Thursday, April 29, 2010

White Hawk II, Stages 1 & 2

I am liking this second painting better even though there are a lot of areas to modify/correct.  As can be seen, I rounded the face more in Stage 2 from what it looked like in Stage 1.  The misket will be removed, mainly in the eye area, and finish them.  Then, correct the mouth, right ear/hairline area and bottom of the nose.  Of course there are other areas such as the shirt, etc.   I could almost stop here and call this a success just because of the shape of the face and because the darks aren't as heavy, except near the right ear.  That area does look rather heavy so will try to lighten it slightly.

Monday, April 26, 2010

White Hawk

This is where I'm stopping.  The face is overworked and lost a few shapes. The bottom of the nose needs to be shortened so there isn't as much of the bottom part of the nostril showing.  Am I disappointed, yes but there is a bright side which is learning more about skin tones, and especially shadows.  So much to learn about those when working with skin.  Now to retrace this on to another piece of paper and try it again.

Sunday, April 25, 2010

White Hawk, Stage 2

Instead of lovely smooth skin, I have this ugly blotchy look.  Will try to smooth it out and tie everything together. I am being very timid with this painting, feeling my way as I paint - stopping often to step back and look.  Don't you just love the blossom smack dab in the middle of his forehead? *big grin*  Happily I have the drawing so can do another if I'm not pleased with this one at the end.  That does help me to feel freer to experiment a little and make mistakes and corrections. 

I have added Pthalo Blue and Pthalo Green to the palette to create the darker hair.  These are very staining color and am mixing them with P. Alizarin Crimson and sometimes the TYO and TRO to get a variety of color in the hair. 

White Hawk, Stage 1

I began the painting of White Hawk yesterday and am taking it very slow.  So far I haven't used the hair dryer but will because I don't want to wait on the paper to dry. 

The shadow side of the face is comprised of Transparent Red Oxide (TRO) and Transparent Yellow Oxide (TYO).  The areas receiving light have been painted with Perm Alizarin Crimson and Lemon Yellow.  Shadow purples are mixed with Cobalt Blue and the reds, while the the shadow greens are Cobalt Blue and yellows.  I am hoping to increase the resemblance to White Hawk but right now the face looks a little long and narrow.  The eyes have been started with a layer of TYO and TRO. 

When I saturated the photo of White Hawk I could see lots of blues, purples and reds in his hair.  Masking fluid was used to retain some lights before adding the color.  Now the masking fluid has been removed so I can look at the shape and light placement in the hair.  Before going darker with the hair, masking fluid will be applied again. 

Saturday, April 24, 2010

Skin Tone Color Charts

These are a couple of small color charts for skin tones done this afternoon.  The purpose of the charts to come as close as possible to White Hawk's skin tones, including the shadow areas. 

White Hawk Outline & Iris Outline


This is unusual for me to have two sketches drawn, ready for painting.  Well almost ready, the iris sketch isn't complete yet.  Both are a quarter sheet on Fabriano Aristico wc paper.  The outline of White Hawk was traced as I wanted to get his features fairly accurate while the iris is freehand drawn.  I taped a piece of tracing paper over the computer screen and traced the outline.  Cheating??? Perhaps, but to me it is a means to an end which is accuracy and expediency.  As long as I know I can draw him and draw him accurately if I choose to then I don't feel guilty lol.  The grey on the White Hawk outline is Pebeo Drawing Gum.  Those are the areas that I want the lightest.  My plan is to gradate the washes so there are not any hard edges near the Pebeo and am keeping my fingers crossed it works out this way.   

Friday, April 23, 2010

White Hawk Sketch

This is a pretty rough sketch of White Hawk, a young Arapaho boy living in Wyoming.  I took several photos of him last Spring, trying to catch his impish, sweet look.  My plan is to paint him but have to get a more accurate line drawing first. 

Tuesday, April 20, 2010

Jessika Rose

Jessika Rose
9 1/2" x 12 1/4"
Watercolor

Photographed under fluorescent lights and adjusted with Photoshop to get the color of the photo as close to the painting as possible.  I think the background is just a bit lighter than is showing int his photo. 

