CEDARHURST PHOTOS

Here are some more photos from the workshop at Cedarhurst:  some sculptures and buildings on the Cedarhurst grounds.  I always got to the place early and put my things in the art room, then had a nice walk around the grounds in the early morning to clear my head and start the day off right.


My favorite sculpture in the park is "Gorilla" by John Kearney made out of chromed car bumpers. 




And how about this little bunny?  It was just outside the Shrode Art Center.  Cute!

I'll be driving home this morning - should be there by mid-afternoon.  Will have plenty to think about from the workshop and all the wonderful, sharing, fun people I met there!

Thanks to Carol Carter, an amazing artist and a great person; and thanks to all the artists in the workshop who came from near and far to share this experience.  And thanks to Cedarhurst Art Center for hosting this event.

I have more photos to share when I get home and get settled and sort through everything, but until then, I'll catch you on the flip side (now that's an old saying, right?)!!!

MOOOOO - HOW ARE YOU?

Here's a larger shot of the finished magnolia I did yesterday.




And today we worked on cows (or any animal the students wanted to use).  Carol called this technique the Glaze and Silhouette technique.  Before we could do our first glaze of color, we had to protect our cows so no paint got on them.

Carol does this by using masking tape to tape the large shapes and then using masking fluid to mask around the edges as well as all over the cow shapes (so no pigment bleeds under the masking tape). 

You can see how covered the cows are in Carol's version.  When the masking fluid was dry, Carol wet the whole background area and then started in the center with pale orange (Cadmium Orange), moving to the top and adding more pigment to make it darker Cad Orange, leaving the bottom white.

When that dried, she went in with Holbein's Horizon Blue and Lavender under the cows and as the shadows of the cows.




Pretty bold, yes???


When that dried, Carol removed the masking tape/masking fluid and began on the first cow, wetting areas inside the cow but leaving dry areas (which will be the white area of the paper).  Then she painted in Quin Burnt Orange as the underbase.


But for a really bold cow you can't have just Quin Burnt Orange.  You have to go even bolder!  So Carol started at the top of the first cow with dark Mineral Violet, moving down the cow into Alizarin and then Cad Orange in the legs!!!  Now that's a cow of a different color :) 

(The different views with the cow on the left or the right was due to the fact that sometimes I could get a direct photo of the painting and sometimes I was shooting up at the overhead mirror so the sides were opposite.)

The trick is to let the colors merge but still control the stages of colors.  To do that, you have to remove some of the really juicy puddles that may happen.  You keep reiterating the colors and the darks at the top, letting it blend a bit and move a bit but keeping the areas controlled a little.

Carol's goal was to have cool on top and warm on the bottom - hot Cad Scarlet on the feet :)

Here's the start of my own cow (a beefy steer I named Gorgeous George :)  At this stage, the background is in and the masking is off the cow.

My goal was the opposite of Carol's so I had to think warm colors on the top and cool colors on the bottom of the cow, with purple behind the cow instead of orange.  I had some problems with the paper - it seemed like it had spots and rough areas but I wanted to make it work so I kept going.  I didn't get a good gradation of the purple from dark to medium to pale because I forgot to start in the middle and darken at the top.  That's okay.  A graduated wash is something I'll have to practice a lot to get right and I need a good 2-inch brush to help with that.




So this was really pushing the colors and playing.  Here's the group on the wall for the critique - look at that color!!! WILD!!!!

Can you see Gorgeous George on the top row right side? 

Here he is in all his glory :)









The workshop finished today and everyone cleared out and headed for their various homes - or on toward their next destinations.  It was a bit of a let-down for me because I really wanted to go home but knew a 5 hour drive after the last day of the workshop would be too much.  So...one more night of missing Sweetie (although we talk twice a day).

SUNDAY MORNING - CAROL CARTER

For some reason, I didn't get a photo of my finished magnolia and it's in the car, waiting to go back for Day 3 of the Carol Carter workshop.  I'll get a photo of the finished one today.  But in the meantime, here are some luscious Carol Carter paintings to share with you.  Since Carol drove from St. Louis to Mount Vernon, she could bring a lot of her paintings, framed and unframed, finished and unfinished.  She used them to show us how she incorporated the lessons she was sharing each day - and gave us ideas on how we could incorporate those lessons into our own paintings when we got back home.

