My dd and I have been busy printing gift tags, Christmas cards and background papers on our handmade Gelli plate. If you haven't had a chance to experiment with this type of monoprinting, you should! There is no right or wrong way, just ways that work out better than others. If you don't like something it is very easily covered up to create another dimension. We cut our own stamps (texture plates), basic stencils and used found objects to print a multitude of papers. This is one of my not so good prints that I turned into an inspirational mixed media piece. Gelli print, acrylic paint, oil pastel, ink, collage.
Saturday, November 16, 2013
Saturday, January 26, 2013
Monday, December 17, 2012
Tuesday, December 11, 2012
Just a quick demo on how I painted this sailboat at sunset. Colors used: Indian Yellow, Napthol Red, Alizarin Crimson, Royal Blue, Burnt Sienna and Brillant Orange and permenant ink First draw out your image and mask off your sun spot - dry.
Wednesday, April 4, 2012
One of my students have asked me to post the demo that I did for a workshop on portraits from last week. This is a 2 hour painting (including dry time) using a limited pallette of quin gold, aliz crimson, Ultramarine blue, Burnt Sienna and Burnt Umber. Stage 1: Mask out any highlights or if you are really confident you can paint around them. Due to the small size of this little man I masked.
Stage 2 Sunshine : Wet your paper into the hairline, background, even the whites of the eyes. Wait until the sheen is gone from the paper and start dropping in your mid mix of quin gold. I love this color for 2 reasons. 1 it lifts easy, which comes in handy when laying down your road map and 2 it adds your sunshine. DRY
Stage 3 I added a little BS and BU just to place a few darks in the eyes and hair. DRY Then mix up a light mix of aliz crimson. This is a high power, staining color and should be used with care. It is way easier to add color then to take it away. Wet his little face again and start adding your turning points, this would be around the outside of the face, the side of the nose... the warm shadows on the facial planes. If you are finding that your paper is starting to get to dry, STOP, walk away and let it dry. If you overwork the skin will start to get streaky, and on a child that looks pretty garish. :0 You can always glaze in more color later
Stage 4: I added some more darks to the eyes. I also went back in and strengthened the red/oranges a little.
Stage 5: This stage was done in 2 parts. The background was first wet and a little of the blue color was dropped in. The light is coming in from the viewers left and there is a bright hightlight on the side of the face and top of head. So by adding the darker value around that area it will help to pop it later. DRY I also went in and started adding a few darks to his jacket. I am working a little more of a wet on dry at this point, as I need to control how far the paint moves. Some shadow colors were around his eyes, chin, right side of his face, dont forget the little divot under his nose and a little shadow under his nose to make it pop out a bit. DRY He is really starting to look human now.
Stage 6: Final adjustments were made to his face before adding just a simple hairline and a hint of clothing. Hope you enjoy.
4.5 * 4.5 inch
watercolor on 140lb Arches
Wednesday, November 16, 2011
Wow it has been a long time since I have done one of these little tutorials/ paint alongs. Yesterday I thought I would paint up a little girl. I had no real person in mind, I just started with a basic line drawing getting her perspectives down and picking out my pallett of hmmm.... lets see... quin gold, perm red and cobalt blue, opera and i will toss a little burnt umber in at the end.
Lets start by wetting her face and dropping in some color to get a base of where we want to go with this. At this point I will be working with only my yellow and red remember to work around your lights.
Still working wet in wet and building up light layers of my yellow and reds all the time thinking about where the sun will hit her face. You will see I added just a dab of burnt umber to place the eyes. Dont forget to leave the highlights.
Continue building up your layers of sunshine, but now it is time to start thinking about how and where your facial structures recede. The eye sockets and sides of the nose the dip under her bottom lip the hollows of the cheeks and dont forget her temples. We can start adding our shadows into her layers. Work light!!! You can always add paint but it is Really hard to take it away.
I wanted to get in my darks at this point, so I had to first pop in some background of perm red and cobalt. This will not be the final layer I juts needed something for her hair to sit on.
