Another View of Goose Lake

 

I had a difficult time getting  my photo to marry up with my painting but I tried, keep that in mind.

 

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Goose Lake on Lanaquarelle 140# quarter sheet

I have been working on multiple paintings and this one is pretty much finished though I might put in a few dark sections in the back woods. Goose Lake is up in the same area as the Sierra Buttes and for some reason I am intrigued with this view. Here are my previous posts of Goose Lake: Goose Lake in Sierra County and Pastel of Goose Lake and last but not least Acrylic of Goose Lake.

As I worked on the above painting, I kept to an over-all feeling and gist of Goose Lake and tried not to rely solely on my reference photo. I like to imagine myself at the scene, hearing the birds, feeling the environment as I paint. I usually listen to music that helps me to imagine that I am there, in this case Native American flute music. Often when I paint a forest scene, I will listen to nature and bird sounds or lately Chinese music.

Again I truly feel that it is important to paint what you know and love, but that is my own personal prerequisite. I worked on this painting (as I am accustomed to do) when I am in the zone. Once I feel my artist eye or view wane, I step away. The sky, backwoods were painted wet on wet. I went back in to put in some calligraphy. I took more care with painting the trees in the front.

Lately my goal is not to be precise or detailed, I want the essence of a scene, there is something appealing to me about this approach.

Colors used: Aureolin, Cobalt Blue, Prussian Blue, Ultramarine Blue, Quin. Gold, 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.

 

 

Sand Pond and Semi-abstract

 

 

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painting #1 on Fabriano 300# quarter sheet
I felt like a wet on wet painting day going for an atmospheric minimal kind of approach. This photo doesn’t show the depth of color as it should but you get the idea. This is the second time I have painted this particular scene which is Sand Pond looking away from the Sierra Buttes, here is that post (painting #2)  Watercolor Mayhem. I might bring in just a tad more value changes but then I might leave it alone. I have found that Fabriano is wonderful for wet on wet work. After using other papers, Fabriano doesn’t have the texture that I adore. I want a paper that has a responsive surface, Fabriano has a cardboard feel to me. I do enjoy using the Softpress variety of Fabriano, so when I discovered that Fabriano is perfect for wet on wet, I decided that I will be buying more of it. One of my favorite artists, Cheng-Khee Chee uses Fabriano for his saturated wet on wet work. I almost decided not to buy it again, I am so happy that I changed my mind. It is also perfect in wiping off color to the white of the paper with this technique.
colors used: Aureolin, Quin. Sienna, Prussian Blue, Indathrone Blue, Quin. Gold, Cerulean Blue

 

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painting #2 wip on Arches 300# rough quarter sheet

This is a painting that I started over a week ago as a plein air and I am not so sure if it is finished or not. It started out as a waterfall but I liked it turned around and now it looks like an abstract river landscape. I have been keeping it up where I can easily view it and as I see what I need to do, I work on it, otherwise it sits quietly waiting. What’s the rush?

colors used: Cerulean Blue, Burnt Sienna, Ultramarine Blue, Hansa Yellow Med., Green Gold

Learning Points:

  • Wet on wet is fun!
  • Starting a painting without drawing exercises the artistic eye, no harm done.
  • Don’t be afraid to let a painting sit unfinished, sometimes it takes a bit to cook a fantastic painting.

*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.

 

 

 

 

 

 

 

Mystical Waterfalls

 

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on Lanaquarelle watercolor paper 140# 15 x 21 inches (half sheet)    

Finally finished with my latest waterfall which is by far my favorite. I wanted to use my imagination, so I listened to music and imagined away. Sometimes my inner creative shows up Oriental which is fine with me because I admire their view point. With this one I used my intuition and painted only the bare essentials to give you the gist of a roaring waterfall. I took quite a few breaks and didn’t rush it. If I didn’t feel it, I didn’t paint.

I painted wet on wet in some areas and dry on others, I wanted a little of a change-up within the painting which I feel gives it more creative pull and push, ying and yang, I believe the term is. I love this paper because it has a scratchy surface and dry brush is so addicting because of this feature. It is fast becoming one of my favorite papers.

This is one painting that I plan on framing, that is how much I love it.

Daniel Smith colors used: Burnt Sienna, Ultramarine Blue, Cobalt Blue, Indigo, Quin. Gold, Prussian Blue, Hansa Yellow Medium

*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.

 

Abstraction is Heaven

 

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on Fabriano 300# quarter sheet

This painting started out as a plein air on my patio hoping to capture my azaleas in full bloom. I was tittering away (bored out of my mind!) with a simple drawing and then laying in some color. I was uninspired to say the least. Then it hit me why am I trying to depict these flowers in a realistic way when I prefer not to? I was bored out of my mind trying to get the look of realism in these flowers. If you are wondering if I am making excuses, I can have done it: Daring Watercolor #7 way too fussy for me. As I painted that iris, I never felt the creative zing that I love to paint with.

