Close up

Close Up
14" x 11"
oil
linen board

Alberta weather. Yes. Dan Schultz was up from Colorado Springs to lead us through the workshop “Painting Figures en Plein Air” but it is September and the weather is rarely predictable in our neck of the woods. I wonder why it is called a “neck”. Well, we waited five minutes and the temperature changed, it dropped. The intermittent rain did not abate and the concensus was to retreat to the warm confines of our host’s studio. The model, Mia, was relieved as she looked through her apparel for a suitable outfit to accommodate an in-studio session of portrait painting. There was some grumbling, not enough to dampen spirits, and I looked forward to the challenge of portraiture because I had not painted one in some time. Dan suggested we limit our palette to the traditional selection of the old masters, red cadmium, yellow cadmium, black and white. Black had been a forbidden choice during my formative years. I did have a student grade tube in my collection as it had been a requirement for the workshop. Since I had never attempted this particular limitation I decided to follow along and see what happened. I had read that ivory black created a blue cast when used with these colours so I was anxious to find out what it could do. To my surprise and enjoyment the result was quite pleasing. I began to think ahead to the request made to me not long ago with regard to another workshop that I might lead in painting portraits for my St. Albert friends. This restriction to only four tubes of paint would make the process even easier. Delightful in fact. Another piece in the puzzle fell into place for this upcoming workshop when I shared my new knowledge with another emerging artist who came for consultation. Fat over lean. We applied the paint thinly with oil colour greatly diluted by thinner and then the pigment straight out of the tube on top. It did not work. The technique does not work well with student grade paints. Switching to artist grade colours we had no trouble adding a new layer over the first. Fun, fun, fun!

In the Field
14" x 11"
Oil
Linen board

It is getting late. I was waiting for a miracle today. The package I anticipate in the mail did not arrive. It will contain my camera. I remember clearly placing it on the windowsill knowing I would need it again. Well, I certainly need it. I forgot it at the workshop I attended in Cochrane with Dan Schultz. So I waited. I was going to use it for my blog today. The solution to the problem came to me just before supper tonight. I could use my husband’s camera! Yes! So I dashed off to my studio and snapped all the latest work, picked up the car from the garage, made supper, had a conference call and the ensuing discussion, photo shop and here I am, almost ready. “In the Field” is the fruit of the second day of the workshop “Painting the Figure in Landscape”. We actually got outside! Alberta weather. Well, that topic is for another day. The model froze and the rest of us were oblivious as we entered our creative zones. The sun came out briefly. I liked what it did with the shadow of the sweater. It was all about colour temperature. Warm sun, cool shadows. I painted quickly but not fast enough. A lot of it had to be done from memory especially in the grasses. The overcast completely changed the light so the shadow became warm and much lighter in contrast to the cool light down her back. This is when hair pulling enters the process. Fortunately I do not have much hair to pull! It does not help anyway. Dan is a patient and astute instructor. He kept reminding me that if I choose warm light I choose cool shadows. I like the result and it is time to go to bed. Good night.

Upstream

"Upstream"
60" x 30"
mixed media
canvas

Nothing like the last minute. The last minute seems to be expansive as all that I have left to be done seems to be miraculously accomplished. Like this blog…. I have started a new series. It is entitled “Wood and Water” a subject that could encompass a wide variety of landscapes. This particular painting is part of a threesome, not a triptych, but rather triplets from the same area of the woods. I do not visit the woods often enough.  There is something healing in the beauty and abundance of nature. My husband and I hiked past Angel Glacier at the beginning of the month. In order to get to Mount Edith Cavel we drove right past Miette Hot Springs which is the setting for the trio. I remember taking a dip in the pool and relaxing in the warmth of the water while the air we breathed threatened to freeze us before we dressed. That was several years ago. Inspiration incubates occasionally over many years. Maybe it waits for just the right media in order to express itself. I began, as usual, with many layers of colour covering the under painting, then, a little watercolour pencil and some graphite powder. Graphite powder leaves such an interesting texture on the surface, perfect for rocks and also a little shadowing among the trees. Tissue  paper creates the illusion of trees in shadow and sunlight. Some more layers of colour and basecoat and the water flows. This one may not be quite done yet. I still have some issues with the light in the distance. The poem and the psalm have been inscribed. It is close. Do I sign it or not….?

Lipstick and Lecture

Lipstick and Lecture
8" x 6"
Mixed media
Canvas

I just love my lipstick plant. I takes all kinds of abuse and. when I remember to water it, it blooms. Gorgeous red blooms. Red is my favorite colour. My wardrobe is red. My car should be red…Turning our attention to painting, I did not realize that I would be painting a series on my lipstick plant. There is another Tiny Treat coming up. At least it is in my mind. I may delay that project until another set of blooms burst forth. The present blossoms are fading. The sun has been hiding lately too. Plants need both sun and water it seems. In any case, this plant is loving its new location. I moved it out of direct sunlight so it would have a chance to drape down the side of the bookcase. I invented some red books so there would be repetition within the image. The contrast between the organic and the geometrical holds a spell. Like composing a symphony, the various notes coming together to create a new sound, I use two sets of complementary colours to create a mood. Red, of course, is accompanied by green and gold glows beside purple. Light is very important. In order to see the light we need a contrast of darker areas beside the brighter ones. The more contrast the more brilliant the light appears to be. Darkest dark against lightest light draws the eye. As does red. Red wins the day. Having drawn the original setting in poppy red watercolour pencil, red shows up here and  there accenting the rhythm. Music, light and paint; a miraculous combination.