Mix up some powerful mixes of Yellow, Red, Blue and Umber. She is backlit so remember to leave a couple wispy lights around her head working in some sunshine and then into your red and blues for your really darks. The umber I used is just enough to tone down a few areas but not enough to give an overall color. Remember if your values are correct it doesnt matter what colors you use. You will have to go back in at this point to make some final tweeks, but at this point Im going to call her done.
2.5 * 3.5 inch
Hope you enjoyed this mini demoSOLD
Monday, August 15, 2011
Hope everyone had a fantastic weekend. I put together this mini demo on how I work in pencil to achieve the different textures on this monkey drawing. 5 * 7 inch chimpanzee in graphite on copy paper aprox 4 hours. I wish I would have done him on better paper, but i have stuck him in a frame and he hangs proudly on my wall. :)
Work around your subject comparing one area against the next, varying your pencil strokes to represent the changes in textures you are drawing. The hair would be done in long, wispy strokes and the face would be done in more of a confined circular stroke, avoiding harsh lines but varying value.
Wednesday, August 3, 2011
I really haven't been in the mood for anything this past week. And it has really been hard to get anything started let alone get anything completed. So when I saw this weeks WDE and the challenge that went with it, i thought this would be just the escape that I needed. This is a small painting of an emerging hibiscus using only a 3 odd color triad. For this painting I chose Magenta, Brilliant orange and Cobalt turquoise. These are colors I seldom use so I thought I would try it out. Pretty flowers always make me feel better. :) Hope you enjoy
watercolor on 140lb CP
Friday, March 11, 2011
Wednesday, February 9, 2011
I think im going to do a series of these as I love the mystery of masks and I would love to go to New Orleans during Mardi Gras. So here are the first stages of the one that I am working on now. Have a great day and Happy Painting!! The finished painting can be found here. http://tampster1.blogspot.ca/2011/02/mask-in-earths.html
Thursday, January 27, 2011
I haven't posted a WIP is a long time so I thought I would stop by and show you this mountain bluebird painting I have been working on in between sewing projects. :) 9 * 12inch canvas board. Here are the first intial stages mostly just blocking in the large masses of color.
starting to define the shape a bit more on the leaves and feather pattern
Almost done! Went back in to reshape his head , eye and bottom breast a little. Added more shading under his body to tail feathers. I realized after photographing the last shot something was off - the lighting didnt match. So .... will be going back in today to try and give the tree more of a rounded shape by moving the shadows to the right side of the tree (hehehe oops... )and maybe pump up the highlights on some of the leaves. :)Till next time Happy Painting!
9 * 12 acrylic on canvas board
signed and dated on both front and back
Donated to Canadian Artists for the Poor
Saturday, January 22, 2011
So every once in a while I google myself - just to make sure I am not having anything negative associated with my paintings and I came across this article in the World News!!!!!!!. http://article.wn.com/view/2011/01/08/A_splash_of_watercolour_in_a_dull_month/ If you scroll to the bottom of the article smack dab in the middle is a link to my you tube 2009 video of my paintings. You cant even imagine how excited I am! :) I am very honored and privilaged to whomever came by and admired my work enough to give me a feature spot. *** big hugs **** Thank you!
Tuesday, November 16, 2010
I have been experimenting lately with toned grounds. A toned background is a background that has been painted in a flat wash of color. This is done for 2 reasons, it seems to take away the intimidation of starting with a blank white canvas and it adds continuity to the painting as the undercoat will show through in spots. Some colors work better than others as a toned background. For this painting I use I started off by toning this little 2.5 * 2.5 inch canvas with cad. red and then applied my color dashes of color. For something so tiny it sure hold a lot of impact. The red under painting that is showing through seems to highlight the greens of the trees and the fields.
Thursday, September 9, 2010
Another painting started .. i just love the expression on this teens face.. it represents that genre very well.(man i sound old all of a sudden) LOL Anyways just a simple pallette Skin tones - raw sienna, alizarin crimson, and ultramarine blue. Work slow .. develop your warms .. thin washes wet on wet and **let dry in between***
When you are waiting for the initial skin tones to dry move onto another area that does NOT touch and adjacent area that you have worked on.
