Glance through the wonderully inspiring work of our visiting Featured Artists.
(Please note this is an archive only. The artists are no longer available on this blog to answer questions)
Jane Freeman TWSA
I hope you will all welcome Jane to our blog :)
Isn't her above painting just gorgeous. Its called 'At Attention!'
Jane has very kindly taken the time to write you all a personal message. Thank you Jane!
"I guess I am your first "artist of the month"! What an honor to be asked to begin this new adverture of yours! Since blogs are more informal this will be alot of fun for all of you as you get to visit and ask questions of different artists.
I have been painting in watercolors exclusively since the mid 1980's. I found it challenging as a medium at first but also less toxic than my oils so was the perfect choice to use while raising a family. Little did I know that I would be hooked for a lifetime and no turning back!
I paint mostly still life and floral as that is what I know and have access to. I raise alot of flowers and paint the things in my house given to me by family members from the present and past. I do not believe in painting unfamiliar things as there is little personal connection to them and I believe that shows.
I have been published internationally in books and magazines and wrote my own book " A Celebration of Light" for North Light books. I still am amazed when people know me and my work. I think that is the most enjoyable part of what has happened to me. I have met such wonderful people and artists and it still continues to be an important part of my life. We tend to be very isolated to do our work but now through the internet, I have a circle of artists whom I can call friends and that has been wonderful to find at this stage of my life!
This is another of my paintings. Its called 'Pears on Movil'
I will be happy to talk with you through the month and answer any questions that I can. It will be fun to get to know you. Thank you so much for this opportunity. "-
Jane Freeman
Jackie Grisley SWA
Hi
everyone and welcome to the beginning of a new month. I would like to
introduce to you our feature Artist for this month, Jackie Grisley SWA,
and to say thank you to Tony who made the initial contact with Jackie.
Welcome to the Waterfront Jackie!
STAIRWAY TO STRUMBLE HEAD
Strumble Head
Lighthouse in beautiful Pembrokeshire with its jagged, rocky
coastline is so appealing to me and I’ve painted it a few times
now. The first time I ever saw it a black storm was developing and as
it strengthened the whiteness of the lighthouse against that dark sky
was an impressive sight and the vision stays with me. In this
painting I have introduced some colour in the sky but my aim was to
replicate the image I still have of that first sighting.
I’d like to say thank you so much
for inviting me to be your featured ‘artist of the month’, it
made my day when I got Tony Cook’s email. I confess I have never
done a blog before so I hope I do it justice. I will certainly do my
best and am looking forward to conversing and sharing my way of
watercolour painting. To kick off with it seems like a good idea to
offer an insight into what my goals and inspirations are.
The British coast is what really
inspires me to paint. The dramatic skies are my ‘wow’ factor, the
stormier and wilder the better. We have such varying weather here
which creates ever-changing conditions, especially around the coast
or in the mountainous regions such as The Lake District and The
Highlands of Scotland. I’ve found watercolour is the perfect medium
for achieving the effects I want in my paintings. I love its freedom
but also its discipline. Knowing when to stop painting and put down
the brush to allow the drying process is crucial and knowing when
comes with experience, fight the temptation to keep ‘fiddling’,
I’ve spoiled quite a few paintings in my time doing this and have
learned to tell myself (out loud occasionally!) to ‘STOP!’.
Watercolour has such a unique and magical quality when you do stop
painting it keeps on doing its own thing until completely dry. That
really excites me-to leave a sky to dry and to come back a few hours
later to see how it has developed whilst drying gives me a little
thrill.
I aim to achieve mood, drama and
atmosphere in each painting and that all comes from the sky for me
and how that affects the rest of the painting, deciding on the light
direction etc. You may have guessed by now blue skies with fluffy
cotton-wool clouds do nothing for me! I try to keep things simple and
spontaneous with not too much detail, I seem to achieve more impact
this way, and I hope to leave a degree of interpretation for the
viewer. Less is more so they say. The use of light against dark is a
technique I use frequently to create contrast and bold impact. I
like to work wet-in-wet completing the sky in one session, leaving it
to completely dry before proceeding. By profession I started out as a
graphic designer and I’ve found it’s been very consolidating and
useful in regard to composition, expression and balance in my
paintings, bringing a sense of right and wrong instinctively.
LAST LIGHT ON THE CROFTERS’
COTTAGES
I was pretty excited with how this sky
wash had dried and I think it demonstrates that controlling the
wet-in-wet technique cannot be totally mastered. The way the paint
continued to dribble into the underlying colour is as we say a ‘happy
accident’. It also makes my point of knowing when to put the brush
down and let things happen.
I like to use a restricted palette
in order to introduce harmony into my paintings, I always want drama
but harmony is equally important to me. I use Winsor & Newton,
blocks and tubes. My brushes range from Isabey Petit Gris to W &
N sables, round and chisel in varying sizes. My paper is always
Saunders Waterford and Arches not and rough surfaces 200lb and 300lb.
They don’t cockle and are quite forgiving if you need to lift out.
Most important to have confidence in your paper, I’ve used others
and have been disappointed with the finish.
When I’m travelling for my
reference, my latest trip was September to the Lizard Point in
Cornwall, I do simple pencil sketches and take my camera everywhere.
I have no qualms about using photographic reference, even though it
can be frowned upon, it’s a great way to gather plenty of material
to work up in my studio. I don’t like working outdoors, there are
too many distractions and it doesn’t suit my painting technique.
Plus the viewfinder immediately helps with composition. I’m not
afraid to move elements around or even leave some out until I feel
the scene is balanced.
I am self-taught and as I mentioned
my graphic design background has been very useful to my painting
development. After this I helped set up a craft based business making
model trees for architectural modelmakers. This has also been
advantageous, working in scales and perspective in a 3-dimensional
way has helped me understand how to achieve these elements within a
painting.
