Monday, July 27, 2015

ROUGH SEAS REWORK + A BIT OF THIS AND THAT



The acrylic on paper painting I did a while back was not making me happy.  

Too blah.  Nothing to make anyone want to look at it.  







So I went back with oil pastels and my fingers and made changes.  

Hmmm...still missing any pop or interest.  

Maybe this one is going in the trash.




I did play around with some other things - just a bit of this and that...


A pink flamingo using just one color = Permanent Alizarin Crimson.
On a scrap sheet of Arches 140# cold press paper.  The seashell is a molded shell out of paper (like you use to make your own paper with a blender and a screen - I used a cookie mold and filled it with the paper pulp and let it dry).


The crow was a print I trimmed around, then added the heart (made by using texture medium in the shape of a heart, letting that dry on the paper and then painting inside it; letting that dry and cutting around it, punching a hole and adding the string).  

This one may become a birthday card for my Sweetie - who has a birthday in August :)

Speaking of birthdays, I just got an order from DickBlick.com that included blank Watercolor cards, blank Printmaking cards and blank Mixed Media cards - so I can make tons of cards for birthdays coming up and for the rest of the year - and then some!  

Meanwhile, my full sheet hydrangea is sitting waiting for me to finish it and I just do other things instead - can you say displacement behavior??? ha ha










Saturday, July 25, 2015

PAINTING WITHOUT DRAWING

In the latest Watercolor Artist magazine (the European one), there was an article about an artist named LaFe who paints without drawing - mostly flowers.  




I thought I'd try it.  

It really makes you slow down and look and look and look closely.  I started in the center darks, put in the darks first, and then the wet colors around.  Last = the background which then brought the lights up around the flower.  

Of course, now that I look at it I see the green leaves are pretty tiny compared to the flower - but that can be fixed...




Thursday, July 23, 2015

USING INKING OVERLAYS

When working in acrylics, I put my pigments out on Grafix Inking Palette, which is a plastic sheet.  I have a pad of 9 x 12 inch sheets (25 sheets in a pad).  When I'm finished working on the prints and other things, there is a remainder of the acrylic on the plastic sheet.  I keep them because they are pretty, but didn't know what to do with them...now I think I have a new idea for their use.




Using Matte Medium, I glue them down to a piece of white printmaking or watercolor paper. 


Putting them over a drawing works pretty well so it shows through and the color is added.

































The top two are glued down over drawings.  The third is just a lpiece laid on top of my watercolor journal.





Tuesday, July 21, 2015

ANOTHER WATER LILY



Another water lily painting using the Elegant Writer technique where you draw around the subject with the Elegant Writer and bleed that out using just water and a soft brush.  Then you add watercolor.


The first one, I left the lily white.  This time I bled out the Elegant Writer pen marks and added a touch of violet.



The students finished their paintings today, using this technique.

Friday, July 17, 2015

THIS, THAT AND THE OTHER




Some things that may become collage pieces...or not...




Acrylic paint, fluid acrylics, oil pastels, etc., on fairly thin paper (Strathmore Windpower Drawing paper, 80#)


This one reminds me of 
Looking in Other People's Windows.





And this one says to me, 

Don't Fence Me In.











This one is fluid acrylics and other things (oil pastel, watercolor crayon and pencils, white gesso, etc.) on fourth sheet (11 x 15 inches) Arches 140# hot press paper.

Thinking about 

The Circle of Samsara

which is what Buddhists call this life and all our patterns we escalate or de-escalate.



And this is just a journal entry, trying hard to go with the flow - now isn't that a typical human response to relaxing???  Instead of going, letting go, releasing and relaxing, we have to TRY HARD to do it right! ha ha

Gessoed partially over a prior entry in the sketchbook/journal - then used watercolor ink, fluid acrylics, white gesso and gouache and opaque watercolors to get to this.  


Wednesday, July 15, 2015

FIREWORKS IN JULY



This is not finished yet, but it's getting closer...

And the title?

Fireworks in July Hydrangea

Full sheet (22 x 30 inches) 
Arches 300# cold press paper
Daniel Smith and Holbein paints

I'll deal with the fiddly bits in the center, bringing the yellow petals out a bit more and giving them the centers.


Monday, July 13, 2015

BEGINNING OF HYDRANGEA MOVING FORWARD BIT BY BIT


Adding the yellow (Hansa Yellow Light which looks a bit greenish - more so than the Azo Yellow I had on my palette).  

By adding the bright yellow, it changed the look of the whole thing as far as the photo is concerned = it looks more warm now overall.  I'll be slowly adding the petals, one by one, as I move through this one.  It will be slow going, I'm sure.





So the actual painting is somewhere in between the top and bottom photos...the background is Moonglow + Zoisite Genuine (a dark dark green) so a deep purple with cerulean and pinks coming out in the wet-in-wet plus the deep granulating green-brown.  Strange how different these two look.  Guess I'll get a true photo when it's more finished.




Two shows are coming up soon, and I'm not even sure I'm going to enter either one.  If I do want one or two in the show in August, I have to get something to the framer's shop.    



Saturday, July 11, 2015

HYDRANGEA BEGINNINGS WITH MOONGLOW BACKGROUND


From a reference photo of my hydrangea as it bloomed by the doorway...

Using Moonglow + Zoisite Genuine in the background with Zoisite Genunite + Sap Green for the leaves.  I think I'll play the granulating/texture look of the background against the smooth look of the petals in this one.  Look for lots of blues with just a touch of violet or pink :)


This is a half sheet, Arches 300# cold press.  Daniel Smith colors.  
I will soften those hard edges when I add more paint and give the outside edges a little pop of color.  

This one has a name already (sometimes they just come so easily and other times it's a struggle!)...but I'll save that until it's more finished...




It's hard to get a good photo of the Moonglow + Zoisite Genuine in the background but this is pretty close.  




Thursday, July 9, 2015

CLASSWORK


On Tuesday I had three students.  I showed them how to use The Elegant Writer pen to outline their drawing and then bleed it out before adding color.  All three students did really well with three very different photos/paintings.  Unfortunately, I didn't take a photo of them.  I will try to do that next time when they return to finish their paintings.

My finished one on a fourth sheet of Arches 300# cold press paper.  (While the lily pads are accurate, in color, the water is more dark green and violet - sometimes the camera just does not get the right colors no matter how much I manipulate the white balance while shooting the photo.)  

I have another started on Arches 140# hot press, going to see if it makes a difference what kind of paper you use for this technique.