Showing posts with label impressionist. Show all posts
Showing posts with label impressionist. Show all posts

Sunday, March 22, 2015

Tulip, Marigolds and Petunias

Tulip, Marigolds and Petunias
7" square 
Pan Pastels, Rembrandt and Terry Ludwig pastels
White Art Spectrum Colourfix Suede pastel card

This little painting took three stages to finish, first blocking in the tulip over a bright orange background, then the yellow-orange marigolds and greenery and most of the tulip's form, then the last details came very fast and I added the petunias to balance the composition and unify the colors. Also some little forget me knots between the flowers. 

This garden is overgrown and unreal but I don't care, it looks the way I wanted it to. Or maybe the plants just filled out enough to fill up the spaces between them. I always liked that look in garden plants. It's not weedy though, all garden flowers. I love being able to use the bright colors in a painting and still be true to life. Ruffled petunias and the tulip were both from the Pastel Spotlight challenge this month on "Violet" theme at WetCanvas, photos by BlackHorse and DAK723. The orange marigolds were more or less taken from another painting I did some time back from a photo by DAK723 but I changed their color based on ones I remembered.

This month has been a bit rough for changing weather. Not that bad for pain but I've been sleeping a lot and doing less sketching and painting. Need to get back to sketching and painting so I scheduled myself an extra hour in the garden on Wednesday's clinic visit to be able to settle out there and sketch something from life. I will be packing art supplies, probably water media.

Friday, January 23, 2015

Day 23 of 30 in 30 Challenge Silver Fish

Silver Fish
8" x 10" Henri Roche' pastels on Strathmore Artagain paper
Photo reference by lisilk on WetCanvas.com

I love these pastels. I have a few precious pieces of Henri Roche' pastels that a friend gave me, and I just got a package from Isabelle at Maison du Pastel with samples of the new Metallic range! Lovely metallics. They have nine gold, nine silver and nine copper variations and on the silver that goes from a near-white to a near-black, making value painting possible in metallic colors. 

I have a number of ideas for these and of course the first one I actually tried is the wonderful iridescence of living fish. If there's any color that seems impossible to be in nature, a fish somewhere will be that color. Be that screaming hot pink, fluorescent green or bright metallic silver, fish come in all the colors humans can imagine or formulate.

That experiment was a total success but the Artagain paper is annoying. I found out the regular Roche' pastels don't like it. The softer metallics adhere beautifully but my beloved Roche' Ultramarine, which seems like it steps up the saturation of ultramarine another two notches sometimes, didn't adhere well at all. 

So I'll be doing another version of this painting or a similar subject on PastelMat, perhaps with some PanPastels underpainting or background stuff. I'm going to play with the subject and test the pastels on several types of paper. I'm betting Canson Mi-Tientes smooth side works a whole lot better than the too-smooth Artagain surface, which just felt like it seriously lacked tooth. I noticed this especially in the coverage of the first blended layers, when I expect quite a lot of adherence it kept moving around and created a lot of dust. Heck, I might even test them in my sketchbook, see what soft vellum drawing paper does. It'd be worth the strokes to do a small orange or something.

Yesterday was spent doing the first layer of this painting and sleeping a lot, so I posted that double page of Ari sketches I did to make up for the 14th and at least had something from this month to go up. Tomorrow who knows? I'll guess when I get there. 

Thursday, October 30, 2014

Clouds Coming In

Clouds Coming In
pastel on paper, 8" x 10" horizontal
photo reference by tj84 on WetCanvas.com reference image library

This painting gave me some frustrating moments. I had some design problems with the areas on the land and one patch in the clouds bugged me. So I hung it on the wall across from where I sat and did other pastels and other paintings. Half the procrastination was physical, just not being up to getting out what I needed to finish it.

I went from hard pastels at the start to Rembrandt and finally finished with 120 Unison Half Sticks because that gave me the range I needed for the finish. The shadow area was too muted once I got it to the right value, so bringing in some purples made that work. I played with the foliage some more and having different hues and values in foliage colors helped enormously. 

I put in a tiny patch of sun hitting some distant trees. There's other little fun areas where light causes details. I gradated the water and added the cloud reflections, that helped a lot. It was really just finishing strokes for most of this - but every one of them was needed.

