First I had to paint the flowers with white because the pinks won’t show up bright enough on the dark tinted paper since they’re semi transparent colors. Also, I couldn’t see the flowers well enough until I painted them to tell if they look like a good arrangement.
The background texture is from my modified fan brush. I wanted to make a look of pine needles on the ground
The scary part is the pinks. I mixed my colors in plein air sitting next to the azaleas and I think I have the closest pink to what it actually is, but it’s not as bright on my palette as it is in reality. Flower petals allow a little light to go through. They’re not 100% opaque because of the cell structure, if you know what I mean. The sun on the pink petals makes a brighter pink than you can buy in a tube of paint.
I need to do a color rough and see if the pink will be brighter if I use glazes of the two pinks that I have straight out of the tube.
First I need to go over this again and decide where to have shadows and where to have spotty sunlight. Then wait for that to dry before painting the pinks. I’m excited I got this far with the painting and might be able to finish it next week. It can dry this weekend. I’m going to PA.
Last week I didn’t see these flowers on my walk. Today they’re all over the path making it smell so good! I need to mark the date so next year I can be ready when they bloom. I’d like to use them in a still life with some other local objects, maybe seashells or something. I have a fish shaped dish that could be in a still life and a little vase for the flowers.
I can’t do it this year because I’m into a difficult painting right now, the azaleas. I don’t know if I can make the azaleas painting work out as planned but it will take some time to tell. I need to make more progress on it.
It’s not unusual for me to save an inspiration for a year or more before I get into the project. You know me, slow living. haha. Like my daughter says, “live fast die young, live slow die later.”
As I’m sketching the flowers, I pick up information that a photo won’t give you. It’s not always easy to see the petals as separate shapes. I’m sure a camera would blend them together. I might be the only one interested in drawing petals separately but it could help me decide which direction to drag my brush on the painting, where the edges are if I want to keep edges. I’ll probably simplify the painting but I need detailed drawings.
Another thing a photo won’t make you aware of is that the buds and flowers come in groups of three. The stems are in threes too. The stems don’t go straight vertical but have some curve. Some of the petals have smooth edges and some have zig zag edges.
Now I realize that other plein air artists don’t care about separate petals. They’d go to the garden and start right in with slapping down some paint and finish the painting in a day or maybe less. I need the sketching time to figure out a plan.
The more flowers I sketch the easier it gets. I might need more flower sketches but maybe these are enough.
The two big azalea bushes I was standing between are in a kind of U shape where I can step off the path and stand between the bushes to sketch. These are on the shady side. I looked at the sunny side of the bushes and the sun was too bright on my white paper. It was blinding! I use the white paper last because it’s not great for sketching in plein air. Also when looking at the side in the direct sun all the flowers were lit equally bright. When I sketched the shady side it was easier on the eyes. I didn’t feel like going back to the car for my sunglasses.
As I was standing there for around an hour and a half to fill each of these papers with flowers, some spotty light fell on a few flowers at a time and it was much nicer to see than the bright glare of direct light. I decided to do my painting with spotty light. I’ll have to fake it on the sunlight if I paint this at home, but that means I can put as much sunlight in as I want to, because if I go back to the garden to paint the flowers will be different and I don’t know exactly what time the sun fell on any flower to catch it at it’s best.
So, yeah, and hour and a half on each sketch paper. That means I have around six hours in it so far and haven’t started painting yet. That’s one reason I can’t get in with a plein air group. Also, I don’t want to pay to join a group, I mean $35 to get your name on an email list? But they don’t like this approach to painting. They don’t want to go back day after day and do a bunch of sketches. But it’s a whole different process and if I ever sell a painting I’ll ask a lot more for it than their fast one day paintings would go for. They want their art openings to be “cohesive” which means the artists must conform. If all the paintings for sale are asking $300 and someone enters a painting and they want $1000 for it, the juror would reject it because they don’t want an artist to think their painting is worth so much more that any of the others.
I traced my flowers from the sketch papers and cut them out to arrange them on the paper I tinted for this painting. This step will help me decide if I need to draw more flowers or if this is enough. I want to have some flowers in the background too. If I can come up with a good arrangement then I’ll try to decide how much sunlight to put into the painting and where. I decided I want the spotty light to make the composition more than the flower shapes. If I can make a good composition with the flowers and light, I hope the viewer’s eye will move around the whole painting.
This will be a busy week at the botanical garden because of the holiday and the weather is improving. Norfolk was on the edge of a freeze warning so I wondered if it would affect the azaleas which are starting to bloom but they look fine today.
I’m undecided how to paint them but I’ll get more sketches and paint at home. I have a good spot to sketch off the main path. I just don’t want to hang around if it gets crowded so I’m going when they open in the morning.
These are close to life size on my 11 x 14 paper which is the size I can stand and hold in one hand to sketch without using my easel.
I took my numbered color swatches that correspond with my Inkense pencils to make color notes. That’s my little color notes on the sketch. I might use my Inktense pencils for this or maybe oils with my brushes on a yardstick, which is fun.
