ariel freeman fine art

Illusions of depth

2011-08-26T06:12:00.007-04:00

Lavender Cascade

Pastel, 18X24

Yes, an underpainting serves as a fundamental purpose, to set the values, and overall color, tone and temperature of a painting. Used beyond the rudiment purpose, underpainting can enhance the energy and interest in a painting, creating a layered effect and the illusion of depth and volume.

Over the past year, I have been exploring the possibilities of underpainting in watercolor and applying it to pastel landscapes...some small, others much larger as this one is. The tone, value, and color are established in watercolor, allowing for the watercolor to do what it does best...create a wonderful mingle of little explosive color blossoms. Then, pastel is applied, allowing for some of the subtle watercolor creation to show through, enhancing the illusion of air and space.

I will have 10 or so of these pastel landscapes on exhibit at Kybecca September 1st through October 31st.

painting again

2011-07-22T16:17:00.002-04:00

Finally...seeing again through 'painter' eyes.

Pastel 18X24

View from the island

2011-04-29T06:09:00.010-04:00

As often as I can, I walk the path that leads from the neighborhood stables to a little island park nearby. The path encircles the island...and along the path...I see green, blanketing the water, the trees...everything.

From the island, I can see the bridge connecting and the mass of trees...a seamless transition from one land to another...through the island foliage and the haze of green, I see the path clearly...leading me to this point.

View from the Island

Pastel on Ampersand Pastelbord

9x12

Painting as I want

2011-03-02T08:33:00.010-05:00

'One day seven years ago, I found myself saying to myself- I can't live where I want to- I can't go where I want to- I can't do what I want to- I can't even say what I want to...I decided I was a very stupid fool not to at least paint as I wanted to...as it seemed to be the only thing I could do that didn't concern anybody but myself...'

Georgia O'Keefe, 1923

Hillside Bouquet

Pastel on Ampersand Pastelbord, 16x20

...painted as I wanted to

...with energy, fullness of color, and an unusual perspective...of one of my favorite places.

On exhibit March 4th-28th as one of the "staff's favorite picks" in the gallery at Liberty Town Arts

Aquabord Surface testing

2011-01-21T13:42:00.011-05:00

To my complete enjoyment, this month I have had the opportunity to "test" the new aquabord surface produced by Ampersand Art. (Thank you Andrea and Elaine!) For me...joy in painting not only comes from the art of creating, but also from the science and products used and explored.

Painting is much more than simply using some random pigments and applying them to a surface. The 'scientist' in me spends a great deal of energy...and enthusiasm...in choosing pigments...those properties and qualities that will not only lend themselves to a harmonious palette, but also enhance the longevity of the painting. I apply similar considerations when choosing a painting surface. 'Knowing' your paints, brushes, surfaces all enhance the integrity of the process...and I believe, the integrity of what is produced.

Blind Date

Watercolor on Ampersand Aquabord

For the past 2-3 years, almost exclusively, I have preferred the textured clay surface produced by Ampersand. Below are a few of the elements and findings in "testing" the new surface along with my favorite characteristics of the surface.

Surface Properties:

Durable and reliable support…with beautiful texture effects as a result of air bubbles trapped in the surface that are released with water.

Stands up well to graphite and erasing without noticeable surface damage. Graphite erases more easily and more completely on newer surface. Pencil mark remains visible and clear when wet

The ‘white’ of the surface I would describe as a neutral or subdued white (almost warm) Ivory color when compared to a standard white… that lends itself well to complement pigments/ pleasing color. Similar in color to most ‘rough’ or cold pressed heavy weight watercolor papers, particularly Arches. Coarse and assertive, somewhat ‘gritty’ texture.

Paint went on smooth with even drying of flat and graded washes, resulting in less backruns and blossoming.

Even when saturated, backruns and blossoming were minimal.

Pigments (even staining pigments) lifted cleanly. I would need to test using heavier glazes to compare lift ability.

Pigments maintained their color and intensity…and compared to paper the intensity, value, and chroma are enhanced on this surface.

More "testing" to come...and the excitement of a new and improved surface...

Ambiguity

2011-01-03T06:33:00.009-05:00

Beginning the new year, my satisfaction has waned with the ultra-real paintings...those in which all the information is given. Where else in life is all the information detailed perfectly in order for you to exactly see the situation, draw the right conclusions and make the right decisions, and predict the future responses?...almost never...Similarly to the ambiguity in life situations and the excitement of not always knowing the outcome, curiosity and intrigue is created through an abstract arrangement of elements...visual elements in a painting that allow for exploration and personal interpretation.

For me, however, there is a point where patience is lost to the vague ambiguity, as is the case with completely abstracted paintings. Visually, I prefer some representation, allowing for degrees of abstraction in shape, color and edges. I need a few answers, some plan...some information...but not everything.

Untitled (for now), Pastel on Ampersand Pastelbord, 16x20

And so, I find myself drawn to these pastel landscapes, responding to the watercolor foundation; those accidents that occur naturally when water and pigment react to the dry, pumiced surface of clay. Subjects still 'representative' but not quite fully developed, interpreted...standing just outside the rows of vines...seeing the vines, but not every leaf...appreciating the balance between the order and disorder of things...given just enough information to draw my own conclusions.

Goodbye colors of fall

2010-12-23T07:24:00.006-05:00

Goodbye to fall...warm greens, golds, reds replaced with cool whites, blues, and browns...always in transition...and colors that reflect the transitions in life.

Colors of fall

Pastel on Ampersand Pastelbord

9x12

Blessings of joy, peace...and warmth...this holiday season!

Watercolor Workshop: The Planning Phase

2010-12-03T10:29:00.007-05:00

Switching gears from pastel, my focus this week has been on preparations for the upcoming "Intermediate Watercolor Workshop". Having taught many workshops over the past few years, the topic for this class is design and composition, featuring simple still-life subjects and cast shadows. Though I realize, pigeons represent more of an un-still life subject. However, the principles still apply for the purposes of this class.

The challenge...finding a unique, unusual perspective of the subject, possibly even abstracted, considering composition design structures, interesting value shapes, positive and negative space shapes.

One method I use for doing this is to simplify the reference, focusing on the areas that draw my attention, catch my eye, or trigger an emotion. I will often squint my eyes to minimize the shapes so I can see the simplified values and shapes...walk around the subject, using a viewfinder or camera to crop the image...and the finally, sketch various compositions.

These small sketches will serve as "tests" for the design and composition. Here I am considering how I will you break up the space, what is the most interesting and pleasing arrangement or perspective of the positive and negative shapes, am I going to use a design structure for my composition, how does the light move across the forms, etc.

The "test" is where most of the decision making gets done...if something doesn't work...no worries...I'm not committed or married to the composition...just trying it out.Workshop participants are welcome to work through a few of these sketches prior to class. We will spend a good part of the morning looking at your subjects, finding interesting compositions and considering design elements. Below are a few other examples of subjects that work well for this challenge or follow the link to see some examples from a similar class earlier in the year.

And for those of you in class who just love to paint florals (as I do)...another example.

Happy Planning!

Less Blogging, More Painting

2010-11-28T14:30:00.011-05:00

Closing out the Thanksgiving week, I am reminded that 'Thanksgiving' is not just a holiday...but thanks giving is a state of mind that should be carried with us every day. I am thankful for many things this week...most notably, my friends and family who uplift and enrich my life.

Serendipity

9X12

Pastel on Ampersand Pastelbord

'Tis the season for small works... perfect for me, stripped down to the essentials of time, no time for large works, delay, analysis, procrastination...self doubt...only time for the fervor of work, and creative energy. In this fervor, I am finding a flow and rhythm in landscapes (that until now, I have unintentionally avoided), responding to the watercolor underpainting with a deeper sense of expression and intimacy... and with an efficiency that comes from the pressure imposed by time.

A few of these landscapes will be on display for the "Small Works" exhibit opening

Friday Dec 6th at Liberty Town Arts in Fredericksburg.

Paintings will also be on exhibit in December...

The Workhouse Arts Center at Lorton

Merger of Art and Design: MAD Artist! Designer's Choice Exhibit

Nov 22nd-Jan 4th

as well as

The Fredericksburg Center for the Creative Arts

Small Wonders National Juried Exhibition

Dec 6th- Jan 28th

Happy Thanks Giving today and every day!

Southwest Art Top 50 Finalist

2010-11-03T14:26:00.010-04:00

Secret Places

Watercolor on Aquabord, 22x30

As an ode to my southern Texas roots, I entered this painting in a juried competition with Southwest Art, entitled "21 over 31" for their November magazine issue. Though the scene for this painting came from a small Virginia town, the image seems to transcend location, recalling those places in so many small towns...that draw in curiosity and the potential of undiscovered treasures.

Among the company of over 3000 entries, "Secret Places," didn't quite make the "21", but was selected as one of the top 50 finalist. To see the winners and some amazing "runner-ups," visit their website.

And finally...after many trips here and there around Virginia, "Secret Places" is "home", on exhibit in my studio at Liberty Town. If you are in the downtown Fredericksburg area, stop by and check it out.

Poetic energy of underpainting

2010-10-21T15:20:00.004-04:00

In pastel, my comfort in painting leans toward what I would term "ultra-realism" . I typically work spatially completing section by section, piecing together lines and shapes, that when completed, works as a whole.

