Contemplating Motherhood {now complete}

{Contemplating Motherhood – 24" x 18" (61 x 45.7 cm) - Oil on Linen}

Hello,

Yesterday I finished this painting... And thank you to everyone who shared their opinion of how to title it. With your help, I decided to go with "Contemplating Motherhood" and I think it is very fitting because that is how this painting came into being...

Lately I have been experimenting on different painting surfaces, super smooth linen, gessoed paper, gessoed masonite panels, and super rough linen, and for this painting I selected a burlap-like alkyd primed linen from New York Central Art Supply.


{back of streched canvas - New York Central’s Belgique Unprimed Linen, Style "T"}

I have worked on this type of surface before and really enjoy the variety of effects you can achieve with it by varying the thickness of paint applied and using different types of brushes or palette knifes.


{detail of canvas texture and echinacea flowers}

The flowers were painted in several layers, initially with paint thinned with medium using a sable brush to get into all the groves, once this layer setup I would go back into some areas to build up the paint to give a better sense of dimension.


{detail of canvas texture, bird nest, and jar}

For areas of the jar and bird nest, I laid in a thick layer of paint and smoothed out the surface texture of the canvas with a palette knife. Specifically I wanted the central part of the jar to be smooth so the impression of glass would be better conveyed, and in the bird nest I wanted the areas that were deep in shadow and the egg to have a smooth base. By smoothing these areas out made it easy to get a new surface texture so when I would scumble paint across those areas it would be a different affect than when I would scumble across the canvas where the rough weave was still present.

I am beginning to think this is my favorite linen surface to paint on. Though in the spirit of exploration, I would also like to try out a few other rough linen textures to see what offers the greatest diversity. Maybe style "F" and "W" from New York Central Art Supply's catalog pg 174...

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PS. Naomi is 2 months old today!

Sunflowers and Apples {a new still life}

Sunflowers and Apples
{24" x 18" (61 x 45.7 cm) – Oil on Linen}

Hello,

I wanted to stop in and share a recently completed painting, it actually was completed a little over a week ago however I had a bit of difficulty in getting a decent photo of it.

With the recent high temperature days in the DC area I have been forced to stay inside and paint in my studio versus getting out to paint en plein air, the good thing about this is that this painting was completed and work on another still was begun.

With this painting I decided to apply some of the skills of fine brushwork that I learned while copying de Heem's Vase of Flowers and also applying some of the more loose brushstrokes I have been getting comfortable with because of the plein air studies completed last month and this month. I tried to integrate both techniques, this was helped by working on a very smooth linen canvas and then applying several layers of paint to build up texture and tooth for subsequent paint applications. I think there are some areas that have as many as 10 or more layers of paint, with varying thicknesses, typically the last layer was the most impasto because I was also trying to keep in mind the "fat over lean" rule when working in oil paint.

Have a great evening, and tomorrow I will share with you the new work in progress still life that is on the easel.

Liz

John Ruskin: Lectures on Landscape

{Tree study by John Ruskin, 1845}

This week I have been listening to John Ruskin's Lectures on Landscape and the ideas and thoughts presented have been particularly inspiring to me. Here is a expert from the first lecture I thought you may like to know about:

"But though the virtue of all painting (and similarly of sculpture and every other art) is in passion, I must not have you begin by working passionately. The discipline of youth, in all its work, is in cooling and curbing itself, as the discipline of age is in warming and urging itself; you know the Bacchic chorus of old men in Plato's Laws. To the end of life, indeed, the strength of a man's finest nature is shown in due continence; but that is because the finest natures remain young to the death: and for you the first thing you have to do in art (as in life) is to be quiet and firm—quiet, above everything; and modest, with this most essential modesty, that you must like the landscape you are going to draw better than you expect to like your drawing of it, however well it may succeed. If you would not rather have the real thing than your sketch of it, you are not in a right state of mind for sketching at all. If you only think of the scene, "what a nice sketch this will make!" be assured you will never make a nice sketch of it. You may think you have produced a beautiful work; nay, perhaps the public and many fair judges will agree with you; but I tell you positively, there will be no enduring value in what you have thus done. Whereas if you think of the scene, "Ah, if I could only get some shadow or scrawl of this to carry away with me, how glad I should be!"—then whatever you do will be, according to your strength, good and progressive: it may be feeble, or much faultful, but it will be vital and essentially precious." (paragraph 13, pg. 8)

This passage about the virtue of painting and how spirit must be infused in the work you create is more than just limited to painting landscapes, but really is about all creative endeavors.

