For a limited time, 8 x 10" stretched canvas prints of my "Lemon Water" painting, regularly $65 are being offered for only $40 on Fine Art America. Offer expires on 12/23/2016.
Click here to see this promotion.
I've started working through the exercises in the Botanical Palette book - Chapter One - White. While waiting for the Casa Blanca lilies to bloom so I can paint them from life, I've also started to work on a watercolor painting from a photo I took of the lilies in the garden last summer. The pencil sketch for that is show below. I drew the lily directly on my watercolor paper using an HB pencil and the divider tool to take accurate measurements from the image on my computer screen. It took a few hours, but then I decided it needed to be about 150% bigger. I scanned the drawing, enlarged it, printed it and transferred it to the watercolor paper with graphite paper, then refined the pencil drawing further.
Hydrangea flowers are scarce this year but there are leaves to study.
I don't know how old this little cart is, or where it was made, but it's full of rustic charm and very fragile.
Also here is a recent watercolor and gouache sketch of a koi, using Daniel Smith's Cascade Green and Undersea Green in the background. I really loved using these colors and the beautiful effects they produce. I also used some Perylene Green for the very darkest green close to the body at the bottom of the koi. The koi is painted with gouache.
Here are some in-progress photos:
This maple tree near my house was cut down recently. Here is my tribute; just about every drawing and painting I did of it over the years.
Unsigned sketchbook of pen, pencil, and watercolor drawings, some dated and with locations in Rome, Naples, and Cairo. Beautiful, with lots of drawings of decoration, ornament and flowers.
I've painted this little pitcher before with strawberries. I love how the light from above reflects off the gilded table top and illuminates the gold luster on the bottom of the pitcher.
The paper was prepared with a light coat of a neutral gray gesso so I could begin analyzing the relationships of value and color temperature from this middle value. I took comparative measurements of height to width and sketched in the jug lightly with a white charcoal pencil, analyzing all the relationships of horizontals, verticals, angles and negative shapes as I went.
As I started to proceed with paint, I could see that the inside of the jug was about a middle value 5, but the temperature was slightly warmer. I arrived at this conclusion by placing my neutral gray gessoed paper behind the jug and deciding if the gray inside the jug looked warmer or cooler. Once I established this, I used it as a point of comparison to begin finding all the subtle value changes that would describe the form of the jug. I placed the brightest white highlights, some of the warm background color, the deep red around the rim and the darkest umber shadow under the jug. From there it was a lot of squinting to see how each value compared to all the other values and making adjustments where necessary.
A recent oil painting of some peonies from my sister's garden and some in-progress shots.
Now available in my shop are recent small original oil studies on Arches oil paper. They are meant to be quick sketches, trying to capture accurate color and values of the subjects without too much time spent on refining details.
The oil paper is similar to heavy watercolor paper so they can be framed the same way, for example, with or without mat, mounted on a board, etc. It is recommended not to put them behind glass so that the oil paint will have access to air in order to cure properly.
I'll be adding more studies soon and hopefully regularly, so if you would like to be informed of their availability, please subscribe to my mailing list!
After completing a precise pencil drawing at full scale on Dura-Lar for this 9" x 12" painting, it was scanned in. I did a bit of work on it in Photoshop to adjust the levels and contrast, cut the Arches oil paper to 8.5" x 11", selected the option to scale it down to the size of the paper and printed it.
Painting these allaprima grayscale value and color sketches really helped me work out how I should proceed with the larger indirect painting on panel.
For the larger painting on panel, I rubbed a very light coat of unthinned raw umber oil paint on the back of the Dura-Lar drawing and transferred it to the panel.
I love painting on Arches oil paper so I was happy to find that I could print out my scanned pencil sketch on the paper cut to 8.5x11" and get straight into painting a value study; a time saver for complicated compositions that need preliminary value or color sketches. Brushing Gamsol over the print didn't smear the ink. I'll print out another one and do a color sketch for this composition that will be a 24 x 36" commissioned oil painting on linen depicting the wine making process.
"Mako", my small 4 x 4" oil painting inspired by the handsome Kikusui koi, has a new home thanks to a very special collector.
Mako is a scaleless (doitsu) koi and I'm always captivated by the way his brilliant pearly skin reflects the colors of the other koi, the deep blue spring sky and budding trees.