In 2006 I was invited to become a
Member of The Society of Women Artists and I felt extremely honoured
to become a part of such a special and historical Society. To have my
work recognised by such a wonderful Society was and is very special
to me.
I really only began watercolour
painting about 15 years ago and was hooked immediately and my style
has evolved and developed the more I’ve painted. Turner’s
watercolour skies and seascapes have been a tremendous source of
inspiration to me. His imaginative use of paint and reaction to
dramatic weather made him so ahead of his time. I look in wonderment
at how he achieved those storms out at sea-incredible-oh to paint
like that! But that’s what I love about painting there’s always
more to strive for, more to improve on and so much to keep learning.
Well that’s a bit about me, I
look forward to the month ahead and hope to be able to chat with
fellow watercolourists.
www.jackiegrisley.co.uk
NIGHT GUARD
Lismore Lighthouse in Scottish
Highlands has a backdrop of impressive mountains and I would imagine
for passing ships in the night the lighthouse must do a crucial
lifesaving job. So I wanted to paint a night time view of it showing
its power and importance for those vulnerable seamen.
Jean Haines SWA ,SFP
Living
with a Passion for Watercolour
Jean Haines SWA ,SFP
Thank you so much for
inviting me to be the featured artist of the month. An invitation which I
believe is a wonderful compliment and
honour. I never take for granted how lucky we are to be able to share with
friends and fellow artists from all over the world with the technology now
available to us. We can be inspired and hear of art that once we may otherwise
never knew existed.
Arab
Face Appearing from a First Wash
As a child I remember watching a young teacher giving a talk to our class. I was in awe of her energy, thirst for life and enthusiastic way of sharing her knowledge. She held a painting of a small blue flower for all to see. That single moment in time led me to my earlier career as a botanical artist. But I have never forgotten the young woman who enthralled the class with such simple beauty on paper. I was fortunate to have incredible art teachers throughout my education who saw in me what I did not. Only years later do I now fully understand what they were trying to tell me. They thought I was born to be an artist. All I know is, that as an adult I wish I hadn't waited so long to believe in their faith in me!
"Jacob" An earlier portrait.
I met, fell in love
with and married a wonderful man whose career took us all over the world.
Whilst constantly moving I never tired
of learning from masters I met in so many countries. In Asia I studied
brushwork from an established artist from Shanghai. Her words of wisdom have remained with me and I pass
on her wonderful tips in my own workshops. I absorbed the vibrancy of colour
from my time in Dubai. Here I met amazing artists from India and Pakistan who gave me so much in the way of influences for
portraying subjects that are full of life and character. This was my time to
study portraiture and I did eagerly. Taking in every single tip and piece of
advise.
Pinks, a floral study coming to life using placement
of the subject in a simple composition.
I write features for
a variety of magazines. Each time I aim to add something new as my exploration
into technique leads me to meeting manufacturers who have vast ranges of new
shades available. Years ago I would have worked totally with one brand of
product. Now I am very aware of the need to keep up to date with what is "out
there" on a regular basis. Life as an artist has never been so rich
because via the internet we know what other artists are using and we can share
our discoveries so easily. Colour is so important to my life and art so I
always look for something that is exciting and new to keep my watercolour fresh
and alive.
"Morning
Light"
The
cockerel from the cover of my new book
and a favourite painting because of the vibrant orange combining with red in
the main section of my subject. I won an award for a body of cockerels during
an exhibition and they seem to now follow me everywhere!
I do
believe that listening is a vital key to
being an artist. Not just to experienced artists who may encourage us in our journeys but to our
chosen subjects as well. Often I find mine lead my brushstrokes almost guiding
me to where I will lay colour next. I
work minus a preliminary sketch as I allow colour alone to build my
compositions which are often impressions of what I see. I aim to tell a story
in each new painting, leaving sections for the viewer to fill in using their
own imaginations. This communal bond between us tends to add to the magic
within each piece. And I don't use the word magic lightly. I often watch as
subjects appear half way through a painting session and feel mesmerised by how
they have come alive simply with colour and brushwork. I have painted for so
long now and yet I still feel a sense of
awe when pigments interact creating incredible patterns.
I exhibit in a number of established
galleries and hold solo shows during each year. Right now I am looking forward
to 2013 as I have some very exciting events already booked which will ensure my
brushes move continually on fabulous new subjects that have not yet been
unveiled. I hold international watercolour workshops in Hampshire, UK.
and I love that artists are attending
them from all over the world including Vietnam, Iceland, Canada. France, Italy and
South Africa. I look forward to each season and meeting new artists on every
session. I feel so blessed to continually keep meeting wonderful people who
often stay in touch long after the sessions are over. In Autumn 2012, I will be
holding workshops in Texas and New York which
truly is very exciting and I can't wait!
Passionate about working in this medium, my
enthusiasm led me to writing. Taken on as an author, my publisher launched my
second book "Atmospheric Watercolours" earlier this year in may 2012.
To hear it is selling well in so many countries, in all honesty, has taken me
by surprise and overwhelmed me a little because all I have ever wanted to do is
share my love for working in watercolour. And encourage others to enjoy painting in this medium as much as I do. I
wanted to give all I knew to others so that if the day ever comes when I cannot
paint, everything I have enjoyed will be there in a book .
I have simply shared my love of working in
my chosen medium in a way that I hope others will follow to either learn how to
paint, gain motivation and enthusiasm and also reach their own dreams.
If anyone had asked me what my dreams were
years ago I would have said " I want to be an artist ". I still do and I cherish each day I am able to
move my brush because capturing a subject on paper is the most thrilling of all
feelings in life. I want others around me to know this pleasure and joy and
most of all, I want everyone who has a dream related to art to see that vision
become a reality. I dreamt of writing a book, being in galleries and
exhibiting. I wanted to write art features. I never dreamt of having my own
brush range but I do with "Rosemary&Co" and I love them. I still
have dreams for the future. Maybe if I come back in a few years time I can say
what they were and if they came true also!