Challenging myself for a looser interpretation (as I often see a landscape), I wanted, instead, to respond to the poetry of the underpainting, the poetry of shapes and mingled color. I began on white (which I almost never do) ampersand pastelbord that can handle alot of water, pigment, and pastel. Considering the harmony color, temperature, and with the goal of creating luminous contrasts of blue and gold, I began to add color...no worries about mess, details or representation, simply looking for a response to the energy of the landscape.

The watercolor "underpainting"

As a watercolorist, I found myself tempted to approach this underpainting as I would a finished watercolor, working light to dark, wet-into-wet, glazing layers...but then this will be a pastel, on pastelbord. The underpainting will only serve to create a base (mostly covered with pastel) of warmth and value and give direction to the pastel that will come later... hopefully a loosely interpreted poetic landscape.

The "later"... untitled

Pastel on Ampersand Pastelbord

9X12

Featured at Lorton Arts

2010-10-04T19:19:00.005-04:00

Orchestrating lines, positioning, contrast of imagery, harmony of values, color intensity, analyzing compositional placement...I must be painting...

...Well not quite...today the show went up at Lorton Arts and will be on exhibit through Nov 7th.

I am amazed at all the factors involved in hanging a show (though I have done quite a few now), and how painful the process can be. Placement of paintings on a wall is an "art" in itself, one which I struggle with for every show. The most valuable lesson learned from today...never underestimate the value of help, everyone has a different "eye" and process for installation. Thank you Bonnie and Kathleen! I couldn't have done it without you.

Exhibiting Oct 4th-Nov 7th

Workhouse Arts Center

Gallery 16

Opening Reception

Saturday, Oct 9th, 6-9p

9601 Ox Road

Lorton Arts, Lorton, VA

www.workhousearts.org

703-495-0001

The curious world of Iris

2010-09-24T19:05:00.005-04:00

There have been many "starts and stops" to this painting over the past few months. Each time returning to work, I find myself re-evaluating my intention..what is it I see here?...what is it about this painting that keeps me returning? After all, a new day, brings new perspective (both in life and in art)...new interpretations, new insights.

So I have to ask myself...can my intention be the same each time I return..what I see in the image be the same...when I have changed from day to day? I don't believe it can..exactly; the mood, aesthetic, and way of seeing have changed. I notice these subtle difference in the way I have approached different areas each time following a pause in work. The challenge is in finding harmony among the various "intentions" within the painting and exploring the curiosity that attracted me in the beginning.

So, what is the intention here? Of course, most will see "flowers"; the iris a symbol for hope, faith and wisdom. But today I see energy, curious wonder in the flow of line, lost and found shapes, and the statement of color.

The curious world of Iris

Pastel on Ampersand Pastelbord, 16X20

On Exhibit October 4th-November 8th

The Workhouse Arts Center, Gallery 16

Lorton Arts Foundation

Life has taken hold

2010-09-10T06:20:00.003-04:00

Has it really been 3 weeks since my last post? Graduate school, coordinating preschool and elementary school schedules, children's social calendar, responsibilities at work, at home, etc, etc. have consumed my time... (sigh) leaving little room for conceptualizing art and painting...and therefore, little time or fuel for blogging.

Struggling for balance, I find myself retreating from the unnecessary... "stuff" that I often feel compelled to do relating to art... the exhibits, juried competitions, gallery responsibilities...and even teaching and blogging. Allowing time for the doing...allowing myself the time to clear the chatter in my mind and paint. Art is good for that, not only in the doing, but also the viewing...quieting chatter...calming the spirit.

This is a painting in progress I began a few weeks ago. Pastel (18X24) on an Ampersand Pastelbord. Most pastelist will agree I have an odd method for approaching the painting...to compartmentalize and work a section to completion. Having never taken a pastel class, this process feels natural for me. Much of my work is grounded in realism and therefore, requires a degree of spatial believability. That is...for me to create the feeling of perspective necessary to make this object (a stem) appear in front of that object (a blossoming bud for example), I must work that shape in the order as it occurs in space (from back to front). Since I have tested the composition and design as either a thumbnail value study (or after so many, in my mind), I have a mental picture of what the completed painting needs to be, the placement of lines, shapes, values to make the painting work and maintain a sense of harmony. For me, pastel is a precise medium, every stroke deliberately placed. If I have plan and know where I am going from the beginning, I can work one shape at a time. Sure, I probably don't have to work each shape to completion...but I just can't help myself...each shape is beautiful in itself.

Vacation sketching

2010-08-16T09:33:00.003-04:00

I envy the nature of children. Four strangers on a tire swing, one mission...to go higher. No awkward introductions, no discussion of terms, no fear of being hurt. Simple business...get on, push and pull together, enjoy the ride.

Perfect Strangers from my watercolor sketchbook.

Uniquely Fredericksburg

2010-08-04T06:51:00.010-04:00

Sweaty palms, heart pounding, nervous conversation...what is this, the first day of high school? Not quite, though the symptoms feel the same...just another drop-off for a juried competition, Uniquely Fredericksburg, a biennial art show celebrating the unique Fredericksburg experience.

Carl's Ice Cream (an iconic stop in Fredericksburg for over 50 years) has been masterfully painted countless times. It is probably the most painted recognizable image in Fredericksburg. They are open February through the heat of summer serving frozen custard to a line of visitors that often wraps around the parking lot. Who doesn't love a good frozen custard (aka: ice cream to the non-locals)?

Anyway, my goal was to present Carl's in a way no one had done it before...something more than a perfect portrait or whimsical, predictable building-scape (is that the right word?). Below is one of my favorite images (my in-laws), though maybe some would consider, less than flattering. I, however, love the casual, yet attentive attitude of the participants that so fits the personality and eccentricity of the residents and tourists in Fredericksburg.

I will be the first to admit I am not a "portrait" painter, just as I am not a "water-in-glass-vase" painter. I am, however, a shape and value painter in search of an unique, simplified perspective, whose subject this time happens to be people. This painting pulls together what I love most in watercolor...textures, blooms and glazes that create shapes of varied values and color mingling; shapes that alone would appear abstract, but when viewed together add up to a realistic (or should I say representational) image. I have heard from jurors that sometimes their decisions will vary depending on their breakfast. I hope this juror has a bland, boring breakfast...leaving her wanting for something more...maybe a curious painting of Carl's "thugs".

Afternoon Thugs

Watercolor on Ampersand Aquabord

16x20

Uniquely Fredericksburg

Opening Reception and Awards

Today!

(August 5th, 5-7p)

CRRL Headquarters Library

1201 Caroline St, Fredericksburg

On the Line

2010-07-22T14:30:00.007-04:00

On the Line

Watercolor on Aquabord, 18x22

On exhibit at Kybecca through August

I often struggle with my apparent lack of cohesion among various painting. I have quite a randomness in interest, style, approach to painting in both watercolor and pastel. But lately, I have been searching for common ground... something to grasp as a cohesive style...and then I realized...maybe style, approach and subject aren't the common factors. My main concerns, regardless of subject, are always composition, value, and contrast. Contrast creates emphasis and interest. In particular, contrasting and exaggerating value develops drama through depth and gets the viewer's attention. The search continues...

Exhibiting Art at Kybecca

2010-07-11T16:06:00.008-04:00

Recently, I was invited to exhibit artwork at one of my favorite "wine and tapas" bar in Fredericksburg...for July and August. The artist initially scheduled for this time was not going to be able to show, so the owner was looking for someone to fill in. Did I mention I had 4 days notice? Following my initial reaction..."No way...can I come up with a collection of artwork to fill the space (20 or so paintings) on such short notice"...I came to my senses, did a reconnaissance (a word from my previous life) of the space and an inventory of paintings and their locations...and accepted.

My realization...doing a "short notice" show is the best way to have one...no fuss, no pre-show stress to produce work, no nervous anticipation building up to the opening reception. I simply hang and show my work, as is.

And so, I will have 23 paintings on exhibit at Kybecca, including 5 new works on aquabord, until September.

Exhibit July 12th through August 2010

400 William St

Fredericksburg, Va

kybeccawinebar.com

If you are in the downtown Fredericksburg area over the next couple of months, I invite you to stop by Kybecca for great wine and tapas, and to view art.

Even Traffic...

2010-06-24T14:53:00.005-04:00

...can be beautiful (thank you Stephanie).

I am amazed how we can experience the same moments day in, day out and not really "see" them...their simple beauty. Sometimes as artists, we spend so much energy searching for that "beautiful" composition, subject, landscape...and then sometimes (as is most often the case for me)...it finds us.

"The landscape listens and we hear it call our name."

Emily Dickinson

Simplifying Mass Shapes

2010-06-18T07:08:00.005-04:00

Before focussing on the details and extra "stuff" in a painting, I first try to focus on the mass shapes and values...the simple [or not so simple] elements that make up the structure of the composition. As noted from my previous post, I have divided my landscape into 3 mass shapes of light (sky), middle (foreground pavement), and dark (mid-ground treeline) value. Breaking down the scene into abstract shapes, I am assigning color to those mass value shapes, disregarding (attempting to anyway) the smaller value and color accents.

These value masses, serve as a reference to relate other values in the painting. Now I can expand on the mass shapes, adding subtle value, color, and temperature accents. Supporting the value structure (and perspective) identified in my thumbnail sketch, will enhance the paintings overall "readability."

"The most important ally in the study of painting is the art of thinking."