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unabridged electronic version of Lectures on Landscape
unabridged audio version
additional electronic books by John Ruskin

Working on a new drawing

{on the drawing board}

Hello,

Today I did not go to the NGA to work on the copy, instead today I stayed home working on a variety of loose end and I thought it would be nice to share with you a new graphite drawing that is still in progress.

This drawing was begun drawing from life, the roses have long since withered and faded, however I still think certain areas could be improved in value to strenghten the composition. So I am playing with it some, on Saturday I worked on some areas, darkening the values on some leaves and now it is leaning against a wall for me to observe it more to see if it needs anything else.

Here are a few close ups of the tools I am using. When drawing with graphite I prefer using lead holders and I only like using "Turqouise" brand lead, as it is the smoothest and most reliable level of hardness. I use 2H, HB, 2B, 4B, and 6B leads. This drawing is on handmade Twinrocker paper, Yale Wove Text weight. It is my first time using this paper, before I had been hesitant to pay almost $10.00 for a single sheet of paper, now I am converted, the texture of this paper is fantastic. The fibers are strong and durable, so you do not ruin the surface of the paper with erasing, even with a hard rubber eraser.

{detail of supplies}

I use two lead holders usually, one that always has a harder lead and one that has a softer lead, that way I can go back and forth without changing leads every few moments. I like to use a kneaded eraser for most of my eraser needs, however there are times when I need something more powerful and that is when I use the fine grained rubber erasers, this eraser paired with the eraser shield helps me localize a specific area. It can be a real life saver, especially when you accidentally drop the lead holder on your drawing and it leaves a big ugly mark!

When drawing with graphite I try to work left to right, top to bottom, to minimize smudging, however in the later stages of a drawing where I am reworking and refining areas I find having a sheet of glassine is helpful as it will not smudge the graphite.

Week 12: Vase of Flowers by Jan Davidsz de Heem

Hello,

This weeks update will be brief, I worked on the tulips predominantly and focused a bit on the orange daisy.

{mid-day status}


{end of day status}

As working on this daisy I realized I was working with too many oranges, reds, and yellows and the flower was beginning to flatten some, so in order to punch it up some and give it a greater sense of form I delicately laid in some cobalt turquoise at the front shadowed edge and immediately depth was re-established. So if ever you are encountering a similar situation think about adding an almost complementary color into the mix, painting wet into wet. A direct complementary color is directly across the color wheel where an almost complementary color is across the wheel and shifted either one direction or the other. The direct complementary color may gray down your first color too much where the almost complementary color seems to mix to create a beautiful and dynamic color.

{orange daisy detail}


{NGA security station}

Just as a side note, the entire NGA building is beautiful. The finishes and details are exquisite, like the beautiful bronze register covers and the way the millwork and proportions of the architectural details seem integrated. It is such a gift to be able to spend my Mondays painting in such a beautiful space.

Have a wonderful Tuesday!

In the Studio

{Slim sharing the morning with me}

Like the model stand? I have thought about getting something that is dedicated to just that, one that adjusts in height like what Carol Marine has, but then I realized that stacking various boxes works just as well, and the boxes double as storage for various studio supplies....

I am still working on paintings that will be unveiled later, keeping my busy and happy :) However I miss sharing new work with you, so here is a partially complete still life that has been on hold for the past three weeks.

