Cows en Plein Air moooo...

I've been painting cows lately.  Both paintings were painted en plein air; however, on the second one, I made quite a few adjustments, which I'll go into below.

Study 1:  This was painted on a very bright morning.  I'm not happy with my greens in the trees and the background hills, which were out of my frame view, so I put them in the painting to create more atmospheric perspective. They're are too strong-I should have used a lighter, paler wash to make them recede more.  I'm usually better at painting trees, but when painting plein air, sometimes it's like I forget everything I ever learned up to that point.  I'm just trying to get it down on the paper.  Hopefully, the more I paint outdoors, the more confident  I'll become in getting it down 'right'.  I need to follow Mr. 'Z's (J. Zbukvic) advice and 'have faith' in myself more, that it will turn out right.  My 2 main goals in doing these paintings though are to 1) get better with rendering tonal values, and 2) improve my drawing skills in regard to scale and subjects I'm not familiar with i.e. things other than nature - buildings, cars, people, etc.  And of course to try to render atmosphere and mood in my paintings, but that's a given - don't think I achieved that very well in these paintings.  One thing I did notice immediately, in defense of this pathetic painting, was that this was Fabriano Artistico paper, and felt like it may even be hot-press, which I don't normally paint on, especially in plein air, as it is just too smooth for rendering drybrush to tree trunks, foliage, etc. I have nothing against Artistico paper per say, just not crazy about hot-pressed watercolor paper for plein air painting, or anything that does not require a lot of tiny detail.

Study 2: This was the second attempt at plein air painting these cows, which were enjoying some shade on a very warm and sunny morning.  I had my little dog with me and was painting from a pretty close proximity, so they looked at us fairly often, then would go back to grazing, scratching, or whatever cows do.  They are so much fun to paint!  I like the challenge of their foreshortened bodies and head shapes when standing at different angles and the joined shapes created when grouped together.  This painting had potential in the beginning, but after I got it home, I noticed that my weakness in rendering 'scale' stuck out like a sore thumb as the large cow to the far left was huge (yeah, he was even bigger than he is here in the finished painting).  Then I noticed a couple of other cows who were also too large/small in comparison to the others.  So, knowing that this painting MUST be improved and resolving to the fact that doing so could and probably would go past the point of no return for a watercolor, I began my 'experimental phase' of correcting the cows' sizes and trying to correct tonal values within the shading of the trees and cows themselves.  As a result, this painting is way overworked and not really a keeper, but I like to 'try all options' on a failed painting like this one to experiment on before throwing it in the 'been-there-done-that' heap in hopes that I can learn from it for the next attempt.   And sometimes, I'm actually able to save a painting.  Watercolor paper is just too expensive not to get the most out of my failures (and believe me, I have a lot of those) which turn into learning experiences if I maintain a positive attitude.  And it helps me tremendously, not only in learning how to get my scale and tonal values correct, but in experimenting also with color combinations and brush technique.  Well, I could go on and on with what I learn from doing this.  I'm just hoping that somewhere down the road of watercolor, the 'experimental' heap is gradually overshadowed by the 'keepers'.  For now, I'm just having fun painting cows...

Layla

In loving memory of 'Layla'

This summer has really thrown a curve ball our way.  We lost our beloved Layla in May, due to a sudden illness.  Not sure what of, but at the time I didn't have the heart to have a necropsy performed.  Now I wish I had, as I think it would have given us some closure, but it was narrowed down to either tick fever, a toxin, or perhaps liver or some type of blood disease.  I had always suspected and mentioned to my husband a time or two that  I felt Layla may only be with us for a short time, as she always seemed a little frail and sensitive to illnesses.   She was so very special though.  Yes, all pets are special in their own way; however, I've never had such a bond with any pet in the way I had with Layla.

This happened just after the loss of my husband's Aunt (who we are also still mourning) who passed away earlier that month and it just so happened that we had taken in her three cats (Layla did not get her illness from them as I had them checked out and vaccinated as soon as they arrived).  So, it's been a period of adjustment for all of us here in pet menagerie land. Now, we're home to 2 dogs, 4 cats, and a Cockatiel. Oh, and with 2 fish, we've got most every level of the food chain covered.