Paintings sometimes go through an Ugly Stage where it looks like you've ruined it. The last details need to be done and the finishing touches, without them it looks horrible but that is the right underpinning for those final touches. I first ran into this doing Colourist works in Charlotte Herczfeld's class because it looks ghastly right before the end - those finishing details are always needed. 

This time I think I just got tired when I was finishing it and looked down, noticed the ugly stage and choked. A couple of friends on WetCanvas provided critique. Many of them said it was better than I thought. Now I think it's better than they've seen - but thanks to them I didn't chuck it, did go finish it. 

I much prefer being decisive and moving on to the next painting than endless reworking! I hope I don't catch the wibbles again like this for a long long time!

Monday, October 27, 2014

Orange Tree by the Lake

Orange Tree by the Lake
7" square pastel on 
Stillman & Birn Beta Journal 
Photo by StormeRider (LiveJournal)

Storme and Nonny gave me permission to use a number of beautiful photos they took when they lived in Massachusetts a while back. I copied it and saved it and meant to paint the autumn scene - today's the day I did.  Very different from the photo's composition and by the time I was done they weren't the same trees either. But I loved the reference and it gave me a very clear memory of the forms and colors of a forest that is turning - some trees all the leaves are gone or brownish gray, last few bits of warm color, others still green or starting to turn, the blazing center beauties rivaling flowers in their glory.

I've seen scenes like this so many times in my life. All the years I was in New York State. All the years in Chicago or Minnesota or Kansas or Arkansas or Colorado, so many places I've lived had these scenes and roads soaring through it. I've been on drives just to see the fall colors. Taken photos I lost later on, that happened often, but it's all there in memory and this reference opened all those memories.

Rembrandt pastels work wonderful on Stillman & Birn Beta rough heavy paper. I used them with all my techniques and the deep texture gave me plenty of white flecks that I used to advantage in foliage texture for "highlighted leaves" and some sky hole effects, while others showed me good places to dot in a hole through that tree to show the foliage behind it. I like the laciness of the star tree and the way the colors blend a bit in the distance but shine around the best one. Had fun with reflections too.

Sunday, October 19, 2014

Clouds Coming In, Underpainting

Clouds Coming In...
Underpainting
hard pastel on paper

Today I mostly planned this painting, from a photo in the WetCanvas Reference Image Library. I wanted to do another strong cloudscape, but the photo has other interesting features like that reflecting water. So I'm not sure where this is going, but I'll find out when I get there. To some extent I'm about to abandon the photo in favor of letting the painting find its way.

I used red earths under all the foliage and brush because the greens are richer with a ruddy underpainting, but used blue under the sky and water to make that vivid. I might lighten the sky some when I go back with softer pastels to create the entire scene. I might also simplify it some, though it seems to lead toward the center on the land with those pools of water. It's a little complex for something that small but I'll see what it becomes when I go back to it tomorrow. If I don't like something I can always paint it out.

Pastels are opaque and hard pastels erase easily, right back to bare paper. I'll see how this goes.

Saturday, October 18, 2014

Colourful Beefsteak Tomato

Colourful Beefsteak Tomato
From Memory
Pastel on paper

I was inspired again by Charlotte Herczfeld's wonderful video demo "Pastel Brands Matter" on YouTube. She used a 12 color set of Cretacolor Pastels Carre' and a dozen Unisons and Giraults to match the colors testing hard and soft pastels on three different types of paper. I've been fascinated by that demo ever since she posted it. 

Today, I followed some of her color choices and drew a beefsteak tomato from memory. My grandmother used to grow them, wide bulbous tomatoes almost like peppers for having an asymmetrical shape, rich and red and tasty. I used the other half of the orange Mi-Tientes sheet I did Sunset II on and started with Cretacolor Pastels Carre' for the first two layers. The background upper area is still just Cretacolor, the rest has Unisons as additional layers to put on more color and softer, broader strokes. At the very end I used a pale Terry Ludwig cream to do the "White" highlights that give it shine. 

I love how this simple study looks. That's half of why I did one - I loved her tomatoes and wanted something like that on my wall! Love the colors!

Friday, October 17, 2014

Sunset II

Sunset II
pastel on paper, 5" x 7"

Started early today so I might add more later on. I liked the sunset reference I used for the Pearlescent Pan Pastels dawn, so I used it again. It's by DAK723 posted for the October 2014 Pastel Spotlight challenge, which has a theme of Orange. Don's been doing color themes for a while, the only two left are red and violet, wonder what he'll come up with for them? Of course he could also do white, black, gray, brown as themes. I'll just have to see.