{work in progress}

This mid-point phase is a good example of the new method I have been using, it entails working on specific areas of a painting and refining to a certain level before moving on to a new adjacent area. I plan on finishing the initial lay in of the painting and then go over it again, refining and adding greater detail and depth to the painting. A fellow classmate of mine asserts that for a painting to really gain the luminous quality that only oil paint can provide it must be worked on a minimum of three different times where the paint has had an opportunity to dry between each session.

I have been chewing on that idea a lot over the past few weeks, and have come to agree with her. Because there is something special that happens when you come back to a painting after a break, apply a fine layer of linseed oil to bring out the color and then lay in new paint. The painting begins to glow. I also think that the mind continues to ponder and work on the idea of the painting, so the subject matter becomes understood to a greater extent, and I feel the emotional harmony that first inspired me is more able to be translated into the painting.

Have a wonderful weekend, Liz

Fresh Peaches {a new still life painting}

Fresh Peaches – 18" x 24" (45.7 x 61 cm) – Oil on Linen

This is the second painting completed while studio sitting a few weeks ago. It was the first painting where I applied a technique recommended by Danni where you work on a specific area, say 6 inches square where you refine everything at once, instead of just painting in specific objects as solitary items. This enables you to work out edge qualities of how everything interacts. This way does seem to make the painting go faster on larger pieces as you can get an idea of how the effect of the painting is coming together at an earlier stage. After the entire canvas is covered in this manner, you go back over the painting again, picking out specific areas that will require the greatest level of refinement, and then going back again and again.

I am really enjoying using this method as it makes painting anything larger than an 8" x 10" (20.3 x 25 cm) rewarding as you see pretty soon if the composition and idea are working out. With smaller pieces it all comes together so quickly you know right away if the painting is going in the desired direction immediately.

Have a wonderful evening,

Liz

PS. I loved learning about this Dutch still life artist and being introduced to his work by this post and this post. Thank you Matthew D. Innis for introducing him to me :)

New Project in the Works

Hello,

Now that I am back working in my own studio, I am embarking on a new series of paintings. This new series sprung from the inspiration of going through Danni's extensive art library while "studio sitting", sometimes I would go back again and again to a particular book.

I have also decided to experiment with unprimed linen, where I size and apply the painting ground. Typically I purchase pre-primed linen and stretch my own canvases as it saves some money doing it this way.

As this is a labor and time intensive process and there is a learning curve, I thought you may be interested in the steps required. Following are some photos of the various details and steps.


This is the largest canvas I am going to paint, 48x50 inches. The unprimed linen is attached as evenly as possible to the frame, watching to make sure the grain of the fabric remains the same along the edges so as to not have uneven tension. The stretcher bars are 1-1/2 deep, I am thinking about reinforcing the corners some with metal brackets from a hardware store as there is a bit of flex that concerns me.


Here are some of the other canvases, each has two layers of Gamblin PVA size. I applied the size to the front and sides of the canvas.


A detail of a back corner


Another corner detail. As a rule I have decided that the short side will receive the flat fold, so each canvas is constructed the same.


Another detail of the corners


Getting ready to apply the Gamblin oil painting ground. I applied blue painters tape around the edge to give a nice clean smooth edge of where the ground stops. This is a pretty messy step, so be prepared with lots of rags and to ruin what you are wearing. I managed to get this stuff on everything I came in contact with... I will let the first layer dry to the touch, lightly sand it and then apply a second layer of the ground. Here is a link to the Gamblin website with further information.

The ground dries slowly with high humidity so it may be a while before this process is complete. While waiting for the canvases to dry, I will use regular pre-primed canvases. I do not want to lose momentum...

Until next time, have a wonderful evening! Liz

As the days are lengthening,

I am loving the warm glow of the afternoon sun.

What have you been noticing?

Today was an excellent day spent in my figure painting class taught by Danni Dawson where I wiped down everything I placed on the canvas. It just was not going well and in the end sometimes it is just better to call it a day and plan to start over again next time. I am trying out a heavy weave linen canvas that is posing all sorts of technical challenges, though I will keep trying until mastery is achieved. So every time I wipe down my work I feel like I have gained something new. {here is a nice post about Danni’s latest painting that was hung in the Art League Faculty Show}

Also for today, I want to thank Kara Holloway from the Love List for the nice interview about my work. I feel so special being a part of the “Artist + Muse” series.

