Painting Daisies Workshop Study

Before many of my larger paintings and before a class, I will do a small painting (a study) to work out the composition, value, and color palette. This is a small 5X7 study in preparation for my February Painting Daisies watercolor workshop. Visit my website for details about the workshop.

The idea for this painting topic came from a lesson taught by Nancy Oleksa in Poway, CA, though adapted for a 4 day workshop using a variation of color. My inspiration; the daisies growing on the lawn outside the Dorothy Hart Community Center in Fredericksburg this fall. I chose a spring palette using my usual pigments of Aureolin Yellow, Quin Gold, and New Gamboge, Permanent Rose, and Rose Madder Genuine. I am facing my aversion to premixed greens and also used Viridian and Winsor Green and added a lovely purple, Winsor Violet (dioxazine violet). If you want to know more about these paints, go to http://www.handprint.com/ and follow the links to guide for watercolor pigment. I use this site whenever I am researching properties of new (and usual) pigments.

Sunflower, Untitled

Sunflower, Untitled (for now)
12X12
Watercolor on Claybord

Sometimes a painting will just take on a life of it's own. I think that is what happened with this one. I had not really intended for this to be such a low-key, dark painting. But this flower seemed to have a different agenda, pulling in and holding onto dark, mysterious places.

The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.
~Albert Einstein ~

Succulent, In Progress 2

I am taking a break from the holiday "bustle" to post the progress on my most recent sunflower. I am working on the painting in a spare bedroom that I have converted to a studio room at home. Even during busy days, I try to take a few minutes out of the day to paint. I leave the painting all set up ready to go in the "painting" room, and work on a few pedals at time; until the family calls. I cherish those too few moments to myself to become absorbed in creativity.

Sunflower on Claybord, in Progress

I have sketched the drawing for my next watercolor. I start with a detailed drawing on paper, where I consider the proportions and details that may be included in the final painting. I like to do the drawing on paper first, so I can work out all the drawing issues (which often means, erasing and redrawing sections) without damaging the surface of the painting paper. I will then transfer the drawing to my painting surface.

I started laying in color wet-into-wet, beginning with the background sections and the face of the flower. Once the painting is finished, you will only see hints of the diffuse underpainting color. When I plan a painting, I like to have a place for the viewer's eyes to rest in the painting, usually that place is a section of underpainting that I leave peeking through.

Next I paint each pedal wet-into-wet developing the form and turn of the pedals. With claybord, using wet-into-wet creates wonderful blossoms as the water dries. As much as you can control water, I try to plan these into the shape.

Public Collection at Stafford Hospital

This week I was given an amazing gift. The two paintings above were chosen to be part of the permanent public collection on display at the new Stafford Hospital Center. This opportunity is particularly personal for me, because this week I have also accepted a new position as a nurse in the hospital. Rare is the occasion when my two worlds meet; my life in art and my life as a nurse. Though one is always present and influences the other. I am thankful for this opportunity to share my art in such a special way and honored to be included with the other wonderful artists chosen from Liberty Town and the Fredericksburg area to exhibit at the hospital.

Winter Landscape Workshop

This week I had the joy of teaching three winter landscape workshops. In the workshop, I demonstrated how to paint a "mini" frozen lake scene in watercolor in only 2 hours. Above are two of the paintings done in class measuring 4X6. We listened to Christmas music and ate cookies for inspiration. Attendees created some wonderful winter scenes, even a few who had never picked up a paintbrush. One of my favorite things about teaching is seeing how different each student's painting develops; though we may all be painting a similar subject and using the same palette. And often, I will see a new interpretation or method that I have not considered and will try it out for myself. Thank you to all who participated. I learn so much from each of you and greatly enjoy doing the classes. You can find my upcoming class schedule at LibertyTown.

Encore!! No1 and No2

Encore!! No1, No2
Watercolor
11X14
I have painted in metallic pigments for embellishment on the two paintings. I use a powdered pigment diluted with water and gum arabic. Now I will varnish the paintings using an aerosol acrylic varnish, altering layers of gloss and matte. I apply about 6 layers, letting each dry overnight.

Fall Leaves, In Progress 3

I mounted the two paintings to Ampersand Clayboard. I first covered the sides of the wood cradle to protect it from the medium. Then I dampen the back of watercolor paper and apply a generous layer of soft gel medium to the clayboard. I lay the paper over the clayboard and press out any air bubbles. Because the paper and clay are absorbent, they soak up the medium and form a firm bond. I let the painting dry overnight, face down, keeping something heavy (in this case a brick) on the back.

Once the painting is dry, I remove the the tape around the edges and trim the excess paper using a razor blade. The edges are then sanded until smooth.

Now that the paintings are mounted on the clayboard, I will paint metallic embellishments and then varnish the two paintings.

Little Masterpiece

I don't usually blog about my life at home, but I can't help but share this.