Enjoy!  And more from Day 3 to come later today.

Sorry about the post being in the center of this one - that was the best photo I could get while she talked and held it up (lots of students closer so I didn't want heads and knees in the photos :)

I loved Carol's expression in this one - when an artist talks about their love of painting, it shows in their face, doesn't it?

This was a painting Carol did to commemorate a friend who died.  She used colors she would not normally choose, challenging herself to create something beautiful with colors she didn't necessarily love.  And it worked - this painting is so striking!

And a teaser - this one is my magnolia painting started, working from the background foreward.  Delayed gratification!!  I'm not good at it, but I was a good girl in the workshop and did it just like Carol told us - except mine didn't look like her's at all.  Carol said I have a more naturalistic style and look to my paintings; meaning, I am more in tune with nature/the natural world and show that in my paintings.  I think she may be right - I love her bold colors but wouldn't normally reach for those combinations in my paintings. 

At the critique at the end of the day, we put up our paintings - all different and many different flowers showing - and Carol made us each start by saying what we liked about our painting - no negative nellies allowed in her workshop!

My finished magnolia is at the bottom (the vertical one just to her right).  I'll get a better photo of it today to share later.


And on today's agenda:  COWS!!!

CAROL CARTER WORKSHOP, SECOND DAY, TAKE TWO

Here's a few of the student paintings from yesterday's pear paintings - pretty good, yes?

Carol began the second day with a demo of a magnolia flower blooming amongst a background of leaves.  She said we would be using a more realistic palette today for our paintings.

She first explained that, since the flower was going to be pure white, she didn't want the sunspots in the background to be pure white.  So, to tone the spots down she used Shadow Violet by Daniel Smith (a pigment that granulates and separates into turquoise and pink - very pretty). 

After the areas were touched with the Shadow Violet and dried, she masked them off with Incredible White Mask (the masking fluid she uses).  Then that had to dry while she created some graphic lines around areas using Aureolin Yellow (that halo look that is her signature although less intense than on the pears painting).  Then she pre-wet a large section of the background and began dropping in colors, using Quinacridone Burnt Orange as a base and putting in Winsor Newton Green, Yellow Shade and Shadow Green by Holbein, making a lovely mix of colors and blending and leaving areas pure color here and there.  Lovely to watch happen if you love watercolors!

Then she did the area that was background but that was under the flowers and leaves.

Here she is, using a red glass piece to look through to check her values.  This was a neat tool because you could put it up to your face and look through it to see the values without seeing the colors. 










She then let that area dry and put in some leaves, working from the farthest back to the foremost leaves, using Aureolin Yellow and Quin Burnt Orange with some having Shadow Green at the edges (or Lavender by Holbein) and some not.  Variety in the leaves were apparent as she worked along.

Carol said her intention for this painting was to shift colors from dark to light and to hug the boundaries to keep the eye in the painting.  She also said you need to play with a shape and have gentle transitions in the colors, not let it be "wormy" looking = squiggly harder edges lines apparent and no blend.

Carol said, "If you can't give me a leaf, at least give me a beautiful watercolor shape."  I love that idea!!  Stop worrying and think shapes and make them as beautiful as you can.

The flowers were done last but the background flower petals first because there was one petal she wanted to have as the focal point - she always leads the eye to the focal point and works on it last, working up to it.  Flowers were done by wetting the shape then floating in Quin Burnt Orange and using Lavender (a strong pigment so she painted this with a small brush) to shape the curves and shadows on the petals.  Very pale colors began to look like full, rounded shapes of petals. 

She continued that way with each petal, working towards the focal point petal.  There is a lot of delayed gratification in this technique; you wait until the end to do the main star of the painting and integrate everything as you move towards that end.  This way, you don't have a great painting of a flower and no idea what to do with the background!

"Each painting should be teaching you something." 

I'll share my painting of my magnolia tomorrow and the other flower paintings from the students (not everyone did magnolias but had their own flowers to paint so a varied group of paintings this time).

CAROL CARTER AT CEDARHURST, DAY 2

Here are my pears from day 1.  Towards the end of the day, we put them all up on the wall and critiqued them.  Either we have a very good and talented bunch of artists or Carol is a fantastic teacher because they all looked pretty darned good!



