Tag Archives: 30x30directwatercolor

With a Blue Streak Too

With a Blue Streak Too.

Portrait #22 for my 30×30 Portrait Challenge. “With a Blue Streak Too” watercolor on 140 lb Arches cold press, 7.5″x11″. I decided to paint this model again. I just did not capture a likeness the first time around. Click on images for a larger view in a new browser tab.

I painted wet-into-wet using Rose of Ultramarine, Cascade Green by Daniel Smith, Ultramarine Blue and Translucent Orange by Schminke, and Cobalt Blue by QoR. I wanted to just do an analogous color scheme from green to violet, but I just couldn’t resist bringing in the orange for the skin tone.

The green and violet mix to a nearly perfect gray tone. I used the same two colors as individual components for the background.

I really enjoy the painting now, especially the pops of blue in the hair and the green backlighting at the temples and under the jawline. The other portrait was not bad, it just did not look like the model in my opinion.

I did take video of the process for future reference. Stay tuned.

All these small portraits (7.5″x11) are for sale. $185 (plus sales tax and/or shipping, where applicable). The price also includes a white black core mat with outside dimensions of 11″x14″ (standard frame opening size), foam core backing and clear cellophane packaging.

Buy now with PayPal

 

Spiked – Painting

Spiked

Portrait #21 of my 30×30 portrait challenge. Over 2/3rds of the way there. Woot! “Spiked” watercolor on 140 lb Arches cold press, 7.5″x11″. Click on images to see a larger view in a new browser tab.

I began wet-into-wet and intended to do an ethereal and unrealized portrait. Once again, I took it to the “too much” level. Sigh. I used 5 colors this time. Rose of Ultramarine, Raw Sienna Light, Pyrrol Red by Daniel Smith, as well as Ultramarine Blue and Translucent Orange by Schminke. Oh, and some Titanium White.

I started out wet-into-wet and left the paper wetter than I normally do. I painted in value layers from the graphite value study I had done previously. I “pushed” the colors a bit more than they appear in the reference photo, wanting to have a vibrant contrast between the violets and yellows.

Spiked – Graphite 11″x7.5″

I “finished” before completing the painting. I felt dissatisfied with it until I propped it up for display at home. Now I quite like it. This experience usually has the opposite effect. ha!  Though, I still want to bring some of the yellow to the left side of the background and soften a few edges here and there… Oh, and sign it. I usually only sign a painting once I consider it done.

Stay tuned to this blog post for any updates.

Buy Now with PayPal

All these small portraits (7.5″x11) are for sale. $185 (plus taxes and or shipping, where applicable). The price also includes a white black core mat with outside dimensions of 11″x14″ (standard frame opening size), foam core backing and clear cellophane packaging.

With a Blue Streak – Painting

With a Blue Streak

 

 

Portrait #20 for my 30 x 30 Portrait Challenge. “With a Blue Streak” watercolor7.5″x11″ on 140lb Arches cold press. Click on images for a larger view in a new browser tab.

With a Blue Streak – Drawing

I’m calling it #20 because the drawing and the painting both are significant efforts.

I started wet-into-wet, then dried the paper back to damp. While the paper soaked, I mixed up piles of Ultramarine Blue and Translucent Orange by Schminke, Raw Sienna Light (RSL) and Quinacridone Rose, and Cobalt Blue Violet (CBV) by Daniel Smith.

I called out the right side of the hair with a mix of CBV and RSL. I liked the gray tone the mix produced, so I used some of the same mixture for the shadows in the hair. I used Ultramarine for the critical blue streak, adding a little Rose for the shadows in the streak.

I painted the shadows in the skin tones with the Schminke Orange, Rose, and RSL, adding Ultramarine blue in the shadow areas. As I built up the darker values, I also brought in some Rose of Ultramarine by Daniel Smith to keep the skin tone shadows warm, especially around the nose and mouth. In the final stages, I brought out my Titanium White for the hair, eyes and skin tone highlights.

After my obligatory “staring time,” I think I may need to make a few adjustments. Some things I like better in the drawing, some things in the painting. I will update this blog post with any changes. Stay tuned!

With a Blue Streak Too

Update: 1/21/2020 – I painted her again. I just didn’t think I captured a likeness the first time around.

