This painting was accepted into the Niagara Frontier Watercolor Society Int'l show this fall. It's a little different from my usual, but NFWS has stringent rules for it's shows: NO OPAQUE paint. Only transparent watercolors on paper. I don't usually mind, because I use opaque white only as a final resort, but, some of my best paintings lately fall in that category.
Anyways, I've had a lot of experience painting chickadees lately, but I put this little guy in a more realistic environment. The whole painting has a very soothing feel to it. Those of you familiar with chickadees know they aren't usually still, and most likely he will be dive-bombing some other birds hanging around the bird feeder.
I picked up this leaf while taking a walk the other day. At the time, there were very few colorful leaves on the ground. Now, Fall is in full swing, and it is hard to keep my eyes on where I am going. So, I brought this raggedy little leaf into the studio and taped it too the wall. Lots of luscious colors. Painted alla prima.
I've been away from my studio for 3 weeks, so am ready to get to the studio and start some new paintings. In my very slow way, I started this little landscape Thursday, then added some details Friday, and finished it up Sunday. Feeling a bit fussy about my process, I painted the same image very quickly/ alla prima/ impressionistic (bottom). It looks fresh, but just not my cup of tea. I think that sometimes when you get out of your comfort zone, you realize WHY you are comfortable there. It's not always such a bad thing.
This was originally the first step, but I stopped here because I liked the Impressionistic quality.
The orange colors are actually the copper showing through, and it shines in the light.
I love it when a painting just seems to paint itself.
Another recent "finish". I think I started it about 18 months ago. The marbles were a breeze, but I struggled with the background and the cast shadow. It was a good lesson that sometimes you have to stop looking at your subject and just try to figure out what would make the painting better.
I've been working on a few watercolor paintings, trying to finish them for entry in the Niagara Frontier Watercolor Society. I finished this one. Nice, but I wound up entering a portrait and a small wispy landscape with a bird. Not my usual thing, either of them, but I am all full of daring these days. Painting in oils will do that to a watercolorist I guess.
Here I am with one of my White Queen Peony giclee prints on canvas. I am so happy with the way they look. We printed them substantially bigger than the original, at 24 x 26", but my printer (a wizard with photography and printing) made sure they came out crisp and vibrant. I will only have 25 of these prints made, both in this size and the original 14x15". Check out my website to order, or email me.
Finishing up some small watercolors and beginning some more ambitious paintings this week. I need something new for the upcoming Niagara Frontier WC Society National show.
Plus, new demos are on my list of things to do (still).
I just took a batch of paintings to Rust Belt Books in Buffalo for an exhibition through September. Not sure why I greed to it, as the place is not really conducive to my kind of artwork. It is very funky, messy, and well, Rust Belt-y. I'm mostly concerned that my beautiful paintings will be safe there. The oils on canvas are much more fragile than I expected. The edges scrape up very easily, and they can get a dent if anything rests against them.
A quiet night of drawing at the library. I was the only one of my drawing group that showed up. We knew no model was coming, so I had brought a few still life candidates, including some ceramic eggs (splattered with chicken-poop colored paint to look authentic). I set them up on a glass covered table with really cool reflections and proceeded to draw. After 2 hours, I was ready to pack it up- the light had changed, books dropping in the book drop kept making me jump, and that damn stuffed Orangutan (life size!!) in the children's section kept creeping closer.
I am having such fun with this rose. I love pink anyways, and the hints of orange, magenta, yellow, blue, and red just make it all luscious. Balancing the detail with the vague is the challenge now, but I think I am almost finished.
This painting took on a bit of a fantasy quality as I worked to get the light hitting the waves of earth in the field. My husband said it reminded him of a Thomas Kincaid painting, which made me laugh. I like the colors and feeling of cold early morning and peacefulness in the old homestead. Sometimes we all need that Thomas Kincaid feeling.
From time to time I get notices from friendly fans that someone is using my images for their own gains. Several Chinese companies paint "original paintings" for $39, but they are using (stealing) another artist's images to copy their "original". I really hate that, but other than emailing the company to take my image off their website, there is not much I can do. Some artists use watermarks on their images, but I think those can very easily be photo-shopped out. In fact, there are people who specialize in this service on graphic design service websites.
I don't have the time or inclination to chase down image thieves, but I appreciate a warning from y'all.
On a positive note, if someone asks me if they can use one of my images to teach a class, use it as a tattoo (my mouth says yes but my head screams "nooooooo!"), or post it on their own blog, I almost always say yes. I appreciate being asked.