This is the first coat of paint on top of my underpainting. The underpainting of the battery was a wash of cool grays that I painted with a brush. This layer is warm grays that I painted with a palette knife. I need to go over the whole thing again and make adjustments. I’m excited to see my progress so far. The next step is to go over the sky again. I’d like to make some clouds.
This is what the battery looks like to my camera. Yesterday when I left home the sun was coming out but by the time I got to the fort it was foggy. I worked on my painting a little while anyway and took this photo so you can compare my perspective drawn with my naked eye to the camera’s perspective.
This lighthouse is at Ft. Monroe. It was built in 1802. It’s still operational and automated since 1970 something. They called it Old Point Comfort.
This is the moat around the fort. There are some pretty views of it and I might try to do a painting of it eventually.
This is the way into the fort. I can get my car through with just inches to spare.
Long ago, when I was a young chick in art school, they insisted we must learn linear perspective using vanishing points. It was too technical for me. I promptly forgot what I learned. After doing a few vanishing point exercises I decided if I wanted to draw architecture I’d just eyeball it.
It’s not easy to draw architecture. I have to try at least twice and it’s still not exactly right but it’s not annoying my eyes so this will do. My perspective is a little off and my proportions are a little off, I hope it’s not noticeable.
When I can get my lines straight I’m happy. I did this all free hand not using a photo or even a ruler. To check my lines for straightness I look at my drawing on the edge the way you look down the edge of a board to see if it’s warped, tilting the drawing so I’m not looking straight at it but kind of looking sideways. Then I can see where my lines go off straight and it’s easier to make corrections. It might seem like a slow process to draw straight lines this way but I want to do it freehand and practice will pay off in the long run.
This is a close up showing two focal points. The light in the foreground is a focal point because it’s contrasting with the bridge support that is partially illuminated by it, that support being the only one with a lot of light on it, and the dark lines going behind it on a slant. The secondary focal point in the background is a streetlight far away. It’s white against black, so if a viewer’s eye is zooming in on details their eye will stop there and look at the background for a second before moving on. You can see some sketchy boats in this photo which aren’t a focal point and aren’t even noticeable from far away. Yeah, those are boats. I could hardly see them from where I was but I drew them anyway. (artistic license – draw as much or as little as you want to)
The lines look tilted because I wasn’t holding my camera exactly square to the paper.
This close up shows reflections continuing from above the bridge to below it. I wanted to have some light reflecting under the bridge to tie the top to the lower part with a little light. That’s another secondary focal point on the far right of the drawing because of the white square on the black background and the orange square next to it.
Sundown was my favorite time of day to draw this scene from the balcony of my hotel. A half hour earlier the sun was glaring on the water so bright I couldn’t look in that direction. A half hour later and the buildings in the background blended in with the trees’ darkness.
I started this pastel in Plein air at the inlet on the 6th floor of the hotel. I did my drawing and picked my colors in plein air. Then I got an apartment and moved in. After a couple days I stopped unpacking and organizing the apt. so I could finish this. Now I have to get back to the unpacking job before I start another art project.
I was sitting on top of the hill there at the War Memorial to work on this painting. It’s more comfortable to stand up at an easel, but I was in plain sight of 1000s of commuters on 2 busy roads. Also, people working in tall buildings could see me there in the sun on the hill. Sitting down makes me feel less obtrusive in the scene.
When I did my 1st charcoal sketch for this painting, I drew a pile of logs in the river, then later decided to eliminate them from the painting. But, in reality, the logs are there in the river providing a habitat for all kinds of wildlife.
You can see the Southside floodwall and the pilings from the old bridges that got destroyed. Plus the Manchester Bridge and railroad bridge.
When the Tulips wilted all at once , the volunteer gardeners at Lewis Ginter Botanical pulled them out and replaced them with Summer flowers so fast. I was amazed. As I walked past them and saw the new plants going in, I said to the gardeners, ” OMG , You guys work fast! ” and “Nice work, you guys!”
They were all on the ground digging the dirt. A man said to me, “We can only do this because we’re rich.” I laughed and told him, “I’m in that club too!” hahahhaha
Then another day I was sitting in the shade mixing up my colors, and some guys were pruning the roses in the hot sun. One of the volunteer gardeners was very friendly and talking to people walking through. I heard him say, “It’s not work if you don’t HAVE to do it.”
Which answered one of my questions, because I can’t decide if art is “work” or not. I still don’t know. Do I HAVE to do art to keep my sanity? Does that make it ok for me to call it “work” even though it’s so much fun and it doesn’t pay?
We could debate that subject, but it sure looks like work to me what the gardeners do!