"Safe and Secure"

($50.00...6" x 6".....Water Soluble Oils on Gessobord)

"The secret place of God is safe and secure." This is my own revision of Psalm 91:1. It's one of the most powerful chapters on dealing with God's protection. No better image comes to mind of a secure place than a hugh rock. In this case, there is a small opening in the rock where someone could easily hide.

Learning to see all paintings as broken down into shapes with a color and a value is the essence of painting. I am learning to notice each value as a shape in relationship to the other shapes and to isolate and mix that particular color. By doing that throughout the piece, it eventually turns out to be a painting. There are times when I have my doubts, but it is best to just keep painting until yo get through before making a judgement.

And if you paint often enough, it will become faster and even more abstract. If you prefer to paint more realistically, all you need to do is slow down, blend more, and add more detail. This piece is actually a "study" for a 12" x 12". I will switch to acrylics (with retarder) since I need a fast turn around. The process for painting in acrylics is very much the same with less working time. So it is very useful to try the same painting in a smaller size with oils first just to get the "lay of the land" before going to acrylics.  

My working time has speeded up which shuts down my internal critic and keeps me moving forward. One other tip...wait until you have several paintings done before doing a hard critique of your work. I often think a painting is too abstract and rather "a mess" until I view it for a few days and in context with my other work.  And there you have it...just a few more things to think about.

Please contact me personally to inquire about this piece.

"Warm and Fuzzy"

($40.00....6" x 6".....mounted on a 1/8" depth clayboard panel)


"Warm and fuzzy feelings do not create art; knowledge, skill, and actions do." This is the occasion of my 500th posting, so I feel like it is entirely appropriate to talk about what it takes to create art every single day. One thing I have learned...warm and fuzzy feelings and waiting for the spirit to move me do not get it done. Some of my best work has been created on the mornings when I just wanted to drink my coffee and go back to bed. And that's the secret...you must show up in your studio every day.

I am making every effort in my pouring medium pieces to learn how to fine tune them by knowing when to manipulate the color...when to leave it alone...and what to add to bring the design to a solid conclusion.

In this piece, I chose colors that remind me of South Texas and the Mexican culture I grew up in. Color plays a hugh role in the Mexican culture and so I spend a lot of time looking at visuals of haciendas, patios, decorated pots, painted tiles, etc. so that I can absorb the color.

In this piece, the strong color contrast is not between dark and light, or direct complementary colors...it's between warm and cool. The light aqua color is a strong contrast with the raw sienna and Hansa Yellow Medium. The bright yellow in the bottom portion is actually Green Gold (Golden), but it looks totally yellow due to its surroundings.

There are actually (7) color contrasts and it is wise to know what they are and include at least (4) of them in every piece of artwork. The most definitive book on color contrasts is The Elements of Color by Johannes Itten. This is among my top five picks that should be in every artist's library. I refer to it often and I owe my study and introduction to this fine book to Hazel Dolby who used it as a building block for a workshop where we learned to paint and letter on primed and gessoed surfaces.

Looking through decorating magazines is also another way to hone your color matching skills. Try to use the same percentages of color that are used in a well decorated room with colors you like. Remember, that it is the percentages that draw you in...not just the colors.

The last thing that needs to be said about this piece is the fact that I only manipulated two bands of color at the bottom where you see the detail. The other colors were poured and left completely alone. You can see how that gives areas of rest where the color is subdued with very little detail. I did add the silver leaf and stamped color block to give a contrast to the moving lines of color. And there you have it...just a few more things to think about.


Please contact me personally to inquire about this piece.

"Circle of Quiet"

(unavailable)


"When my world becomes chaotic...I go to my circle of quiet." A circle of quiet can be different things to different people. But whether it's taking a walk, riding a bike, or sitting on the patio, and perhaps praying, we all need these "recharge zones". Find your circle of quiet and lower the stress levels in your life.

This is another piece beginning with a mono print on rice paper. And because rice paper can be fragile when wet, it is best to apply the gel matte medium to the support rather than the paper.  Black, white, and red is a powerful color combination that works every time it's tried. So if you're every in a quandary about color choices, this is one you can do and be relatively sure it will come together for you.