Edgar Payne's Composition of Outdoor Painting

A little planning

2010-06-11T16:11:00.006-04:00

I often spend the first day of beginning class (watercolor or pastel), convincing beginning painters the value of a little planning. Most beginning artists want to jump right in, not wasting time looking for a good composition or value sketching. These terms are almost as dreaded as the capital "D"...drawing. However, as I have mentioned in many previous posts, this step is crucial for me and will save me (and beginning painters) much time and frustration...and will most likely produce a better painting. The principle for me... vision in a concept and a little pre-planning in composition, design principles, and value (and yes, a little drawing) are what will make a painting work...technique will come with time and practice but will not make a painting successful (though well crafted). I am sure some will argue this point.

Keep the plan simple, simplify mass value shapes...light, mid-value, dark...doodle, sketch, erase, play with various perspectives, cropping, and value patterns. Value and appreciate this step. There isn't any pressure here, no need for a finished drawing or painting.

Some tips for "testing" your design. Follow your eyes as they move around the sketch.

1. Does our eye travel effortlessly around the painting, through the light and dark shapes?

2. What is the visual movement in the painting? Have I directed it using line, repetition of shapes, overlapping shapes, "linking" values in a painting, via soft and hard edges in a painting?

3. Do I have a pleasing arrangement and variety of shapes, patterns and values? How did I break up the space? Is the space divided in a pleasing way?

4. Is my perspective "readable"? (Even a 3 min value study, simplified to mass values and shapes, is "readable" on paper).

5. Are my eyes led to a focal area?...away from the focal area and back in again? Do I have a secondary area of interest? How does the viewer travel from one to the other?

6. And finally, do I have visual excitement and spatial organization?

Funky Pigeon Facts

2010-06-04T14:17:00.006-04:00

Finishing up the couple of pigeon paintings I had started last week, I thought I should research a little about the birds. Never really thought twice about them, until I put the painting together. Now I have a new respect for the birds and their position in the world. I can't exactly say why I chose to do these little paintings other than I really enjoy the simplicity and structure of the compositions.

Circle of Friends 11X14, watercolor on Ampersand aquabord (above)

Pecking Order 11X14, watercolor on Ampersand aquabord(below)

1. Homing Pigeons have been known to fly 700 miles in a day. A 10 year study carried out by Oxford University concluded that pigeons use roads and freeways to navigate, in some cases changing direction at freeway junctions.

2. Pigeons achieved a 98% success rate in the missions flown in WW II, despite enemy fire, and often with mortal injuries to themselves.

3. Pigeons are still used today by the French, Swiss, Israeli, Iraqi and Chinese Armies.

4. Noah's Dove was most likely a homing pigeon.

5. They were used by the Greeks more than 5,000 years ago.

6. They are bred, raised and trained as good as Thoroughbred Horses (four million or so worldwide).

7. They have been known to see very well over a 26 mile distance.

8. Scientist believe they may hear wind blowing over mountains from hundreds of miles away. The ability to hear sounds 11 octaves below middle C allow the pigeons to detect earthquakes and electrical storms.

9. In the late 1800 the most heroic recorded flight was from a pigeon that was released in Africa and took 55 days to get home in England. Traveling over 7,000 miles.

10. Unless separated, pigeons mate for life. They have been known to live over 30 years. Both parents feed their young milk.

11. In the 17th century, King George I of England, decreed all pigeon droppings to be property of the Crown—and the “lofts” were policed to enforce the law! (Pigeon manure was used in making gunpowder)

12. The pigeon has the rare ability for a large bird to be able to fly nearly straight up.

13. Advanced studies at the University of Montana conclude: “Pound for pound, columba livia (the pigeon) is one of the smartest, most physically adept creatures in the animal kingdom.” The pigeon can pass a mirror test, recognizing it’s own reflection, and is only one of 6 species, and the only non-mammal, that has this ability. The pigeon can recognize all 26 letters of the English language as well differentiate between photographs and even between two different human beings in a photograph.

14. Pigeons are the only bird in the world that do not have to lift their head to swallow water.

15. When the pigeon is in long flight, it reaches back and holds on to the short tail feathers with its feet in order to save energy from holding its legs up.

16. During breeding season, when there are more than a few babies on the floor, all parents will feed all babies, even if they are not their own.

17. Why do you never see baby pigeons? Pigeons lay only 2 eggs at a time, and then spoil those babies shamefully. The parents feed the babies until they’re totally fat, happy, and freathered out. By the time they leave the nests, they are the same size as adults.

Beyond Brown

2010-05-27T14:45:00.006-04:00

Recently, in one of my "Beginning Watercolor" sessions, one of my students asked "How do you make brown?" Without thinking a response, I replied..."I never try to make brown". Which isn't exactly true, once I put some thought into it. When painting a subject that will include "browns," I'm not really thinking "brown", but rather, "warm" neutrals (as opposed to grey, "cool" neutrals).

My "browns" are usually mixed using the other colors from my primary palette, providing a color harmony and unity in a painting, but yet enough variety to maintain visual interest. Notice in the two paintings [in progress] how the warm and cool neutrals play a supporting role to the star colors in the birds. Though I have not intentionally painted any of my birds brown, the viewer will see "brown".

So, finally, the simple answer to the question...How do you make brown?

1. Mix 3 primaries.

2. Mix warm compliments.

3. Add a manufactured neutral to another color with higher chroma. I usually use Burnt Sienna or Brown Madder. Just a little, neutralizes most colors.

Healing Power of Art

2010-05-20T14:31:00.010-04:00

Over the next few months my artwork will be included in an online exhibit The Healing Power of Art, a juried competition hosted by Manhattan Arts International. The premise for the exhibit..."when artists create healing art [art that uplifts the spirit] they not only experience a healing process within themselves, their Art also has a healing impact on viewers." As a nurse and artist, art and healing are both topics very close to my heart. I live them every day. I am honored to be a part of a movement that brings awareness to the relationships between creative expression, health and wellness. You can follow the link to see my page and statement.

Manhattan Arts International

Positive Art That Uplifts The Spirit

May 14 - September 19, 2010deserve.

Virginia Watercolor Society & Salon De Refuse

2010-05-10T21:06:00.006-04:00

I entered this year's Virginia Watercolor Society (VWS) Annual Competition with one goal in mind...to get rejected...let me explain...

I love watercolor...painting with it, watching others paint, reading about it, viewing other's work, talking about it, etc. So I paint, teach, read the books, the magazines, attend shows, everything short of dreaming about watercolor. Though viewing other's work in watercolor and seeing what other artists are doing with the media is important for creative exploration and growth, I have been reluctant to join a regional or national society. My disillusionment came when I discovered the groups exclude watercolor done on any other surface other than paper (i.e. watercolor on canvas, yupo, and MY favorite surface, claybord), but yet will accept acrylic painted on paper as a watercolor medium...dashing my hopes of ever earning "signature" status. After all, they call themselves "Watercolor" societies not "Works on Paper" societies (doesn't quite roll off the tongue).

I digressed...

This year for those applicants who are rejected (ouch...that word comes with such feelings of despair and discouragement) into the "VWS" exhibit, there is the option to exhibit with other rogue works in the "Salon de Refuse." My hope...the works rejected from the juried show will feature contemporary (and hopefully exciting) paintings in watercolor and other various surfaces...and viewers will have the opportunity to see watercolor presented in new ways. It's a gamble...

...but I am proudly exhibiting

Secret Places

Watercolor on 22x30 Aquabord

The Virginia Watercolor Society's "Salon de Refuse"

Crossroads Art Center

Richmond, Virginia

May 14th-July 6th

New Roots

2010-04-30T16:04:00.011-04:00

Following the dormancy of winter, I often feel a burst of "energy" in spring (as mentioned in previous posts); a rush of ideas, creativity, and need to set "roots" (and "sprout") in new directions. One such "root"...

This month I am joining the family of artists at the Art First Gallery, 824 Caroline Street in downtown Fredericksburg.

I look forward to the new directions this step will take me in art, insight into the gallery operations, teaching opportunities, and not to mention, exhibiting with an amazing group of artists.

Join me this "First Friday," May 7th, for the All Member's Show.

Opening Reception from 6-9Pm

Energy of Spring and "The Patron's Show"

2010-04-24T13:43:00.013-04:00

I love the energy in spring, something in the air that calls us to rearrange, clean our spaces, and take on new projects (more on this later). The green fog of pollen must work in a similar way to the oxygen pumped into the casinos in Vegas, alerting our senses. So with this "energy", this week I gave in to urge to rearrange the furniture in my studio at Liberty Town.

Above is a photo of Studio #3 at Liberty Town Arts in downtown Fredericksburg...my space, my solace, where some of my work gets done, and I teach a few workshops throughout the year. Over the past few years, I attribute my success and growth as an artist, in no small way, to the support, camaraderie and creative energy of the artists and mentors at Liberty Town. In May, Dan Finnegan, the founder is hosting Liberty Town's Annual "Patron's Show". Local artists come together to donate paintings in support of the arts and vision of LibertyTown, and to celebrate it's anniversary. The concept for the "Patron's Show", simple: buy a ticket, take home an amazing piece of art... and enjoy the company of the colorful community of artists and patrons in Fredericksburg. Tickets for the event go on sale "First Friday" May 7th. Visit the website for more information. www.libertytownarts.com

Another love to share this week...watercolor sketching (long overdue)... simplified, loose, and rich in color. Doing small sketches, I can explore a concept, test a composition, plan a color scheme and structure without having to commit. If a design doesn't "work" as a sketch, it won't work when enlarged to a finished painting. Only, I won't have invested so much time to the idea and therefore feel compelled to persist. I also avoid that uncomfortable middle ground in a painting, full of self-dought, when I am not sure if I can pull it all together. "Energy" takes on many forms.