Saturday, April 17, 2010

Jessika Rose, Next Two Stages

These photos show the applications of paint in the two stages.  That center is looking quite neon but the photo is really showing that vibrancy and intensity of color.  The colors in the rose are Quin. coral, Quin rose, Permanent Red, Fr. Ultramarine Blue, New Gamboge, Lemon Yellow, and Ultramarine Violet.  The background has some of those same colors with the addition of Cerulean Blue, Yellow ochre, and Undersea Green. I'm looking forward to the morning so I can continue to work on this painting.  This is being painted under fluorescent lighting so am curious to see how this will look in daylight and under incandescent light.   

On a different note, I want to express my thanks to all of you that follow this blog.  I don't often acknowledge how much I have appreciated your being there.  There are so many of you wonderful artists sharing your blogs that I wish I had room on the sidebar for everyone.  I keep finding more and more wonderful artwork to view via other artists' links and could spend hours just reading and looking. 

Jessika Rose, Stage 1

I found a beautiful reference photo of a Jessika rose, taken by valchina612 at the Wet Canvas Image Reference Library.  The colors in the rose range from a yellowish to a peach to a coral to a vibrant pink.  So far two of the petals have quin. rose and quin. coral touched by a lemon yellow.   The gray is the misket applied to keep the whites.  Will do my best to get a soft gradation going into the white. 

Red Rose

Nora, of the A Low Country Artist blog kindly did a demonstration at Painting Friends, of how she paints a rose.  This is my effort based on her demonstration.   This watercolor is approximately 6" x 6" painted with Cobalt Blue, Permanent Red, Quin. Coral, Lemon Yellow, and Undersea Green.  The reference photos  used are by two photographers,  nurbis and guitarmaniac, from Morgue File. 

Thursday, April 15, 2010

Unexpected Visitors

Yesterday and today we had these two little doggies visit us.  They showed up, ready to make friends and play.  They look like a pug mix - the tan is a female and the other one a male.  Both are cuties but the little female is quieter and definitely a lady while the male is all action.  I think they belong to one of our neighbors but am not sure.  If no one claims them it looks like we have two additions to our family.  The problem is they scoot under the chain link fence so have to figure a way to keep them in or they could end up dead on the highway.  The other problem is my female dog, Lacy.  She is very possessive of her territory which includes me ha ha.  Hopefully, they will become fast friends if the little ones stay around very long. 

Wednesday, April 14, 2010

Garage Sale Find

I haven't a clue as to how old this photograph is but it is one of my favorite possessions.  It was found at a garage sale and given to me.  The only thing I can really tell is it was at one time professionally framed.  I am not that familiar with the dress of the different indian tribes so if anyone has an idea which tribe they could belong to, hope you will share that info. 

Yesterday was a busy day and spent a good portion of it outside, cleaning flower beds, moving a few plants, etc.  It would have been a perfect day for painting outside if I had had the time.  Today looks like it will be just as beautiful but have more Spring cleaning to do. 

My plans do include researching photos for paintings and hopefully, getting one sketched on paper. 

Monday, April 12, 2010

Water Lilies

I worked on the lily pads today and am calling this one done.  Ended up with a mess and had to use a bit of gouache on the back flowers.  Didn't like the way they looked so held the paper side ways and soaked the area with brush loads of water then added color.  You can see where the greenish color is in the background on the viewer's right.  Also used a bit of gouache on some of the pads and ended up with a bluish tint.  The look of this painting is very different now from the last photo posted. 

Saturday, April 10, 2010

Water Lilies-Stage Three

This is getting pretty close to finished.  There is an area that I'm not quite sure I like so will wait for a few hours to decide if more needs to be done in that one area. 

Water Lilies-Stage Two

Don't faint, two posts in one day, ha ha. 

In this photo, the color is being blocked in - the area to the left of the large flower has a swish of colors just to see what would happen once the pads begin to be formed.   I saw Terri Hill's paintings and she used a swirl of colors in a reverse "S".  Am going to have to really give that more of a try to see what evolves. 