When I was contemplating what to do this morning, I found myself identifying with the gestural and chaotic marks in this print. So it continues to amaze me how my daily posting generally reflects what I am personally experiencing. And right now there is a lot of chaos around me, but I have found my circle of quiet and all is well.

The circle was created by sitting a bottle of ink into a puddle of FW Ink that I poured on my glass surface. It made the unexpected erratic circle I was looking for. So if you ever need a circle print, just look around at the bottles in your studio. You are sure to find one that will work. When working with ink, however, you must spray with acrylic coating at least (3x) and dry thoroughly in between. Most inks contain shellac so it does take a longer time to dry. You can then be reassured that the bottle print will not smudge when you prepare your surface for lettering, stamping, etc. So there you have it. Just a few more things to think about.

"Joy Follows Tears"

($200.00...6" x 12".....mounted on a 2.0" depth clayboard)


"His death is our life. His loss is our gain; the joy for the tear, the peace for the pain." This quote has come before my eyes on several occasions. I do not know the author, but I do know the power of the quote. This is a piece created for the upcoming "New Beginnings" exhibit at Hill Country Bible Church NW. (Refer to the Sunday, March 18th, posting for links to the invitation for the Opening Reception.)

This is a very richly colored pouring medium piece created on 300 lb HP watercolor paper. The Iridescent Bronze Acrylic forms a beautiful ribbon of rich color through the Raw Umber. There is also some Green Gold and Dioxazine Violet. (Golden Acrylics) As I've said in past postings, it is much easier to have the colors blend properly if you begin with a pour of just one color over most of the design space. The paper must be very wet (under the faucet wet). Once you pour the medium on the paper, be sure to hold it over a tray and spray with more water to keep it moving and rotate the paper to get as even a coverage as possible. In this case, my base color was a pale blue.

I have been comparing the effects of pouring medium on different papers and I do believe that 300 lb. HP yields the very best results with 140 lb. HP coming in as a strong second. Mounting the heavier paper is very tricky because it doesn't want to lay flat. After wrestling with it for a bit, I finally placed gel matte medium on the support as well as the paper and laid it down as best I could until it set up enough to lay wax paper on top, followed by a couple of books, followed by heavy rocks. It must lay that way overnight to completely become bonded to the clayboard. Just a few more tips to try or think about.


Please contact me personally to inquire about this piece.

"Swept Away"

(unavailable....in the permanent collection of dee day)


"The power of peace is swept away with worry." This quote is a friendly reminder to not go to the place of "worry". It will ruin your health and it accomplishes nothing. It is probably the most useless activity there is. The Bible gives us another solution to worry and that solution is prayer.

Another name for these pouring medium pieces is "moving color". This particular one had a sweeping band of white moving upwards which fits beautifully with my quote. Another aspect of this piece is the titan buff used as the first layer and then titanium white poured into the raw umber. That particular combination creates the veiled ethereal look that is so compelling. You can see it above the decorated capital on the right hand side. And since the quote refers to the power of peace...the red was appropriate. Red is the epitomy of power and this particular one creates a glowing effect. It is Quinacridone Burnt Orange (Golden Fluid Acrylic).

The choice of including a very old style decorated cap and text to be included here is my love for the extreme contrast between something very archaic and something abstract and contemporary. The combination is unbeatable in terms of contrast. If you are creating with mixed media, it is so invigorating to "brain storm" about the choices you make about techniques and collage inclusions. Sometimes the very thing you think would be bizarre is the deal maker. And these are just a few more things for you to think about.

"Playful Dance"

($40.00....6" x 6"....mounted on a 1/8" depth clayboard panel)


"The colors invited me to join in their playful dance." Of course, we all know that colors do not have the power to actually speak and offer up invitations, but they do have a way of captivating your imagination. In that sense, it is an unspoken invitation. Color is wonderful!

This piece was done with pouring medium. The blue and white were my base colors that merged over the very wet 140lb HP watercolor paper. The other colors were added one right after the other, but the small isolated color spot was an afterthought....not knowing what the quote would be. It is quite playful and fits the quote perfectly. By placing the lettering between the two detailed color shapes, there is cohesion in the composition. Lettering can almost be considered the needle and thread that binds two or more shapes together.

