One of my collectors has bought three of the veggie watercolors I painted last year as a consequence of a workshop with Wendy Artin. And she wants a fourth so she can group them in her kitchen. What to do? A pretty cauliflower was in our fridge so this is how I spent my evening in front of the TV. . . .
I made a few mistakes since I was painting it direct — without a pencil sketch, as Wendy had taught. So I resorted to a bit of gouache so I wouldn’t have to start over!!
OK. So, the leeks turned out well, aaaannnndddd ~~~~ I got sassy & decided to paint some portobello mushrooms the next day.
Bad idea! There’s not much ‘there’ there. Dull colors & shapes, arranged (by me) in an overly simplistic composition. Certain artists could make a good painting out of such drab components (Morandi?), but my first effort at ‘shrooms falls short.
I was so pumped up after Wendy Artin’s workshop that, after a day of R&R, I pulled out my paints and a couple of elderly leeks from the fridge and painted another watercolor in the manner we had been practicing during the workshop. Here it is.
Leeks at Home. Watercolor on Paper.
I was tickled that it turned out nicely. Maybe I’ll have to do more!
On the last day, Wendy brought in some a bag of asparagus and I snagged three with which to wrestle.
Asparagus 1. Watercolor on Paper.
Asparagus 2. Watercolor on Paper.
Here are a few other paintings I did last week during the Artin watercolor workshop. No more nudes for now!
Radish 2. Watercolor on Paper.
Beet 1. Watercolor on Paper.
Beet 2. Watercolor on Paper.
Sorry sorry sorry, y’all! My last blog entry contained paintings of two full length nudes, neither of which was ‘out of bounds’ (IMHO). So, I was aghast when I checked to see if Facebook had re-posted it and found that the images had been sliced and diced in an unexpected manner (to say the least). I hope you clicked over to my blog to get a better sense of the overall paintings!
In any event, here’s a ‘palette cleanser’! It’s one of the radishes I painted during the Saturday afternoon session of my Wendy Artin workshop, followed by one of Wendy’s gorgeous still life watercolors — also of radishes.
Radish 1. Watercolor on Paper.
Wendy’s radishes — again, quite a difference:
Radishes, 2001, watercolor on cotton Khadi paper, 11″ x 12″
This past weekend I spent two grueling days knee-deep in watercolor. Wendy Artin, a fabulous artist and lovely person, was our instructor, at Glen Kessler’s Compass Atelier. Talk about ‘alla prima’ painting! She dives right in – no rough sketch, no gesture drawing, no nothing — just her eye, her paint & her brush to guide her relentlessly down the sheet of paper. Her tonal nudes, in which she paints ONLY the ‘shadow shapes’ yet leaves you believing the whole body, are exquisite. Her colorful fruits & veggies are more fully rendered, but are also beautiful & light.
Here’s one of her nudes:
And one of mine — a half hour pose during the workshop (quite a difference, yes??:
I was VERY happy to be able to switch to vegetables in the afternoons!
While in Maine, Ceci and I stayed in an aging (i.e., inexpensive) resort hotel which had a beautiful waterfront view. Another delight (for me, anyway — Ceci thought I was a bit nuts) was a cute little rubber ducky. I couldn’t resist positioning him here, there, and everywhere around the room for a series of silly photos. Later at home, I memorialized him again by painting him in gouache and on the iPad. Here are the paintings, followed by some photos:
I’m nuts!
love that fish pose!
Selected poses.
I had made good progress during my work based on the reference photograph, but I decided it wasn’t good enough. As a way to visualize changes that might improve the painting, I decided to do a mark-up on the iPad, using a side-by-side comparison with the reference photo.
markup of painted portrait, as a result of side-by-side comparison with photo. iPad screenshot.
I cropped the photo included in my September 8th post and imported it digitally into the ArtRage app on my iPad. I then ‘painted’ over the portrait area, trying to remedy the problems I identified in the painting. This was a freehand process, done by ‘eyeballing’ the photo reference. ArtRage is not able to make measurements for a closer comparison of the two images.
I like this markup as well as the final painting — if not more! The ability to easily edit iPad marks liberates me from feeling that each (potentially incorrect) modification is ‘permanent’. Playing around with the marks often yields spontaneous and interesting ideas that I would never have attempted initially in oils.
Even though I liked the resulting mark-up, I knew it would still be a challenge to implement these ideas in oil paint on the actual painting.
A few days after my third meeting with Rita, I decided to spend some time at home, making corrections based on the photo I’d taken at the prior session. Then I blew up a print of the photo, marked up the dimensions of key facial features and then taped it beside my updated portrait for a closer comparison.
A quick look confirms that the portrait is better than it had been, but . . . the chin is too long. The lower cheeks and forehead are too narrow. The nose isn’t quite right and the eye on our left droops too much. The hair is too high (but I love it so! Will I bite the bullet and whittle it down?)
session five, after implementing changes identified via my iPad analysis
I show it to Rita who likes it ‘as is’ and doesn’t want me to make more changes. Hmmmm. What to do?