The variegated ones are my favorites. oops, I smeared my charcoal. That’s ok, I need a lot more sketches but I can start planning my painting by starting to arrange them on a larger paper.
In wildlife news:
Crows, A crow was harassing me at the botanical garden when I painted the redbud last week, caw caw cawing over my head for a long time. Finally I thought he wants to steal something shiny from me and I covered my paintbrushes and everything else with any shine and he went away.
Canada geese. I pulled into a shopping center to get lunch and saw a goose sleeping in the parking lot. I wondered if he was sick, hoped he didn’t get hit by a car. Then I got my Kentucky fried chicken and parked to eat it. I saw the other goose sitting on a nest under a tree on one of the cement islands with mulch in the parking lot. 4 crows were constantly harassing the goose on the nest. The goose didn’t seem concerned about the cars but that would be bad with the crows harassing the geese all day. And they will have to walk a long way when the eggs hatch because there’s no pond anywhere near there. The babies will have to cross busy streets if the crows don’t manage to steal the eggs first. what a bad spot for a nest! I noticed some human had left a plastic bowl near the nest, probably with food or water.
Ospreys. I was happy to see the nesting pair back on top of the light pole out back. It’s over a little league field. The teams are back to playing their regular schedule. Sometimes it gets loud out there but it’s mostly quiet.
The background fade from pink to blue is a silkscreen blend. The flowers are oil paint done with my paint brushes taped to yard sticks and painted while standing back from the paper.
Blends aren’t easy to do. It takes skill to make a smooth even blend between two colors. I didn’t do the silkscreen. I worked in the art dept. of a silkscreen shop long ago and saved some flawed blends from the overrun. I only have one blend paper left. They made good backgrounds for a lot of different art projects over the years.
The owner of the shop had us do a huge art project every year that he could give away to the customers at Christmas. We had to reproduce a painting by one of his favorite artists. That was in the days before printing technology was as advanced as it is today. The silkscreens process couldn’t reproduce a watercolor exactly but we tried anyway.
I’m not sure if taping my paint brushes to yard sticks ala Matisse is helping me become a better artist or not but it is fun so I want to keep trying. It makes my brush strokes a little rough which is ok for this project.
This is the unfinished painting on my easel with my $5 flower pot. It was nice to go to the garden supply store and buy the little daffodils. I picked the one that looked like it had the most buds and sure enough, more and more buds are opening.
You can see my palette on the table with 3 greens mixed and thinned with turpenoid. Working the paint is an important step if you want to try the yardstick painting technique. Sometimes artists just like to switch up how they’re painting to keep it more interesting. It’s how to improve your art over the long run, try new things, learn from artists you like by trying to paint like them, and it keeps an artist from getting stuck in a rut doing the same thing all the time. It’s a challenge.
If the paint wasn’t thin it wouldn’t flow off the brush as easily as I like it to and painting with the yard stick brush extenders might be more difficult. I add turp slowly and keep mixing with the palette knife until it’s smooth and even. Then I need to go over it twice because the paint is more transparent. I don’t know if it shows up in this photo, but one coat of paint didn’t cover the silkscreen ink well enough. I had to do the second coat of paint to make my flowers as bright as I could get them and make the leaves show up better.
I tried to paint like Matisse again by taping my brushes onto yardsticks and standing way back from the paper to paint. It’s fun! I had some problems with this painting, though. Not the yardsticks, the pink.
It’s impossible to mix this color. I tried every combination of the colors I had and put the painting aside because it was dull. That’s the one drawback about oil paint. When you mix colors you lose chroma (brightness). Eventually I went to the art supply store and bought a tube of “amethyst” by Michael Harding for $24. An expensive tube of paint, but I’ll need it in the spring when I try to paint some redbud trees.
You can avoid losing as much chroma as you might if you only mix your colors on the palette with a palette knife instead of mixing colors on the canvas with a brush. You also need a brush for each color. And you can avoid losing as much chroma if you build up layers of transparent glazes and let the viewer’s eye do the mixing. But the modern art way of avoiding loss of chroma is to not mix the colors at all. Just use the paint straight out of the tube!
When I put the painting on hold for a few days and went back to it, the petals and leaves were different so I had to kind of just wing it on top of my underpainting. This close up shows some fun leaf squiggles, smears and lines and blobs.
For the art viewer who likes to look at brush strokes, you might be able to see my layers, first the thin layer of underpainting and on top of that the thicker paint of the final layer.
I realized how I’m making the veins in the paint. It’s something I do without thinking, and big round brushes are ideal for this. You load up the brush with paint then go at it from the side of the brush, rolling the brush as you draw it across the paper or canvas. I hope you know what I mean. I should get someone to video tape me doing the brush roll thing, maybe you already do that if you paint. When I realized I was rolling the yardstick I thought I’m getting the hang of this.
This is the unfinished painting on the easel with the flower. I went larger than life. Larger is easier especially when you have your brushes taped to yardsticks.