"Beauty
of Venice"
The
cover from my first book " How to Paint Colour and Light in
Watercolour"
For me, I see beauty around me constantly.
I am always on the happiest of highs and I love life. I have so many fabulous
friends who I care about so very much and a terrific family. Without anything
else in it, my life is rich but if I can
just have paper, watercolour pigments and my brushes as well for the rest of my
life along with the gift of sight I will be very blessed!
Happy painting!
Jean
Full
details of Jeans books, exhibitions and art can be found on her web site
www.jeahaines.com
Mary Jansen
Hello
everyone. It's the beginning of September and time for me to introduce
our new Feature artist this month. Mary Jansen. She is an amazing award
winning artist in the world of watercolour miniatures. For those of you
that are unfamilair with miniatures. These are painting less than 4 by
6.5 inches!!! Many of Mary's paintings are much smaller than this (some
even as small as 2.5 by 3 inches) but are painted with such detail and
precision!
So please give a warm welcome to Mary and her miniature paintings.
"Saucey Sunbathers"
"Rook on the Rocks"Isn’t there always a sense of loss when one finishes a painting? I think for many of us that is true.
Painting is a partnership between
the revelations of the soul along with the disciplines of
application. One cannot function properly without the other. Over the
years one tends to develop that symbiotic relationship and create a
style. For me I have devoted much of my creative energy to the world
of miniatures. Here I feel safe and secure in the world of the small.
"Quiet Repose"
I’m not sure why I love to paint
small. I suspect it has something to do with my childhood. When I was
young my mother taught me to take notice of the world close up. She
would give me a loop of string and instruct me to cast it over a
random piece of earth and then sit quietly and observe the contents
of that periphery. Never was this exercise a disappointment for
there is a fascinating world “in small” that is often overlooked.
Elegant little flowers, fascinating insects and interesting grasses
and fungi reveal themselves to those who have the patience to
observe. In the same sense I find that painting miniatures provides
for me similar stimulation as I strive to add detail that might
otherwise be overlooked.
"Maggie's Nirvana"
Miniatures are a growing art genre
in the United States. Miniature portraits were popular among the
European aristocrats back as early as the 17th century and
were often the only visual reference one had in the initial process
of selecting a politically powerful spouse from a distant country,
(ah politics!). Those portraits were often painted on ivory or vellum
with oils or casein. Since then miniature art has expanded to
include all topics of interest as well as a broadening variety of
mediums. The basic regulation that most contests abide by is the
requirement that the subject matter be no larger than 1/6 its
original size. This gets tricky if one enjoys painting insects!
"Red Eyed Flights"
I find that painting with watercolors on a hot pressed Crescent Watercolor Board provides the best mediums from which to work. The board is smooth but not so slick as to offer staying power for the several washes of paint applied. I am continually on the lookout for different types of substrate for detail is crucial in miniature competitions. The brushes are ridiculously small! I have several that I use but my old friend is a 20/0 round that I find most reliable. With this kind of work I of course need the assistance of a magnifying glass, (and unfortunately, reading glasses as well!) I don’t want to skimp on the detail work.
But detail, though important, is not
everything in the miniature world. Judges look for exquisite
lighting, character of subject matter and composition to name a few.
It takes just as long if not longer to compose a miniature painting
as it does a larger one for the same considerations apply in the tiny
format.
"Awkward Adolescence"
It’s a thrill to attend any of the miniature shows throughout the country. There are so many that it is not possible to compete in all of them. Two of the larger international shows occur in the winter and most miniaturists attempt to participate in those. One is the MASF show in Dunedin, FL. The other is the MPSG exhibit in Washington D.C. I have won top awards in both as well as in several other shows throughout the country. Please stop by my blog some time and take a look: marymjansen.blogspot.com
"Afternoon at the Fair"
Lorena Kloosterboer
As
July is the beginning of our holiday and travel season here in Ontario I
decided to virtually travel much further afield for this months
'Artist of the Month'. So a warm welcome to acrylic artist Lorena
Kloosterboer
Hello
members of Bayview Watercolour Society and readers of The Waterfront!
I'm
happy and honored to be part of this wonderful blog, and hope you
will all enjoy my artwork and reading about my work methods. A big
thank you to Ona Kingdon for inviting me to share my art and
thoughts!
First a little bit
about me: I’m Lorena Kloosterboer, a Dutch-Argentine artist (born
in the Netherlands in 1962). I create paintings in the trompe l'oeil
and photorealism styles. I feel an irresistible attraction towards
Realism and its challenge to paint with great precision and tightly
executed details. My main goal in painting is to capture the
fascinating interactions between colors, light, shadows, textures,
reflections, and unite them in visual poetry.
During my
twenty-five + year career as a professional artist my work has been
exhibited in galleries and art museums in Argentina, Belgium, Canada,
Denmark, Estonia, France, Germany, Japan, the Netherlands, the United
Kingdom, and the United States. Five of my bronze statues enjoy
permanent public installation in the Netherlands. In 2010 my
paintings were published in Belgium and Holland in the art history
book by Professor Katlijne Van der Stighelen, entitled
Vrouwenstreken, Unforgettable Female Painters from the Low
Countries from 1550 until today. To be formally named as one of one
hundred influential Flemish and Dutch women painters continues to be
a great source of pride and happiness!
I currently live and
work in Antwerp, Belgium. To see more of my art please visit my
website at www.art-lorena.com.
I’ll now continue
to show you several of my paintings and describe my work methods as
specifically as possible. I know many of you want to know how I
achieve certain effects and I’m happy to share my process with you!
______________________________________________________________________________
Arigató
by Lorena Kloosterboer
Acrylic
on Canvas, 8 x 10 inches
This
petite trompe l’oeil presents a graceful cloisonné fish pendant
courting two elegant bamboo chopsticks on a ceramic holder. A
delicate exploration into diminutive details and contrasting
textures.
