Moonlight Series #4


on Arches 140# quarter sheet

I have been working on this one for several weeks. Yesterday I wasn’t satisfied with the other half of the painting and split it in half and switched the orientation and found out that I like it better this way! I added a bit of yellow acrylic and now I feel satisfied that it is finished.

I follow my inner creative in my decision making in what to paint or how. I had no preconceived idea on how to start this painting or finish. I wait until I get an idea of a shape or color and then follow along.

Setting aside a painting, especially an abstract is important, sometimes it takes a while for creativity. It is very odd that I’ll work on a painting and then discover that the orientation is different from my original plan.  Here are the other posts about this series: Moonlight Abstract #1  Moonlight Abstract #2 and Falls  Moonlight #3 & Co.


*A word about photos. The photos on my blog are mine, taken by me and copying them would be stealing from me. If you find a photo that you would like to copy or use, I request that you ask me for permission and I expect you to give me full credit for my own photo. Thank you so very much.



Moonlight #3 & Co.


painting #1 on Canson Heritage quarter sheet

The idea for this painting came to me the other night and I knew exactly how to paint it from start to finish, of course I knew how to paint it intuitively, that is! Here are my other two Moonlight paintings: Moonlight Abstract #1 and Moonlight Abstract #2 and Falls

I originally envisioned my being able to “twirl” my board and do some crazy paint flinging but I had to improvise and tilt my board to make it go like wild. I added water here and there to get the paint to move and I used my sprayer to make some texture. I re-emphasized the red dots and dashes for a little boost.

My husband wondered if that area to the left with the curved band needs something. I told him that it gives a resting area for the eye but the more I look at it, I wonder if it could use a thin dark blue band. What do you all think?

technique: saturated wet on wet, Daniel Smith colors used: Quin. Red, Hansa Yellow Md, Ultramarine Blue, Indanthrone Blue, Indigo and Moonglow.


painting #2 on Canson Heritage

I love the softness to this one and yet it needs some “zing” and at the same time, I love it the way it is. I might let this sit for a spell and maybe I’ll add more to it or call it finished.

Technique: saturated wet on wet. Daniel Smith colors used: Quin. Red, Hansa Yellow Med., Cobalt Blue, Moonglow

*A word about photos. The photos on my blog are mine, taken by me and copying them would be stealing from me. If you find a photo that you would like to copy or use, I request that you ask me for permission and I expect you to give me full credit for my own photo. Thank you so very much.





Moonlight Abstract #2 and Falls

Moonlight #2 on Canson Heritage 140# 11 x 14 inches
I didn’t have much of an idea in mind when I started this second painting in the series. Here is the first in the series: Moonlight Abstract #1 I started out with the orientation of the moon more to the right and by the time I was finished, I liked the painting switched around. I painted this wet on wet and painted only what I felt moved make a mark. I always stand while I paint and I step away often and tilt my head, it helps with perspective.
I painted only when I was in the groove and as soon as my creative vision waned, I stopped immediately. I take a break up to 20 minutes and come back to paint only if I had that creative zone happening. Again, as soon as I sensed that it waned, I stepped away. I also don’t judge the painting when I am not in a session.
Falls on Canson Heritage 140# 11 x 14 inches
I had started this during the weekend and finally finished it up today. I painted this saturated wet on wet which is fast becoming one of my favorite ways of painting. This paper is also one of my all time favorite paper for this technique. I painted this one intuitively and didn’t adhere to realism which is becoming more and more of my preferred way to paint.

Moonlight Abstract #1




I have started a series of abstracts that will be based upon some photos that I took of the full moon. I think that this is the first abstract that I like very much. They are quite difficult to do at least in my opinion. I am wanting to venture out and being more creative and not so reliant upon realism. Reason being is that I am hoping to be more creative and search for the style that I ultimately am reaching for.


