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.
This was a fun project. I looked at the lichens close up and then refocused onto my black paper which was a yard away to paint. I had my brushes taped to yardsticks like my favorite artist, Matisse did. It’s a challenge to keep the brush under control from that distance and I think I’m getting better at that.
If you tape your brushes to yardsticks you have to give up some control though. Smears happen, or blips that you might not see ordinarily when painting. That’s part of it so if you give the yardstick paintbrush extenders a try don’t worry about making blobs, smears or blips where you don’t want them. It’s kind of liberating. That’s why it’s fun.
Lichens have some tiny holes in the center of cone shapes. They also have a leafy texture and a more flat texture.
I didn’t sketch them first with charcoal, I just tried to observe then it was almost like doing calligraphy from far away. It’s not easy to find your place in a clump of lichens focusing close up then looking away to paint. A couple times I got lost and faked it a little. I said to myself, “wherethehell am I?” But that’s a normal feeling for me. hahahahah not scary.
I made the bark texture with my modified fan brush. I tried to keep it neat but the paint that went in the wrong place and the different textures give the art viewer’s eye something to focus on.
The colors aren’t green enough in my photos. I tried taking the pix outside in natural light and the greens looked too gray. These shots are from indoor light and the greens are too warm. But you get the idea.
We’re in a winter weather cycle around here. Either it’s cloudy rainy or snowy or else it’s cold and windy if the sun does come out. The good days for painting in plein air are few and far between.
I had this board from an experiment I did a few years ago when I picked up pieces of birch bark and glued them onto a board to use as a background, then never thought of a good use for it. Today I was looking through my collection of different papers and decided to paint on it with my palette knife.
Now I’m heading out for a walk in nature because nature is a healer if she doesn’t decide to just kill you.
Porn update- Still there as of this morning
It seems like the FCC has bigger fish to fry than porn on wordpress freshly pressed art tag. I tried to find the forum where I complained to wordpress before with no luck. My daughter will come over tomorrow and help me with that. Am I the only one here that looks at freshly pressed? Why don’t the more computer savvy bloggers raise hell with wordpress? I can’t take it anymore. It could damage my mental health that I finally got after so many years of mental unhealth.
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!
Nah, it’s an underpainting for the figure I’m planning on putting in the painting. It’s 2.25″.
The texture of the water is showing through. I might try to scrape that off. before adding color on top of this.
I’m a little conflicted about this figure because I’m breaking one of the few rules I remember from my art school days back in the 1970s. That rule of the academy was never copy a photo. I see more successful artists than me are copying photos. No one cares anyway. It’s not as much fun breaking a rule that no one cares about. The photo isn’t really making it easy to do. Why not copy a figure?
I was undecided about how to proceed with putting a figure into my painting but I wanted to try and I don’t have a model. As I was reading other blogs I saw a photo with a dark figure and thought it looked great! Check it out! George writes great poetry and songs too!
I walked around the pond and tried to see if any light would be seen on the figure from the opposite side of the pond where I’m working on the painting. There will be only two little spots of sun on my guy. The top of his hat and his left shoe. All the rest is shadow because it’s backlit.
This wasn’t easy for me to get a plan worked out but now that I got past this one hang up I’ll go back to Pleasure House Point and finish this soon.
I went over the clouds again, the background trees, the edge of the creek on the other side, the creek water and changed the shape of the pond in the middle ground then finally got to start on the trees on the path. So, I’ve been to the point a bunch of times and went there to walk a few times without painting. It’s supposed to be nice again tomorrow so maybe I can get more tall grass painted on the path and do some tree trunks and sticks.
Then I’m almost finished except for the reflections on the pond and I want to put a figure on the path. The paint is getting kind of lumpy because of all the layers applied with my palette knife. I might paint the figure with paint brushes since it will be small and a palette knife isn’t easy to do a small figure.
I can’t be a purist about any certain style or art subject that comes up. I think it’s fine to mix up different styles in one painting. A purist who wants to do a palette knife painting might not want to use a brush at all. Some watercolor purists don’t use water color pencils along with watercolors in a tube. Once I heard a juror say, “Pick one style and stick to it.” I wondered if she meant me. Heck, I don’t even know the different styles. I only know what I learned in art school long ago.
I wonder if they would give this a bad critique at the academy. Probably. They were the old school purists.
There is only one bright tree on the far side. I almost covered it with a pine tree but I’ll save it.
I don’t know how well this shows up in the photo. I put the handle of the drawing board over a stick that’s rooted there and it kind of tilts the paper up a little while stopping the wind from blowing it away. Also, maybe you can see where my drawing board broke at the handle once long ago and I glued chop sticks on it to repair it with some glue on paper towels ripped to fit and a little wooden shim over a crack. I just don’t want to buy another drawing board. I’ve had this one so many years I kind of got attached to it. It’s been all over hell’s half acre with me.
If it’s windy I’ll just sit on the ground to paint. It’s a real nice spot there at the edge of the pond.
We’re having some nice weather this week. It might be cold tomorrow but I should probably let this dry a little before I go back into it.
I was glad when the clouds rolled in this afternoon because I had a solid blue sky and I wanted to make it more interesting. I’m not sure if I want to work on the clouds more or if I should leave them alone. I’ll probably work on the background trees again before I start blobbing in the trees on the path.
I tried to make mental notes of the colors I needed when I sketched this in plein air then painted it at home. The color looks good in the photo for the sea oats but the background isn’t showing up green enough and there’s a lighter area showing on the right because of a glare.
For the background I wanted to give a color and texture of pine needles. For the sea oats I wanted to make a fuzzy texture .
It seemed like the painting went fast on this project. I worked on it for around 5 hours, which isn’t really that fast, just fast for me, because I often have 30 or 40 hours in a painting. So I like the palette knife for that. It’s not easier than painting with a brush, just different. This was a simple experiment.
The palette knife makes the project faster because I painted right on top of my sketch. Usually I redraw my sketch and then redraw it again on the canvas. This way I saved a lot of time because I didn’t prime a canvas which is a multi step process with sanding the canvas, painting gesso on it and sanding it again then tinting the canvas. That part needs to be spread out over two days or more. This way I could jump right into painting.
It’s nice not to have to clean the brushes. That is a job.
Paper is working out to be more conservative than canvases, So the palette knife is practical on a lot of different levels.
I am using more paint than I use normally. That’s one drawback to the palette knife.
The palette knife is fun, though, so I’ll do more.