For
“Arigató” I used a limited palette of blues, greens, and reds,
with some Raw Sienna. I always use Titanium White and Payne’s Gray
in all my paintings.
After
several layers of sanded gesso to smooth the textured canvas, I
started with the background. I love pushing around paint with
brushes and sponges. I splattered, poured, wiped, and sanded until
the background worked for the composition. The backgrounds in my
paintings are often the abstract art supporting, contrasting with,
and reinforcing the realism in my artwork.
Once
the background was perfectly flat and smooth, I could work on my
composition without being hampered by bulges or lumps on the surface.
I used diluted clear gesso (what a great invention by Winsor &
Newton!) to cover the surface, to achieve tooth for my next layers of
paint and to fixate the background. I don’t want any brush marks
to show.
Elements
in trompe l’oeil paintings are always depicted life-size. In this
piece I focused on textures: The hand-painted bamboo chopsticks, the
porcelain holder, the shiny metal and enamel of the fish pendant. I
wanted each different element to clearly show its specific surface.
Once
I drew the basic lines of my composition onto the canvas, I could
start layering paint in very thin, transparent coats. I always work
with very tiny amounts of acrylic, because it dries so quickly. And
I mix it with plenty of Gloss Medium and a little bit of water to
obtain a thin, smooth glaze-like consistency. I always work in
layers, often up to as many as 30, to obtain a deep multi-layered
look with intense color. I let the paint dry well between layers,
moving on to other elements in the painting.
Once
the painting was to my satisfaction, I painted the highlights in pure
Titanium White, to make the reflections pop. The highlights often
need several layers of pure white paint straight from the tube—they
are the finishing touch and the most fun to do because they make the
surfaces come to life. Then I let my painting dry for a few days,
signed it, and then gave it two coats of Matte Varnish.
Japanese Blue by
Lorena Kloosterboer
Acrylic on Panel, 12
x 12 inches
This diminutive
still life focuses on a hodgepodge of delicately glazed Japanese
dishes, which I unexpectedly came upon one day while shopping. I
asked the store manager for permission to take a photograph and he
kindly allowed me to do so, as long as there were no customers in the
shot. I always carry a good quality compact camera in my purse.
This composition fuses my love for glazed ceramics, Japanese cuisine,
and the color blue. I could almost describe this painting as “A
Self Portrait.”
Colors used:
Titanium White, Payne’s gray, Baltic Green, Brilliant Yellow Green,
Raw Sienna and a whole array of different blues. I love to buy new
acrylic colors and have a vast, growing collection. I love Liquitex
soft body acrylics and Winsor & Newton acrylics and mediums, but
I buy other brands of mediums and paint as well. Because I prefer to
work in layers of transparent glazes, I usually do not mix colors on
my palette. Instead I paint in pure (i.e., straight out of the tube)
color glazes, building up the nuances of values, tones, and color
intensity by building up layer after layer.
After applying and
sanding several thin layers of gesso to obtain an ultra-smooth
surface, I drew in the contours of the dishes and the wooden shelves.
I usually paint the background first, in this case I painted the
wood first and incorporated my signature in the wood grain on the
upper shelf, making it seem like it was carved into the wood.
I then painted the
entire composition of dishes (including the shadows) with diluted
Payne’s Gray mixed with Gloss Medium and water to achieve an
ink-like consistency. This is called a grisaille. Grisaille is a
term for a painting (or underpainting) executed entirely in
monochrome or near-monochrome shades, usually in greys or browns.
The most important aspect of a grisaille is to get the values (darks
and lights) perfect.
Once the grisaille
underpainting was done and the composition looked like a black and
white photograph in value, I glazed in the colors. I paid special
attention to the appearance of the texture of the ceramic glaze, as I
wanted to capture the translucency, the luxurious luster, and intense
richness of the colors.
As usual, I painted
the highlights last in Titanium white, taking care of the subtle
nuances of the sheen of the ceramics. Once the painting was finished
to my satisfaction, I let it dry for a few days and then gave it
several coats of Satin Varnish.
______________________________________________________________________________
Sequitur Cor by
Lorena Kloosterboer
Acrylic on Canvas,
31 ½ x 15 ¾ inches
Two crystal
decanters creating playful distortions of the background motif
depicting an ancient Chinese Indigo batik design. The transparency
of the glass symbolizes purity, spiritual perfection and knowledge.
The title Sequitur Cor is Latin for ‘Follow your Heart.’
First I applied
several layers of sanded gesso on the canvas, making the surface as
smooth as possible so that the texture of the canvas did not show
through anymore. I next drew in the composition, using a ruler for
the straight edges of the background and the table edge. I then
covered the two glass decanters with masking tape and masking fluid.
Using masking tape
to create a straight edge, I first painted the lower part of the
background, using Titanium White, Burnt Umber, Raw Umber, and Payne’s
Gray. I mixed my acrylics with Gloss Medium and water laced with a
few drops of Flow Improver. Because this area was rather large, I
also added Acrylic Slow Drying Medium (retarder), so I could blend
the paint longer before it dried.
Once the lower
background was dry, I started on the upper background, which only has
three flat colors. I used Prussian Blue straight from the tube and a
mix of Buff Titanium and Titanium White for the Chinese batik design
of the heart with tassels. For the subdued brown background I
premixed Titanium White, Burnt Umber, Raw Umber, and Ultramarine Blue
with a little bit of Dioxazine Purple in a glass jar.
When I need a
custom-made color, I always mix it in an empty glass jar, so I can
keep the acrylic from drying out without having to remix a new batch
of paint. It is very hard to match the color of wet acrylic to dried
acrylic paint, so preparing a large batch beforehand is very useful.
Next I removed the
masking tape and Masking Fluid to uncover the glass objects. I drew
the details of the glass composition with pencil, being as specific
as possible. I used a thin layer of milky white gesso to cover the
entire surface of the glass, to achieve tooth for my next layers of
paint and to fix the drawing so my pencil lines wouldn’t smear.