The Weary Paints On!


painting #1 wip on Arches 140# 11 x 14 inches

I have been struggling with an intense cold but I still manage to paint. No holding back now! This abstract is one that I keep visible while I work on other paintings. I keep painting on it in increments but only adding what I feel it needs and no more. In a way it is an artistic muscle builder.


painting #2 on Arches 140# cp  11 x 14 inches

I am not sure if I like this one, and yet when I am working on it, I love it. The critic in me wants to jump all over it. This is based on my trip over to remote Bear Valley in Glenn Co.


painting #3 on Canson Heritage cp 140# 11 x 14 inches

I practiced my wet on wet on this paper hoping to go very impressionistic. I pulled out shapes as I saw them. I over-worked the left side and basically lost my focal point. No matter, there are more paintings waiting and more lessons to be learned.


painting #4 on Canson Heritage cp 140# 11 x 14 inches

I again decided to paint wet on wet and I really love how you can work on a painting for over 2 hours non-stop. My photo made that area behind the sun-lit trees too blue, it is actually a grayed down purple/blue and green color. There is a point that you know that you have to wait for it to dry before proceeding to add your calligraphy  marks or to correct. This paper is perfect for this technique and it dries extremely flat which I really like.

*A word about photos. The photos on my blog are mine, taken by me and copying them would be stealing from me. If you find a photo that you would like to copy or use, I request that you ask me for permission and I expect you to give me full credit for my own photo. Thank you so very much.






Looking Back at 2016

My  goodness time sure flies and here we are just at the door of 2017. I have been busy painting but posting only when I feel something is ready. I really like my slow approach. I have been painting a lot behind the scenes but slowing down my posting, it makes sense for me because I want to focus more on the art. Bear with the length of the images, I have been having a difficult time with uploading photos and having my page get stuck many times. This is the easiest way to put together this post. I will do a post in the next few days of my favorite photos of 2016 as I am getting impatient with how long this is taking. It has been a fantastic year and I am looking forward to what 2017 will hold for me and my art endeavors.

Here are my favorite paintings of the year, first the pastels:








P1070947 (1)
My intuitive painting


Now for the watercolors that I liked the best:


















P1090300     P1100584





My most favorite watercolor painting


another all time favorite!


*A word about photos. The photos on my blog are mine, taken by me and copying them would be stealing from me. If you find a photo that you would like to copy or use, I request that you ask me for permission and I expect you to give me full credit for my own photo. Thank you so very much.









I’m Back!


P1140390 (2).JPG
Foggy November Morning

After taking an entire month off from blogging, I am ready to come back, slowly that is. I found that I enjoyed having some time away from the pressure of blogging. I think that I have a sensible plan on how to proceed in my coming months of blogging. First of all I am thinking that sometimes I push paintings  to a finish in order to post them. I will not be doing that, so you’ll see that I’ll post not as often. December will be an easy going month in regards to my getting back to blogging, in other words, I am treating the month as a semi retreat.

These are some of the paintings that I worked on this past month. Some of either close to finishing or needing more work. I really have learned that I am not going to push paintings to a finish as I have in the past. I can’t entirely blame this bad habit on blogging but my insistence that I have to have an end product…now!

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I enjoyed working on these in the studio I had a few problems here and there but isn’t that pretty normal?


Semi-abstract of oak trees along the North Yuba Trail


Reflection at Little Bear Lake 

I have quite a bit of work yet to do with this one, a wip and that’s alright.




Trees on the Bear Lakes Trail


wip semi-abstract of mossy trees


wip of the North Yuba


wip of mossy trees on the Bear Lakes loop trail

The above painting is about 30% washed out, the colors are far more vivid than they appear in this photo

Now for some abstracts! Below:


Abstract #1


abstract #2
I had a bit of trouble trying to get this post put together, I was hoping to number the paintings but WP is acting a little odd and as I tried to number them, it was really messing up my layout. I will upload this before I lose it!





