Samantha, age 14 (pardon the blurred photo) is
pictured below.  She's so sweet. She snores when she sleeps!













We're taking it real slow.  The kitties stay in my studio at night.  Of course Samantha's whole world seems to encompass just that room.  She mostly sleeps on Aunt Betty Jo's blanket under my easel in the corner and eats, but loves to be petted and purrrrrs up a storm when brushed.  Guess she'll become the main 'studio cat'.

Gracie (Layla's sister) is not so sure about this 'invasion', but she seems to be adjusting fine.  Gracie has really helped us in getting over the loss of Layla, although it's very hard getting used to no longer seeing 'double' as they looked almost identical except for the different lengths of their Manx tails and Layla had a small white 'spot' on her head.  

It was 5 years ago on June 10th that I first saw these two little ones.  I was out sightseeing in a little town in NW Arkansas when I drove by a lady's house who was having a garage sale with her daughter.  The kittens were in a cardboard box in her front yard.  I could tell immediately these weren't your ordinary mixed-breed kittens, their markings were beautiful, and their fur was snow white, with 'points' like Siamese kittens.   There were four in all, so I asked, "do you mind if I take two?"  "Not at all!"  the daughter said, as they were her kitties.  I picked each one up and looked carefully into their eyes.  Layla I knew instantly was going to be a gorgeous cat.  Even though most kittens' eyes are blue, hers were intense at eight weeks, and her little 'riser' Manx tail made her look like a little bunny rabbit.  So choosing Layla was easy.  I knew they were probably some sort of Siamese, but the Manx tails were throwing me.  "Are they a particular breed of some kind?" I asked the girl, although it's never mattered to us, we've never been picky (but after having these two, I must say I'll not be content without having at least one  Lynx Point Siamese in my life forever).  "The mother is full blood Lynx, but she's brown, so I don't know why they all turned out white," she replied with her hands on her hips.  Well, I didn't know what the heck she was talking about.  The only 'Lynx' I'd ever heard of was the wild kind, and when she said hers was 'brown', that really threw me.  I'll have to Google it when I get home, I thought.  I have always wished I could have seen their mother.  I'll bet she was beautiful.  So now for the second kitty.  I chose Gracie, because she was the only one left with a 'stubby' tail and the Manx tails were so cute.  Besides, we had never had a Manx cat before, much less two.  The mother and daughter gladly ran and fetched me a cardboard box to put them in for the ride home beside me in the truck.  They would have given me all four kittens if I'd asked, which I was tempted, but knew hubby would have a conniption, so thought I'd better hurry up and leave before I weakened.

I can't tell you how excited I was about these two kitties!  We had lost our latest beloved cat, Bosco, of 14 years that previous Christmas and we were now ready for a new one...or two.  We had never bought 'litter mates' before.  It would be so much fun seeing them grow up together (and boy, was it). All the way home, brave little Layla kept trying to climb out of the box, but not Gracie, she was just fine in that safe, dark space.  And their personalities have remained the same to this day.  Layla was always the adventurous brave one, always pushing the envelope.  Always jumping over the fence, just to prove she could.  I would clap my hands and say "Layla, get back in this yard, girl!" She would make her tiny 'kitten meow' (which must be a trait unique to their type/breed) and reluctantly jump back into the yard.  Gracie on the other hand, is content to lay on the back deck all day, and has never once even tried to climb or jump over the fence.

Layla is buried just on the other side of the fence, which was her favorite place in the world to be, now among our other pets who have passed on, and we can see her headstone from our back windows.

Thank you sweet Layla, for your love and unforgettable memories...