On Saturday, my children were playing quietly upstairs (too quietly). My daughter, Rachel, comes running in to tell me that Mark, my 2 year old, is setting himself up to paint (I am sure she helped just a little). I find him in my studio room diligently painting his hand, already committed to yet another masterpiece. He was so involved in what he was doing, I just couldn't interrupt him. Both my children love to create.

Fall Leaves, In Progress 2

I have added another few layers of leaves by darkening the leaf shapes behind the printed leaves. I have also added small washes to the forward leaves for detail and to further define them and pull them forward visually. For this painting, I really like how the variety of values creates the illusion of depth. Next I will mount both paintings on clayboard.

Fall Leaves, In Progress

Ok, I am back at the leaves. This is where I left off in the last class of the workshop 2 weeks ago. I find that if I wait too long to work on a painting, I loose creative momentum. So much of a painting is enthusiasm; if I stop too long or think about it too hard, the excitement fades. Depending on the complexity of a painting and drawing, I will usually finish a painting in a week. However, I had another reason for my delay; supplies. I have decided to mount the 2 leaves paintings on clayboard and then add metallic pigment embellishments before varnishing. Now that my supplies are in, time to get back to painting.

Elizabeth's Pansies

Elizabeth's Pansies
12X12
Watercolor on Clayboard

Elizabeth's Pansies, In Progress

I must give credit to Elizabeth, elizabethcreates, who grew these beautiful pansies in her yard this last summer. These delicate little flowers were peeking up at me. The back pansy reminds me of a young child hiding behind it's older sibling, cautiously peeping around to look at the stranger visiting their home to take photos. Thank you, Elizabeth !

More Pansies in Progress

I am progressing with my pansies. I have started to put in some midtone pedal color and shadow. I also began lifting out some details. Usually, I wait until the end of a painting to begin detailing, but it seemed to call for it here. I am just amazed how this thin layer of plaster and clay can absorb so much water. The clay does dry differently than paper, and so when I paint wet-into-wet, I am often left with blossoms within that layer of paint. I like the loose blossom effect on the pedals and will use that as I continue to develop the pedal form.

Pansies on Claybord, In Progress

After trying out smaller watercolor paintings on ampersand claybord, I have decided to begin a larger series of watercolors. The pebbly surface of the aquabord creates a wonderful organic texture and allows for layering multiple glazes without breaking down. Watercolor paint is amazingly workable and liftable on this surface. On clayboard, I begin by applying the yellow that will illuminate the finished painting, being sure to leave white areas. After the yellow layer is dry, I will glaze in the lighter tones of the maroon violet. For these first areas, I use a wet-into-wet technique.

Playing with Pebbles, adjustments

I added more "dimple" to his little cheeks and restated his mouth and lower lip.

Playing with Pebbles

Playing with Pebbles
Pastel on Clayboard
16x20 Framed

I have made a few adjustments to the shadowing around his cheeks and touch up on his teeth.

This painting was an absolute joy to do. So precious are the moments when a child is completely captivated with the world and small discoveries. As a mom, I think these are the quiet moments in life that are simply extraordinary.

First Friday at LibertyTown

It's beginning to look alot like Christmas...at Liberty Town and in my studio. Join me at LibertyTown this First Friday, Dec5th 5-9PM. The artists and craftsman at LibertyTown are exhibiting Small Works in the Main Gallery. The gallery will be transformed into a Craft Emporium: Guest craftsman, New displays, New furniture, An All New Look. And Mirinda Reynolds and I will be hosting a Silent Auction in our Studio (No3).

Foraging, No2, Pastel, 5X7

This is one of my new works that will be on display and for sale in the Main Gallery at LibertyTown for the Small Works exhibit.

New Paintings up for Auction

I have decided to try something new in my studio (No3) at Liberty Town Arts. I am putting two of my newest paintings up for silent auction December 4th to December 5th (First Friday). This is a great opportunity to potentially purchase a new work for much less than the exhibit price. If you are unable to visit my studio on First Friday, you are welcome to email your bid.

Starting bid $95, or you can Buy-it-Now for $250.

Standing Tall, Watercolor, 16X20 Framed, Image size 8X10, Sold
Liberty, Watercolor, 16X20 Framed, Image Size 8X10, Sold

Both paintings are framed with a contemporary black wood frame and double thickness white mat. The sunflower I used as a reference for the paintings was growing outside at Liberty Town (planted by Aline). The compliments of the purple paint on the building and yellows in the flower were stunning. I chose to use the same palette in the paintings with varing intensity and demonstrated the painting in my watercolor workshop this October.

I will notify the winner (if not present) by email or phone on December 6th and the paintings can be picked up anytime at the end of auction.

Happy Bidding!

On Exhibit at the Torpedo Factory

These three paintings will be on exhibit and for sale at the Torpedo Factory Art Center, Target Gallery in Alexandria, Virginia, December 11, 2008 to January 11, 2009.

The exhibit is titled "5X5(5)" and all the artwork on display fits into these dimensions. The juror, Elaine Levin, reviewed over 650 national and international entries, choosing 250 works for the show.