Have a nice evening,

Liz

Three Apples on a Crate {a new still life}

Three Apples on a Crate – 8" x 16" (20.3 x 40.6 cm) – Oil Canvas Panel
Available for sale, please email for information.

Hello there!

Time has been flying by these few weeks. DC has had three snow storms {here are some pics of the area} and I have been spending lots of time in the studio. A lot of the effort has been in trying out new ideas, experimenting, and scraping down the ideas that have not worked out. While away from the blog I was also working on this apple painting.

With this painting I was playing with the idea of using a complementary color as a base underpainting of the main objects. Being that my apples were green, red was used for the underpainting. Using different color temperatures on each apple (quinacridone red, cad. scarlet, and cad red were the reds used). I wanted to see the affect the color temperature had on the resulting greens. So far from this painting I have not yet realized any specific conclusions to the color experiment, so I will keep working with this process.

{a work in progress shot}

the final apple with its red underpainting

Currently the studio is set up with two still lifes and a desk for drawing and watercolor. This way I can move around and focus on what is best for the moment. I have just enlisted S. to help me re-arrange the studio one more time so I will have room to add another still life stand. Yippie! Having more than one project going on at a time is really giving room to explore and try new things out. With each project emphasizing something different.

I missed visiting with you during the past two weeks, so I hope to avoid such long absences in the future.

Thanks for stopping by and reading, Happy Valentine’s Day!

Liz

What direction to take ... in 2010...

Hello –

Now that we are into 2010 some I am now comfortable with what type of resolution to make this year. Compared with last year where I made three resolution categories that each had a specific item or a list of things to accomplish. This year I am only going to define my goals by establishing two key words that will embody my decision making process and direct my actions. They are:

1} Growth: the act or process, or a manner of growing; development; gradual increase

2} Inquiry: a close examination of a matter in a search for information or truth

Why these words? … Because after taking the big step last year to become a full time artist I realized that one of the most important factors to be satisfied with my work was to feel that I was growing in some way. It did not matter as much if the product is what I wanted or expected, but whether I gained something from the experience. Though sometimes I felt a nagging sense that all actions and projects must produce a “product” and at times it seemed to me that my sense of exploration and desire to learn was given a back seat for the more specific goals I had outlined.

Thus I want this year to be filled with growth, the gradual increase in skills and understanding of what a career in art making is all about, and where I allow my natural tendency to investigate further and to understand something in more depth is also given room to breathe.

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I was inspired to pursue this method of making resolutions

by the talented Lisa Call and Anna T.

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{15 min. study & detail}

I have been thinking about how to establish goals in 2010 for awhile and after yesterday believe using these defining words to give direction will work out.

Yesterday was the first figure painting class of the winter term. This term I will be exploring the differences in drawing the human figure versus painting the figure by taking a class in each. In the painting class we started with three 15 minute studies. With this one I used the gray ground to be the initial shadow mass and then started laying in the skin tone with variations in paint thickness and color temperature. After the timer when off, this sketch was scraped down and a new sketch was begun.

Trois Crayons Drawing of Slim

Slim – Trois Crayons on prepared Canson paper –

half sheet, approx. 12” x 19” (30.5 x 48.3 cm)

Hello,

Drawing has become my only artistic outlet lately. I go to the local library, power up my laptop and draw from photos. This one of Slim uses the trios crayons technique taught in Robert Liberace’s class and I think it really works well with fur.

Over the next few weeks I am going to be absent from updating this blog as the craziness of my home situation has just grown. S and I will be moving soon, so I am busy preparing for that and the holiday season. When it rains it pours.