Watercolor Palettes - Homee, Holbein, Craig Young (Oh my)

I've spent the last 2 days researching metal folding watercolor palettes for plein air use and have come to the conclusion that what I have currently - a plastic 'Homee' palette which I think I purchased from Art Xpress, is looking better all the time!  I have the 'small' size.  It offers more mixing areas and has a small rubber 'seal' around the edge which keeps my pigments moist and also helps prevent spillage when closed.  The clear plastic mixing area that fits in the lid is removable for cleaning, so the white lid itself it can also be used as an extra mixing area if needed.

However, lately I've been toying with the idea of using a palette I can hold in my hand, as I sometimes feel I can't get to my colors fast enough when painting.  I've tried different ways to position it closer to my board while painting en plein air, but I still tend to 'hit' the easel with my brush a lot when going back and forth between palette and board.  Since my left hand is usually just holding extra brushes, thought I'd try holding a palette in it instead (and could still hold a brush or two/my small mist bottle).  So that would require a palette with either a 'thumb ring' mounted underneath the palette or a thumb hole, neither of which the Homee palette has.

I really like the palette used by Alvaro Castagnet, but after much, much searching to find the maker of this palette, I discovered that it is way out of my piddly little price range, not to mention that the waiting list to get one is months.  It's one of those little jewels that I can only dream of some day owning, if ever.   Craig Young is the maker of these beautiful watercolor palettes, and I literally mean 'maker', as each one is hand-made, signed and numbered, thus the high cost (approx. $400.00 USD for the 'Paint box' model which I like).  They are truly works of art.  You can see them on line at the Paint Box Company.  Drool away...

The following are threads that led me to Craig Young's Watercolor Palette:

Wet Canvas - This Wet Canvas thread is finely where I found it.  At the bottom of the page are images of the long anticipated arrival of an artist's one-of-a-kind Craig Young Palette which had just arrived to his home.  As your scrolling to bottom of page to view images, pause to view an image another artist posted of a Craig Young painting.


Painters Online - Artist 'Harry' describes going to Young's home and workshop to pick up his palette in person.


Well, in my dreams.  If I do purchase a palette, it will probably be Holbein's 1000 series which Art Xpress is offering for a great price of around $72.  A lot of artists seem to like this palette (I think it's what Zbukvic is using in his videos).   Be sure though, if purchasing one, that you get the Holbein brand, as there are some Holbein 'look alikes' out there.

Well I was thinking, there must be some way, since I like my Homee palette just fine for now, to rig something so I can hold it in my left hand while painting.  This is the ceramic artist in me, making one's own tools is part of the fun of being a potter (but I'm always trying to think of ways to 'fix' a problem).  I thought of a small plastic oil/acrylic palette that came with an old paint box I bought at a garage sale a few years ago.  Even though covered with dried up paint, I knew all it needed was a good scraping and it would be good-to-go.  It has the perfect shape - about 5" wide x 10 1/2 " long - perfect to velcro my watercolor palette to!  Using Velcro would enable me to quickly remove it for cleaning, storage, or to use laying flat.



I scraped the paint off and here's what it looks like:
 The thumb hole for this little palette is very comfortable, which is why I saved it. 

Then, I laid my open palette on it to see how it 'felt'.  It felt just fine on my arm, with the paints at the top, just like I prefer.  The lid, or large palette area rests perfectly against the inside of my elbow.  Now, where's that extra black Velcro tape I saved from my last hair-brain project..  then again, that Holbein 1000 sure is purdy...

Finished Snow Scene, Alvaro Castagnet's New Video, Rene Beeldendkunstenaar

I've been a bit busy lately with things other than art, but that should be no excuse for not painting! However, I like to be able to concentrate solely on my art when doing it. I'm now between 'projects' around the house so am anxious to get out and paint.

Below is the finished snow study I last posted, which was unfinished at the time.