An Artist's Reception will be held December 11th from 6-8PM.

Playing with Pebbles, Commission in Progress 4

I am pleased with my progress on Playing with Pebbles. As a new portrait painter, I am struggling through some of the challenges of capturing a "likeness" while still maintaining the essence of his little spirit. I am really enjoying the softness and subtleties of the pastel and how the pastel strokes create a playful merging of color, value and form.

Visiting Artist Workshop at Fredericksburg Academy

On Friday, I taught a watercolor workshop at Fredericksburg Academy for two classes of fabulous Fourth and Fifth graders. I demonstrated the steps for the above two 4X6 paintings in each class. Then the kids followed along with their paintings. We drew our sea animal pictures in pencil and then applied liquid masking fluid over the pencil line. Once the masking fluid was dry, we watercolor painted using wet-on-wet technique to create the ocean background. For some, we added salt for texture. Once the paintings are dry, the masking fluid (and salt) is removed leaving a white outline of the initial drawing.

This workshop is part of the Liberty Town Visiting Artist Program created by Mirinda Reynolds. Mirinda is the lower school art teacher for Fredericksburg Academy (and my wonderful studio-mate at Liberty Town, not to mention a brilliant oil painter). The program hosts a guest artist to lecture and demonstrate the last Friday of each month. The children are able to ask questions and participate in a short project taught by the visiting artist.

I had such a great time sharing this technique with the kids, helping them create their mini-masterpieces, and being a part of their creative energy. Thank you Fredericksburg Academy!

Fall Leaves Workshop Demonstration 3

I have added some key darks to create the illusion of layering. I used a deep maroon dark to unify the painting. I also added a few details by lifting out leaf veins, painting some in, and negative space painting. I love the motion and energy in this painting.

Playing with Pebbles, Commission in Progress 3

I have started layering the flesh tones in his face to begin developing form and shadows. I will continue to smooth out and detail his features, correcting for size, shape, angle and value as I go.

Playing with Pebbles, Commission in Progress 2

I am continuing to work the background and have started laying in the darks on his clothing.

Fall Leaves Workshop Demonstration 2

This is second of the leaf demonstrations. I started with an underpainting of Aureolin Yellow and Permanent Rose and then layered the leaves after I applied paint to the vein side. Once dried, the leaves left a more vague imprint than with the first painting. I will need to paint in the leaf shapes more directly.

Using a combination of techniques including negative space painting and direct painting, I have begun to add layers to the leaves; pushing some behind, pulling some foreward. Some leaves are painted in directly, while others are painted around (painting the negative space).

Playing with Pebbles, Commission in Progress

I have begun a pastel painting on pastel clayboard by Ampersand. After drawing the image on paper, I transfer the image onto the board. The pastel board is a clay and gesso coated hardboard panel with a granular textured surface comparable to a sanded pastel paper except more durable and more versatile. I chose a warm neutral "sand" color to contrast with the cool blues in the reference photo.

Fall Leaves Workshop Demonstration 1

For this demonstration, I started with an underpainting on damp paper and glazed in Aureolin Yellow, Permanent rose, and Quin. gold. With the underpainting, I am beginning to create direction and movement within the painting. I then paint the leaves individually and place them on the damp paper. I layer and place the leaves according to my design plan, considering which leaves will later be forward and which will be behind. Then I leave the painting until the paper is completely dry. When the leaves are removed, I am left with visual texture and varied hard and soft edges. Later, I will use these to develop the painting.

Standing Tall

Standing Tall,
Demonstration from Watercolor Workshop
Watercolor

Sunflower Demonstrations

I have put in the background and will continue to adjust the value relationships between the sunflower face and background. I have painted additional glazes of quin.gold plus magenta on behind pedals and begun to add more hard edge details and shadows to the forward pedals.

Sunflower Demonstrations

I have layered another wash of blue-violet to the background, varying the dark, and used negative space painting to develop some leaf shapes. I also glazed another layer of warm color (magenta mix) on the front leaf to pull the leaf forward in space and push the other leaf behind. At this point, I am mostly satisfied with the value relationships within the painting, so I put in some final details in the pedals, creating more hard-edged shadows. I also glazed over the "behind" pedals with a dilute Quin. Gold to further push them behind the forward pedals.

For this painting demonstration, I have completed the midtone values that develop the form of the pedal shapes. I used more magenta for the back pedals. The red tones behind the yellow recede.

Sunflower Workshop Demonstration

Here I have begun to work around the flower, developing form in every other pedal. More to follow.

I have begun to paint in the background areas, choosing a deep blue-violet for the background to complement the orange and yellow in the flower. I try to vary the blues and purples as I move around the flower. For the foreground leaves, I glazed another layer of paint to darken and develop shape. While the background is still damp, I soften some of the edges on the pedals and the leaves. This is the point where I evaluate the value relationships and determine if and where I want to add more darks. I also look at the details of the flower face and pedals and add shadows or more value to the face.

Dama Gazelle

Dama Gazelle
27x22, framed
Pastel