Sunday, June 29, 2008
Clay Lady in Blue in still in the works. It needs deeper values around the face, neck and leg. This is watercolor on 400# rough Windsor Newton paper, which really soaks up color. The shadow on the forehead (created by her robe) doesn't seem to fit -- so am open to suggestions. The seed pottery texturing was accomplished by floating raw sugar in pools of water; the texturing on the blue robe was created by sprinkling Kosher salt, letting it dry, brushing it off and then lightly sanding.
Friday, June 6, 2008
This is an experimental painting done on 400# rough press paper. The paper absorbs color quickly and bleeds into dry area....a very challenging situation if you are a control freak! I combined 4 photos and it appears that there are competing patterns that don't "gel well" as well as a monotony of color. So, I am keeping the painting attached to the "gatorboard"; reviewing periodically; using my transparency sheet to add color or more intense values; and then will photo again for decision purposes. If anyone has comments and/or suggestions, I would welcome any input.
This watercolor represents 3 generations of pottery from the Zia Pueblo - 1800s - 1920s - 1980s. It was a study for me to view how much (or little) the designs changed on using birds. This is painted on 300# cold press paper, which did not absorb colors to give a soft, sueded effect. When I tried sanding the paper to age the appearance of the pottery, it lifted all of the color and the finish on the paper. When attempting to soften the edges of the 1980s pot, the colors turned into mud. Although I am not particularly pleased with the results of this piece, I like the subject and patterns enough that I am going to try painting on 300# hot press paper. Wish me luck!
Sunday, June 1, 2008
Sometimes, one needs to venture outside their comfort zone. This is my departure from the comfort of pots and clay ladies. It is colorful and bright, full sheet on 300# paper and float matted on a full sheet of dark bisque matboard. Cheap Joe's American Journey watercolors, which I use exclusively, are such rich colors and delightful to play around with. I was able to use full strength, then sand, then use diluted strength to bring out definition. It was critiqued by one of my art groups, Vanguard Artists, and I was pleased with the response and how I was able to further define values using their critique suggestions.
My "art sister" and wonderful friend, Susan Roper, took this photo as one of the Art Chix shows in Sun City Grand. Art Chix consists of 10 artists, all presently domiciled in Sun City Grand - a fantastic resort style community in Arizona, and we have approximately 8 shows a year.