I decided that saturated wet on wet was my technique of choice for this painting. I discovered something magical in this session. I think it would be easier to outline what I did.

  • I wet both sides of paper using a plexi-glass as my surface, it sticks like glue. My surface stays workable up to 2 1/2, this session was an hour long.
  • I always use fresh paint from the tube, your colors are more vivid.
  • I constantly turned my board around and I brushed on color only where I knew it belonged, intuitive painting through the entire process.
  • I kept turning and turning the board seeing it as a puzzle rather than what I “should” do.
  • I applied colors only when I knew what belonged at that particular area. I actually “see” the color, sometimes I feel the color should go there, all intuitive.
  • I didn’t paint this with a particular orientation in mind.
  • After the painting was finished, I turned the painting around and around until the correct orientation revealed itself.

I truly liked this process because it was as though I tricked my mind in reacting and accessing the creative in me rather than relying on my left brain for design decisions. I have an inner design and color scheme that often befuddles me. It will often turn negative and I fight against the inner critic that says something isn’t balanced. Then I do the hard work of trying to balance a painting or make it better. Sometimes it takes relying on the creative intuition for the solution, it was easy for me to tap into that with this technique.

*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.

 

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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.

 

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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.

 

 

 

 

Sunday Painting

 

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painting #1 Canson Heritage 140# quarter sheet

I normally don’t paint on Sundays but I felt the creative call, so here we are. I painted a large piece of a waterfall with an abstract quality but I will post that when I am finished with it. On this painting above I painted saturated wet on wet and I had no idea what I was aiming for, I ended up with a remembered intuitive of a landscape. My camera wasn’t able to pick up the rich blues in my painting and so you see more purple than blue but I got pretty close.

Painting saturated wet on wet is one of my all time favorite ways to paint a watercolor. It allows you a lengthy time to “sculpt” your painting, it brings out the intuitive in me.

 

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painting #2 wip on Canson Heritage 140# quarter sheet

I started this painting several days ago and I am undecided if it is finished or not, there is no rushing creativity. I started out in the saturated wet on wet method and the next day I gave more dimension to the shapes. I am after the essence and not superfluous detail. Perhaps I will stop explaining this as I think if you have been following me long enough, you would know that by now.

*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

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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.
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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

 

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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.

 

Creek and Fantasy in the Woods

 

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painting #2 on Saunders 200# 11 x 14 inches

I lost what I wrote originally, I am having trouble with WP. I have been painting up a storm for the past 10 days and focusing more on painting rather than posting. The above painting was painted intuitively based on one of my photos. I liked the fact that I am slowing down and not rushing it.

 

 

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painting #2 wip on Saunders 200# 11 x 14 inches

This painting was started over a week ago and I periodically work on it bringing it to finish, at least I hope! I am incorporating fall leaves left from last year and I have yet to resolve how I will proceed. No worries, it is an intuitive experiment.

I am having trouble with WP once again and I am running out of patience! Of all the times that I decided to post and I am having difficulties!

 

 

Semi-Abstract out of Angst

 

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On Arches 300# 11 x 14 inches

I wasn’t able to marry up the above photo to the actual painting but I tried. There is a raw sienna that isn’t showing up, especially in the bottom of the painting. The yellow is not as intense in reality and more cohesive, bear that in mind.

This painting had an awkward beginning full of turmoil, angst and finally an acceptance with a dash of love. My first plans for this painting was to re-paint a scene of a Sierra alpine lake. I had wetted both sides of my paper and put it on a piece of plexi-glass and proceeded to paint. Well, it was disaster from the beginning. It was mainly to do with my attitude and approach. I sometimes forget that a painting require time and patience to be allowed to develop.

I decided it wasn’t working and I washed it completely off and since there was a ghost image, I turned it over and started to paint on the other side. I didn’t have a clue what I was doing. I know by experience that not having a clear plan is disastrous.

As I brushed on paint trying (in desperation) for trees, I struggled through the entire process. I decided to stop fighting it and go with the flow. Before long I realized that my scene was turning into a semi-abstract of a swamp. What is very interesting is that I have been feeling like painting a swamp for the past week. I did not intend to paint a swamp at all, when I started to see a semblance of one emerging, it dawned on me that this was a desire of mine for several days. Isn’t that amazing?

My process of painting of late is that I paint intuitively and in the zone. If I am not painting in that ‘zone’, I take a break. I want to exhibit feeling and intuitive creativity. The later 50% painting of this piece was in the zone and that is truly what the painting experience is for me.

I have always loved the swamps of the southeast part of the United States and it has been years since I have seen one. The first time I have seen a swamp was in Louisiana when my family took a month long road trip back east. To this day, I have always been intrigued by them. I plan on searching through my photos to see if I can lay myself on a few. Happy Painting!

colors used (Daniel Smith): Indanthrone Blue, Hansa Yellow Light, Raw Sienna, Cobalt Blue, Prussian Blue

*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.