August Botanical Workshop

I’m delighted to say the 3-day botanical workshop at Oregon Society of Artists went very well.  Here’s a painting in progress, 10 x 10 inches, started during the workshop.

Preparing for a workshop gives me an opportunity to try things I’ve been wanting to try! This time it meant acquiring a bunch of lilies to photograph and paint. Here are some of the reference images we worked from. We also had the actual flowers to move around or photograph, and we discussed how to make a good art reference photo.

Below, a group of thumbnail sketches, or small, rough contour drawings… they’re about 6 inches across. Sketching thumbnails is a good warm-up exercise and also a useful way to think through the design process.

After choosing an image, a color study becomes my road map for a successful painting. I did a quick small version in my Pentalic Journal, below.

I’m using a variety of papers, to compare them —
      Strathmore board for wet media
      Crescent 5115 Hot press watercolor board
      Arches watercolor board
      Canson watercolor board

Right away I noticed the Strathmore (in this quick study, above) is different from the other surfaces in that it is fairly absorbent, causing the paint to soak in quickly, leaving observable edges. Notice edges in the dark background.


One good thing about the Strathmore is that both front and back surfaces are sized to paint on, whereas other boards have only one usable surface. While not my favorite, I find the surface is suitable for loose, fairly wet work. Above, I’ve used it to make a quick value study of a magnolia blossom. Since I know the surface is extra absorbent, I used enough water in the background wash to compensate.

The Crescent, Arches and Canson are all very workable for me. I still love the Crescent board best, overall. It has long been my favorite surface for workability.

But sometimes a surface with more texture is fun to play around with. I do like using Arches paper on wood cradled panels. 

I notice the Canson makes the whitest surface… it’s acid free but not 100% rag (cotton). It’s also the least expensive, and works just fine.

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Painting at Peninsular Park Rose Garden

The covered area overlooking the garden was a lovely place to gather on a slightly damp day. I brought several roses from home. The cherry parfait roses with their frilly red edges on creamy white petals and are fun to paint. Notice how everyone’s unique style shows through in their work.

Jane is deep in concentration as her painting blossoms.

Nancy’s sketch is carefully composed and I look forward to seeing it with color added!

        Here’s Joyce with her lovely work.

Heidi with 2 roses together — each one a star.
Diane with a luscious rose — love how the color melts across the page! Kudos for painting wet.

Marcia’s rose pairs with a tight bud.

                 Niya’s rose exudes personality



 

Here’s
Lesley’s
masterpiece
in progress

And this is my demo piece for the day…
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Painting at Hoyt Arboretum

Last Friday we painted needles & cones. It was a perfect day — so sunny we were happy to have some shade.

Here are a couple of studies I worked on…

A pine cone…

Some from the archives…

Tomorrow we’re off to the Peninsula Park Rose Garden to paint (of course) roses! It’s supposed to rain… but at least no downpour expected, and there is a large covered area. I’ll bring cuttings from home. The cooler weather should help to preserve them.

WORK FROM HOYT OUTING:

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Painting Rhodies at Chrystal Springs

Last Friday we began the
“Paint In The Garden” series,
at scenic Chrystal Springs
Rhododendron Garden.
Seven intrepid artists joined me
in painting.

I first did a demo, painting a rhody
in my journal (right), followed with
everyone painting their favorite
blossoms.

Below are images of work in progress:

Heidi’s painting

 We were in the covered area, which turned out to be a good thing, as it
rained hard at times. Some very lovely work happened in spite of the weather! And the resident critters kept us entertained.

I sketched out another painting on crescent
watercolor board that is still in progress. Below is my work station. I used a lightweight wood easel.

This week Friday June 15: Hoyt Arboretum and painting needles & cones! It’s supposed to be in the mid 70s…

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Inspiration Underfoot

Treasures: on Black Stone
In the collection of Sanda Smith

Camping
on an island with my husband,
both sons and their girlfriends last
September,
I found myself unable to take my eyes
off the ground. It was
littered with every shape
and color of stone and shell you might imagine
—
and then some!

Upon arrival I sat in one place and picked up
about 50
shells without moving. It was hard
to take more than a couple of steps
anywhere on the island without reaching down
to pick up a pebble.

While
there, I photographed some of the stones,
and couldn’t resist bringing a
few home.
A couple of the photos became reference
for these paintings,
which I’ve just brought back
from OSA’s Marine show.

These are painted on watercolor paper,
mounted on American Easel’s
Extra Deep panels, at 2 1/2 inches.
                                                                                                    

Treasures: Vein of Gold

              

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I’ll DEMO at Dick Blick’s Grand Opening, Jan 27

Dick Blick has opened a grand new store in Portland’s Pearl District, and to celebrate they have events planned January 25th through February 5th. While this store doesn’t have every item in their extensive catalog, what they DO carry is impressive.

To honor Oregon Society of Artists and Watercolor Society of Oregon, I will be at Dick Blick’s from 4 to 7 pm on Friday, January 27th, giving a demonstration. You can watch me paint in watercolor, plus I will show how to use wood cradled panels with watercolor or graphite. American Easel in Salem makes the panels, and have offered to give some away at the start of my presentation. Plus, there will be discounted purchases, music and refreshments. 

That’s 1115 NW Glisan St. between 11th and 12th.  See you there!