One of the things that intrigued me was the frosty field with its clumps of weeds and the lavender field, which I think is actual lavender. It was in the reference and I included it in both paintings but it's more obvious here. I think I managed to get the feel of the frost in this one. I also loved the receding trees and their numerous sky holes, something I succeeded in capturing this time.

Thursday, October 16, 2014

Pear from Life

Pear from Life
Pastel on paper, 9" x 12"

Another quick study, this time because my food program included a brown pear with my lunch. I love painting pears, so that set the day's painting on track! I sketched it in charcoal to establish lights and darks first:

Charcoal undersketch

This wasn't that hard to work out. I saw a lot of slight value and color variations and worked at getting them accurate in the final painting. A middle stage I didn't photograph had bright golden yellow on the sunlit strip and slightly yellowish green on the shadow area across the entire area. Then I began playing with different colors over it to get a shimmering mixed brown that uses every hue in the spectrum. Background was actually dark behind it and the surface bright white, but I jazzed them up with color to make the pear look better.

Wednesday, October 15, 2014

Hibiscus

Hibiscus
8" x 10"
Pastel on tan paper

I used another of my photos from the SFGH Memory Garden for this, the big hibiscus shrub with the rich blue-violet flowers. I love their color and remembered it, the photo was way off but I could remember how they really looked. That's the benefit of using my own photos. I love the Reference Image Library at WetCanvas, but even if I'm using one of those photos I try to choose subjects that I've seen in life. A photo brings back memories and gives details, that's its best benefit. 

Proportion, perspective, color, values can all be distorted by the camera, but details and sometimes proportions on a relatively small element can be measured. Otherwise it gets very strange. Don't just copy the photo, remember as much as you can!

Two pastels today though! After I finished the Hibiscus, I did a clouds study on Aquabee Hemp Draw using hard pastels, my Cretacolor Pastels Carre'. I like those for their convenience. This isn't a serious painting but there are things I like a lot about it and may develop later in a larger, more elaborate piece. Will be playing with cloud shapes in several studies till I get it to do what I want.

Clouds from Memory
8" x 10"
hard pastel on multimedia paper

Tuesday, October 14, 2014

Foxglove Sketch

Foxglove Sketch
9" x 12"
pastel on brown Mi-Tientes smooth side
my own photo 

I took quite a few photos last Wednesday at the San Francisco General Hospital's Memory Garden, a place I frequent for photos and painting outdoors every two weeks. I have a regular nurse appointment to get an injection, but set my pickup time an hour late to have time to stroll the garden, sketch and get photos. This last time I did both, sketches and photos. The foxgloves are fascinating to me. Not quite like snapdragons but very similar, spikes of trumpet shaped flowers with curling interesting lips. This is just a preliminary sketch, I intend to develop them in a lot more detail, maybe in pastels again and maybe in pen-watercolor.

Pastels used are Cretacolor Pastels Carre' - that roll makes them so handy now!

Sunday, October 12, 2014

Red Apple Study, Pastel

Red Apple Study
life
7" x 9"
Cretacolor Pastels Carre' and Terry Ludwig Pastels
Aquabee Hemp Draw multimedia paper

Back to pastels and color today! I tested my Cretacolor Pastels Carre' first to see if they washed out with water for an underpainting by underpainting an apple. Then finished it using the same pastels dry and a few accents with Terry Ludwigs, also did the background very lightly with Ludwig Violets and a couple of tints from my first Mystery Box. 

I had fun with this. It's centered unlike most of my paintings, but it's just a simple study of a single object and I like how it came out. It reminds me a little of Charlotte Herczfeld's tomato studies. She's a big influence on me. If I'd properly followed her method I should have defined the shadow side in the underpainting witha  cool color, green or purple or blue, and the warm side with orange. Instead I just shaded between orange and yellow for brightness and followed light and shadow by value and hue - it worked but I'll be doing it again with the cool underpainting to see the difference sometime.

I also accomplished a little in terms of organization. Some time ago I bought two Derwent Pastel Rolls to keep my 72 Cretacolor Pastels Carre' in a container system that made them usable when I go out. Today, I broke all the sticks and rearranged them so that each roll has all 72 colors in its 36 slots. Two pieces per slot will let me bring these out with me on my garden excursions and any other outdoor painting I do. It's a handy little roll instead of an oversize box with an awkward styrofoam tray that made it hard to take the sticks out.