Liz

Portrait #16 of my 30×30 Portrait Challenge. And today is the 16th! Right on track.

Liz

Live Model! I really enjoy painting from a live model. I am a member of the Portrait Society of Reno. Each Wednesday morning from 9 am to noon, they organize for a live model at Nevada Fine Art, 1301 S. Virginia Street in mid-town Reno. All the painters (all media) pay a $10 model fee. The amazing Kay Genasci brings refreshments and sets up the model. If you’re anywhere near, come on along and join in the fun! Live sessions really do challenge our drawing skills, as there is no way to trace… Authentic!

Contour Drawing

I wanted to have a monumental view of the model, so I decided to sit down for this one, which is rare for me, as I usually paint standing. I started with the contour drawing for the first 20-minute pose.

I had been looking at the portraits of Pam Wenger (I think out of PA) the day before. She paints lovely portraits, full of personality and random shadows color. I love her skin tones. Some day I may have to take one of her workshops. Check out her website, http://www.pamwenger.com/

I started with the hair and background. I used Cobalt Blue Violet and Transparent Pyrrol Orange (Daniel Smith) as well as some Ultramarine Blue (Holbein) for a good colorful brown tone for her dark hair. I was intrigued with the red tones in the light, so I let the orange be more prevalent in the light areas. To turn the form, I shifted to the violet and blue tones for the shadows at the crown. I used the cobalt blue-violet and Quinacridone Red for the background.

Painting (Stage 1) Draft

Once moving on to the skin tones, I went in first with a layer of Pyrrol Transparent Orange and Raw Sienna Light, my brownish yellow and orange. I then added some greenish shade using a combination of Sap and Cascade Green (Daniel Smith). To give the painting an overall harmony, I brought in some of the violet to the shadow areas around the eyes and under the jaw, and touched in some of the green to the sweater and turtleneck, as well. I did bring in some Pyrrol Red in the eye sockets, nose, and mouth. I find I use Pyrrol Red on nearly every portrait, whether I intend to or not. It is a nice warm (but not too warm) semi-transparent pigment. I added some of the quin rose and cobalt blue-violet mix to the ends of the hair under her chin.

I was pleased with the painting, especially the likeness. I think I will adjust the shadows on the far shoulder, to let that recede rather than come forward. Then I will call ‘er done.

Thank you, Liz, for being a fantastic model, sitting like a statue. I think I saw you blink twice, though.

Feed Me!

Feed Me! watercolor 11″x7.5″

Portrait challenge 5/30 for my 30/30 Portrait Challenge.

I almost did not do this portrait. I had worked on a two-kitty portrait for two days and thought perhaps that was enough. Just as I prepared to leave the studio for home, I thought, “Okay, just do a quick sketch in preparation for tomorrow’s portrait. So, I put my things down, found a fuzzy source photo of me from a few years ago. My husband does most (actually virtually all) of the cooking for our household. We have a standing joke based on a Simon’s Cat video (Click link for a good laugh). When I’m anticipating dinner, I do the punch line of the video. Ha!

After doing a quick 10-minute sketch, I decided to put down some paint too. I saturated the paper front and back, and then mixed up some paint puddles in my mixing areas. This time I thought I’d try some secondary pigments (Daniel Smith’s Cobalt Blue Violet and Cascade Green), as well as Phthalo Blue, and try to stay to an analogous color scheme.

After drying the paper back to damp, I began with the violet and green, negatively painting around the head and hand. As I moved into the portrait, I decided I wanted skins tones after all, so I switched to Daniel Smith Pyrrol Red, Raw Sienna Light, and Manganese Blue Hue, using a bit of the violet for the darks in the eyes and hair.

I only painted the shadow shapes with coffee strength pigment for the first layer. I thickened the paint a bit for the second layer of value.

I had been videotaping the process. My camera beeped at me, informing me the SD card was full. I figured that was the painting gods telling me to STOP! Keep it a sketch. So I did. “Feed Me!” watercolor sketch on Arches 140 lb cold press paper, 11″x7.5″

She’s Mine

She’s Mine

Portrait challenge days 3 & 4. Two more critters. “She’s Mine” watercolor 7.5″x11″. (Click on the images for a larger view).