A few sketches, soon to become paintings.

Secret Places, So Close

2010-04-16T13:30:00.005-04:00

I chose the title for this painting about a third of the way through; thinking the dark spaces hidden in the painting lended themselves as "secrets" stored away, piled up, buried underneath the surface...small treasures waiting to be found. However, as the painting developed those dark spaces and shadow shapes became much more. Often a photograph, or even the exacts of life studies, do not translate well to a painting. So about half-way through a painting, I will put the reference away and let the painting lead me through the description. The shapes that evolved in the shadows and the rich, dark textures seemed to take on another level to the painting I had not expected (or planned).

Secret Places

(almost finished)

Watercolor on Aquabord

22X30

A little more "push and pull," tightening up lines, and glazing the urns and shadows and then done! I can see the light.

No "small" paintings

2010-04-08T15:27:00.004-04:00

A few weeks ago I was invited to teach a watercolor workshop at a local high school. The students chose subjects for a painting from their "concentrations", a body of work related to their chosen concepts. The assignment was to find an interesting perspective for subject placement that would feature cast shadow shapes within the composition. Since watercolor by nature is a transparent medium, the paint works well to describe the transparency of shadows. We worked on Ampersand Aquabord, a textured clay surface that has many "forgiving" properties for beginning watercolor painters (most notably, the ability to life out and subtract paint and correct errors).
The class jumped right in without fear, worked hard, and created some amazing work.

Katie's man walking

Kayleigh's cleat

Jaclyn's cups

Victoria's self portrait

Vaisha's easel

Vitor's tire

Thank you all for welcoming me into your class, keeping open minds, and allowing me to share my love for painting and watercolor.

No Two Alike

2010-04-01T14:51:00.005-04:00

Even if I tried...really, really hard, I could not do the same painting twice. Something is always different the second time. This I love when creating...a painting is after all, original to that moment; how the paints mix and dry, how the water is moving that day, how the brush is manipulated, the mood of the creator, etc. All the factors that work to pull it together, will never be exactly the same. Sometimes I like the first version better than the second, but liking the end product is much less important than enjoying the process of doing, developing an idea, and following the direction the painting takes along the way.

The Space Between

Watercolor on Aquabord

16X20

my chair study

Watercolor on Aquabord

6X8

All together

2010-03-24T21:43:00.006-04:00

Four Buds on the 'Sil
Pastel
11X14
Rarely (if ever) can I say I have finished a painting in one day. After spending three weeks failing at an underpainting for a previous work, I finally gave it up and decided to start fresh. I'm not sure if it was the freedom of letting go of something that just wasn't working, moving in a new direction, or that I had done this painting in my head over the past 6 months, but it just all came together today. The hand and the eye working harmoniously. My intention for this painting...loose approach and contrasting elements of design; contrast of color temperatures with dominance of warms, contrast of organic and geometric shapes, and contrast of textures.

The Chair...take two

2010-03-19T11:23:00.005-04:00

A few months ago I painted a small study, cropped version of a chair, junk out in "the yard". This week I am repainting that chair as a demonstration for a beginning watercolor class. For the "take two" larger version (16X20), I introduced an expanded palette of colors to include warmer tones in relation to what will be the "coolness" of the shadow. Placing warm intense color in front of cooler, less intense color will visually "push" the warmer shapes forward, creating an illusion of depth. "Chair" finale...coming soon.

Six Small Studies

2010-03-14T16:59:00.007-04:00

This week I am helping a class of art students at Massaponax High School work through their first watercolor paintings. We began last week studying our subjects outside and working to develop an interesting arrangement and perspective, considering the design and composition of the shapes created from the cast shadows. We set objects in the sun to create a strong light source, good lights and darks and value contrast.
Having never done watercolor, it will be hard to see how each step will lead to a final painting. Using the images the students selected, I painted small color and composition studies that will serve as guides to working through their paintings. Not only for the class, but for studio paintings, I will often do a small study to "test" color selections, pigment mixes and properties.

Considering color harmony, I will choose pigments that represent each color family (yellow, red, blue) and vary in color temperature (warmness and coolness). Yellows: Aureolin yellow, New Gamboge Reds: Burnt Sienna, Brown Madder, Alizarin Blues: Cobalt, Ultramarine Blue, Pthalo Blue are a few of my favorite "staple" pigments.

My goal is not color accuracy, but rather to give the color more life allowing colors to mingle on the surface. One aspect of color illusion, is making a color appear to be what it is not.

Anticipating Spring

2010-03-07T11:00:00.008-05:00

Some days it seems the winter will last all year, the chill and drear, but not today...sunny and sixty (degrees)...and a few signs of spring...buds of crocus...and hope for warm sun and color soon to come.

Signs of Spring

Watercolor on Aquabord

"There are always flowers for those who want to see them."

Henry Matisse

Regarding Yellow

2010-02-26T14:32:00.005-05:00

One of the wonderful characteristics about watercolor is its ability to appear luminous. Because watercolor is a transparent medium, the colors that are put on the surface first will influence the following layers. I consider yellow to be one of these "foundation" colors. If I want a finished area to have a warm glow, I will first put down a layer of yellow. Much of the "yellow" in this painting, for example, is foundation for what will be rich, warm, luminous dark spaces.
I have covered most of the surface with the first steps in describing the textures, shapes, and forms. Now I will begin to "push and pull" shapes building up the darker transparent layers and developing depth in the painting.

First steps: Lights and Glazing

2010-02-19T12:16:00.007-05:00

Painting with watercolor is simply applying a sequence of layers or "glazes" to build value, develop form, and create the illusion of light and depth. My process begins with recognizing the various "lights" in a painting (warm vs cool intense white light). For a painting in which the "light" is mostly a cool, white light (like the Iris below), the white of surface serves as the "light" and I will begin to build subsequent values around that white, beginning with the lightest values. I apply paint "wet-into-wet" for a given area typically using "glazing" pigments for this step. Glazing pigments when diluted with water are transparent, liftable, usually non-staining, and will not appear "heavy" or "muddy" over the course of adding layers. (Below: cobalt blue, viridian, permanent rose, aureolin yellow, and dioxazine violet) The challenge in watercolor...preserve the light and not cover these areas with paint...look first, then paint.

For yellow-warm or combinations of light, my first step in the layering sequence is to paint in the warm "light" with the appropriate yellow (usually Aureolin or Hansa Yellow Light), but still using the surface to reflect the white, intense light. See previous demonstrations.

My method for applying paint to aquabord: Wet-Into-Wet. Wet the surface of the area you want to work. I will often work in "compartments" (i.e. one pedal at a time). Saturate the area until the water stands on top of the surface. Drop in paint toward the edges where you want the most color, leaving the white areas. Drag your brush toward areas that you want value. Drop in more color as needed. Lift and tilt the board to allow the water to mingle the paint until you are happy with where the paint will settle. Let the water do the work. You will see subtle changes in graded value that will begin to describe the form. Once the paint has set on the surface, you can move to an adjacent area. Continue the process until you have covered all areas as needed for this initial step.

Happy Painting

Finding Value in Value Sketching

2010-02-11T14:43:00.005-05:00

Almost 2 feet of snow and 2 blizzards over the past 5 days, I observed many "white out" views of the landscape. Snow covers the ground, insulating and simplifying forms and, at times, abstracting the landscape. The near "white out" conditions muted the color and also aided to simplify the value shapes.
In both my watercolor and pastel classes, I spend the first day of a session explaining (and often trying to convince beginning painters) the value of value sketching. For me, the "dreaded" value sketch is fundamental to the success of a painting. I am a value painter first versus a colorist. I use the sketch to evaluate and simplify shapes, identify composition structures, and describe, literally, the black and white design of the composition. The subject and details are not what it is important in this exercise, nor the representation of the landscape. I am simply testing the underlying design and value shapes created from solid masses of value.

The above exercise was done on white pastel paper using a method of constructing and deconstructing shapes with black pastel stick and various erasers.

Mary Washington Hospice Presents: Arts Healing Journey

2010-02-02T20:26:00.012-05:00

Over the past few months I have had the joy of helping coordinate an exhibit that partners Mary Washington Hospice and artists from the community. The exhibit features a collection of artwork along with statements from the artists relating their connections between art and wellness.

You can read more about the exhibit in the Free Lance Star.

Creativity can help keep the doctor away: Art exhibit promotes healing

In healthcare, we often recognize the relationship the mind and spirit have on the health of the body. However, we often fall short in using this link to promote wellness. Until I became a painter, I had not really internalized this concept. Through creating art I see how the silent connection made between the artist and the observer speaks a visual language that can often soothe and quiet the spirit. In this way, art can be a valuable healing experience, both in the creating and viewing.

my garage?

2010-01-29T15:17:00.004-05:00

Watercolor on Aquabord in progress, and progress, and progress 22X30.
Though not from my garage...I very much appreciate the wonderful "collection" of aged treasures and visual repetition of lines, angles and what will be secret dark spaces perfect for exploring. One of my fondest memories from childhood...exploring my great grandmothers long-abandoned log cabin, built by her and her husband; the decorative wallpaper...newspaper from the nearest rural south Texas town (that was able to produce a paper)...and the nostalgic smells and shapes of furniture re-purposed from a previous life and necessity.