Laying down a light color first, adds another layer of depth and interest which would not have been there had it not been done. The blue also introduces the cool side of the color wheel, otherwise, it would have been a totally warm color palette. Even though violet can go either way, in this case it is a red violet which causes it to lean towards the warm side. Another interesting color fact is the hot pink...but even though the root color is red, the addition of a lot of white causes it to trend towards the cool side. Just a few more things to think about concerning color and composition.

Please contact me personally to inquire about this piece.

"Love and Commitment" (unavailable)

(unavailable)


"The history between two people is filled with deep emotion where there is love and commitment." After forty-three years of  marriage, this quote comes from the depths of my soul. We've loved, we've laughed, we've fought, we've weathered some deeply tragic events, but in the final analysis, our history has kept us loving and honoring our commitment. Happy Valentine's Day!

The colors for this piece were chosen quite deliberately. It is very true that black, white, and red work every time they're tried. No other color combination says passion quite like this. I did try to manipulate the pouring medium to create the semblance of a heart and to some degree it worked. The depth of the image created by the way the colors mingled together turned out to illustrate the essence of the quote (deep emotion and history) even better than if I had been able to create a perfect heart. Perfectly rendered form is not always the best solution when trying to depict abstract thought and emotion.

Enjoy your day and if time permits create your own personalized valentine. This posting is my valentine for my valentine.

"Texas Women" (unavailable)

(unavailable....in the permanent collection of dee day)

"Texas women are allowed in their man's cave." This time of year in our fine state, many a man (and his woman) spend time in his outdoor cave which would be called a "deer blind". Yes, it is time once again for deer season which opens this weekend. Just so you know, I am opting for the inside man cave. I do not do the deer blind scene....especially in cold weather!

Once again, I have opted to use one of my favorite color combinations which includes Napthol Red, Black, Raw Umber, and Titan Buff. Pouring Medium added to the colors accounts for the soft blending of color and a bit of marbelizing.

Two pieces of collage were added to this background which is just enough to establish the main concept. Besides selecting collage bits that fully integrate with the texture and feel of the background layer.... choosing a "quiet" line of lettering to cross over the background, over the collage, and over the background again is like "stitching" two pieces of fabric together. It is a wonderful way to complete the piece and have the collage fully integrated. One of the reasons I use so much spencerian script is that it is unobtrusive and adds the final touch to a piece without becoming the total focus. Just something to think about.

"Divine Design" ($30.00)

(adjusted price....$30.00)

"Divine design includes harmony and contrast in every area of life." There are many comparisons between art and life. This is one of them. In life, just as in art, if everything is too harmonious and no "risks" are ever taken, boredom sets in. Nothing is "noteworthy" or stands out. It is contrast that adds the spice to art and to life.

Some color arrangements can be very compelling, but also a bit chaotic. There may be too much contrast. One way to bring harmony into the picture is to introduce the opposite of whatever is happening with one or more design elements.

In this piece, I decided to bring in a "grid" to counterbalance the irregular shapes. By folding and creasing the piece into equal segments in both directions, the grid was created. Texture and exposing the white of the paper was created by sanding the edges of the folds. White is a calming color so by exposing the white of the paper and writing the text in white, harmony was used to bring everything into balance.

The problem of balancing harmony and contrast can always be resolved by repeating elements of design to create harmony or introducing the opposite characteristic of each design element to create contrast. And, of course, some of these decisions are unique to each individual artist, but both are important in every piece of art. Just something to think about.


Please contact me personally to inquire about this piece.

"Santa Fe (2)" ($60.00)

(adjusted price...$60.00...mounted on a 1.50" depth clayboard)

"Santa Fe is painted with a broad brush loaded with burnt sienna." This is my second in a trilogy. If you're like me, you cannot get enough burnt sienna and turquoise. My hope is that you will enjoy just thinking about this "art mecca" of the Southwest. Better yet, you could be inspired to get your paints out this weekend. Whatever you plan, make it fabulous!

