Sometimes I neglect everything else in life and paint for days. Other times I do things that need to be done and neglect painting. This is one joy in my amateur status. It’s not a job.
When a subject takes up most of the space on a painting the negative spaces become an important design element. The art viewer’s eye needs to find a place to rest so it doesn’t get tired and will look longer.
Making an interesting background keeps the art viewer’s attention on the painting with more contrast and texture but it’s not as bright so it recedes.
The veins in the paint let my imagination think the painting is part of nature. It’s an illusion I like to make.
I didn’t see a plaque in the garden with the name of this variety of azaleas. Maybe I overlooked it. If it was up to me to name it I’d call it Candy Cane.
I can’t tell if it’s working on any level or if it sux. Feel free to opine or critique without worrying about hurting my feelings. I don’t have any emotions toward this experiment. (and that’s the best way to approach an experiment, just try something and see what happens.) If you studied psych this might give you some insight into my subconscious brain. If you see anything, let me know, crazy or sane, doesn’t matter either.
I didn’t make plans or do sketches first. The only thing I decided was to have fun on a cloudy day when I didn’t want to go out because it was a holiday and would be crowded at the places I like to go. The other thing I decided before starting was to use yellow pink and green.
First, I spattered yellow on the paper ala Jackson Pollock to get a loose start. Then when the yellow dried I wet the paper and blobbed two pinks in around the yellow. While the paper was still wet I scribbled in some lines with the Inktense pencils. When that dried I blocked my flowers off with masking fluid and painted the background green. Then masked off the lighter green lines and went over it again with dark green.
When it’s all dry, rub off the masking fluid and VOILA!
Those dang lids where you have to press down while turning.
Once in a while I can open the bottle with no problem but sometimes I try and try until my hand gets tired and it won’t open. One time I broke a lid off a bottle of masking fluid with a wrench. That’s how bad it is.
Yesterday I got a call from a friend and she asked me what I was doing. I said trying to open this stupid bottle. She told me to run it under hot water. I said that won’t help. The lid isn’t glued shut. I can turn it. It just won’t unscrew. Again she said run it under hot water so I said ok. I ran hot water over it for a few minutes and when the bottle warmed up the lid came off! I celebrated that happening with loud insane laughter that my neighbors might have heard because my windows were open.
Now I know the trick to opening these poorly designed bottle caps. I guess my crazy friend knows a thing or two.
This masking fluid is great for adding texture to a watercolor. A few years ago I tried using it on an oil painting, which I was told doesn’t work, but it does work if you use it over thinned oil paint with no medium mixed in. And I keep seeing people are still reading those old posts which is a mystery to me how they find my old masking fluid on oil paint experiments.
If you want to use this product the most important thing to remember is to put soap on your brush first. It’s impossible to clean the brush if you don’t put soap on it first and the brush will get gummed up and ruined. With soap on it you can rinse the brush in water to clean it and use more soap to be sure to get all the masking fluid out of the brush.
I didn’t finish this sketch because it started to rain. That’s one of the problems of your plein air painter. There was a 10% chance of rain. I don’t know if you can make this out, but it’s a path through wildflowers with a few trees. All the little dots are bright yellow and orange flowers. There will be hundreds of them in the painting.
I need to do roughs like this before starting my painting so I can work out a good composition first. This helps me to decide things like, should I use a horizontal or vertical format for my painting. How many trees can I fit into the picture, how much of the sky and background trees will be seen, what part of the painting to start on first, if I need to eliminate trees, and so on.
If I want to get a finished looking painting I need to get a good plan for how to do the background, middle ground and foreground. When you don’t do a finished background it’s a less finished and more sketchy looking painting. If you figure out in advance things like where to make different textures or focal points there’s a better chance the painting will come out like you want it to. It’s a good idea to have less complicated areas in the painting too so the viewers eye has a place to rest, and to work on shadows so they’re interesting to the viewer.
This is the old school process that I learned long ago. Take the time, follow the steps and it will work out much better. It’s not a waste of time to figure out a good plan first.