Virginia Arts Advocacy Day

2010-01-21T10:54:00.007-05:00

ArtWorks for Virginia is the only statewide, multidisciplinary conference for Virginia artists, board and staff leaders of Virginia arts organizations, art educators and students, arts advocates and volunteers, as well as anyone interested in successful integration of arts in the community.
Anyone interested in the arts is invited to attend the ArtWorks for Virginia conference for Virginia Arts Advocacy Day in Richmond January 26-28. For the first time, ArtWorks will feature an exhibition on Wednesday, January 27 by artists from the Workhouse! My painting Abundance, along with 12 other 2D and 3D works from workhouse artists were selected to represent the Workhouse Arts Center.

Suffering...how it takes place while someone else is eating or opening a window...or just walking dully along.

2010-01-15T09:47:00.009-05:00

"About suffering, they were never wrong, the old masters: how well they understood, it's human position; how it takes place while someone else is eating or opening a window or just walking dully along." WH Auden

In light of recent tragic events and the people suffering in Haiti, I am reminded of this quote. Though I choose to interpret "Masters" as really anyone. I mostly connect with this statement as a nurse and mother, roles that help ground me in reality, but also often from an artist's view and the importance of being thankful for the beauty in what we see everyday.
And so this second week of the new year...and a new decade...I planned to re-organize and renew... my priorities... my intentions....my pastel box. I listed a few of these artistic "resolutions" below, but they seem lofty even as I type them remembering that others are simply "surviving". My real goal...never to walk "dully along".

1. Make better decisions when juggling competing responsibilities.
2. Focus more on the joy of creating and the journey.
3. Seek authenticity and work to develop a cohesion in vision, handling of medium, artistic touch and style.
4. Be confident in and value the of sharing my vision of art and the beauty in everyday, unlikely places.

Recommended by my friend who works at USAID:
Those interested in helping victims in Haiti can get more info by visiting the following sites (cash is viewed as the best way to help): Center for Int'l Disaster Info www.cidi.org; Interaction www.interaction.org for a list of credible responding agencies; www.give.org for assistance in making informed decisions when supporting charities; and www.globalgiving.org.

"Creativity Takes Courage" -Henry Matisse

2010-01-07T10:14:00.009-05:00

The beginning of a new year is the perfect time to re-examine artistic goals, personal priorities, and renew intentions. These aspirations provide a pathway to guide decision-making and help to clarify the directions we should take on our creative journey [and in life]. One of my most valued [and rewarding] intentions for 2010 is to continue to share the processes I have learned in art through teaching workshops. Over the past few years, I have had the amazing opportunity to teach and encourage the artistic growth of many developing painters of all levels. This month LibertyTown Arts is exhibiting artwork from Liberty Town "students" (aren't we all students of art) created in 2009. The Opening Reception will be Friday, Jan 8th from 5-9PM. Below are 6 of the paintings on exhibit by artists from my workshops this past year. Thank you all for participating in the exhibit and having courage to explore your creative drives. I am renewed by your energy and enthusiasm. For information and to view my 2010 Workshop Schedule.
Melange aux Fleurs by Sandy Staley

Hawk by Shirley Buckler

Tortuga by Sue Henderson

Sun's Flower by MaryBeth Algert

Hydrangea Close-up by MJ Bradley

Canna by Charlotte Plaxico

Abundance

2009-12-31T15:10:00.005-05:00

Summing up 2009 in one word...abundance... in heart-felt gratitude for my dear family and friends and the relationships that enrich my life each day... in opportunities both in art activities and as one of the founding caregivers opening a new hospital... abundance in life, the many challenges, lessons learned and occasions for personal and professional growth...and finally, abundance in joy anticipating all that is to come in 2010.
Abundance
Pastel on Pastelbord
18X24

From Life or Photo

2009-12-18T16:40:00.008-05:00

This past weekend I had the opportunity to speak with the juror of a recent show, of which I was a participant. The juror, a 3D glass artist and gallery owner in Alexandria, had chosen selections for the "Best of Showcase". (My painting was one of thirteen chosen out of approx. 100 pieces.) As the conversation evolved, she mentioned her process in choosing the "Best of Show" works and revealed that she had allowed a few of her "painter" friends to preview the works. One of her friends had been astonished that the juror had chosen a painting (or paintings) that may have been completed from a photo reference.
As a non-academic artist (someone who has not attended a formal art school) and as an artist who knows of many award-winning studio painters who use photographs as inspiration, I walked away from the conversation somewhat bemused. Is a painting created using a photograph as inspiration less valid than one created from life? ...even if the painting is the artist's authentic vision (her own vision, her moment, her photograph, unmanipulated)?
I continue to greatly admire those artists that can prop an easel in a field for hours and paint, or those who can perfectly stage a still-life painting and work for weeks from the same still life (and I have done so myself many times), but admittedly for me, working from "life" and "en plein air" is highly impractical to my process. Honestly, if I set a crate of apples out for 2 weeks to paint them, they would get knocked over during "hide-and-seek" and rearranged and eaten by my children on the first day (ok, maybe the second). I am proud to say, that I am a studio painter who works from my own photographic references. For if I weren't working from a photo-derived inspiration, in the bits and pieces of time I do find to paint; between being a mom, a nurse and the magician who maintains "good order and discipline" at home, I wouldn't paint.
No doubt this debate will continue without agreement. And just as I appreciate and respect the methods of other artists, I am thankful to the juror for choosing work that spoke to her "from the gut" and not a preconception that art created from something other than life is less valid and worthy of recognition.
For me, validity is in the vision, the translation from the spirit, and the courage in doing and much less about the method and process (though I find great joy in the process). The vision is from life, the process in between, merely a vessel on an open road.

Between Paintings

2009-12-10T06:19:00.006-05:00

While most everyone I know is fervently creating "small works" for holiday shoppers, I have found myself committed to 2 large (for me), involved paintings; working one pastel (18X24) at home and a watercolor (22X30) in the studio at LibertyTown...and I couldn't be happier.
It might take me a month to finish each, but for weeks, I won't have that unsettling feeling of being between paintings...that short time before the beginning of a new work, where I am idol in planning, allowing time for indecision and self-doubt. I am content in the day knowing just where to start and what to work...no time for dilly-dally.

What could possibly be the same about these two paintings?... repetition of shape and pattern and trapped dark spaces... we'll see how it all works out...in 2010.

Paint On!

2009-12-03T15:09:00.007-05:00

In the midst of the season's bustle...pressure for "small works," never-ending holiday demands, countless distractions and set-backs... I am driven to embrace a recently discovered statement (and very fundamental declaration). "If I never sell another painting, win another award, or get accepted into another exhibit, I will paint". I am reminded that something much deeper motivates me and there is a purpose to the work that fills my life (and fellow artists). Whether art serves as a language to communicate with the observer, or as a form of escape from everyday demands, or simply the realization that art is an important aspect in our common humanity, we... I ...feel better having art in our lives.

What a Steal!

2009-11-24T08:38:00.006-05:00

Join me for a very special night at the Workhouse Arts Center, Saturday Dec 12th.
Each year the studio and associate artists at The Workhouse help with a fundraising event called the Collector’s Showcase. I am inviting you to attend this event on December 12, 2009 and help me support the Workhouse and all of its programs. Art collectors and patrons buy a $150 ticket to the event where they enjoy wine tasting, music and best of all they get to select an original piece of artwork and take it home from a collection of over 100 pieces that have been donated by artists at The Workhouse.

Pelican Party up for auction for a $150 ticket!

a garlic a day

2009-11-17T20:57:00.002-05:00

A Garlic A Day
11X14
pastel on ampersand pastelbord

Visual Summary

2009-11-13T11:20:00.004-05:00

As an artist, one of my tasks in creating a painting is to simplify and translate the essence of a subject as I see it in that moment on any given day. During my pastel workshop this week, we had a discussion on "simplifying," and as one of my students aptly stated "creating a visual summary". The concept seems "simple" enough. However, beginning painters often become distracted with and jump right into painting the details, forgetting that value and form are the "batter and cake" in a painting; essential for it's foundation, success, and "readability".

So, a few tools and questions I use to know what "detail" to include in my visual summary: 1. Begin with a thumbnail sketch. Value sketches are useful in helping you simplify your design into only shape, value and form. 2. Squint your eyes and look at your image. The values in shape and form are the "cake", everything else just "frosting". 3. Which details (usually line or texture) are important to enhance the visual flow and underlying compositional structure? 4. Is the detail important to overall "readability" of the painting? If not, I leave it out. 5. Much of painting is illusion and "special effects". I will often hint at the detail (usually with texture, a few gesture lines, or direction of the pastel application) without actually drawing it in; the viewer's eyes will fill in the rest. For example: in my garlic painting, I use the line of shadow shapes to create movement and flow, visually directing the viewer through the painting ("readability"). The trapped areas of detail and texture (which are really, just less blended areas) at the buds of the garlic also direct (and pause) visual movement. My goal... to support the underlying armature (see previous posts).

One Garlic [breath] at a Time

2009-11-06T13:29:00.003-05:00

As I work, I am continuing to balance the variety of "warm and cool" color along with considering value and color perspective as I define the forms and space: lighter values, intensity of color, and warmth appear forward; darker values and cool colors visually recede. I also enjoy the interplay of lost and found edges that contribute to the illusion of "real" and aid the viewer's eye to travel around the painting.

Healthy dose of reality...I mean realism.