Faded Roses-abstract

on Saunders 200# 11 x 14 inches

I didn’t feel like working on my current studio painting of the river, wanting to leave that for another special day of painting. I had a vase of red roses that were dried up left over from my birthday and I thought I would use them as inspiration. The reds are darker and richer than you see in the photo, a nice kind of pop.

Do you see roses in this? I don’t either, but does it really matter? I used them as a kicking off point and it is alright that they didn’t make an appearance, their “scent” is in there somewhere.

I am undecided if this is finished or not and wondering if my addition of the green curly cue shapes are a hit or miss. I am not liking them too well. I might give it some thought and see if I need to continue or flip it over and paint on the other side. I really detest the ones at the bottom center. I am thinking if I were to go in and do something about those shapes, that I’ll mess it up.

One of my favorite parts in the painting

Learning Points:

  • Short and sweet….have fun!



Madrone Madness #8

Madrone and Co. on Saunders 200# 11 x 14 inches

I was high jacked this morning by the light and my trees. of course I obliged, willingly. I am in love with Fabriano but for abstracts like this, I love the softness of Saunders 200# and I can’t wait to try out Fabriano Soft Press in which Debi Riley raves about. As soon as I can manage it, I will be buying it. This is my first painting session with my madrones here: Madrone Madness-June WC #1 as you can see, I am getting looser and improving, I hope!

I am finding that I love to use my sprayer while painting to help coax the paint and to limit brush strokes. I do use my brush to drop in paint or use the very tip to push/brush the paint to make the trunks of the trees stand out. I also have found that allowing the excess water from my brush to drop into the paint mixture I had just put down, helps to lighten that area. I love this way of painting, it is truly me. Abstraction is something I love and I am hoping to incorporate it more and more into my plein air of the river. I try so hard to depict what I see and I usually overdo it or bungling it up, I have used this kind of  painting at the river before and I loved the results,  Shenanigan Flat-North Yuba River with painting #3.

P1110684 (2).JPG
close-up of one of my favorite areas
My scene before the glow that I chased

Learning Points:

  • With abstracts such as these, incorporate all kinds of means to get the job done, think outside the box.
  • For me, limiting actual brushstrokes work best for abstraction.
  • Plein air is hard but when it is happening, it is heaven!
  • Don’t be afraid to let that paint flow or let those colors mingle, who knows what you will end up with?
  • Adventure keeps you young!
  • Wet paint from the tube is best for abstraction.

Madrone Madness #6

I was planning on going to the river but I changed my mind because I will be going to the river with my daughter and her three children tomorrow to swim. I decided to keep my ventures to the river special each and every time. I didn’t plan on painting today but with the lighting on the madrones out back, last-minute decision and here we are. One of my favorite painting sessions using these madrones for my subject Madrone Madness #5-World Watercolor Month #5

Painting #1 on Arches 300# 11 x 14 inches

I liked how this painting started but I changed my mind on certain sections and took off some paint. I am only including this painting to illustrate what happens when the focus or intention goes awry. My first intention was to highlight the golden color coming through the trees. Usually morning light isn’t as golden but because of our smoky skies, the light in the morning has been more of an evening tint. There are some parts that I do like in this painting but I call it a fail. I also am asking you all what would you do with this painting? add or subtract? I am undecided. I just might turn it over and paint on the other side.

This is the section that I do like
Painting #2 on Saunders 200# 7 x 9 inches

Now we are cooking! I loved how this one painted and turned out…..So fun! I used my water sprayer extensively and yet cautiously on this one. I learned from my last painting to keep my mind on one intention and let the magic of watercolor happen.

Close-up of my favorite spot
Painting #3 on Saunders #200 7 x 9 inches

I enjoyed this one almost as much….probably too much red but then it really makes the painting sing. Looking at it now, I had hoped for more soft edges but I am not touching it again.

Learning Points:

  • Don’t have two ideas conflicting while painting, one focus or intention at a time.
  • Getting in and getting out is fun!
  • Keep your colors fresh and allow mixing on the paper. I failed to allow this to occur on painting #1