For the jacket I used just a simple wash of UMB and Burnt Sienna. Cobalt blue for a bounce of stronger color in the white shadows.
Keep developing your skin tones. dampen a small area at a time, drop in your color and walk away.
For the hat I used a light wash of perm. rose.. dry and then cobalt blue. Enhance the shadows and the stiching on the hat with a mix alizarin crimson and UMB that you have been using on the face. This will help to tie everythig together. I also used perm rose and cobalt underwashes on the shirt and banding.
I am really loving the skin tones in this one. They are almost flawless.. Something I have been striving to do since I started painting in watercolor. :) I started the hair working wet on dry with seperate mixes of burnt sienna and van dyke brown. Careful not to cover all your underpainting. It gives the impression of sparkle and light. Pop in some darks using the UMB and alizarin crimson mix that u have been using in his face.
A bit more progress made on the jacket. I will be fixing the uneven shadow wash on the left side of the collar and adding some more texture and detailing on the jacket. I have added in his eyebrows using vandyke brown and your purple mixture from the previous steps and adjusted his right eye, it was looking a little big. Thinking i may want to reevaluate the background. In the photo he is shown in front of a chain link fence. I just love the way he is turning out and I dont want him to be competing with the background so I am thinking of just a dark green/grey soft foliage background.
A quick update after the first background wash has been applied. I still have about 10 washes and a color adjustment to go in order to get the depth that I want, but it is the impression I was going for. The green/blue background really makes his face glow. I usually dont use masking fluid but i had to make an exception for this one because i really didnt want to be trying to paint around the hair. I hope that when i peel it away it will come off nicely without having to many touch ups to do.
Whoopie. I am sooo excited by this piece.
Would love to hear what you think. :)
Thursday, June 3, 2010
3.5 * 5.75 inch
Inspired by this miniature painting I did of this street scene I thought I would tackle a 1/2 sheet version. Starting with the largest color masses I started to block in some local color, deepened the shadow side of the pillars and places the first wash of neutrals in the middle line of windows. and this is where I am right now.
Popped in some more color in to the 2 remaining flags, some reflective shapes in the main cars window and added a little crimson to indicate where my darkest darks will be on the cars. This serves a 2 fold purpose. It will serve as a mapping system if my pencil lines get smudged, it also gives we a constant under painting color, which will add continuity once the subsequent glazes are applied.
The rich darks are starting to get placed now. Keep in mind that this is just the initial glazes. It will become allot darker in the future.
A little more work done on the foreground shadows and the reflections have been started on the cars. The reflections are done by careful color blocking. In the original mini version I could get away with just the suggestion of reflections but in the larger version I have to be very careful with the main dark car. It is very easy to loose your way with so many color shifts, so go slow. I have also gone back to the top to adjust the reflective color on the blue flag stands as they were reading to vibrant for a reflection.
Oh BTW did you notice a few of the figures have been started. Not the carrot people I could get away with in the little version but still not a detailed version of people either.
Hi all. Its been a while because of a family emergency that has taken me away for almost 2 months now. :) But im back now and hopefully can get on track again.
This is the latest installment of Window Shopping. A bunch of work has been done on the middle ground windows and the main cars' reflection. A few more figures have also been added to the foreground.
Wow am I ever falling behind. Summer is such a hectic time of year and now fall and harvest is almost upon us. Where does the time go? Anyways found a few minutes to get an update in. Into the final stretch with this piece. (It is allot more intricate then I first gave it credit for.)I have a little finishing to do on the boxes and some picking out of highlights on the flags' stitching. and blending in the cast shadow and the tires into the pavement. I am a little disappointed by the way the main level windows turned out- a little to blue for my liking, but it sure makes the orange pillars pop. The figures are coming along well, enough detail to show what they are and what they are doing without overstating them.
9* 12in watercolor on 200lb curry's paper SOLD
WOOO HOOO! Its finally done! There is so much intricate work in this piece I thought I would never finish it.