting, I only had two weeks to produce it. I pushed myself beyond what I ever thought I could do at this stage. I mustered up everything my revered teachers had taught me, all of the learning of painting demos I watched. I pushed beyond exhaustion, the painting haunted my sleep for two weeks, pursued me during the day while I was at work and the clock ticked away. I never thought I could do any of this-tell a story, paint a person, compose by changing up what I saw, achieve a good design and serious attention to values. Oil painting does help! You can constantly correct your drawing and get your values right. While I am always going to be a watercolor painter, I concede that I accomplished something I could not, at this stage of my watercolor experience, accomplish in watercolor. It does not mean, I will never accomplish it in watercolor, I certainly will but not in 2014. 
     A challenge by a stranger... Hmmm! Helped me realize a potential I doubted I had. Who would have thought I'd be able to paint a figure in oil and large? There is definitely no pain, no gain and it helps to be fearless like me.
Thanks to the stranger who liked my work and challenged me to paint people! I found a voice! 

So the thought if the day is: take the challenge of strangers! push yourself, experiment, change it up, keep it real and don't settle for boring. You will amaze yourself!