Sunday, September 26, 2010
A few days later, when it was thoroughly dry, I compared the muted gray/green color to the color of pastels I already had. Schmincke 093 H is darker and a Rembrandt color is lighter and has more yellow in it. I love my homemade color and plan to use it in my next painting.
Thursday, September 23, 2010
Paintings that are complete are attached at the top edge onto archival foam core, matted (with foam core spacer painted black along the window-edge) and glass is laid over the mat. Bubble wrap corners hold the whole thing together while the painting is waiting for the frame. Additional paintings that I either haven't gotten around to sandwiching, or am not sure I'm done painting on, hang from pants-hangers along a closet rod in the corner of my studio.
I have nine paintings here waiting for frames. The last time I framed a group of paintings was May of this year so I guess I frame about twice a year except for emergencies.
An example of an emergency is having a painting accepted into a show and then finding out that, with a mat around it, it exceeds the maximum size limit (a reminder to read the prospectus carefully). I had to reframe the painting without a mat which I would like to continue doing, but I can't seem to get used to the look of my work without a mat around it.
Sunday, September 19, 2010
Saturday, September 18, 2010
Wednesday, September 15, 2010
When I painted this scene plein air, I interpreted literally but in the studio with only the reference photo to remind me, I found myself remembering the total experience of being there, not just the scene before me. The hot blue sky, the dry meadow foliage around me and crunching under my feet, the expansive beauty of this place (painter Amanda Houston's home). I like the fairly realistic tree as a place for the viewer to enter the painting but from there, the path is to the right into abstracted distant trees and then back to flower heads in the meadow. For now, "Wheat Field and Meadow" is safe from the garden hose.
Tuesday, September 14, 2010
Monday, September 13, 2010
Attic Gallery in Portland, Oregon and brought back a painting that was based upon a reference photo my husband took of a tidal marsh. I decided to rework it and when I unframed it, I found several inches of unpainted Wallis paper at the top and bottom. A painting that used to be 10.5 x 18 has become an abstracted landscape inspired by the first painting but larger. The image now measures 15 x 19 inches.
Wednesday, September 8, 2010
Sunday, September 5, 2010
Saturday, September 4, 2010
An afternoon of painting changed this scene quite a bit. It would be easy to stop now because I am satisfied with the overall mood, color transitions and relationships that make this foundation. But, as with a good story, it is missing the "hook" that will catch the viewer's interest and hold it long enough for further exploration of the image. To help me decide what to do next, I will look at this image in grayscale on my computer. It needs some push and pull, some conflict. I have to think...this is the hard part.
Friday, September 3, 2010
For about an hour I just played around. The areas I lifted off are gone, they served only to get me started. I applied pastel, brushed some of it off, put a different color or value in the same place - or someplace else. This is the fun part because it is a big mess with nothing but potential - but already I have some favorite areas that I want to save. As those areas become more precious to me, I'll try to make the rest of the painting work with them...and if they are holding the painting back, I'll have to get rid of them. For now I will turn it to the wall so I'm not tempted to do anything to it until I can set aside a few hours to bring this painting closer to resolution.
Thursday, September 2, 2010
I begin to look for clues - a color, shape or texture might suggest what I could do next. With a stiff brush dipped in water in one hand and a paper towel in the other hand, I begin to lift the red watercolor off the paper in selected small places within the focal area. Lift, blot, lift, blot. I also lift color to play with the shape on the left that suggests a tree. Next, with a beautiful blue (B120) Terry Ludwig pastel I add an area that might be a sky and an area that might be water. I know the name of the color only because I just got his small box of ultramarine blues and they are still in order. What I've done may stay, go, or change in some way...I don't know yet.
Labels: Terry Ludwig pastels