These are two of our kitties. Kelly is the calico, Portia is the black kitten. We had just adopted Portia, who was a feral kitten. She was so relieved when we let Kelly into her “adaptation” room. In the source photo, she was still quite leery of “those big animals with no hair who feed me.” We adopted Kelly from a no-kill shelter organization. We only know her background from after she was found on the street, already spayed, about a year old. She really took to nurturing little Portia. Maybe she had already had a batch of kittens herself?

As to the painting process, I sketched a quick outline drawing on Arches 140lb cold press paper and then saturated the paper front and back. While the paper soaked, I prepared pools of Pyrrol Red, Phthalo Blue (gs), New Gamboge, and a little Quinacridone Rose.

She’s Mine (Stage 1)

I painted in value layers by wetting the shadow/color areas and dropped the pigments together, letting them mix on the paper. I liked letting the paint bleed out beyond the edges of the shapes. After about an hour of painting, I was pretty happy with it and stopped (see image stage 1).

After staring at the painting overnight, I decided to work on it some more a second day. I lifted off the colored areas of Portia’s eyes using masking tape, a snap knife, and a magic eraser. I thought the top of the far eye was at the wrong angle. I also decided the kitty bed needed to be hinted at behind her, even though that was not in the photo. I also added a hint of shadows behind the bed and Portia.

Since this painting has two faces, I’m counting this a numbers 3 and 4 of my 30/30 portrait challenge <smile>.

All these small portraits (7.5″x11) are for sale. $150 (plus sales tax and/or shipping, where applicable). The price also includes a white black core mat with outside dimensions of 11″x14″ (standard frame opening size), foam core backing and clear cellophane packaging. Price is $250 with frame. Buy Now!

Fire Lilies (maybe?) Paintings 22 & 23 for Direct Watercolor Challenge

Day 2 of “patio plein air.” Paintings 22 and 23 of the 30×30 Direct Watercolor Challenge. This time I had to paint the blooming orange lilies. I have had several discussions on social about the name of these beautiful lilies. Our best conclusion is that they are the “Asiatic Lily, Orange Matrix” version of lilies. Nice!

Stage 1

I had no video camera to record the painting process, but I did remember to take a few process photos.

Stage 2

I began on wet paper with no pre-drawing. Though, because of the dry Nevada open air, the paper dried quite quickly. I painted the centers of the flowers first with the two warmest yellows on my palette, Hansa Yellow Medium / Deep, plus Permanent Orange (Daniel Smith). I painted the ends of the lily petals with Quinacridone Coral and let the coral swim into the yellow. I then added Quinacridone Rose (cool red) to turn the petals around the bend.

Stage 3

I added some foliage indications with Sap Green (Daniel Smith) and Ultramarine Light (Holbein). I added the Lily buds first with sap green and then the added Permenent Orange in the middles. While the paint was still quite wet, I put in the lily bud centers with one calligraphy line stroke and let the line diffuse.

Trying to paint so many lilies on such a small surface (7.5″x5.5″) left me confused as to where one flower ended and another began. Whew!

I added some light wet yellows and oranges to the top left to hint at more lilies beyond and added hints of new lily underbellies with the Red Rose and Red Coral in the bottom right.

“Fire Lilies” – Final Painting

After the painting dried back a bit, I added the stamen ends with the cool red and a new color Rose of Ultramarine (warm violet), stems with the coral. I couldn’t see the pistils, so I did not paint them. I added some of the Rose of Ultramarine to the foliage and ends of the petals.

I did not care for the painting while painting it, so I set it aside and painted another, focusing on larger flowers, painting one complete flower before moving on to the next.

Fire Lilies Too – Stage 1

Fire Lilies Too – Final Painting

I used the same colors and sequence as the previous painting.

For this one, I left the foreground indistinct instead of the background, painting the colors wet into wet in the foreground.

I let this one be more of a vignette and left the background white and untouched.

After a few days of “staring time,” I quite liked both paintings.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.

 

 

Summer Solstice

Pots and Blooms

I do not know how it dawned in your neck of the woods, but in Carson City, Nevada, Mother Nature gave us a beautiful midsummer day on June 21st

Note, this blog post is a bit delayed. Those of you who watch the calendar will note that this posted on June 24th? Though, I did paint the 21st painting of the 30×30 Direct Watercolor Challenge on June 21st. I just have to catch up on the blog-0-sphere.