I then started
layering paint in very thin, transparent coats. I always work with
very tiny amounts of acrylic, because it dries so quickly. And I
mix it with plenty of Gloss Medium and some water to obtain a thin,
smooth consistency, like a glaze. I always work in layers to obtain
a deep multi-layered look with intense color. I let the paint dry
well between layers, moving on to other elements in the painting.
For “Sequitur Cor”
I used a limited palette of Ultramarine Blue, Phthalo Blue, Payne’s
Gray, Burnt Umber, and Raw Umber to achieve the monochromatic look of
the glass. I also used minute amounts of several primary colors
mixed with Titanium White to create very soft pastel shades, to
enhance the subtle reflections of the glass and give it that distinct
soap-bubble appearance crystal often has.
Once the painting
was to my satisfaction, I painted the highlights in pure Titanium
White, to make the glass reflections pop. Then I let my painting dry
for a few days, signed it, and gave it several coats of Matte
Varnish.
______________________________________________________________________________
Tibetan Gold by
Lorena Kloosterboer
Acrylic on Canvas,
15.75 x 15.75 inches
This vibrant
photorealistic close-up of a collection of Tibetan prayer wheels
catches the eye with its dancing reflections on multicolored
artifacts. This jumble of objects symbolize a wish - That humanity
be able to live together in harmony despite all its differences.
I came upon a
picture of these prayer wheels on a website. I usually prefer to
photograph my own compositions, but in this case it was impossible
for two reasons: First, I did not have plans to travel to Tibet any
time soon. And second, I was certain I wouldn’t be able to improve
on this beautiful photo anyway! It is very important to respect
copyright, so when I see an image I would like to use in my painting,
I always write the photographer to ask for permission to use it.
Most people are generous in allowing the use of their photographs,
and to me it feels like a collaboration between creative minds. The
original photograph of the Tibetan Prayer Wheels my painting is based
on is by Michael Farruggia, who gave me kind permission to use it in
any way I liked (visit Michael’s website at www.picsbymikef.com).
I did crop the original image and changed some of the colors, in
order to create something entirely my own.
Once I had his
permission, I began by applying and sanding several layers of gesso
to obtain a smooth surface that hardly shows the texture of the
canvas. I drew the detailed lines of the composition onto the canvas
and gave it a milky wash of diluted white gesso to fix the pencil
marks. I then painted the entire composition (including the shadows)
in a grisaille with diluted Payne’s Gray mixed with Gloss Medium
and water to achieve an ink-like consistency. Once the grisaille
underpainting was done and my painting looked like a black and white
photograph, I moved on to add color.
I glazed in layers
of vivid colors in very thin, transparent coats, so that the
grisaille still showed through in all its details and values. In
“Tibetan Gold” I used many different colors and hues in a very
wide spectrum, manipulating the values by adding Titanium White and
Payne’s Gray. Once I finished “Tibetan Gold” I let my painting
dry for a few days, signed it, and gave it two coats of Matte
Varnish.
______________________________________________________________________________
This concludes my
descriptions of my work methods in these four paintings. Following
are some scattered personal thoughts on my creative process.
I try to be
unrestrained when I prepare backgrounds, which often start as
abstract textures. However, I don’t intend to ever swerve away from
detailed realism, using abstraction as an element that supports the
minutiae in realism.
As a support I use
canvas, linen, wood, or Masonite depending on composition and mood.
Smoothness is essential for minute details to be painted without the
texture of the support distracting the eye, so I always add three or
more additional layers of sanded gesso, even when I use
factory-prepared surfaces.
I prefer to paint
guided by several photographic versions of a composition. Even with
a still life composition set up in my studio, I tend to turn to my
photos. Most of the time I set up my own compositions and photograph
them myself. However, if I want to use a photograph from another
source, I make sure I get written permission to use it. My advice is
to always respect copyright, even if the photographer is not a
professional, and to always credit your source. Until now I’ve
always received positive responses to me asking for reference
material.
I often spend weeks,
sometimes months, on a conceptual idea (usually several at once):
Doing research, gathering artifacts (I have a huge collection of
glass objects and knickknacks), making thumbnail sketches, and taking
photographs, before finally having a composition I feel excited
about. I also make written lists of ideas to work out later. Many
ideas die during this process. Once I start painting, I try to hold
on to my excitement for the composition. Alas, sometimes my
enthusiasm fades when the painting doesn’t flow or the topic
disappoints me, and then I have to decide in the middle of the
painting process whether to continue or abandon a painting. I
regularly opt for abandoning it altogether—it’s very hard and
painful to do, but I think it’s probably worse to finish a painting
I’m not happy with. Of course I recycle the canvas or board by
rolling over it with a thick layer of gesso.
After I tackle the
background, I often begin by painting a grisaille, which I glaze in
numerous layers of translucent color. I hardly mix my colors on the
palette; instead they get built up in layers directly on the surface
of the painting. When I cannot enhance any aspect of a painting
anymore, I consider it finished. The signature is the conclusion.
After I sign a painting, I never go back to it. It’s a personal
rule of mine to avoid redoing or revisiting a finished painting.
It’s my way of moving on. If I didn’t follow my own rule, I’d
be repainting all of my work forever!
Payne’s Grey,
Titanium White and Unbleached Titanium are the three colors I
consistently use in every painting. Besides those, rather than
following one particular color theory, my intuition dictates how I
build up the layers of glazes, using any number of available acrylic
colors. I love buying new colors and I love buying new brushes. I
can’t resist walking out of an art supply store without buying
something! I also feel an irresistible urge to buy new products and
try them out, so I spend a lot of time (and money) visiting art
supply websites to see what’s new on the market.