Cretacolor pastels wrap ready to go!

Friday, September 26, 2014

Red Flowering Maple - Pastel

Red Flowering Maple
8" x 10"
Pastel on brown Canson Mi-Tientes smooth side

I started this with a sketch yesterday from a photo I took Wednesday in the Memory Garden at San Francisco General Hospital. I've looked at that tall plant, almost a tree height, for three years now. The flowers are a darker red than I painted because I didn't have the right values to do that, so I altered it and came as close to the value and hues as I could. 

Still, I like how this came out and do know plants vary in the color of their flowers. The sun was hitting the shiny outer surface of the petals in some interesting ways and the greenery was very rich. I had fun with it and have some other photos from this and many visits to work from in future.

There weren't many large flowers with distinct petal shapes in bloom, more daisylike ones and very small flowers on Wednesday. It varies what's in the garden as they remove some plantings and put in new ones depending on what's in bloom, constantly keeping it fresh. Some little orange violas were bright and cheery, I also got photos of bright violet foxglove-looking flowers on a spike head. I might do those another time, but I may have to get out my Unisons to get all the purple hues and values in them.

I enjoyed doing this one, and it'll occupy the black mat that I cut with an 8" x 10" opening instead of 7" x 10" for the Bluebird painting. I'd forgotten I changed the proportions on the Bluebird, so cut one extra mat - now happily destined for a good use! The strong colors will shine against black, I love how that looks.

Thursday, September 25, 2014

White Curcuma exotic flower

White Curcuma
photo reference by Dewi on WetCanvas.com

Yesterday I didn't paint at all, was too tired after doing my clinic appointment. I had planned to do pastel plein air in the clinic garden but my van arrived half an hour early - after some preliminary photos I went out back and there it was. However, before I went, I did mat and frame the Bluebird painting, which does count as daily art to me as it's far more physical than most of my painting.

I used more blending in this White Curcuma painting than in most, contrasting a stick blended texture on the central flower with a blended loose background and some linear accents. I didn't prime the page with sanded primer, just worked directly on the 180lb white rough watercolor paper of my Stillman & Birn Beta pastel journal. I also taped a sheet of tracing paper over the page to protect the art, taped just on the outside right edge to fold over it. This has worked well for six pages of my Pastel Journal and I have high hopes of finishing 25 good pastel paintings in it.


Sketch wall with three of my paintings framed, bluebird is upper right.

So that was some serious accomplishment. I don't think I managed anything on Tuesday either but I could be wrong, posted it if I did. So much for memory, the fibro fog chews it up. The shot helps give me some energy but the outing itself to get it is so draining that I don't usually manage anything afterward.

So much for good intentions. Daily art is still "health permitting" and yeah, there is a reason I'm living on SSI instead of working full time as an artist. If I could do 40 hours a week painting and selling, I would so definitely go back to full time art - but that doesn't work when my disabilities don't permit more than a short session at best in a day.


Sunday, September 14, 2014

Pastel Life Sketch Apple and Containers

Pastel Life Sketch Apple and Containers
7" x 5"
Rembrandt pastels on black Crescent rag mat

Odd little sketch of some things on top of my black refrigerator, using a 60 color Rembrandt half sticks set I just bought a couple of weeks ago. I've actually been back to "daily art, at least a gesture sketch" for a month or two now, barring sick days. August missed only four days. But rather than work back, I'll start posting forward again to share my artistic journey.

Sorry I didn't post anything much so far from 2014! I had several good ones so far this summer so I'll add them as highlights...

Open Road
8" square
Assorted soft pastels on Uart sanded pastel paper
Photo reference by DAK723 on WetCanvas.com

Did the above for a pastel forum challenge with a "Green" theme. Had fun with the clouds, it was a good breakthrough on clouds painting as well as landscapes.

Colourful Lemons
7" x 5"
Unison Pastels on sanded pastel paper

Another pastel challenge from a photo in the Reference Image Library at WetCanvas, a lot of us did these lemons. Best "colourist" painting I had done to date at the time for a "Yellow" challenge. Also in the same challenge, another yellow fruit...

