The greens, grays and blue are leftovers and I covered them with plastic wrap. They’ll stay soft and workable for weeks but will partially thicken up.
I tried to match the colors of my begonia and rejected a few of the mixes on the right which still look like neat blobs. I think the right colors for the flowers are between the ones I mixed. That’s close enough for lights and darks.
The two I liked for the light areas of the petals and the two I liked for the shadows are all messed up because I thinned them with terpenoid to make them slightly runny.
Mixing paints on the palette with a palette knife is real fun.
I decided to leave my begonia painting rough. I mean I’m not going over the background and leaves again. That’s the modern art way and I’m trying to go modern. Once and done.
I particularly like this smear. Now you see why I need the large palette. The blue is left over from the background and it’s covered with plastic wrap. I started thinning the red with turpentine and it accidentally bled over the blue and some blue got into the red. I had to quick scrape up the red and move it away from the blue.
The background is gray because I have duct tape on the back of the glass. It’s easier to see what colors you’re mixing on a gray background than on a white background. And the duct tape keeps the glass from breaking and making a problem when I’m out in plein air. I’ve had the same piece of glass on the palette for years.
These are the colors I want to use all thinned down nicely so they flow off my brush and make nice brush stroke textures.
ok, I’ll get back to painting, but I have all day and it’s hot and humid so you get to see this because I don’t want to go out. I have time to stop and take pictures of my palette and write a little. I hope it’s not boring.
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’m waiting for my paint to dry on the azalea painting before I can finish it with the last color, pink. If I put the pink on before the other paint is dry, it might lift some white or gray and that would make the pink less bright. A couple weeks ago I bought a tube of fast drying white at Jerry’s Artarama because I knew Titanium white dries slowly. When I opened the tube it was dry in the tube! And I didn’t save the receipt. bummer.
While I wait for the paint to dry on the azaleas I decided to sketch the rhododendrons which are starting to bloom. This is Inktense pencils.
There’s a real pretty path through the rhododendrons. It’s covered with moss and has a bench and spotty sunlight. I’d like to do a painting of the path but that might be a project for next year because it could be complicated and I need to figure out a good plan for it and do sketches first.
After I did the underpainting and waited for that to dry I went over this a couple more times, background, leaves, stems, and flowers. The gray is the shadows on the azaleas. At first I had a warm gray for shadows but after looking at it for a couple days I decided to make the shadows slightly darker and cool, so I put a cool gray glaze over the warm gray. It looks like neutral gray in this photo. I’m not sure if you can see the layers of paint but you can see some veins in the paint which I like making. It gives the painting more variety of brush strokes and direction in the petals.
This azalea is past blooming but I have my sketches to go by and I’m pretty sure I can finish it at home. I think it will work out with the pink looking as bright as possible. I did some color roughs. I might do another one. I’ll continue with glazing pinks next. Then it will be finished.
I wasn’t going to show it at this stage because it’s almost done, but I thought if I just post a close up of this one section it won’t spoil the surprise.
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!