Kellie & Kitten finished

Kellie and Kitten 

Either this is finished, or I'm just tired of working on it.  I've changed the background from dark to light, the front corn shocks from light to dark...The changes could go on forever which is not good if one is an indecisive artist. The part I enjoyed most was lifting out those stray hairs against the background and face. The kitten's fur was pretty easy. The worst part was getting Kellie's face color smooth and then, after getting it smooth, trying to protect it from random drops of water that would ruin it.  I also did her mouth a couple times - too pink, and it looks artificial.  I need fresh eyes - after awhile, I can't tell if it looks good or not.

Kipper - in progress

                       I started a painting of our dog (Kipper).  I was reminded at the Art Show that golden retrievers can be a popular subject. She was lying on our back deck while I walked around her, taking pictures. After awhile, she got up and went out into the yard to lie down.  Guess she had had enough paparazzi attention.

Kellie & Kitten Lg Version

I had everything ready - puddles of paint colors - lots of
flesh and greens, with a bit of red.  Notice my cupcake pan
full of more paint. After you start, you can't stop till the
board is covered. 

This is after the first layer of color was applied

This is what I've been working on the last couple of days. It seems every painting goes through a stage when you think it can't be 'saved'.  This is somewhat past that stage into the 'I think it might make it' stage.  I find myself working and reworking parts of her face.  I have to get the face right before I lift out the blonde hairs coming down over her forehead.

Kellie and Kitten in progress

Kellie & Kitten

I did a small practice painting 6" x 7"of my niece (Kellie Geib) holding a kitten.  I have the picture drawn on a larger board 12"x16" and thought I should test the colors first.  I was all excited about painting the larger version a couple days ago, but now the trepidation sets in, as if it's THAT important.  In watercolor, the first wash of paint is very important - because it's the foundation on which you base all other colors.  This gessoed paper is forgiving though, I can 'erase' colors easily.  But it is hard, (so far), to make a smooth colored area like the face without getting a grainy look.  This is a good paper to practice putting down color and leaving it ALONE - something we artists find hard to do sometimes.  I had to make such decisions as: Do I add some blue for the sky?  Which corn stalks do I make darkest?  How does someone's eye get led around the painting?

John Miller painting

I am in the tweaking stage of the painting. I'll 'live with' it for a few days and see what else it needs. I find it interesting when artists say 'let the painting speak to you' - which means you may feel it needs more darks/more lights/less color etc etc as you look at it.  I found myself praying for his widow, Helen, as I painted.  This is the man she loved ....

Evolution of a painting

John Miller's viewing program cover. I put a grid on the photo to get the perspective correct. (John passed away last week from a brain tumor). 

I first drew the picture with pencil. This is after the initial application of paint.  I try to get the
correct value and color the first try (less work to correct).

What I've finished so far.  The face is the most important part
so I've left it till last.  I have to decide where to put the darks,
in order to have balance. I am in the process of learning how to remove color and add color -  which can be both fun and frustrating.

Sunflower and other paintings

These are a few paintings that I've been working on for the last couple of days.  I took a photo of a boy feeding the ducklings at the Lititz Art show last Saturday.  I reminded myself to ALWAYS carry my camera with me.  The gesso-ed paper might be a bit grainy for some subjects but there are certain areas that I think the effect is cool.  In the upper left of the sunflower painting, the paint brush color went right to left - but when it dried, it flowed in the vertical lines of the gesso.  Kind of gives the look of canvas.

Feeding Ducks

Beach Sunrise

I think I like the Cropped version of Beach Sunrise

better than the whole painting.

Sunflower (finished)

Sunflower in progress

I worked on a sunflower today.  It is only partially done. I 'refined' the right side, and still have the rest to do. I am posting the photo that I am painting from.  It is a photo from my garden.  I got a new palette yesterday.  I compare it to a fisherman getting a new fishing pole.  I was eager to transfer my paint from my 24 year old palette to my new one and celebrate a new 'painting season' that I feel I am entering.

First Watercolors

Notice the tallest weed in the foreground. That's where the teacher had to disguise a grass I painted a bit too high.

I went hunting for some early paintings. I found the first 2 that I did in Al Taft's watercolor classes in 1986. These were either copied from a calendar or an art book - (which is good for practice - but never to resell as your own).

The next Art Group meeting.

Three Lovely Ladies

Pristine Pair

The Lititz art Group (VAA - Village Art Association) is having a past and present night the last Tuesday of the month at the Lititz Library. We are to bring one old and one current painting. Here is a sample of some new paintings that I could pick from. The llamas were painted on un-gessoed watercolor paper.  The seagulls are painted on gessoed paper.  There is a lot more texture on the seagulls.  That's from the paints lying on top of the gesso (white acrylic).  

Welcome!

Welcome to my blog. I plan to post whatever I'm working on most recently. It's risky posting the paintings that don't work out, but that's part of the plan. Many times I've learned how NOT to paint, which helps me do better the next time. I have been through a time of 'wilderness wandering' I would say, in my career. After reaching a plateau of workmanship, I became ever discontented. I've been trying new things (and failing a lot), which has been very discouraging. Most recently I've come across a new technique which I find fun and exciting.  I paint a white acrylic (gesso) over my reject paintings and paint on that. The watercolor paints lay on top instead of soaking in the paper.  I can lift out the whites, add different colors on top, and keep doing that until I'm satisfied, or wash the color off altogether, and start all over.  So Here Goes.