Stop by Oregon Society of Artists (OSA) for a pink flier with a 40% off one item coupon. You’ll find them on a table inside the gallery at OSA, which is a couple of blocks up hill from the MAC club. Open 1-4pm every day except Monday. While you’re there, check out the art show, which changes monthly, and our classes and workshop offerings.



www.oregonsocietyofartists.com
2185 SW Park Place (Corner of Park Place and St. Clair)

Watercolor Society of Oregon (WSO) will have their spring show at the OSA gallery April 14th, before it travels around the state.
www.watercolorsocietyoforegon.com

Both societies are non profit and anyone can join.

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IRIS Lesson Plan

While visiting my sister, Theresa, in Texas just before Thanksgiving, I prepared art for 12 paintings, each 10 x 10 inches, sketching them on Crescent watercolor board. I chose this size because I’d found a source for the gallery frames. They came with plexiglass, which I’m just tossing and will use acrylic mediums to protect the art.

2 Iris, 2 Zinnia, 2 Trillium, 2 Rhododendron, 2 Peony, and 2 Lily — to make an even dozen.

I decided to record my process as I painted the first two, and make step-by-step lesson plans from the notes and photographs. Theresa was thinking about a large Iris painting for her house, so I started with the Iris.

Here is a finished painting…

And the second one, which is the one I’ll be working with…


       The step-by-step lesson plan…                                                                      Framed art……….

The IRIS photo was then a useful tool, using Photoshop and another photo of my sister’s wall to create a virtual image of what the painting would look like, true to size, if it were painted 50 x 40 inches. The “small” painting in the before photo is actually a full sized sheet of watercolor paper.

Notice the changes in the after photo from the iris painting above… dark background and vertical crop. When light/dark values are determined during preliminary work, it’s much more likely that a painting will be successful. Considering the painting time invested with a large piece, both thumbnail sketches and small study paintings are well worth the effort.

        BEFORE                                                                             AFTER

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Getting “the Look” with Cradled Panels

I’m pulling art out of drawers and sorting. In taking another look, I often see room for improvement. It’s so easy to get the brushes wet and rework them. The results are usually worth the effort.

Having a good supply of wood cradled panels, I’ve been playing around with displaying some of my art on them. First I started painting the panels with acrylics to match the art. Here’s an example of a dark burgundy frame with a lily, painted watercolor on paper before attaching to the cradle.

Soon I realized that for a cohesive look, painting all the cradles black is the way to go. Here is an example of that, using paintings of birds. Notice the art does not reach to the
edges. Instead, I’ve left a mat-like perimeter of the front face showing.
It is a good look for displaying several pieces closely
together. This treatment is great for hanging a show.

 

This Preening Crane I originally painted vertically for the John Scharff Migratory Bird festival, 11 x 17 inches. Then I painted it again, cropped, on Aquabord, 24 x 24 inches. This version is smaller, and horizontal. It’s fun to see how a good composition can sometimes work well more than one way. While each has it’s own character, I am pleased with all three formats. On this one I’ve left a mat-like edge of white paper, along with the black face of the cradle.

 

This sweet bunny is painted by Lorraine
Bushek, a Portland artist who is also a good friend. It is oil on Gessobord, then attached to a
wood panel to frame it. You can see why Lorraine’s work is in such high demand. I traded this piece for one of mine — Bleeding Hearts.

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WESTERN FEDERATION ENTRY

‘Judy In The spotlight’

This painting was finished just in time for the Western Federation of Watercolor Societies Exhibition entry.  I met Judy Hoiness at the WSO conference at Eugene last spring, and shot reference for this painting at one of the breakout sessions she led. I love the way the light hits the side of her face as she demonstrates the water soluble paint sticks. The background pattern, inspired by the drapes, reminds me of the curls in her hair.
30 x 22 transparent watercolor

‘On The Horizon’    

 This piece showing my son Dane (center) with his two best friends (Dusty and Isabel) includes a 4-inch painted mat with the background seascape flowing to the edge. But since Western Fed requires a 3 1/2 inch white mat, I cropped several inches off the outer edge so it would look more like a liner mat.
30 x 22 (full image) transparent watercolor

‘Wanna Be Like Mike’

This is a quick study of artist and musician Mike Henderson from a video capture image as reference, using watercolor and DaVinci Watercolor Encaustics which are no longer on the market.
I’m using a limited secondary color palette.
15 x 11

Wish me luck!!!

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The Chicken or the Egg?

An age old question arose as I contemplated how to use the birch Cradled Panels.

Should I attach the paper before or after painting? If I paint first, I can toss anything I’m not fond of and not waste the panel. But if I adhere the paper first, it stays flat — no buckling while painting, even loaded with water. So I tried it both ways and found, as often is the case, there’s not one right answer.


The good news is: either way works.
Adhering first there’s no need to stretch, the paper stays perfectly flat as I paint. I can leave the edges as an overhang to protect the wood, cover the wood with painter’s tape, or both.

Of course, that perfect balance between advance planning and spontaneity can be elusive. Painting before adhering to the panel does allow one to make decisions about the cradle later. I found using a larger cradle with exposed wood on the front face was a better look, overall. And stretching paper on a board for painting keeps the paper completely flat while working this way.

This painting was started on a stretched piece of watercolor paper and transferred to the cradle after painting.

Here’s a similar painting of a magnolia blossom in progress, attached to panel first. You can see how it stays perfectly flat. Notice the paper extends beyond the cradle for easy trimming later.

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