Over the years I
have tried all types of palettes available. My search for the
perfect palette is linked to formerly using oil paints and the
traditional wood palette. Moving from unhurried oils to fast drying
acrylics meant going through an extensive period of trial and error
to find what’s right for me. Today my palette is adjusted to my
current method of layering glazes. I only need a few drops of fluid
acrylic, or a dab of tubed acrylic per session, and a tiny space to
dilute the paint with water and medium. At present I use (please
don’t laugh!) plastic lids of yogurt pots. The ring around the
outside edge is perfect to hold a few drops of water and medium I
need, while the middle section is flat for blending. The palette is
easily cleaned with plain water, so I use these lids until they
crack. It also gives me a good feeling that I somehow recycle
plastic packing materials. The plastic lid palette works great for
me, but I realize that it won’t make me look very arty, so count me
out for any pictures taken without the authoritative wooden palette
in hand!
I miss the blending
capacity that oils offer, but haven’t found a slow-dry medium that
satisfies me yet. I continue searching for a retarder that allows
feathering soft edges in the traditional oil-paint manner, covering
extensive areas. When I blend soft edges I just want the paint to
NOT dry while I’m fiddling with it. I have tried many brands, so
far the Acryl Retarder by Schmincke works best for me.
Tools I use: Natural
sponges, tooth brushes, pump atomizers, and broad synthetic flats for
backgrounds. I also use broad synthetic flats for varnishing.
Combination sable and synthetic brushes (always with short handles)
are my favorites—I buy on a whim so I have brushes in many brands
and price ranges. I take care of my brushes really well and wash
them meticulously after each painting session. For miniscule details
I use the Winsor & Newton sable/synthetic mix brushes Sceptre
Gold II—my preferred size is 000. I use one or two triple zero
brushes per painting, after which they get discarded. I recently won
a set of Richeson short-handle brushes, they are fabulous! I just
hate it when I spend good money on a new brush and find that it loses
hairs on a wet painted surface. That’s my biggest pet peeve in
regards to painting!
Mistakes: I use wet
Q-tips to wipe away little booboos—I use a roller with black gesso
for large booboos!
I’ve mentioned
varnishing in Matte or Satin (Semi-Gloss) before. As a rule I use
Matte varnish, which works especially well for trompe l’oeil
because this style is meant to “fool the eye” (even if it’s for
just a split second). Matte varnish takes away all the atmospheric
reflections and makes the trompe l’oeil more realistic. I seldom
use Satin varnish, but did, for example, use it on “Japanese Blue”
because it gives the flat, ultra-smooth, stroke-free surface of that
particular painting a rich, exquisite sheen which goes well with that
particular piece. I never use High Gloss varnish—this is a
personal choice, I just don’t like my paintings to pick up
reflections from their surroundings.
How I came to paint
in acrylics: Since I was a child I’ve worked in a variety of
mediums, including soft pastels, colored pencils, inks and
watercolors, but before the millennium I considered myself
predominantly a realist oil painter. After going through several
life altering events, I fell into a prolonged period of painter’s
block. I felt incredibly frustrated—days, weeks, months would go
by without that creative spark. I embarked on a desperate quest to
break this miserable spell. I don’t think those around me truly
realized the extent of emotional pain I suffered. After
unsuccessfully trying to force myself to change styles, it suddenly
occurred to me that I should try a new medium instead. Acrylics
attracted me because they dry fast, they clean up easily with water,
and permit similar effects to oils and watercolors. Slowly my
creativity returned. Since I use acrylics I’ve never looked back!
Lorena Kloosterboer
Nita Leland
Hello BWS
Like
many women who are artists, I’m a late bloomer. I started out when I
was creeping up on forty, a typical suburban wife and mother of four. My
husband gave me a surprise gift of watercolors for my birthday. My life
as an artist began in a suburban YMCA while my children took swimming
lessons. With the first brush stroke I found myself enthralled with the
medium. Over time, I discovered that teaching watercolor painting was a
great way to learn and to help pay for my materials. From the beginning
my greatest joy has been helping beginners get started. My goal in
teaching is to inspire creativity and self-confidence in my students. 
Color turned out to be my passion. After developing my color workshops, I wrote Exploring Color,
published by North Light Books in 1985. I began teaching color
workshops throughout the United States and Canada and writing magazine
articles for The Artist’s Magazine, Watercolor Magic, Watercolor,
American Artist and Somerset Studio magazines, as well as the Canadian
Watercolour Gazette. In 1994 I designed and manufactured the Nita
Leland(tm) Color Scheme Selector, a unique color wheel. Later, I filmed
Exploring Color Workshop videos. Exploring Color Revised, an updated and expanded version of the original book was released in 1998. In 2000 I formed Moonflower Books and self‑published Exploring Color Coloring Book,
a hands‑on color journal for artists. During these years I continued to
teach and paint, exhibiting frequently with the Brown Baggers, a
plein-air group that had been together since 1975.
Because
of my interest in product quality, I’ve consulted with major
manufacturers of art materials on watercolor paints and papers and
presented seminars for more than ten years for the National Art
Materials Trade Association and other trade organizations. I love the
excitement of the consumer trade shows, where artists buzz around
learning about new tools and tricks. I still hear from artists now and
then who took my workshops at those shows.
North
Light asked me to write a second book, so I collected the motivational
lessons I’d taught in my watercolor classes, researched creativity, and
wrote The Creative Artist (1990). This spurred my interest in collage, so I collaborated with Virginia Lee Williams on Creative Collage Techniques, which
I recently enlarged and updated for North Light (2011). My books have
all been bestsellers in their original and revised editions, along with Confident Color
(2008). Four have been published in foreign languages: German, French,
Dutch and Chinese. It totally amazes me to think that my words are
circling the globe and helping artists to grow and prosper. To me, this
is the best thing about the Web—that we are able to reach out and share
knowledge with each other and enjoy a sense of community with other
artists.
