A big thank you to everyone who came to the open studios on Fri. night. We had a great turnout, a lot of fun (as usual) and this little painting is going to a new home.
The solvent ran in the background creating ghosts of trees… a happy accident.
palette : titanium zinc white, cad yel light, cad red med, quin mag, ultramarine blue, burnt umber. panel tinted a rose color before starting. Browns made by combining (yel + red) + (ultra bl + quin mag). Burnt umber + ultra bl combo just for darkest.
The reference photo and some stages are included.
Colors used: Italian yellow ochre, ultramarine blue, cadmium red medium and burnt umber.
I painted this one yesterday in one shot. I never intended it to be this minimal, but something is telling me to stop. This photo was taken under studio lights, unfortunately. It’s been a dark and rainy week here. Colors used: Italian yellow ochre, ultramarine blue, burnt umber and titanium zinc oxide. All Williamsburg brand paints.
click on image to see large
I tried a new product today… a paper made by Arches that is for oil painting. I enjoyed it and look forward to trying more with it. My only slight problem with it is that you can’t wipe paint off completely like you can with gessobords. The paint soaks into the paper.
Things are starting to let loose and go airborne. I love fall : )
This is in remembrance.
Scene from Alaska while traveling by train through wilderness.
This was a little experiment to see how two paintings of the same subject would vary when painted one after the other.
two paintings with photo reference.
Can any painter do anything blurry without thinking of Gerhard Richter?
A fast and fun palette knife painting.
My husband and I had a wonderful trip to Alaska. I’ve been doing a lot of new paintings based on photos I took there.
Initial block in
A few stages of the painting.
The whole study was done in about an hour. The usual palette was used and the gessobord was coated with a dilute mixture of cadmium vermillion and sevres blue (which was dry before I began the painting). This gives a nice warm undertone that shows through.
Yesterday’s painting with photo used, my set up in the studio, and stages of the painting.
Palette: the usual (cad. yel. lt., cad. red verm., quin. mag., ultra blue, sevres blue, burnt umber, tit. zn. white)
Total time: about 1 1/4 hr.
palette: cadmium red verm.,sevres blue, quinacridone mag., ultramarine blue, *burnt umber (new addition to palette), white
palette: graphite grey, portland grey (lt., med., dk.) sevres blue, cadmium red vermillion and white. The first of two sky studies.
Based on a photo of a single tree (not sure what kind) in the middle of the prairie (see photo below). The sky is from my imagination. The same palette as yesterday was used. We had a glorious afternoon hiking in this preserve last weekend : )
palette: cadmium yellow light, quinacridone magenta, cadmium red vermillion, ultramarine blue, sevres blue and white. Initial warm tone of vermillion plus some sevres blue (applied as a wash). This one was not quick like yesterday’s. I had to scrape a lot off at one point because I was painting too many details.