Now I have to stretch a piece of watercolor paper and draw it again. Then I can start painting the bright flowers on the white paper and block them out with masking fluid so I can paint green foliage right over top of them and when I take the masking fluid off later the yellows and oranges will still be bright spots.
It’s warm here but it will cool down soon. We might not have any frost for a few more weeks though, so I have time to try another watercolor before I get into my big plan to paint the swamp this winter. I was happy to see the wildflowers in full bloom. I’ve wanted to do a painting of them for a couple years but missed the chance because I was into painting another scene at the time they were blooming.
This is a strange experience, trying to paint like Matisse. Picture my paint brush taped to a yardstick and I’m standing back. My brush is out of control weaving around in the general area of my canvas. Finally I get it close to where I want it and roll it a little. I’m making blips and leaving them there. It’s an experiment and I don’t know if I’m getting it or not. But it’s a challenge too and after I finish this painting I want to try again. Have you ever tried painting with an extended brush? And if you have, do you have any tips or insights about it?
I’m breaking my training. No medium so far but I might use it on the next step. I used cadmium red and cadmium yellow for the first coat on the flowers because they’re more opaque colors. Normally I’d have started with a darker red. The paint went on thick and I usually do glazes. I’ll have to wait a few days for this to dry because I want to go over it one more time and try to do some shading and detail. The detail, if I can do it, will probably not hit the flowers where I want it to, so that will be a different thing for me.
This book by Time Life says Matisse has a piece of charcoal taped to bamboo. I’d like to use bamboo too. I wonder if they sell it or maybe I could find something else so I can get even farther back from my painting. I’m afraid to go out and pick some bamboo because there might be a spider in it!
This photo shows my sketches taped up next to my painting. I traced my sketches and rearranged them on the canvas a few times to try to make a n interesting composition. Now I need them on the wall so I can see the flowers separately.
A few days ago I was out on my balcony looking down at the arboretum and I thought I saw a bush with white flowers. I said, “Holy cow! something’s blooming down there in the beginning of Feb.!” Then I couldn’t spot it the next day because it was raining. This morning I saw it again, so I took my sketchbook down there and found the bush. I saw the plaque saying it’s a Chinese Paperbush and remembered seeing one once before at Lewis Ginter Botanical Garden. When I went back to Lewis Ginter the next time looking for the bush I couldn’t find it. Now I’m so happy that they have one right downstairs! I don’t even have to drive anywhere if I paint it.
It’s so pretty, when the sun shines on it the bark is gold in the light, and the flowers are bright white with dark green evergreens behind it. I have a lot of plans for paintings and one almost finished, so should I start another?
omg! There is so much inspiration when you move to the beach! I can’t keep up with it!
I sketched them with charcoal 4 times on 4 different days. Every time I got home and looked at my sketch I thought I could do better. It seemed like each sketch did come out a little better than the previous one, and all that sketching helped me plan my pastel. Each time the flowers looked all different from the day before so I decided to use pastels because I can build up layers of color in one day, as opposed to oil paint, when I have to wait overnight for a layer of glazes to dry before going over it again.
One day when I was sketching with charcoal a visitor to the garden came over to this beautiful bunch of flowers and said to me, “I can’t resist.”
When I’m in the zone drawing I can still talk to people but sometimes it takes me a second to see what they’re talking about. The lady was pulling off something from the flowers. She told me they’re “dead heads”. She has day lilies too and told me they bloom better if you take the dead heads off. We talked for a couple minutes about the day lilies. I asked her to look for the plaque, but she didn’t see anything saying what particular variety this is. She continued to pull off the dead heads, but I told her to leave some for me to draw with pastels the next day. She said, “Oh, you’ll have a lot of new ones tomorrow.” She told me they only bloom one day, that’s why they call them day lilies.” I thought they got that name because they closed up at night. So you learn something new if you hang around and draw.
Next time I draw them I might do an experiment to find out for myself if they really only bloom for one day. I could tie a thread around the stem of a big bud and check it for 3 days in a row as I’m hanging around there working on a pastel every day for a couple hours. I’m always kind of a skeptic, and like to verify some things if I can.