2009-10-30T16:04:00.010-04:00

I find creating "realism" in a painting helps ground and settle me in the present. Realism on a 2D surface is nothing but "special effects"... i.e. simply drawing with value and color perspective.
For this "breath of fresh - garlic", I have chosen a neutralized complimentary color scheme of "oranges" and "blues". Considering color harmony, I will keep my palette simple, choosing only a few colors within my color scheme that represent a variety in value (lights, darks, and midtones), softness, temperature (warm and cool colors) and chroma (intensity).

Form and value in painting are built by layering pastel of various hues and color temperature. Most often, I will work spatially, working an area as it occurs in space on the 2D plane. I begin with the most distant space and work towards the most forward space. That said, I continuously go back and make minor adjustments to previously worked areas to balance the colors and values throughout the painting. In general within these spaces, I work from dark to light and harder to softer pastel.

Studying the light as it falls on the subject, I first lay in the darker and "cooler" color followed by the warmer darks. I consider this the foundation darks, followed by the lighter, softer color "on top". By accurately portraying these values, form and depth are created (and thus the "special effects" of painting).

Before the drawing...

2009-10-25T07:57:00.007-04:00

Quite a bit of planning occurs before I begin the drawing for a painting. I have found that I am much more successful with a painting when I have organized and done a little prep-work first. Thumbnail sketching is often a part of my initial planning. Small sketches can be great tools to help you simplify the abstract areas in your design, determine a structure for your composition (if desired), better understand the value and shape relationships, and explore possibilities in design before committing to it in your final painting.
A few tips for thumbnail sketching: Keep your sketches small and simple. They should only take about 5 min each to complete. Don't worry about details, just focus on a pleasing arrangement of shapes and values. Above, I am generalizing mass areas and identifying the areas of lights and darks. I ask myself...Do I want to follow a design structure (or armature) for my painting? Where are the areas of lightest lights and darkest darks? How can I use these shapes to enhance the design of my painting? How will I use these lights and darks (and line direction) to create movement in the painting? How will the viewer's eyes travel around the painting (passage)? Do I have (and want) a focal point?

One of the most exciting aspects of painting for me is finding order in apparent randomness, especially in life and snapshots of everyday moments. For this reason, I don't "stage" my still-life paintings. I find order in what is already there. For example, the garlic above was a photo from the farmer's market near my studio in Fredericksburg. Armatures serve as the backbone structure of a painting, will help create a coherent flow, and are a starting point to determine placement of shapes, values, and color. The disclaimer here... not all paintings need to have a structure to be successful and not all compositions lend themselves to structure (i.e. single-object still life, continuous field compositions, portraits, etc), but many do. Above are a few common compositional structures. Again, these structures are simply guides, not rules, and for beginning painters, will provide a direction in helping you organize and be more successful with your paintings.

How to...draw using a grid.

2009-10-22T10:56:00.009-04:00

Over the past few years, I have taught many beginning artists in various workshops. I have found that one of the most difficult and frightening aspects of starting a painting is the drawing. For most of us, being confident in the initial drawing is critical to how we will feel about our work at completion. So in teaching a workshop (whether it be watercolor or beginning in pastel), I just can't get around the first class: where to start with a drawing and how to design and craft a painting. Over the next few blog entries, I thought it would be helpful to post a few tips I follow that will help beginning artists be more successful in their paintings.
For students who have never drawn, creating a grid is one useful way to help you determine size, angle, and foreshortened relationships and perspective. If working from a reference, your first step will be to find the right proportion for your enlarged sketch (grid). I do this by laying the reference to the lower left corner of piece of sketch paper (large enough to fit your working surface). Draw a diagonal from the lower left corner to the top right corner. Any place on this diagonal that you draw 2 perpendicular lines, the rectangle will be proportional to your reference. This is the area you will use as your format for the larger painting and the area that will correspond to your grid.

Admittedly, there are many ways to make a grid. I will typically divide the paper and reference in half, 1/4 point and 3/4 point both vertically and horizontally. The one rule... the grid should be the same in both your reference and your enlarged paper. You can further divide you grid as many times as necessary. My goal here is to simply create an accurate line drawing to work from while painting. I will often revise my drawing as I go to fit what works for the painting. Most of the drawing is done with value and form in pastel. However, if my initial proportions are off, then I will never be able to accomplish what I want with value and form. Tip: I will place my reference in a sheet protector and create the grid on the plastic with a sharpie. This way, I can take the photo out later and see it without the distraction from the grid.

Once I have a drawing I am confident in, I will turn the paper over, cover the lines with graphite (for a watercolor) or hard pastel. Then I will lay the sketch paper over my painting surface (pastel side down) and retrace my initial sketch. Only the pastel sketch will be left on the surface and I am ready to start, almost...

Art and Life

2009-10-20T09:56:00.004-04:00

I am considering a number of titles that seem fitting for this painting: wild perseverance, solidarity, resolve, fortitude... Just as a subject for a painting is chosen from moments in my immediate world, so is the interpretation- of challenges, triumphs, struggles, and lessons- some stated, some silent. Art does not happen independent from life.
Did you know- a little sunflower trivia? Wild sunflower seeds are adapted for living and can remain viable for as long as 10 years. Sunflowers are also eager to cross species and form hybrids. A bee transferring pollen from one species of sunflower to another could be unwittingly creating a new hybrid by swapping genes. Forming these unions is how sunflowers can spread and thrive in extreme environments, like salt marshes and sand dunes. Ornamental and industrial breeders take advantage of this pliant attitude to create new colors, sizes, oil content and seed size. A domestic sunflower is also known to sometimes bend to make contact with its own pollen, where it self-pollinates.

"just stop the art"

2009-10-10T19:27:00.006-04:00

Seriously, how does one go about "stopping the art"? Painting has been my addiction for the past 6 years or so. Though despite my addiction, I have been able to maintain a job, some healthy relationships and find joy in many other things. However, when I am not creating art, I am often thinking about art. The thinking about art has always been there ever since I can remember, only the "doing" began about 6 years ago. So, how now, after a daily commitment to creating, can I just stop...? The concept saddens me. Finding "balance" in life is such an illusive quest.
the poppy
(and dark places)
8X10
Watercolor on Aquabord

Rough Water

2009-10-06T13:58:00.006-04:00

Rough Water
16X20
Pastel on Ampersand Pastelbord
I found this type of continuous field composition very difficult to organize into some structure. Which I guess is the point...why would I need to "organize" continual movement? My desire to classify everything into some visual order is a concept very hard for me to push aside when painting. And yet, I probably breathe the easiest, when seeing a subject too grand to classify: millions of leaves and dappled light in the forest, endless water in a seascape, thousands of wildflowers. In the presence of grandeur, the eyes rest and the spirit is quiet.

Open Water

2009-09-29T15:43:00.006-04:00

Before moving to Virginia, I lived in southern California. Somehow, living near the beach, the water begins to draw you in. There, I discovered "open water" swimming. When surrounded by motion, the ocean feels alive, every drop moving with some unified purpose.
My intention at this early stage...simply to capture the perpetual movement of the water. My next challenge, organizing the movement.

Black Bear

2009-09-29T15:31:00.004-04:00

We're Going on a Bear Hunt

We're going on a bear hunt,

We're gonna catch a big one,

What a beautiful day,

We're not scared.

Oh ,oh! Grass,

Long, wavy, grass.

We can't go over it,

We can't go under it,

We've gotta go throught it!

Swishy swashy, swishy swashy.

OH NO IT'S A BEAR!!!

Brown Bear

2009-09-24T15:14:00.005-04:00

This week I am working on a commission for a couple of bear "portraits." Honestly, I don't really think of myself as a wildlife painter, but I just love doing them (and do many of them). Who doesn't love a cuddly teddy bear?

If you ever, ever, ever

meet a grizzly bear,

You must never, never, never

ask him where

He is going,

Or what he is doing;

For if you ever, ever dare

To stop a grizzly bear,

You will never

Meet another grizzly bear.
Mary Austin

And the word is...

2009-09-17T13:53:00.004-04:00

...Chair. Seriously, how could 10,000 people be inspired by the word "chair"? But I guess they were, including me (or at least if not so much the chair itself, by the negative space, shapes and shadows around the chair). You can check out some of the submissions for the project. The opening for The 10,000 People Project will be in Atlanta, Georgia at the Art House Gallery on Dec 11th from 7-10pm. There will also be a book published with 1000 of the entries.
The Space Between
Watercolor on Aquabord
6X8

The 10,000 People Project

2009-09-15T10:00:00.004-04:00

Last October, just for fun, I joined a project hosted by the Art House Coop in Atlanta, Georgia. The concept... 10,000 people would receive a mystery word in the mail and then create a piece of art using that word as inspiration. I was intrigued by the idea, potential, and possibilities. Then I received the word...

Afternoon Thugs

2009-09-13T13:33:00.006-04:00

Afternoon Thugs

Watercolor on Aquabord

6X8 (2)

From There 2 Here

2009-09-07T11:52:00.006-04:00

As part of the Torpedo Factory's 35th anniversary celebration, Target Gallery presents From There 2 Here, an exhibition featuring artwork from three regional art centers that were inspired by the Torpedo Factory's groundbreaking concept. The participating art centers (including LibertyTown) are similar in design to the Torpedo Factory in that they have open studios and galleries inside of re-purposed architectural spaces. LibertyTown was an old plumbing supply warehouse in Fredericksburg converted to 30 or more unique studio and gallery spaces by the vision of Dan Finnegan.