Water Lilies-Stage One

This is stage one of waterlilies on an 1/8th sheet of Arches 140lb. wc paper.  The sketch was loosely drawn and so far my palette consists of Terre Verte, Fr. Ultramarine Blue, Undersea Green, Holbein Lemon Yellow, DS New Gamboge, Ultramarine Violet, Indanthrene Blue, Holbein Perm. Alizarin Crimson, and Quin. Magenta.  Most of the greens are mixed and if a tube green was used it also had another color added to it.  

The reference photo is by Lil of Painting Friends and is being painted for the Friday Foto project.  Thanks Lil, for the beautiful photo.  The photo has been cropped and the larger flower moved to the right.  It also had a sign or something in the photo and that was removed.  Photoshop helps a lot when planning a composition. 

Wednesday, April 07, 2010

Thinking Outside the Box??

This has been running through my head, wondering how other artists do this. When you see apples do you just see apples or do you see other possibilities where one thing leads to something different?  When does one go from trying to record what one sees exactly, to switching to an interpretation or an abstract of what one feels when they see a subject that appeals to them.

I think of artists like Shirley Trevena and the way she has so much in her paintings but some of the items in her paintings are suggestions or are broken into overlapped segments.

Look at this thread in the Watercolor Gallery at Wet Canvas.  To me she was thinking outside the box when she set up her still life.

Do these artists begin with a single subject then morph it into something else - what and how does one start such a process? Do you break up your compositions or place odd objects that do not relate in a painting.

It all starts in the mind, doesn't it - something clicks that sets one's thinking off in a totally different direction.

When you see a subject do you take it beyond the norm in your mind's eye (and on paper) - do you paint what you see or do you paint what you feel when you view this subject? Do you break up backgrounds - think of texture vs. smooth, soft edges/hard edges, harsh color, soft color?

I have watercolor books where one can do creative exercises by doing collages or abstracting an object - is this one of the keys for thinking outside the box?

I looked at Terri Hill's artwork of grapes. In the beginning, she swirled like a reverse "S" of colors from top to bottom then began to paint her subject of grapes. Look at her photos on Facebook Grapes are a typical subject but I think she went "outside the box" on how she portrayed the colors and her use of the reverse "S" for color keys in the painting.  The tonal qualities and textures in her painting are lovely. 

How does one train oneself to think outside the norm, to exaggerate to let brush strokes speak volumes?  I'm thinking it is mostly by experimenting and experience.  What do you think?

Tuesday, April 06, 2010

How Do You Paint . . .??? Finished

The finished painting measures around 4" x 5" and has been posted at Painting Friends.  The oranges really are more orange and not quite so red.  My camera loves red.  I've been messing around with the F-stops, etc. on the camera trying to learn a bit more about how it works.  

Sunday, April 04, 2010

Do You Paint . . . ????" Demo Update

I haven't gotten very far with the painting - my only excuse is we have company so I am painting little bits at a time.  The whole oranges are more orangy rather than the red.  For some reason the camera really saturates the red.  Anyway, I removed the misket from areas and now have to soften edges and add color, do a bit of reshaping, darkening shadows and work the different areas.  You can see I used the same colors in the background as I did in oranges and peelings to give an overall more cohesive color scheme. 

Friday, April 02, 2010

How Do You Paint . . .??? Demo

The Painting Friends online art group is running a thread, "How Do You Paint . . . ????", where some of the members have volunteered to do a demo based on requests from other members.   This is the beginning of a demo requested by Cindi to show her how the Cuties (oranges) painting was done. This painting, on Arches 140lb. watercolor paper, is from a reference photo taken at the time the original painting was done.

I can't reproduce the steps of the  original painting or any other painting to be honest, because each painting is different even if it is the same subject.  The original painting was painted from life and initially begun as a Twenty Minute Challenge painting. Instead of stopping at 20 minutes, I continued to paint the original painting until I felt it was finished.  Painting from life and within a time frame adds a freshness that is hard to find when painting from a photograph unless one is very, very good.

For the beginning of this painting, I wet the paper except in the areas where I wanted white.  I glazed a cool Permanent Alizarin Crimson over Lemon Yellow in the light and warm Quin. Coral over New Gamboge in the shadows.  As the paint neared the white area the edges were softened.