Colourful Bananas
7" x 5"
Unison pastels on sanded pastel paper
Photo reference from WetCanvas June 2014 Pastel Spotlight

This one didn't reproduce as well as the lemons. It was hard to get the reds, greens and yellows all to come through even close to the original so that blue shadow is actually a blue green closer to the green of the leaf. There's more hue and value variation in the bananas than shows but they're smooth gradients. Achieved a fine detailed rendering with quite soft pastels on this.

And more recently, this month's challenge is "Blue." So another photo by DAK723, of a lake scene with clouds, changed quite a bit in the painting:

Lake Scene
8" x 10"
Assorted pastels on Uart sanded pastel paper

I had a lot of fun playing with textures and values on this, also using different textures of pastels at different stages. The blues in the water do not quite go as far toward violet in the painting as they do in the photo, it's actually more Ultramarine values and some mid-blues and greener blues. But cameras lie about color all the time and the photo makes me think it might be fun to carry it all the way to violet on one sometime!

Anyway, there's some high points of 2014 and I expect to post more often again. Some days might be no more than a quick pen gesture of my cat or a still life object, others may have stages of a painting. I'll try to get back in the habit of posting when I've done something. There are still days I don't have even a gesture to show for it due to chronic disease symptoms but I hope to build up to where I can manage at least that every day. My habit is returning!

Sunday, April 1, 2012

120 Paintings


Yellow Daffodil

This is it! After enjoying the blogs of several Daily Painters, I finally decided to take the plunge. Health permitting, I'll be posting a new small format painting in any of several mediums or subjects.

I've also taken some classes with Larry Seiler. He recommends doing 120 small paintings in a series to improve your painting skills. So instead of just doing daily drawing, which I've done successfully more than once - this cranks up the heat. Now they have to be paintings, though not always in wet mediums. I love doing pastel painting and I'm pretty sure at least half of these will be in pastels.

As I create these small format paintings, I'll also be listing them on Etsy. Click the link to see the price and listing details.

Yellow Daffodil was inspired by a photo in the April 2012 "Pastel Spotlight" challenge posted by Don Ketchum, who gave permission to paint of course since he's hosting the challenge. I was intrigued by the strong red in the background and the way it flowed into the blurred green foliage.

Pan Pastels formed the base of my painting. I used only the 20 Painters colors since I rearranged my full range 80 color set of Pan Pastels in their four trays. I used to have them organized by color across all four trays with each value of a color in a row. The new arrangement goes back to the way I got them in 20 color sets.

There's a reason for that arrangement. I've started doing value mass planning on my paintings and if I keep all the Tints in one tray, I can start with the light value area using just the Tints. Then shift to the middle values and use the pure tone Painters set, finally create dark areas either by mixing or by using Shades and Deep Dark Shades.

That new arrangement turned out to be a great success for painting in a small area. I don't have a large table any more where I can spread out all the trays in a row. The stack of them fits neatly on the seat of my rollator. It's a mobility aid like a walker with wheels and brakes that doubles as a side table for supplies if I'm home sitting in my armchair. I just move the supplies into the armchair if I'm going out.

If you haven't read my other Blogger blogs, I'm a 57 year old disabled artist and writer with mobility limits caused by a skeletal distortion from birth, along with arthritis and fibromyalgia that came along later. i live on Social Security and work towards becoming self employed again. Until I make enough to cover both my living expenses and medical care, every dime from art sold goes back into the business in supplies, website fees and other business expenses.

I live in San Francisco, which became my home of the heart in 1978 when I first moved here. I was foolish enough to leave for "a better job" in Chicago in 1980 and regretted it ever since until August 2012 when I came home. San Francisco is diverse, colorful, progressive, arts-oriented and most of all beautiful. I can't look out the window or go anywhere in my city without seeing paintable views and beautiful people.

Also the climate is better for my health than anywhere else I've ever lived. Here, I have more good days, weeks and months when I can do things than I ever did anywhere else in the country. The mild gentle climate mitigated by the Pacific Ocean currents and winds keeps it from getting too hot or too cold. It rains sometimes but there's no snow, just rain and sometimes the beautiful fogs that give everything in the city an eerie, distant beauty.

Flowers everywhere. I don't have any hair to put flowers in since I just shaved my head, but painting a flower seems like the San Franciscan way to start my Daily Paintings! Please follow to see what I think of tomorrow, whether it's wilderness, cityscape, wildlife or of course my beloved, beautiful cat Ari. He turns 12 this month on the 22nd, catnip toys are appreciated. He always knows what packages are his and opens them himself with much vigor!