We experienced a perfect day with a temperature of about 78 degrees (F), a slight breeze, and blue, blue skies. If you have not experienced a clear blue sky in the mountain west of the U.S. (Nevada, Utah, Idaho), you have not experienced a blue sky.

Anyway, on this midsummer day, I could not bring myself to paint indoors. I took myself and my art supplies out to set up on the back patio table instead. Our backyard flowers happened also to bloom in midsummer glory; mini petunias in pots, coreopses, fire lilies, geraniums, snapdragons, roses, daily lilies.. all in splendiferous bloomage.

Stage 1

I attempted to capture it all but failed. So I flipped the paper over and just painted the coreopses, which were definitely the garden prima donna on this day. I just tried to capture the feel of them swaying in the wind. As a little girl, my favorite crayon color in the 64-pack was yellow-orange. Coreopsis!

I first just splattered Hansa Yellow Deep, Medium, Permanent Orange, and Sap Green (all Daniel Smith) in big splats on a slightly wet surface. I held my paper vertical, sprayed with my misting spray bottle underneath the splats to create drippy stems. (I only remembered to take a few process photos, since I did not want to drag a video camera out to the patio also).

Stage 2

I added more orange and green at the bottom of the yellow splatters and painted some foliage indications using pull-push calligraphy marks. I added some Ultramarine Light (Holbein) to blue down some of the leaves. I added more stem and leaf details and indicated some buds and “old” blossoms (darker orange and smaller).

Stage 3

I gave some of the flowers a little more shape and petal detail, but decided to leave most of the details out. I wanted to capture the overwhelming joy of the yellow-orange crayon colored flowers that greeted my eyes as I slid open the patio doors.

Summer Solstice – Final Painting

In the end, the painting made me happy.

If you’re interested in purchasing this painting for a mere $150 (with a gold frame and white black core mat), just click the Add to Cart button below. Pay with a PayPal account or a credit/debit card for $15 shipping charge). Those who wish to buy with a check payment or living far, far away from “CONUS” will incur additional shipping charges. Save the shipping charges and buy it off the gallery walls? Taxes additional.

This painting will part of the featured artist show with Artsy Fartsy Art Gallery in July 2018. I hope you can stop by.

 

 

“Summer Solstice” $150 (Framed)


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I appreciate all comments, questions, and suggestions. Thank you for stopping by.

 

19th Painting 30×30 Direct Watercolor Challenge – Dangling Rose

“Jedi Rose”

For my 19th painting in the challenge, I had to combine two interests competing for my time. I am teaching “value” in my college watercolor class today. The students are required to do a monochromatic painting that combines washes (a flat wash as well as either a graded or variegated wash), calligraphy strokes, and general “light touch” brush strokes, that I call the “S-caress.” The final painting also has to show at least 4 levels of value; light, medium light, medium dark, and dark. I have the students decide on a theme for the semester as well. I usually choose one of the students’ themes whenever I do a demonstration painting. One student has roses as a theme. Which, if you know me, and have followed my painting progress on social media at all, you know I paint a LOT of roses. Easy choice. Ha!

I took this photo of a drooping rose the other day on my morning walk.

The small painting is on Arches 140 lb cold press and I used only my #14 Lowe-Cornell round brush.

I used a warm (quinacridone coral) and cool red (quinacridone red), which are both medium to high-value reds. I first painted a light variegated wash on a wet surface (dried back to damp), without any pre-drawing. As you can see in the first photo below, I did not quite let the paper get to damp, as my bead was running on the left. I had to work fast to catch it with each pass. Starting with a wet surface helps to alleviate stripes between bead passes.

I dried the painting off completely, then drew in my first value layer with 2B graphite, or pencil (Sorry, this is where I had to diverge from the challenge conditions of direct and wet-into-wet). I then painted the shapes inside the lines for the first layer of value.

After the painting was completely dry again, I repeated the drawing process for the second layer of value. One more layer of drying, pencil planning and I now had the required four distinct layers of value. I did add a few pull calligraphy strokes to indicate the edge of the branch and the side of the rose, but I purposefully left untouched areas for lost and found edges, which I find to be much more interesting than outlining with a solid line all around.