Liz

Seated Figure Trois Crayons Drawing

Seated Figure – Trois Crayons on prepared charcoal paper –

half sheet, approx. 12” x 19” (30.5 x 48.3 cm)

On Fridays I attend a figure drawing class taught by Robert Liberace and on Monday I signed up for it again. I started taking this drawing class last winter term and with only two more classes left of this term I feel it is close enough to call it a year. My goal in attending this class was to improve my drawing abilities by following the classical academic methodology of drawing that Robert teaches. And I am very happy with how the year has progressed. Here are some previous drawings {reclining figure, seated figure, profile, and seated figure}

This drawing is a method Robert developed where you use verithin colored pencils to create the sense of trios crayons of yester-year. It is now very difficult to find quality artist grade red chalk, so by using terra-cotta verithin pencils on prepared paper you can almost create the same effect. For the three colors I used terra-cotta and black verithin pencils and a white pastel pencil for the highlights. It is a fun method of modeling and using warm and cool tones to develop the shadow shapes. This drawing was completed over three sessions.

Tomorrow in class we are working with silverpoint. I think it is my favorite drawing medium next to charcoal (which to me is more like painting) where with silverpoint it is all about the lines. It is all about draughtsmanship and integrity of line and form, and that is what I admire about it so much. Here is a link to a modern artist that works predominantly with silverpoint. I think the current pose is for two more weeks and once it is done I will share it with you.

Until next time, have a wonderful evening.

Liz

Black Eyed Susan #2 {a daily painting}

Black Eyed Susan #2 – 5" x 7" (12.7 x 17.8 cm) – Oil Canvas Panel
SOLD

This painting was completed a few days ago, it just did not get posted because of other things going on.

After completing the previous black eyed susan painting I wanted another go at it, this time working with the various opacities of the paints and different paint combinations. Recently I added burnt sienna and yellow ochre to my paint palette, previously avoiding these earth tones for the more intense cadmium yellows and cadmium orange. It has been fun experimenting with how yellow ochre added to cad yellow pale will knock down the saturation without turning it too orange or gray. I also liked discovering how burnt sienna added to the yellows makes for a wonderful de-saturated yellow, good for yellow objects in shade. Typically I use complementary colors to knock down the saturation of a color. Using earth tones sometimes brings about the same goals without graying the color too much.

Baby Onions {Work in Progress}

Baby Onions – 8" x 16" (20.3 x 40.6 cm) – Oil Canvas Panel

For the past few days I have been working on this painting, after several tries to get the rich reds and purples of the baby red onions I decided to try it with a grisaille underpainting. Once this layer is dry I will use glazes to finish the onions and then fine tune the rest of the painting.

Musings: On drawing the Figure

An incomplete drawing – terra-cotta verithin pencils on prepared paper

{to mimic red chalk}

Hello ~

I would like to share with you some musings regarding drawing the figure, not all of these thoughts are complete though they sum up some ideas on technique I am establishing for when I draw.

} when drawing the figure always strive to make clear decisive shapes, a strong line is better than a soft fuzzy line that was created because I did not really look, discern, and record in an accurate manner.

} when thinking about what I see, do not think in terms of features, instead think of angles, shapes and distances from one another.

} when laying down decisive marks on the paper it is important to impart my artistic interpretation – use painterly prerogative at all time or the figure may start to lose some of its gesture.

} always look for value shapes. When working in monotone lay in the darks, deepen the darks and then start laying in the mid-tones. The mid-tone shapes help in establishing the subtle muscle and bone shapes within the form.

I think these ideas can be applied across the gamut of drawing media and subjects. So far I have used these premises for charcoal, red chalk, and silverpoint drawings. Personally drawing the figure is a fun and amazing experience, where I constantly have to assess my accuracy with regards to the model, and always there is a distinct outcome with each session.

If you enjoy drawing the figure, be sure to visit Kevin Wueste’s blog for spectacular and inspiring figure drawings. I constantly visit his site when I need a little inspiration and motivation.