My Pelican Party was chosen for the exhibit and will be on display in the Target Gallery in Alexandria, Virginia from September 10th- October 18th. The gallery will hold an artist's reception September 10th from 6-8PM.

"Afternoon Thugs" in Progress

2009-08-28T20:31:00.005-04:00

"We fritter away our lives with detail...simplify, simplify." Henry David Thoreau

That statement describes my life well and is easy to recognize but difficult to do [in a painting].
Above, value is doing most of the work simplifying the forms and capturing the essence of the figures. Subtle contrasts create strong light allowing the light and shadow to describe the figures. I kept the palette simple, leaving color vague and earthy. I chose pigments that when mixed would make strong heavy darks, and alone would vary the temperature, transparency, intensity and texture of color in the shadows. Burnt Sienna, Brown Madder, Ultramarine Blue, Manganese Blue, Thalo Blue, Alizarin Crimson.

Two Portraits: Simplified and Unpolished

2009-08-26T09:20:00.006-04:00

My intention this week... try something different, hopefully interesting, somewhat unconventional [for me], and non-floral. So I am beginning 2 "loose" study portraits [of my in-laws].
My challenge... simplify the figures as somewhat abstract shapes, use value and color to describe light and dark forms, vary the "lost and found" edges to give the illusion of depth and light, and connect shadow shapes to create unity.

My realization... the subject doesn't really matter, the principles are the same.

Published!

2009-08-23T18:32:00.006-04:00

I found out this week that I have been selected to have 2 full pages of work published in the next volume of Best of America: Pastel; along with many very noteworthy artist and artwork. Funny how self confidence (or lack of) and fear of rejection can sabotage great opportunities; I chickened out entering the watercolor edition after seeing the work chosen for last year's edition. Good thing I didn't look at the work in the pastel category before entering.

Shades of Pastel

2009-08-20T13:25:00.004-04:00

Flourishing Above the Surface
18X24
Soft Pastel
I am thrilled to have this painting accepted into the Shades of Pastel National Competition. The juror for this show is Richard McKinley, a nationally-recognized master pastelist. I took a bit of a gamble entering, and only entered one painting. Usually, I think jurors look for groups of work that are mature and cohesive and then select one or two to show. I had finished this painting just in time to enter, but really no others like it at the time. The exhibit is hosted by the Maryland Pastel Society and will run September 26th to November 7th at the Strathmore Mansion in Bethesda Maryland. Opening Reception will take place on October 4th from 1-3PM.

Kid's Art Safari at LibertyTown

2009-08-15T15:40:00.008-04:00

A few things I learned teaching art camp this week.
1. It is impossible to be toooo silly.

2. 6 and 7 year olds love to smile and laugh.

3. Children have wonderful imaginations. Want to know all the possibilities of creating a map collage (and what to do with it)? Ask a 6 year old.

4. Plan plenty of "extension" activities. Art exploring can be very exciting.

5. It is physically impossible for 6, 7, & 8 year olds to sit still, not talk and giggle, draw silly faces, and not skip. Something like "exploding heads" may result.

Aftermath

2009-08-13T21:03:00.006-04:00

I am still reeling a little from the opening at Bistro Bethem on Monday. Mirinda and I hung the show that morning into the afternoon and hosted the reception later that evening. Below are a few pictures from the day.

Wine well deserved.

Thank you to all the art patrons in Fredericksburg (and Stafford) for your support! Now onto art camp for eleven 6-8 year olds, Yikes! Did I really plan both of these activities in the same week?

One more for the show...

2009-08-09T08:35:00.005-04:00

After contributing so much time to the poppies, I just couldn't let this one go. A few days ago, I pulled it off the shelf. With fresh eyes it was easier for me to see what small changes I needed to make and did. Funny how just a few touches can make such a difference in a painting (or maybe it was the fresh look). I am much happier with it now and am reminding myself... the process is more important than the product and I am always learning. Thank you all for your kind comments and encouragement.
Full Glory
22X30
Watercolor on Aquabord

New Work @ Bistro Bethem, Aug 10th- Oct 4th

2009-08-04T12:35:00.005-04:00

The posters are up, cards mailed, most of the artwork done (except for a little varnishing, framing, and a few small details), and we have an article "Applause" on page 3 in Fredericksburg's Front Porch Magazine. Maybe I can catch my breath before the Opening August 10th.

"Light in Spring"

2009-08-03T20:13:00.006-04:00

Light in Spring

Soft Pastel on Pastelbord

16X20

A light exists in spring

Not present on the year

At any other period.

When March is scarcely here

A color stands abroad

On solitary hills

That silence cannot overtake,

But human nature feels.

It waits upon the lawn;

It shows the furthest tree

Upon the furthest slope we know;

It almost speaks to me.

Then, as horizons step,

Or noons report away,

Without the formula of sound,

It passes, and we stay:

A quality of loss

Affecting our content,

As trade had suddenly encroached

Upon a sacrament.

Emily Dickinson

Settling In...Tulips

2009-07-31T13:18:00.007-04:00

Toward the end of a painting (before I start the next one), I am the most unsettled in my life in art. For so long I suppressed the creative spark I felt since childhood. Life just happens and we become so focused on our daily responsibilities. I guess I still hold a little fear that a lag in creativity will stifle that energy. So I am usually about 2-3 (sometimes 5 or 8) paintings behind (at least in my mind). Though reason says I should really take a break after such a long stretch of painting, I am eager to begin and settle into the comfort of the next painting. A little fear of idleness pushes me on.

Progressing

2009-07-26T20:37:00.002-04:00

Making progress... This should be my last painting to complete before the show in August. I can see the light...

A Fresh Start

2009-07-22T20:47:00.002-04:00

One for the shelf

2009-07-20T20:47:00.005-04:00

One purpose for my life in blog-dom is to help keep me honest. Therefore, I must admit I have been delaying this post for almost 5 days. Despite my good intentions, preparation with small study sketching and color planning, I have not quite been able to make this painting work. There are parts that I really enjoy (some reds luscious and well placed, others flat lacking harmony with the other colors in the painting), and I am finding myself working and reworking the pedals on the forward flower. I almost never do this. Usually, if a painting isn't working, I just quit, shelf it and move on. A painting will pull together easily, or it won't. That's it, no fussing. A watercolor "fussed" over will almost always look overworked. Though I am facing a deadline, struggling to complete enough paintings to exhibit, and have committed so much time and energy into this large painting, I am taking a break from it (at least for now hoping to return with a little courage and clarity). This declaration feels liberating and now I am free to move on to a little more control and predictability....pastel (and hopefully one more painting for the show at Bistro Bethem in August).

Poppies, In Progress

2009-07-15T05:49:00.003-04:00

Reds are in, centers started. Now, what to do with the background? I have painted a few ideas in a sketchbook. I want a background that will maintain the integrity of the painting and contribute to the "mood" of the subject. A little history about the poppy...

The poppy, by nature, is a wildflower. It’s seed will lie stagnant in the ground until it is disturbed. During times of war, soldiers would, inadvertently, churn ground as they marched though fields. The result was a beautiful and overabundant growth of poppy flowers found to flourish in conditions where most other flowers would die.

Poppies

2009-07-11T07:22:00.003-04:00

First glazes of warm and cool reds. Using water and gravity to push the paint around, creates movement with the pigment as it dries on the clay surface. I use these controlled "blossoms" create the form and curves of the pedals.

First the Yellow

2009-07-09T06:07:00.005-04:00

I have begun the final painting for my show at the Bistro coming up in August. These poppies were growing in my neighbor's yard and at full bloom were stunning. I love their simplicity in shape and form: only 4 pedals to paint. These poppies will be larger-than-life and in full glory on 22X30 aquabord. First, I put in the yellow underpainting, which will be the foundation for a variety of warm and cool reds.

Tulip Triptych

2009-07-05T15:31:00.003-04:00

Tulip Triptych
12x12 (3)
Watercolor on Aquabord by Ampersand

"Pink and Red DO match"

2009-07-02T06:29:00.005-04:00

I am dedicating this entry to my Kindergarten Art Teacher who crushed my creative spirit when she declared that my construction paper flower with alternating pink and red pedals "did not match". I have never forgotten the disappointment I felt as a 5 year-old who was so proud of the work she had created. Now, pink and red is one of my favorite color combinations. I only wish I could go back and tell her... "Oh yes, pink and red DO match!"

Painting "light"

2009-06-27T06:59:00.005-04:00

In most of my paintings, my goal is to achieve a sense of "light" that will add spirit to the subject. For me, good "light" grabs your attention and brings energy into the painting. I am drawn to paintings that use contrast and light to create a mood. In watercolor, the illusion of light is captured by painting around the light. That sense of light comes from achieving a contrast of values within the painting (the lightest value being the white of the surface). Using a range of color temperature contributes to this illusion as well. I also like to paint in a little light using touches of cool yellow (Hansa Yellow Lt) hinting at the idea of sun. I am at the midpoint for building the values in the above triptych (each section 12x12 on Ampersand Aquabord).

My Smallest Fan

2009-06-21T16:34:00.006-04:00

How can I be expected to work under these conditions? Hee,hee...

...amazing I can get any work done.