I had to have some pull/push calligraphy strokes to satisfy the requirements of the assignment, so I added some extra leaves with the same strength of pigment as the final wash.

I then found a #8B (really dark) graphite pencil and drew some contour lines, just because… I may erase the pencil layer. I’m not sure… still pondering. Your thoughts?

Photos are screenshots of video clips. I cannot make them behave and align with the text. I’m not sure why?

Stage 1a

Stage 1b

Stage 2

Stage 3

Stage 4

Stage 5

I do have narrated and edited video of the painting process. Shoot me a comment or send me a message if you’re interested in the $6 video link.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.

Jedi Rose – Final

Don’t forget to subscribe to keep up with all these freebie lessons, eh? No worries. I don’t even know if anyone subscribes, let alone who. It is all very private and stuff. I could be just talking to myself. Which is… not a bad thing. I tend to listen.

18th Painting 30×30 Watercolor Challenge – My Neighbor’s Roses

“My Neighbor’s Roses”

Continuing with my Facebook group’s 30×30 Direct Watercolor Challenge, I painted this little study of the roses creeping over our back fence from the neighbor’s bushes. Now some might think this an intrusion, but each June we welcome the beautiful color. For this painting, I enjoyed the purple cast shadows resulting from the early morning light. My brother actually called my attention to the scene before he headed off for work. I have two amazing artistic resources in my household. My brother, who also paints, and my husband, who points a camera lens around to great effect. Both have taught me much.

I began painting without any drawing, with a wet surface, using my trusty #14 Lowe Cornell round brush on Arches 140lb cold press paper. I used a photo reference.

This time, I began painting positively with the figure, rather than the ground. I used four reds, Pyrrol Red (warm), Quinacridone Red (cool), Pyrrol Crimson (cool and dark), and Quinacridone Coral (warm). This time I used Sap Green (warm) and Ultramarine Light (warm) for the foliage. All pigments are Daniel Smith brand except the Ultramarine Light (Holbein). I used the Pyrrol red for the light side of the roses, and Quin Red in the shadows. This for the bunch at the left that was in the light. I wanted to indicate the right bunch was in shadow, so I used Quin red and Pyrrol Crimson for that grouping.

Stage 1

Stage 2

I mixed up a neutral brown with the Sap Green and Quin Red for the background fence. I skewed the green to blue for the shadow areas of foliage. I left a white edge on the left to indicate light direction, and let the shadow side bleed into the fence. I added straight Sap Green into some areas of the red for foliage indications. Adding the green on to of the red had the effect of neutralizing the leaves to olive green, but some areas showed bright and warm. I tried hard not to lose all the white sparkles.

Stage 3

For the cast shadows (my favorite part of the painting!), I waited until the paper had dried back some. I mixed the Pyrrol Crimson with the Ultramarine to achieve a nice violet mix. When I touched the shadows on top of the brown fence, the intensity was knocked back a bit. I loved the resulting violet tones. I added some boards and planks on the fencing using the same violet tone. For the light side of the angular support plank, I dry-brushed some Ultramarine Light.

Stage 4

I let the paper dry back even more, and indicated some petals on the rose bunch in the light with Pyrrol Red and Quin Coral. In the shady bunch, I used Pyrrol Crimson to indicate shadows. For these strokes, I almost just “scribbled” with the tip of my brush.

A note on the process images. I usually videotape when I paint. It helps me remember my sequence. It is a great learning tool, both for me and my watercolor students. But I really don’t have time (or the storage capacity) to edit every video of every painting, so this is a nice compromise, right? These process images are screenshots taken from the video clip, hence the blurry quality. The photo of the final painting was taken with my SLR camera, though, and shows the details a bit better.

My Neighbor’s Roses – Final Painting

If you’re interested in purchasing this painting, it can be had for the low, low price of $150 (she is all dressed up with her mat and ready for a show). Shipping is $15.00 if you live in the Continental U.S. and pay through PayPal with a PayPal account or a credit/debit card. Check payments and shipping to those in distant lands will incur additional shipping charges. Nevada residents have to pay sales tax (sorry).

My Neighbor’s Roses $150 (w/frame & mat).

I appreciate all comments, questions, and suggestions. Thank you for stopping by.