Saturday, May 09, 2020

Portrait of Our Granddaughter as Anne of Green Gables


Alyssa as "Anne of Green Gables" - pastel - 18x24

Last Halloween, our granddaughter wore this costume to her position as cook at a nursing home in southern Maine. She took a quick selfie before work, and wished the family a Happy Halloween. I fell in love with the photo so much that I decided to do her portrait as Anne, just for fun.

Step one:
make a drawing to be traced onto the pastel paper.

Step two:
using Canson Mi-Teines paper, I began adding base color with PanPastels, laying the underpainting and marking where edges were so I could keep the colors separate.

Step three:
Start using adding depth with soft and hard stick pastels.

Step four:
continue adding more details and work on the background with Pan Pastels.

Step five:
Complete the final details with Carbothello pastel pencils. Spray with fixative.

Step six:
consider framing possibilities on-line since we're still in a stay-at-home area.

Hope you enjoyed this brief little demonstration using pastels. It was great fun working directly with color pigments!

Saturday, March 21, 2020

Our New Reality is Surreal...


Now that our daily lives have irrevocably changed due to a rampant virus, we have time to pay attention to the wonders of nature that always surround us. Nature has always nurtured me in times of stress, particularly, but also in times of deep joy and/or gratitude. So today, I'm experiencing all of that and a lot more that I simply do not yet have words for.

So I will share some recent memories via my photo collection. My camera often is but an extension of my hand! It's nearly always with me when I go out, usually in my jeans or jacket pocket. So enjoy my recent weeks via my memory box.






My personal Mandala made many years ago: batik on silk, quilted 20" square - here lit by my bedside lamp.

My last finished piece - a watercolor portrait requested by the Bellefonte Art Museum of Seria Shia Chatters


Then the first stages of our "new reality."

Tips from Governor Cuomo - good for everyone to do.

Friday, February 28, 2020

Watercolor Workshop with Lena Thynell



Last weekend, I took a 2 day watercolor workshop with a local (but internationally known) artist, Lena Thynell, at the Art Alliance of Central Pennsylvania.

Lena is a wonderful teacher, explaining the importance of starting - even practicing - with the best watercolor papers and paints that one can afford. She brought samples of three papers that she recommends students to practice on and determine which type of paper one would prefer working with, depending upon the painting style (dry brush, wet washes, combinations, etc.).



My personal favorite watercolor paper is Arches #300 Rough, but also like Fabriano #300 and the new Fluid watercolor blocks. It really helps to experiment with a few good quality papers because each type offers different opportunities to achieve certain effects that the other papers don't do or do as well.

Lena went on to discuss the importance of the watercolor paints we use, as there is a marked difference in quality between the less expensive "student grade" paints as opposed to the "professional grade" of watercolor paints. Students will rarely be satisfied with the lower grade paints because they have less pigment, thus are more faded in appearance on a piece of watercolor paper. Lena also mentioned that while top quality brushes are wonderful, we can paint with any brush - although there are some major differences in both quality and style of a brush. The best brushes will have natural hair carefully held in place on the brush. The hairs will rarely come out as you are painting. The cheapest brushes are quite different, using various combinations of man-made bristles (plastics), although they can be OK if only top quality man-made bristles are used and properly attached to the handle. But when choosing watercolor supplies, it's wisest to put our money into the best paper we can afford, and the best quality paints we can afford. Good advice.

Personally, I use a combination of Windsor Newton and Daniel Smith professional watercolor paints with a very few others for specific colors they alone make (Da Vinci, Holbein, Graham & Co., and Aquarelle colors).

Then Lena demonstrated different watercolor techniques that we should explore, learn, and add to our tool chest of techniques for accomplishing precisely what we wish to do with the paint, water, and brushes on paper. Here, she is demonstrating each technique and describing what each would be useful for in our paintings.


Here is a better view of the finished techniques that were demonstrated.


Lena then demonstrated how she begins each painting with background washes to define the shapes and spaces of the painting to come. This one is a winter scene - a typical scene of rural central Pennsylvania in winter. She laid down the first washes, keeping all water and color from the one of the farm buildings and the snow drifts at the lower part of the painting. This underpainting provides the map for the artist to build the scene, step by step, until the final details are added using smaller brushes and dry brush techniques. Here she is with the completed painting.



After her initial demonstration of the background, the students were encouraged to begin their own paintings with the primary washes, reserving any whites of the paper that we wanted to remain white. Below are my beginnings and more, as they dried between each layer of paint. I was working from my own photos, although Lena brought a number of her own photos printed on office paper for us to use for inspiration.


Here are the paintings that I've working on to complete this week. They're not "professional quality" by any means, but I am satisfied they have helped me to learn some good painting practices and techniques.

My studio setup for multiple paintings, watercolor pallets and brushes.

Barn in Autumn in Central Pennsylvania


Winter Sunset

Meyer's Dairy Farm in Winter

It's been suggested that I cut the above painting to improve the visual effect. Have a preference for the full painting, or just the top 2/3rds of the piece? If you click on any photo, you'll have all of them enlarged to view, one at a time.


So, what do YOU think? Which format to you prefer. Thanks for reading!