We had some real nice weather this week. It’s going to get hot and humid again soon, but I want to do another pastel of day lilies in another color. I’ll go back next week and try to find a place in the shade.
This is my 2nd try sketching daylilies. I think it came out better than the drawing from last week, so next time I’m going to take my pastels and do them in color. They say the heat and humidity will ease up in a couple days. That will make it easier for me to concentrate longer.
These flowers are a bright peachy pink! So bright! So pretty!
They change every day and even in a couple hours are moving to follow the sun, so I won’t be able to use this sketch. Some of the flowers I drew today will be wilted and some new buds will be opening.
I got a mosquito bite. I’m their favorite flavor, O+
This time I cut 3″ off the length of the shirt and cut the fringe 3″ before sewing on the beads. I like this length and it’s more practical with the shorter fringe because it doesn’t get tangled.
The shorts are a polyester linen blend so they’re cooler than my denim shorts, but I had to resew my seams to make it fit right. I used the same pattern that was ok before, but this time it seemed too baggy. Now I want to resew the blue ones I made and then take them apart so I can draw my pattern to fit exactly next time. It will be a big job.
Sewing is more difficult than painting. I don’t understand why “craft” gets less respect than “art”. They’re the same to me. Art and craft both require practice, patience, skill etc. so I wonder why sewing isn’t seen in the same way as an oil painting or a sculpture. No one would doubt YSL is an artist, but is the seamstress who makes her own clothes also considered an artist? I would say yes. The sewing ladies are artists too. And if you have enough dexterity and patience to sew you can also do any kind of painting you like. The more you practice and experiment the better you get at it. Good teachers help. I was lucky to have good sewing teachers and art teachers. When I made that tie dye shirt, I wanted to try to do a flowery motif. I was thinking of making flowers on top of the shirt and green foliage on the lower part, kind of like the YSL dress. This one is my 2nd try to get the flower look with tie dye. The 1st one didn’t come out. I’ll probably throw it away.
I’m ruthless with the things I make. Sometimes I throw away a whole year’s worth of paintings if I decide not to show them again, and I’ll throw away any tie dye that doesn’t look good to me. If I wasn’t that way with my “creations” my apt. would be too crowded.
I’ll try another tie dye.
Meanwhile, here’s some roses for your inspiration.
It’s a great show of American Impressionists titled “The Artist’s Garden”. I drove to Norfolk yesterday to see it. The show ends in the beginning of Sept.
It’s exciting to see old Impressionism. There’s a lot of variations in the different artist’s styles. These artists had academic training. You can see it in the beautifully drawn female figures. An artist doesn’t get this kind of results by tracing a photo. This took years of figure drawing practice.
I wanted to see if the old Impressionists used glazes, and yes, I see layers of glazes in a lot of the paintings. Modern Impressionists don’t use glazes. This painting shows a lot of variation in the way the paint was applied. Some is glazes and some parts are painted thick.
The old Impressionists didn’t have a formula. I doubt this was finished in one day. They had inspiration. They were daring and groundbreaking. Modern Impressionists are in a big hurry to finish paintings because they think it makes them look “prolific”. They have a good level of successful paintings that are marketable because they have a formula, which they might call “streamlining” a painting, or “simplifying” or something like that. That’s why all modern Impressionists work looks the same. Modern Impressionists are on some kind of art treadmill. I want to paint like this guy, Curran.
I liked this view in the garden but only a few little pansies were blooming when I did the painting. So I looked at the Blue Bells in Lewis Ginter Botanical Garden and faked in the Blue Bells on this painting. This year I’m faking in a huge Wisteria on the other side of the wall.
It seems like it’s taking a long time for me to finish the new painting of Poe’s garden, but as a plein air painter, I wait for the sun to come out and go there to work on it. That only gives me one or two days a week. Then I only stay for a couple hours at a time because the light changes and my concentration fades.
Now I’m waiting for them to turn on the water in the fountain that I’m painting this year. Water is always a challenge for me to paint. I hope it works out. The paintings are due on April 18th for the show opening in the end of April. They’ll have “Unhappy Hour” that night.