The shadow shape was intensified with more Quin Burnt Orange and a bit of violet.  Carol uses Holbein Mineral Violet but I use only Daniel Smith color so I mixed Alizarin Crimson and French Ultramarine Blue on my palette, then dropped that in closest to the pears.  I was pleased with this but thought the red pear looked a bit less lively than the others.

But no worries - today we painted flowers and I chose a magnolia photo I've done before.  Today, I did it more in the Carol Carter way but not as bold with the colors or intensity.  That's okay, though.  Only Carol Carter can paint like Carol Carter :)

Going out to eat with a few of the classmates so will post today's stuff and photos later...stay tuned!

CAROL CARTER AT CEDARHURST, DAY 1

Since I never sleep well the first night away from home, I was awake most of the night Thursday night.  So that meant I was up and ready to go early Friday morning!

The night had deposited a heavy frost on the cars and a heavy fog, too.  Several people traveling from some distances Friday morning for the workshop were late due to the fog.  For me, it was a short drive and it was beautiful.  I parked at the Shrode Art Center where the workshop is being held and took a walk, taking my camera with me. 

It was 8 am and foggy and the sun trying to cut through and the grounds at Cedarhurst was beautiful.  I took a short walk around through the wooded areas and didn't go back to the center for about 1/2 hour.  I was surprised that there were already 4 people setting up when I returned - they were early birds :)

Cedarhurst has many sculptures scattered throughout its grounds - one of my favorites is the big gorilla made out of shiny steel or something (I'll get a photo of that before the workshop is over).  This one was a wire mess creation and the sun hitting it gave it an almost ethereal, see-through look that I liked.

Carol began the workshop by having us watch her shape orbs using just 3 colors and thinking about warm and cool sides of something to help shape it.  She used Alizarin Crimson, Aureolin Yellow and Prussian Blue (one of her signature colors) to shape the orbs.  Then we were to do it, too. 

Seems easy until you try it and painting wet-in-wet takes some getting used to and some watching and waiting in order to know when it's okay to add more pigment or lift pigment or twiddle the colors a little (something I am excellent at - twiddling colors - but mine always end up being mud because of over-twiddling!!).  Anyway, Carol said we were going to paint pears next, using that lesson of the orbs and shape-making to see how it could be used with "real" objects in our paintings.  And she said anyone who painted brown pears would get an "F" (see the brown pears she used as models? ha ha).  She said it's very important to not let your photo or still life set-up or plein air situation dictate your painting - think about colors and complements working with each other (to create shadows and to play off each other in pure pigments).  So, we did our orbs, some more successful than others; and then tackled the pears, after watching Carol start her pear painting.

Carol says she always paints from background to foreground, so before you can paint your pears, you have to put your surrounding area in - using just 2 colors, Quinacridone Burnt Orange and French Ultramarine Blue and letting them blend in places to get a good grey color.  She always prewets the area she is going to paint and doesn't prewet more area than she can comfortably control so she broke the pear painting up into background space, then foreground space - all before you could touch a single pear!  So she did her background and foreground space and then we started ours. 

Another signature look Carol has is the glow she gets in her paintings as if the painting glows from within - this is because she creates halos of yellow around her subjects and you can see that around the pears, even in the shadow underneath.  And she did the shadow shapes before starting any color on the background pear.  Again, we used the same 3 pigments we used with the orbs - just 3 and no more to get the shapes.  We started with a base color (Prussian Blue for the background pear, Alizarin for the next one and then Aureolin Yellow for the pear that will get the most attention). 

Because the paper gets so saturated and starts to buckle, Carol weighs down the edges - using anything of weight, including a hammer and a wrench :)  In her studio, she paints large paintings on the floor, bent over them and working (almost always when it's raining so she can have extra time to work the wet pigments).  My back won't stand that but I can just work flat on a table (no tilting this stuff because it will run all over - unless that's what you want).

She showed us a lot of her finished and unfinished paintings to highlight the day's teaching and to show us how she used the simple techniques to get some pretty amazing paintings (and often with 6 or less pigments for a painting and no more).  The focal point of this swimmer is the hand and it has the most work on it - the most pigment, the strongest value, the best shape.  Carol said don't be predictable - when doing a portrait or figure, why make the face the focal point - mix it up and do your own thing.

Why make your hair blonde or brown?  Why make your eyes the color they are?  Be artistic and creative and express yourself with color.