Painting on Yupo, Workshop Day 3

2009-06-15T18:53:00.003-04:00

Today I finished up my painting for the workshop demonstration. I worked around the flower, painting each pedal with an application of wet-into-wet paint, dropping in color, adding a dark maroon mix where needed and lifting out paint as needed to create form. To enhance the perspective of color, I used more neutral magenta and purples in the pedals behind and more intense magenta and whites for the forward shapes. I may add a few more details or dark shadows within the flower to finish. Once complete, I will use an aerosol varnish to seal the painting and then mat and frame the painting behind glass.

Magenta, Watercolor on Claybord, 8X8

2009-06-12T12:15:00.005-04:00

"Stop the car" I tell my husband, driving out of our neighborhood enjoying one of first few days of spring with the kids. "Watch you doing, mommy?" asks my 3-yr-old. My six year old answers, "She is going to take pictures of the flowers." And I add, "I just saw my next painting." And so the conversation goes...
I take my camera everywhere. You never know when something will catch your attention and call to be a painting; everyday things that I may not have even noticed the day (or years) before. That day, it was a row of tulips(?); three lined up in a row dancing in the wind and sun, spotted in the landscaping at the corner motel exiting my neighborhood (an unusual place to find beautifully landscaped patches of blossoming tulips I would say). So, these flowers will be the subject for my next painting, a triptych watercolor on aquabord. Above my composition and color study of magenta.

Painting on Yupo, Workshop Day 2

2009-06-08T19:16:00.004-04:00

In today's "Watercolor on Yupo" workshop, I painted the background (and some foreground) for what will be a water lily flower. The paint for the background was applied using a "soupy" mix of paint, pulling from puddles of Perylene Green, Winsor Green, Indigo, and Dioxazine Purple. I allowed the colors to loosely mingle by dropping in water and pushed around the darks with a paintbrush to create forms until the paint dried. For painting these rich darks, I have recently began using the PBk31 pigment, Perylene Green. After researching this pigment (www.handprint.com, my most used reference for researching pigment), I have discovered that Perylene Green falls into the family of "Black" pigments. And now that I have been using it, I don't know how I ever got along without it. Perylene green is very lightfast (rated 1 for excellence), semitransparent, staining, very dark valued pigment.

WaterLily Pond, Complete

2009-06-06T17:23:00.006-04:00

Flourishing Above the Surface
Pastel on Pastelbord
18X24

WaterLily Pond, Almost finished

2009-06-03T12:37:00.005-04:00

While working on this painting today, I came to a realization (as I often do after spending so much time with a painting). And since entering the world of blogging, I have become much more introspective regarding the reasons why I paint what I paint and the timing of things. Usually there is some personal purpose, need to express a feeling or say something (other than a deadline or commission). So my realization today... this painting is a metaphor for my life; each lily pad a task, responsibility, relationship, or some detail in life. Some overlapping, some distant, seemingly obscure, all complex and inter-related in some way. Despite my best efforts, I am, at times, overwhelmed with the complexity of details in daily life (as I was with this painting). But then, I am able to step back and see my work (and life) as a whole; some edges up front, more prominent, others distant, more vague. The amount of energy, attention, and importance relative to that piece at a particular time. And then, out of the complexity of forms, something beautiful... blossoms- cherished relationships, nurtured children, professional successes, creative expressions. All connected and vital in the pond.

Balloons on Yupo

2009-06-01T20:45:00.006-04:00

Today I demonstrated two paintings for a "beginning techniques" exercise in the "Watercolor on Yupo" workshop. Yupo is a manufactured synthetic paper made from recycled plastic. The surface is nonabsorbent and so requires some variation from traditional watercolor methods. Watercolor painted on yupo creates unusual "fluid" effects. For beginning techniques, we practiced various methods for applying the paint on yupo, subtracting paint, and creating cascading variegated and flat washes. To see a few more of my paintings on yupo, visit my website gallery.

WaterLily Pond, Pastel in Progress 3

2009-05-28T07:06:00.004-04:00

I am working this painting on pastelbord by Ampersand. And along with Ampersand's other claybord products (I am using Aquabord for watercolor), I love these hardboard panels. Pastelbord is a clay and gesso panel with a sanded dust-like surface. The surface is similar to sanded pastel paper, but much more durable and versatile. Here, I am using soft pastels on the prepared green board (16x20), but the surface will also take wet pastel techniques and acrylic (maybe I will try this on their white panel next). So many options, so little time.

WaterLily Pond, Pastel in Progress 2

2009-05-22T09:59:00.003-04:00

10 hours and counting...
Beginning to take shape... despite the demands of daily responsibility...sweet children, work, holiday activities, life in general.

Painting "Green" Workshop, Last Day

2009-05-20T05:58:00.004-04:00

In our final "Painting Greens" class, we glazed in the shadow areas on the leaves, using the dark glazes to unify the variety of greens created earlier. I painted in another background layer to add a little more depth to the painting.

WaterLily Pond, Pastel in Progress

2009-05-15T13:40:00.004-04:00

Initially, I had planned on only painting watercolors on aquabord for the show I have coming up at The Bistro Bethem (Opening Reception August 10th). My goal was to create a unique cohesive group of work for the exhibit. However, I find that after doing a few watercolor paintings (especially if large scale and labor-intensive), I really need a break from that process. So I have begun a pastel (16X20 on Pastelboard) that I will include in the show as well. (And probably a few more).
At this stage, the painting mostly looks like random squiggles. My process in pastel...I will work one area at time to completion (I just can't help myself), keeping my plan for direction and "flow" in mind. As I work, I will go back and make corrections or add darks or lights to previously painted areas. I am consistently "pushing and pulling" shapes, always considering how each shape will "read" against the others in the final painting. When I see a pattern develop, I will try to include it in the over-all design plan. Very Slow-going...

Painting "Green" Workshop, Day 2

2009-05-14T05:48:00.004-04:00

This is a small painting I am demonstrating for my class this week on "Painting Greens". I am using the "greens" color chart from last week to guide my color choices for particular leaves, considering the "warmness and coolness" of each leaf, intensity, and value in relation to each other. My goal at this step is to begin to develop the perspective with color and paint a variety of warm and cool greens for interest. Next week, I will work to unify the greens, glaze to continue to "push and pull" leaves for overlapping, and strengthen the values.

Sunflowers Complete

2009-05-10T13:02:00.002-04:00

Mirinda's Gift
22x30
Watercolor on Claybord

Sunflowers on Clayboard, In Progress 6

2009-05-08T18:02:00.004-04:00

I have most of the background done. As I go, I will work around the painting and sharpen or soften the edges of each pedal, leaf, or stem. This step seems trivial, but really adds to the over-all overlapping effect. When I have worked through the entire painting, I will look again at the flower faces and pedals (my areas of interest) and add any details, shadows, or another glaze of pigment to further define the form and give the illusion of volume.

Sunflowers on Clayboard, In Progress 5

2009-05-07T19:26:00.005-04:00

I have started painting in the background for the sunflowers. My intention...a background that would provide a deep value contrast in relation to the high-key value of the flowers. And though I would like to say I intended to paint in the circular form in the background and the indication of a hedge line, sometimes a painting will take on it's own intentions. I just applied the paint, tilted the board and facilitated the movement of water. The forms developed, pigments separated, all on their own. Sometimes I like the effects best when they aren't created using a brush. Much of the painting is done this way, by tilting the board and letting the water move the paint versus using the paintbrush. I guess, after all, this is a watercolor.

Painting "Green" Workshop, Day 1

2009-05-04T17:31:00.005-04:00

Study of Greens in watercolor
For the first class we began exploring all the beautiful greens we could make mixing different yellows, greens, and blues and accenting or neutralizing the green with Quin Gold or Perm Rose. For the above color reference, we created greens that can be used to make leaves appear to be "forward", "middle", or "background" by varying the pigments used. For example, leaves that appear "forward" were mixed using the most intense yellows (New Gamboge and Hansa Yellow Light) and most intense green, Winsor Green (or Phthalo G). For "middle area" greens, we mixed pigments that are both intense (the yellows) and the less intense glazing pigments or granulating pigments (Viridian and Ultramarine Blue, respectively). The middle ground greens developed with much more texture. "Background" greens were a mix of glazing pigments, Aureolin Yellow, Viridian, and Cobalt Blue. When developing a repertoire of greens, I considered a few principles of color perspective; properties of pigments that will give a painting perspective with color. (i.e. intensity pulls forward, neutrals recede; light values expand, dark values contract; warmness pulls forward, coolness recedes, etc.) We will incorporate these beginning techniques into our leaves painting next week.

Sunflowers on Clayboard, In Progress 4

2009-05-01T06:07:00.005-04:00

For this painting (and the others in my clayboard series), I have chosen analogous or expanded analogous color schemes. Analogous colors, those next to each other on the color wheel, are often found in nature (one of nature's serene elements of design) and create visual harmony in a painting.

Sunflowers on Clayboard, In Progress 3

2009-04-27T20:48:00.007-04:00

Thankfully, the lighting was much better for this photograph compared to the last image. Today I worked in the faces; painting wet-into-wet, beginning with yellows, Quin Sienna, adding Brown Madder, Winsor Green, and Alizarin. I am getting much more efficient in applying paint. Typically, I would have to apply 3-6 layers of paint for darker values. Painting on clayboard helps. The surface tends to hold the darks better than paper. But also applying the right pigments at the right time with the right consistency makes a big difference. Next, I will work through the leaves. (I just noticed a small bug captured in the photograph. Anyone else see him? He is real, not painted. I guess he likes the flowers also.)