Monday, September 12, 2016

Summer Bouquet

Summer Bouquet/ oil on canvas board/ 7 x 5/ $135
Purchase here
My garden is filled with clean, intense beautiful flowers including torch tithonia and zinnias. Usually daily, I paint some of them. Most days, I also wipe these little paintings. As soon as I add white to the colors, they lose their intensity. Consequently,  the painting is not at all what I want.
Today, I started again.  I painted with transparent colors as long as possible and then tried to keep from "snuffing out the life" of the painting with the opaques (including white).

Saturday, September 3, 2016

Designer Grapefruits

Designer Grapefruits/ oil in stretched canvas/ 8 x 10/ $185
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Another painting using thick paint. This time, I also imagined I as painting for a "designer kitchen".

Perhaps also interesting is that this painting was painted over some failed zinnias.

Friday, September 2, 2016

Little Puppy

Puppy/ oil on stretched canvas/ 7 x 5/ $135
Available here
This is a little painting where I was working on getting the oil paint applied more thickly. I decided to try adding different mediums to do this. This painting used  Liquid Impasto. The description states This is a semi-gloss, quick-drying, non-yellowing impasto medium that retains crisp textures and brush strokes without any visible leveling. It also extends tube color, provides bulk, and allows more blending time. When dry, it forms a flexible, tough film that can be varnished in the normal way. Use it for heavier brush work or palette knives. It is not recommended for use as a varnish or final coat.

I have also been working through the lessons that Nancy Medina recently provided. I hope that you will se some of her color influences in upcoming paintings. 

Tuesday, August 9, 2016

Sunflower and Zinnia Study

Sunflower and Zinnia Study/ oil on canvas board/ 5 x 7/ $125
Purchase here
Often, when there are long absences on this blog, there is a trail of ripped paper or wiped canvases at my house as I struggle to work on some new thing that I desperately want to master.

I think this painting may be a breakthrough for me. The recent goals (in oil) are CLEAN color and flowers that don't look "pasted on".
Okay, so "clean color"'
You have to put clean fresh color, mixed to exactly the right color pieces from your palette onto the right place on a clean canvas. That means, when the color is not correct (and you tell this by looking, then looking, then looking), you have to wipe back to the white of the canvas and reapply the correct color. If you try to "mix it" on the canvas to the correct color, it will grow dull (faster if you are using opaques and really greyed out if there are whites in your mixtures).
To be able to wipe back to white, I like the canvas surface I posted last time. I also begin my painting by applying a thin (and wiped) layer of gambol or medium.
The"unpasted part" is harder (for me) and I will write about that next time.

Cross your fingers that this is integrated and that I am truly on a path forward...

Sunday, July 24, 2016

Susans and Daisies

Susans and Daisies/ oil on stretched canvas/ 10 x 0/ $185
Purchase here
Recently, I have been mostly painting on oil primed canvas. I especially like "Centurion" brand sold by Jerry's Artarama.

 Usually I paint on their canvas boards but today's paintings was painted on a gallery-wrapped canvas. The Centurion surface allows me to paint a thin underpainting layer (see the grey purple at the bottom) and wipe back to white areas that I want to eventually paint intense clean color (the bright yellow Susan's petals). (It also wipes failed paintings back to white). This surface has a nice texture and "grabs" the paint better than the slick surface of gesso board. It also makes painting looser edges easier.

I began this painting sitting on the ground outside in my garden. I added thicker additional layers of color inside in my studio.

Wednesday, July 20, 2016

"Hot Colors" and Gold Duck

"Hot, Hot, Hot"/ oil on board/ 8 x 10/ $
Purchase here
This is an experiment with color. My objective was to make the painting feel "hot". To do this, I used clean intense colors. I especially liked the cad red shadows and the hint of pink in the sand.

I also have been working on my gold leaf watercolors. In this image, I chose to leave it un cropped to show the irregular edges.

Monday, July 18, 2016

Hidden Goldfinches

I just returned from a visit with my talented sister Kate Church. I attended her 20 year exhibition as an artist. Kate, her artsy house, Nova Scotia and her 100 fairies and wonderful paintings were all inspirational. I hope that upcoming work will reflect some of it.
Today, while I sort laundry, catch up sales and details, I touched up a painting I started before my trip.

I adore goldfinches. I have a family in my yard presently. I love how well they "blend into" the brown-eyed Susans that have gone crazy and are growing (probably from the seeds that last year's goldfinch family sowed) everywhere. Artistically, I am continuing to work on edges. I find "regular" petals on flowers like Susan's and daisies to be challenging. First, I make them too uniform. Then I adjust them and struggle with too loose..