More photos to come tomorrow (when we'll be painting magnolias!).  So homework tonight is to draw it out on the paper and have it ready to go in the morning.

CAROL CARTER WORKSHOP THIS WEEKEND!!!

I am so lucky to be attending the Carol Carter workshop at Cedarhurst Art Center in Mount Vernon, IL this Friday-Sunday.  Sweetie will have to "batch it" while I soak in Carol's watery, loose, spontaneous, bold watercolors for 3 days.

May goal is to return home with renewed interest, enthusiasm and energy from watching Carol practice her magic with pigment, paper and water.

Carol has workshops all over the US and Europe.  If you're interested in joining her, check out her blog and see her workshop schedule.

And although I'm looking forward to this, I am anxious about the trip:
driving for hours, the weather holding (warm and rain today but what about tomorrow?), the hotel, getting around town, and...gosh just about everything. 
I am a born worrier, I think.  And having my glasses break Tuesday evening and then having to find a local Lenscrafters to fix them Wednesday morning didn't help my anxiety level (but they are fixed and the wonderful lady, Debbie, at the Lenscrafters in Anderson Township was great to work with). 
And the lesson - be glad it didn't happen on the 5-hour drive today or while I'm away at the workshop (because I never carry my old set of glasses as a spare because they are 2+ year's old). 
Another lesson - carry the old ones just in case!! 
And your sunglasses, too!

So...off I go!  Wish me luck.  I'll post some photos and share as I get time if I'm not too tired in the evenings.

ONE WORD WEDNESDAY

Stairway

Photo by Jerry H. Carpenter

SHE GOT HER MAN BUT THE JESTER HAD MORE FUN

Sweetie and I went to the Photo Trade Show at the NKY Convention Center over the 4-5 weekend.  Of course, they had plenty of things a photographer just has to have - plus they had models posing for photos.  Anyone who brought their camera (or wanted to try out a camera at the show) could shoot as many photos as he/she wanted.  Sweetie shot a few of these 2 beautiful young people in costume.  There were 4 models scattered throughout the convention center floor and the winners of the judged photo show (mostly portraits) were upstairs. 
Anyway, in the spirit of Valentine's Day, I'm calling this She Got Her Man :)

While these 2 models were lovely to look at, the star of the show (to me) was this lean and lanky girl who knew how to pose to give some interesting angles.  Sweetie didn't get any photos of her the first day (when she was in a goth black and red outfit with a red heart over one eye), but went back Sunday and she was in this jester outfit.  Check out those shoes!!

I think she
may just be
my next Caw Girl!!

POURING ON PAINT

I haven't poured a painting in a while and just had the urge to do it again.  For those of you who haven't done it:



1.  On a dry sheet of paper that has your drawing on it, pour your masking fluid.  I use Pebeo Drawing Gum because you can thin it easily with water.  With a spray bottle of water, spritz the places you've laid down the masking fluid to spread it and make the shapes less hard-edged.

Let the dry completely before going to the next step, or





Choose your colors - just 3 primary works the best to start.  Mix a dollop of pigment in each jar or mixing container (whatever you use) and mix with water until you have a runny mix and good strong color in each jar. 

I used
Hansa Yellow Light
French Ultramarine Blue
Quinacridone Red

You can use any 3 colors but you'll get some variety in your greens and oranges and violets, dependent on your 3 primary starters.  Also, have a large bucket or other container to catch the pigment that runs over the table and that you can use when tilting the paper - have it big enough to be able to contain the paper size you want.  I'm using a full sheet so I'm using a large laundry bucket type container.

2.  Spritz your paper again with water all over - it doesn't have to be soaked but you don't want it to be dry.  Then drop in some yellow to begin and let that run all over the paper, tilting and letting it flow into the bucket.  If it's not moving enough to suit you, spritz it a bit more, adding enough pigment to get a nice strong yellow.

3.  When that's dry, you can respritz your paper and drop in blue or red next.  Me, I changed it up a little and just using an eye dropper full of the next color (red), I drizzled it on and then spritzed it with water and tilted it, letting it flow around the paper but leaving white areas.  That way I controlled the placement of the red and orange blending color.  I did the same with the blue next, using the eye dropper and drizzling and spritzing it all around.