I
still don’t know exactly what turned this stay‑at‑home mom into an
artist, author and traveling workshop teacher. I’ve enjoyed meeting
every new challenge and look forward to many more. For several years my
artwork has taken a back seat to writing and teaching, but I still feel
that watercolor is the driving force behind what I do. This quotation
from Richard Bach is one of my favorites:
"You are never given a wish without also being given the power to make it true. You may have to work for it, however.”
Nita
Diane Morgan
Hello members of BWS and readers of The Waterfront,
I'm thrilled to be part of this wonderful
blog. The work here is truly wonderful.
I started painting in oils, majoring in
design at the University of Michigan. About 20 years ago I took
up watercolor to try something new with easier clean up. I took a watercolor
class at a local community college. I
immediately was hooked. The instructor
suggested I enter one of my pieces in a show at the Palm Springs Art Museum. My entry won a $100 award. I thought....this is fun! That was the beginning of my continued
passion for watercolor and my enthusiasm for entering competitions. I think
competitions give you a goal and an incentive to keep working. Rewards are nice too :-}
I paint almost everyday. The only way to improve is to keep working. It
has been suggested that if you want to learn to paint...go paint a hundred
paintings. One challenge I created for
myself was to do a painting a day. For
six months I completed a small painting every day and sold them on eBay. I quickly passed the 100 mark. This daily
self-imposed assignment increased my productivity, improved my creativity and
painting skills and opened up several opportunities for me that would not have
happened. I highly recommend the daily
challenge.
My watercolors begin with very detailed pencil drawings. I prefer
to work on Arches 300# cold press which is strong enough to hold a lot of water
without buckling. My preferred paints are Windsor & Newton. I always spend a
great deal of time mixing paint to make sure I have the right colors and enough
paint to complete each area. If it’s a very large area I will store the paint
in an airtight container for use later as needed. For slight variations in shading I will mix
on the palette as I go. I work on several pieces at a time, allowing time for
washes to dry and to reflect on the next step toward completion.
I envision a painting
in almost everything I see. Adding drama
and mystery through the use of powerful lighting effects, reflected surfaces,
exaggerated contrasts and unusual compositions, I strive to transform simple
everyday life into un-ordinary, not-so-still life. I like to take
an ordinary subject and enhance the perception of it, invite the viewer to take
a closer look. If you look closer, you
may discover something new about yourself.
I love the freshness of watercolor. I love
the challenge. I love how the medium takes command. The
artist starts the process, but the paint takes charge and leads the work to a
sometimes unintended outcome. It’s
always exhilarating.
My work
is currently featured in the June/July issue of International Artist magazine
and will also be in Splash 13 which comes out in August. You can read more about my style and
technique there.
Diane
www.dianemorganpaints.com
Julie
Gilbert Pollard
8616 West Glenrosa Avenue
Phoenix, Arizona 85037-1814
623-849-2504
e-mail:
JulieGilbertPollard@cox.net
website: www.JulieGilbertPollard.com
Hello and thank you! I truly appreciate
being asked to be your featured artist for October! Scrolling back through your
Waterfront Blog I see you have had a wonderful variety of styles and subject
matter from talented and skilled painters, each so distinctive, their work
beautiful and beguiling – truly unique. Isn’t that what makes ART so awesome, that it’s
a unique, individual expression of an artistic personality. We all have that
artist’s soul within us, that desire to produce a work of beauty. Regardless of
our skill level thus far attained, we all have an elusive mental image of what we
wish to express in paint. Our skills must “catch up with” that vision! That’s
where I am – still trying to attain a skill level high enough to enable me to
paint what I see in my mind’s eye. A carrot on a stick dangling before my
artist’s eye!
I like to define my style as “painterly
realism”, and am always aiming for loose, fluid brushwork that’s beautiful
regardless of whether or not it describes the subject – yet at the same time,
wanting the subject to be identifiable and important, infused with my own personal concept of reality.
The eye may see as a camera ‘sees’, but the mind’s eye sees an altered,
imagined image, what it wants and hopes to see. It’s that illusive image,
uniquely mine, along with a heightened sense of ‘realness’ that I try to express
in my paintings. This world of ours is often a frightening and mysterious
place, but it’s filled with scenes and subjects that excite my eye and
imagination! The magical allure of the natural world, and my reverence for it,
compel me to attempt to capture its essence on canvas or paper.
In addition to having had my work
represented by numerous fine art galleries over the years – Esprit Décor
Gallery in Phoenix, Arizona currently represents my work – I have been very
fortunate to have written and illustrated two books for North Light: Brilliant
Color (oil and acrylic, 2009) and Watercolor Unleashed (due for
release in 2013) – and to have filmed two Watercolor Unleashed
videos (2011) also with North Light. Additionally, I self-publish Watercolor
Unleashed! The Notebook (a “chapter-at-a-time binder-book”, 2009 through
2012, ongoing), which was the genesis for my “Watercolor Unleashed series”.
My
career has been a joy! I especially enjoy conducting painting classes and
workshops – for a variety of reasons. For one thing, it’s so rewarding to see
that “aha moment” when a painting idea is understood and resonates with someone
for the first time! Painting in and of itself is self-realizing and conducive
to good mental health. However, I feel like I’m doing something more important
when I can participate in helping someone develop their painting talents, the
act of painting so often being a source of pure pleasure and happiness.
For
another, it adds a social element to a very solitary job. I’ve made wonderful
and lasting friendships that could have come about no other way.
One truly exciting aspect of being a
workshop instructor is – believe it – travel!
I’ve been so lucky to have been invited as guest artist instructor for
workshops around Arizona, California, Wisconsin, North Carolina, Florida and such incredible locales as Canada
and Umbria, Italy. About the latter – one of my most exciting painting trips
currently scheduled – openings are currently being reserved for my second workshop
at La Romita School of Art in Umbria, Italy in June 2013. If you are
interested – in that or other workshops – please contact me for additional info
at juliegilbertpollard@cox.net.