Forelle Pear #2 Daily Painting

Forelle Pear #2 – 6" x 4" – Oil on Canvas Panel – SOLD

Here is the second pear of this series. With this painting I returned to using my typical brush, a filbert bristle. I use Maestro2 because they are longer than most other brands, so they are springier. Sometimes I will also use Isebey’s Chungking Bristle, these are more firm and have their uses. What I like most about using bristle brushes is that the springy and flexible tips allow for great ease of mixing paint on the canvas without the fear of lifting up the previous layers of paint. This may also be a result of the filbert brush shape. This is what Harold Speed says about filberts “a fine brush to draw with, as being flat it paints in planes, and having a rounded top is capable of getting in and out of a variety of contours.”

Forelle Pear #1 Daily Painting

Forelle Pear #1 – 6" x 4" – Oil on Canvas Panel – SOLD

Hello there ~

Today’s painting is the first of a series I am working on where the subject matter is similar (all forelle pears) and I am alternating what type of paint brushes are used. My goal with this is to get more comfortable with the distinct qualities of the brushes I have and to learn what works best in for different situations. This first painting was completed using synthetic round brushes (the same brushes used for the Sunflower painting).

Have a good evening and see you tomorrow with another pear painting.

Sunflower Daily Painting

Sunflower – 6" x 4" – Oil on Canvas Panel – SOLD

Hello Friends,

How was your Friday before the Easter holiday? The weather was nice here in DC. Today I got to paint this sunflower, a gift from my husband. It has been awhile since painting one, and it was such a joy. I feel as if sunflowers are the most cheerful and friendly flowers out there, made up of bold yellow petals and a warm brown center.

With this painting I decided to paint most of it with my round synthetic brushes, which is something I do not often do. A week ago I was reading a book by Harold Speedwhere he described the way each brush type handles. For rounds he wrote “where there is a sharp point the central hairs are much longer, and consequently when the brush is drawn along and pressed so that all the hairs are touching the canvas, the pressure in the center, where the long hairs are situated, is different from that of the sides. This has the effect of giving a touch that is not equal in quality all across, and the variety thus given is difficult to manipulate.”

It is this quality of round brushes that keeps me from using them very often. I accidentally smear paint when I am going for a more light touch. Today I particularly choose to use round brushes to work on painting with a lighter touch and to use the tips of my brushes. I think more practice will be necessary, but it was nice understanding why the round brushes have been a challenge in the past and to work on a solution on how to use them to their best ability.

I love it that painting is all about exploration and the experiences gained from trying. Have a wonderful weekend, Liz

Inspiration & Palette

This week has been a visually stimulating week. A record was made, I painted four days in a row. I am feeling happy and exhausted now that it is Friday evening. The painting I worked on yesterday and most of today still needs a few more finishing touches so I will post it early next week when it is complete. In place of a painting photo, here is one of my paint palette.

The palette a piece of masonite that has been spray painted a medium gray to provide a uniform neutral background to mix paint. I typically paint with a straight pigment and white for most colors, mixing some on the palette but majority of time I mix on the painting itself. The colors are (clockwise from the lower left hand corner): Cobalt Violet, Raw Umber, Dio. Purple, French Ultra Marine, Cobalt Blue, Cerulean Blue, Cobalt Turquoise, Cobalt Green, Windsor Green, Viridian, Cad. Green Lt., Cad. Lemon, Cad. Yellow Lt., Cad Yellow, Naples Yellow, Old Holland Brilliant Yellow Lt., Indian Yellow, Jaune Brilliant, Cad. Scarlet, Cad. Red, Cad. Red Deep, Perylene Red, Quinaqridone Red, Permanent Rose, Permanent Alizarin Crimson, Brilliant Yellow-Reddish, Cremnitz White, Tit. White, Zinc Buff, and Ivory Black.

During the week I follow several blogs, they are my way of connecting with fascinationg pop culture. Here are a few posts that captured my thoughts this week:

~ Artslice’s post on Natelie Goldberg ~ I have added these books to my ever growing reading list.
~ Bliss’s polaroids
~ An Aesthete’s Lament ~ “Well said Phillip Borsinney” and “Well Written John Galsworth” ~ I read the Forsythe Sage this January, it was an interesting survey of Victorian England.
~ Interesting Quote