That's all there is to it, really.  When it all dries, you remove the masking fluid and redraw any of the lines the masking fluid pulled up.  Or, if it dries too pale for you and you want more color, keep adding the colors here and there, controlling where you want them more intense and more blended.

When I got ready to walk away and let it dry, mine looked like this (sorry about the glare - the paper was still very wet).  You can leave it upright to dry and hope for the drizzles to do fun things - or put it down flat on the table and wait.

When this is completely dry, I'll go back and may add more color here and there, or remove the masking fluid and start the painting with a brush to bring out the picture.

SUNDAY SHARING

Three more new blogs to check out from artists who have recently signed on to follow my blog:

Share the Art!!

1.  Studio at the Farm is the name of Kathryn Ragan's blog.  There, you will find beautiful paintings, photos of dogs and horses, old houses, and everything else that catches her eye and attention.  It's well worth a visit so go over there and spend some time today - that's not an order but just a strong suggestion :)

2.  Manisha's Art is from blogger Manisha Vedpathak who is currently living in Ghana, Africa and painting some of her surroundings.  She works in acrylic and oil and has a bright, bold color palette that warms the page. 

3.  Jerry, an artist living in Surrey, England, has The Great Outdoors blog, documenting his love of the birds, trees, moss, and all things outdoors.  He is a harp maker (!) and a very good photographer, and he paints as well!  He and his family love to wander in the woods and get out in nature as often as possible.  Take a day trip (or longer) with them by spending some time at this visually amazing blog!

So here's 3 new blogs for you to visit - I hope you have a wonderful time spending time with these 3 very different and talented people.

Have a wonderful Sunday - be safe and warm, wherever you are today.

PLAYING ON FOURTH SHEET SIZES

Just enjoying the colors and playing a bit. 

The first one, I just created a cold, icy scene based on a photo in a magazine.  Won't do anything with it but was trying to get that cold, iceberg look.

The second one, I used a photo and painted without drawing ahead of time (which is why her head isn't shaped right and her fingers are really badly done!).  Oh, well, practice makes perfect and I'd like to be able to draw with my brush and not have to predraw or sketch everything ahead of time - but that's not so easy as you think you have the right shapes and then you don't and you can't fix it as much in watercolor as you can with other mediums.

And faces look really mean and strange without eyes.  I think the next time I try a portrait without predrawing, I'll start with the eyes.

FOR BEGINNERS TO WATERCOLOR - AND FOR THOSE WHO NEED A REFRESHER

U.K. watercolorist, Maggie Latham, is sharing tutorials about color on her blog.  If you want to learn or or need to refresh your learning, go over and check out Maggie's posts.  You may want to add Maggie to your blog sidebar or favorites so you can return for all of the lessons.

Thanks, Maggie,
for being so generous
with your knowledge
and sharing this with all of us. 

(For those of you who don't know, Maggie was the "instigator" of the 100 Washes blog that had us all drooling over the group effort of several wonderful watercolorists as they spent a year creating watercolor washes.)

MYRNA WACKNOV AND WATERCOLOR ARTIST

In the current issue (which you should have, if you subscribe) of Watercolor Artist magazine, Myrna Wacknov has the Creativity Workshop feature.  She shows us some of her repurposed watercolors - those that were a failure until she covered them with gesso and tissue paper and stamps and then worked with that foundation to create something new.  For those of you who don't know, each creativity workshop is there to challege you to try the tips and techniques.  So I thought I'd try this, using one of my failed watercolors.

This isn't finished - right now it looks pretty scattered and not pleasing.  I gessoed over the bad watercolor (a dull floral), then glued papers and heart shapes on top of the dried gessoed paper using Acrylic Mat Medium.  I think now it needs toned down - it's too busy and bright everywhere.

So I'll add some more collage pieces and see what I can do with this.  I may have to get some strong darks in there to lead the eye around (like Myrna's painting on the left side of the first page of the article). 

And if this doesn't work out, I have plenty of failed watercolors which can use some gesso!

ONE WORD WEDNESDAY

Kiss

Photo by Jerry H. Carpenter

TAKING ANOTHER LOOK

Nothing new to share - yet - but I did pull out some older pieces and take another look.  What I found missing in them all was color and vibrancy.  No kick.  Dulled and timid color.  So I amped up the color in these - just for fun. 