A recent addition to my “teaching” activities
is the writing and illustration of “painting tips” e-mails that have proven to
be very popular. If you would like to receive these “tips” – TOTALLY FREE – please send me
your e-mail address. I look forward to sending them to you and making new
painting friends!
The mediums I work with are oil, watercolor
and sometimes, acrylic. Usually my use of acrylic is as an adjunct to either
oil or watercolor. My currently favorite watercolor process begins with a technique
I like to call “watercolor in reverse”, thus-named since it begins with the darkest darks using
acrylic-as-watercolor rather than the more traditional “light to dark” approach.
Watercolor aficionados are usually extremely interested and fascinated by my “watercolor
in reverse” method since it addresses several watercolor issues and is an
exciting, if a bit non-traditional, method. Here is an excerpt from Watercolor Unleashed!
Afraid of the dark?
You are not alone! And if this does indeed describe you, your paintings may
lack value contrast. You may be so nervous about the possibility of ruining the
work that you have labored over that you are afraid to give the painting the
punch that it needs.
So
why not put in the darkest darks first and get it over with? Why not establish
the all-important value pattern before you have invested so much time and
emotional attachment? You probably have learned from painful experience that if
you do this with watercolor, the chances are great that you will need to paint
over these darks at some point, at which time they are likely to dissolve into
and muddy those subsequent washes.
Enter
fluid acrylics—acrylics used as watercolor. When dry, acrylic is no longer
water soluble. You can paint wet
watercolor right over the acrylic and the acrylic won’t budge. The acrylic darks
serve as underpinnings to “lock in” your composition.
Warning...do
not paint with acrylic in an indiscriminate manner if you wish to keep your
painting transparent—acrylic is extremely difficult, if not impossible, to
remove. The fact that acrylic dries waterproof is an advantage because it is
indelible. On the other hand, the fact that acrylic dries waterproof is also a
disadvantage—because it is there to stay! Use acrylic when you are quite sure
that you know where you want it! Once you have practiced this technique enough
to get the hang of it, I advise using it only when it seems clear that there
will be a significant benefit to using it on the particular painting at hand.
If used correctly you will find it to be a wonderful adjunct to your watercolor
“repertoire”.
The
acrylic doesn’t necessarily have to be done as a first step. At any time during
the painting process, when you feel the need for an indelible color, use
acrylic. Again, use with care as it will be there forever!
Not
only does this method get the most intimidating part of painting over with
first, it also solves four other painting problems as well. The darks create a
pattern that unifies the design, they remain clean and sharp rather than muddy,
they open up a range of lighter values, and they create a plan for the painting
that allows you to concentrate on and enjoy the painting process.
Here you see the “acrylic underpinnings” technique
at work in the first stage of the painting. Can you imagine how helpful it was to me to have those very dark areas
established early on?
Incidentally, for those of you who, like
me, indulge in painting with oil as well as water-media, this method is also a
favorite of mine for the beginning stage of an oil painting (my favorite oils
being the water mixable Holbein DUO Aqua Oil) as seen in my first book Brilliant Color.
I love to paint! Each medium has its own
personality – I love to alternate between transparent and opaque mediums. Oil
being my primary gallery medium and watercolor my primary teaching medium, I
have the perfect excuse to use both and can’t imagine being limited to just
one. Back to watercolor – especially an expanded “water-media” version – watercolor
is such an exciting and expressive medium! You can do almost anything with it,
particularly when utilizing the many water based products, brilliant colors, papers,
canvases, grounds, etc. that are available to us. We have access to a veritable
“candy store” of products and options – we are fortunate indeed!
All
the best painting to you,
Julie
Daniel Vangeli PWS, BWS
Daniel
Vangeli has huge
talent and has just won a major award at this years American Watercolor
society 2012 exhibition with this painting.
Hello Everyone,
First of all thank you so much for having
me. When Ona asked me about sharing what I do, I felt honored, as well
as inadequate. I have been painting watercolors for a little over 3
years total, with just finding a passion for it within the last 2 years.
I had left painting all together several
years ago, only giving watercolor a second try in 2010. Something just
"clicked" for me this time, and I haven't stopped since. My first
painting back was "Lost and Found", which is the painting above and is
also the painting that has launched my career.
In 2010 I entered my very first
watercolor competition, the Pennsylvania Watercolor Society's
International Juried Exhibition. Not thinking much about having a chance
in entering, my painting won first place. This gave me the confidence I
needed to keep going, and over the last 2 years I've won awards at
other societies, have had work published in a few magazines.
Here are a couple more of my paintings.
- Dan Vangeli
Debi Watson NWS, PWS
Hello Bayview watercolour Society,
I
was born a love for art and spent a lot of my childhood drawing, much
to the chagrin of my parents, who tried to encourage 'more practical'
uses of my time. I continued art as a hobby and started painting
watercolors in 1983, with a how to paint craft store book as a guide.
My work was lauded by judges from the beginning, which was kind of
unnerving for me. At one of the first shows I entered, my painting won
two awards and I was asked to exhibit in the professional catagory. I
was so intimidated that I didn't show for years!
'Madness' watercolor
Being self-taught, learning took a lot of time, but gave my work it's
own unique look. In 1999, I retired from nursing to paint full time. I
have enjoyed entering the juried shows as a way to push myself toward
excellence. My work has been accepted and won awards across the nation,
being featured in over a dozen magazines and books.
'Serenity' Watercolour
I just like to paint, and always will.
I enjoy teaching and giving
other people the encouragement to create art that I didn't get in my
early years. I have many free how to paint videos on youtube.
For a whole range of free videos please follow the following link http://www.youtube.com/debiwatsonwatercolor
I am also currently working on putting lessons on my website www.debiwatson.com
I'm looking forward to being your Artist of the Month and answering any questions you might have.
Debi Watson
I'm looking forward to being your Artist of the Month and answering any questions you might have.
Debi Watson
No comments:
Post a Comment