I’m trying again to paint like Matisse by taping my brushes onto yard sticks and standing back from the painting. When I start to paint like this it’s always awkward for a few minutes because it’s hard to control the brush from a yard away, then it gets a little easier and it’s fun. I can’t tell if it’s improving my skill or not. I’ll have to try it a few more times then look back some time in 2021 and compare my paintings, see which ones to keep and how they look compared to painting at a normal distance.
This is a focal point, green dashes next to red lines on the dark background where some of the black paper is showing through.
I went over the whole paper twice. The poinsettia I painted last week was only one layer of paint and finished in one day. This time I painted the flower, and the gray blue background. When I stopped and looked at it I thought it wasn’t bright enough. The alizarin crimson is a transparent color and one coat didn’t cover the black paper enough. You can see the layers of reds in this photo. I waited for it to dry one day before going over it again.
Here’s a little hairy red smear that doesn’t need to be fixed on top of a red smear over green. oops,
If you don’t mix your paint colors on the paper by deliberately blending with your brush, you can get some overlap of complimentary colors with wet paint smearing together and you don’t instantly get a muddy color. Just leave well enough alone. I hope that makes sense. It might give the viewer’s eye something to focus on if they like to look into the brush strokes.
This is another focal point, bright next to dark, red next to green, small next to large strokes.
This is my unfinished painting on my table with the flower, my sewing machine behind it.
I’m blocking the sliding glass doors to my balcony with the table but this is a North light so the shadows don’t change all day. It’s not a direct light. The balcony of the apartment above mine is blocking the light then there’s trees on the other side of a fence also blocking the light. It looks like plenty of light in this photo but I felt like I was painting in the dark. I could hardly see what I was doing until I had the background started, especially on the black paper.
The reds in the photo aren’t the same as real life, but you get the idea.
I was having some fun painting like Matisse by taping my brushes onto yard sticks and standing back from the painting. You have to give up some control over the brush because it goes where you don’t want it to go but that’s ok. It gives the painting a loose modern look. Fast, loose, unfinished, spontaneous, that look is what the modern art world prizes the most. A finished painting is looked at as being “labored over” which is ungood. I’m not really feeling pressure to paint modern. I’ll go back to doing finished paintings. I got so modern painting this yesterday, I didn’t even sketch it first, just started slapping paint on paper.
This is a close up of the flower’s center features, I’m not sure what you call the little parts, and a stem.
I painted it on the back of a figure drawing that was on black paper. I’m enjoying painting on paper and I like to use both sides. You can see the black paper showing through here. Then I wanted to tone down the black a little so I went into the background with gray trying not to mess up my edges and smears of the reds. In traditional painting you paint the background first but in modern art you can do it last if you want to.
I might give this another try on another piece of paper. Look, Ma, I’m a fauve!
This is the last time I’ll use my sketches of the butterfly ginger for the palette knife painting. The next thing I’d like to try it on is the spooky battery at Ft. Monroe which I started sketching a couple years ago and put on hold on account of the weird vibes I picked up at the fort. I want to try again to finish a painting of the battery which might or might not be haunted.
Since the palette knife makes it comes out all wavy I think it might give that big imposing scary piece of architecture a more moody look. It will be all different shades of gray, some warm grays and some cool grays.
I want to try making different textures with the palette knife. For the background on this painting I used the short flat edge of the odd shaped palette knife to scrape two shades of greenish gray in a thin layer with some peaks of the dark gray tint of the canvas showing through.
First I squirted a blob of Viridian green on my palette. It’s dark. I added terpenoid a few drops at a time until the paint was runny. I thought my big blob of paint would be enough to paint these dark green areas but I misjudged the amount of paint I needed and had to use more.
When I mixed my lighter greens I used big blobs of paint and still didn’t have enough mixed up. When mixing colors it’s better to have too much paint mixed that to not have enough and I usually mix the right amount for what I want to paint with only a small bit left over but with the palette knife it’s harder to estimate.
The last color I used was white and I put a huge blob of it on my palette then added so much more paint that I thought it looked like I’d be wasting paint but it was exactly the right amount to finish the flowers.
I did the whole thing with palette knives and split it up over two different days letting the gray green background and the light gray of the flowers dry overnight. The paint was still wet the next day but only slightly dried which helped my brighter greens and white from mixing in as much. So I did layers but I don’t know if that’s how other artists do a palette knife painting.
It was fun and I’ll do another one.
The good thing about a palette knife painting is that you don’t have to clean brushes. The bad thing is that this will take months to dry. I can put it in my outside closet where it will be out of danger.
The dark green paint was soupy and it ran off my palette knife nicely. I thinned it with terpenoid.
The white paint was like soft icing.
The palette knife is harder to control than a paint brush. You have to be careful how you scrape up the paint off the palette so it’s on the knife in a good position to make a blob where you want the blob. Paint goes where you don’t want it to go. Most of the time I just let it there but a couple times I scraped up a big blob that fell in a bad place.