I still have a couple of things I feel the need to correct, but for the most part it's complete enough - just need to tone down the moss covered rock in the foreground and add the same color a couple of places elsewhere.  Also the small burnt red 'roof' in the upper-right background is distracting; in hindsight, I should have omitted it all together. Of course it's close enough to the edge of the painting that it can be omitted when framed. Or I could 'lift' it out some with water and add more trees.  Also, there's  a tangent effect going on between the large and tall skinny trees in the left foreground, creating too much tension and drawing my eye away from the focal point (the fallen trees and ravine to the right), but not much I can do about that.  I just placed them too close together to begin with and I should have angled or slanted the smaller tree to the right instead of swinging it back to the left.  Adding a light colored limb with a couple of others at different lengths to the left side of the tall young tree that's in front of the larger tree, I think, would help break that up though.  Anyway....


I recently received Castagnet's new video and really like it.  He gives more detailed info as he's painting in this one it than the last one i.e. specific colors he's using as he's painting.  Yes, I realize that specific color being used is not important and that it's all about warm vs. cool, and value; however, I do think it helps us the viewer 'student' know, especially when working in watercolor, whether that warm or cool color is opaque, semi-transparent, or transparent, and even what brand is being used as brands do differ in color and other characteristics.  I just wish he would occasionally demo something other than paintings with architectural subject matter.  That's just personal preference though, I'm sure that he paints those because that's what he's 'passionate' about.  And I'm still able to glean from the demos what I need in order to learn better technique.  I'm hoping that Zbukvic will do some countryside landscapes on his next video. He probably will as he seems to really enjoy painting them.

There are a couple of artists' blogs I'd like to share with you, but will just mention one for now as I'm short on time at the moment.  His name is Rene Beeldendkunstenaar, located in the Netherlands.  His blog site is  http://painting-pleinair.blogspot.com/ . When checking my blogroll updates,  I can scan like lightening through my RSS feeds and spot his work immediately.  I really admire this man's dedication to plein air, not to mention his paintings.  Rene's paintings truly capture the essence of plein air. My reaction to his paintings is visceral and I relate very strongly to his taste in subject matter. Enjoy, and 'til next time, happy living and creating...(and I'll try to post sooner next time!)

In the Hollow

Looking across the hollow at the fallen trees from last year's ice storm.

I have always loved snow - to take a woodland walk in virgin snow feeds my soul, so I-for-one was glad for the small amount we received.  It's strange how the snows began exactly one year after the devastating ice storm of last year.   A group of small young bucks along with a doe or two have been passing through, proudly strutting their two-point racks, but I've yet to catch them with my camera.

I painted the scene below Thursday morning en plein air. After about an hour, I had to return to the house (which was very close by, just up the slope) to let my feet thaw out and to dry the watercolor paper. It just would not dry in the cold air. Then I returned to the site and finished painting it. I knew it was not a keeper, but was determined to follow through with the experience.  I then returned to the studio, and after seeing that there was no saving such a pitiful painting, pulled up this photo (which I try to always take for reference when painting on site) on my computer monitor.

My view for the painting.

I then flipped over the painting and re-taped it to my gatorboard, and started again.  I was using Sanders Waterford BTW, which personally, I'm not crazy about, although, as some artists claim, it doesn't seem to buckle as much as other brands.  The unfinished result is below.   I'm not after pretty colors and reflections on the snow, but a moody, dark woodsy effect, so I probably could have used even less warm colors and gotten closer to the mood I'm after.  I just kept glazing the background over and over with blues to get the needed value, but now probably need to go a shade darker with the middle-ground, right?  Snow scenes are so easy to mess up in watercolor!

My painting in progress...

So far, I'm pleased with this one, as I think I'm ever-so-slightly getting closer to being able to portray the deep woods the way I want.  Like I did when I painted the pines.  It has been my biggest struggle (or should I say 'goal', as there are way too many struggles to list) since going back to watercolor.

Now, I'm sure your asking, "hey, where's your original plein air so I can compare?"  Well  (conveniently) it's on the reverse side of this painting, taped to the gatorboard!  But believe me, it was bad.  I'll let you know how this second attempt comes out (or maybe not, depending how much I mess this one up).  Here's to learning...

Yep, I've changed my blog background yet again (the pains of being a Gemini). Gone to the dark side, gettin' serious here...