SUNDAY SHARING

I've bumped up to 189 followers, gaining quite a few in the last week or so.  Thank you all for following - or for not being an official follower, but for stopping by and commenting once in a while :)  If I was doing this in vacuum, it would not be very much fun.

Today, I'm sharing 4 of the latest followers to sign up:

1.  Two in the Bush is just one of the two blogs by New Mexico Mountain Girl, CheyAnne Sexton.  She is an artist in watercolor painting and in photography and she gets to live in the beautiful Taos, New Mexico!  How great is that?  Check out her latest painting - a beautiful female cardinal; and then spend some time browsing her other works.  She also has a blog she shares with another southwest artist and they are doing cowgirl artwork.  If you see something you love, check to see if it's for sale!


2.  Watercolor Everyday is a blog by Sidmar, a Canadian artist.  Her work is very clean and illustrative with some gorgeous paintings/sketches in watercolor.  Check them out - they are so uplifting in color and style that you won't be sorry you spent a few minutes with her work.


3.  LAS CUQUIS and MI DIARIO DE LA NATURAL are an art blog and a photography blog by Natividad, an artist from Madrid, Spain.  I am definitely going back to view more of the work and it doesn't even matter that I still don't know enough Spanish to understand (although I could do without all the capital letters and exclamation points, I guess that's a personal style and I often use too many exclamation points myself so...).  I especially like the photos and can take a virtual trip any time now to see those lovely Madrid photographs.


4.  Un Tema e um Poema is from (if I am understand it correctly), a group of Brazilian artists.  I enjoyed seeing some of the people with their artwork and the photos of various places in Brazil.  It it very heavy on visuals so take some time to see some of them today :)

Thanks so much for being a follower, and enjoy these artist bloggers - so much talent in this wide old world!

Oh, and Happy Sunday!

WINTER FOR SOME OF YOU

Although the temperatures have dropped down to 40F here, we still have rain, no snow.  I am grateful for that because I have never been a snow bunny.  I know some of you are having a real winter with lots of snow and ice and cold.  I hope, if you live in places that got hit with the latest winter storm, you enjoy the snow.
No snow for me, thank you very much, but I did receive this lovely little poem yesterday and wanted to share it with you...

Dust of Snow

 by Robert Frost

The way a crow
Shook down on me
The dust of snow
From a hemlock tree

Has given my heart
A change of mood
And saved some part
Of a day I had rued.

SECOND POSTCARD FOR FEBRUARY

Well, I just couldn't find anything that inspired me, so I returned to crows.  I tried a nautilus that ended up overworked and horrid (twice) so I just went with a light sketch and then this little one, looking up and curious about something.  I like the shadow shape of him, too.




The scanner is picking up that quinacridone violet in his wing and making it more pink-red than it is, but it's close enough.  Since this one is travelling all the way to Lebanon for Cathy (our List-Mom for the group), I'm calling this one
Cathy's Curious Crow.


I hope she likes it - and that it gets all the way there!

NAKED POSTCARDS FOR FEBRUARY

Well, it's February already - where did January go?  And that means it's time to mail out 2 postcards for our naked postcard swap group to 2 more members.  So far, 2 of my postcards have gone missing and may never find their way to their new homes (so I mailed out 2 new ones to those members); and 2 I mailed out in January made it safely so I'm 4 for 6 so far.  I imagine a lot of the problems arose because we mailed during the holiday rush of cards and packages. 
This month, one postcard travels a short distance within the U.S. and the other goes all the way to Lebanon!  It's a very international group, with members from U.S., Canada, Philippines, India, U.K and Brazil :)

Here is the postcard I'll mail today.  It's done with strong colors and some nice granulation, an abstracted bit from a photo.

I still have to paint the second postcard so will get it out Saturday or Monday (we just have to mail within the month, no set date; although I like to mail them the first week of the month if I can).  I may do something Valentine-y since it's the month for that.


Why do we call them naked postcards?  Because they aren't supposed to be put in an envelope and they don't have to be spray sealed - just mailed and let the postal markings go where they may.

The groundhog saw his shadow yesterday - meaning 6 more weeks of winter.  Well, I guess that's true since spring doesn't start until March - but we had another 60F day yesterday so our winter has been extremely pleasant and mild and I'll take that over ice and snow and 5F weather any day!

ONE WORD WEDNESDAY

Mist

Photo by Jerry H. Carpenter