This Golden Crackle Medium in this second Santa Fe piece is very pronounced. And if you apply this to a larger piece, you might experience a bit of a wrinkled effect. It's best to use a bit heavier paper than Arches Text Wove. But if it does wrinkle at all, wait until it dries completely and iron it on the back. (I guarantee that if you use 300lb. Hot Press Watercolor Paper, it will not budge!) That would be the answer for a piece larger than a (9" x 12").

Notice that the division of space is basically horizontal bands of color and different texture. Leaving some of the paper free of the crackle medium will give you the contrast of texture. When in doubt about division of space, horizontal bands work every time they're tried.

The beauty of working with acrylics and mediums is that they will do much of the work for you. So if you're feeling adventurous, you might want to try your hand at crackle medium, especially for a stone or rock texture. Just something to think about.


Please contact me personally to inquire about this piece.

"Diluted Color" ($30.00)

(adjusted price....$30.00)

"Diluted color transforms tension into calmness." I would guess that most viewers would look at this piece and assume I've lost my mind since the color does not appear to be diluted.  The idea is to draw attention to the fact that color has a hugh impact on our environment. Take time to notice the colors in your life today.

Complementary colors are directly opposite each other on the color wheel. They can be mixed together to the point where gray is achieved. That can be seen in this piece. Each of these two colors can knock down the intensity and fully satisfy the eye that always searches for the complementary color.

The Phthalo Blue (Red Shade) in this piece is very intense. It is a bright, intense blue that's very dark when used thickly. Used as a thin glaze it's very transparent. Mixed with white it's an opaque, beautiful sky blue.

This piece was created with Liquitex Pouring Medium and pigment, but on this occasion, I diluted the mixture a bit more with water which created more blending of the colors together rather than being suspended in the medium. There are many different ways to create with Pouring Medium. Just something else to think about.

Please contact me personally to inquire about this piece.

"Fluidity" (sold)

(sold)

"Fluidity is enhanced by the act of observing as you work." Creating a good flow in every area of life is something to be desired. Different things will contribute to the way that process unfolds, but in art as in life, it most often happens by observing the things that move you, that enhance your process, and being self aware.

There are two pigments on the color wheel that are the lightest and darkest on the value scale (or gray scale). Yellow is the lightest and violet is the darkest. These colors are also direct complements. When used together they are highly charged and create a very ethereal look. In some instances, depending on the proportion of space each of them occupies, they can create an "unsettling" and disturbing look.

When I created this piece, I created two in case I didn't like one of them. It was a good thing because the arrangement and flow of the other one is quite disturbing to look at. It gave me the feeling of being "swallowed up". So goes the power of color. These color studies are very instructive on the power of color to affect mood and emotion.

Just something else to think about as you observe while you work.

"Color Spectrum" ($60.00)

(adjusted price....$60.00...mounted on a 1.50" depth clayboard)

"Color represents the spectrum of emotion." Have your emotions ever been in constant motion like the color appears to be in this piece? If so, stop and realize that emotions can't think. Many times they can lead down the wrong path. They can be as mesmerizing as looking at moving color. Thinking on the truth of a situation is better than following emotions.

This entire piece was created by mixing three acrylic colors with Liquitex Pouring Medium. It was then poured...one color at a time...over damp paper. By tilting the paper and combing through the color, a wonderful marbelized effect happens.

The gray at the bottom happened when the black bled into that area at the periphery of the pour. It's a wonderful idea to leave part of the paper that way to show contrast and have a place to do some lettering.

This type of application is "gooey" and thick and requires overnight drying time. Using a hair dryer causes ripples in the pour so let it dry on its own. (To those in my color workshop this Saturday...this is a "sneak preview" of one of the things you will be doing.)

Just something else to try or think about.

Please contact me personally to inquire about this piece.

"Charismatic" (unavailable)

"Color has a charismatic personality." Charismatic is a very descriptive word that defines a person who inspires enthusiasm. I thought it would be fun to attach that association to color. And isn't it the truth? Color is the design element that always takes center stage. (This is a 4" x 6" piece created to be given away at an Opening Reception this coming Friday......details are at.....pactofaustin.com/)

The first layer of color in this piece is a dilute application of Cobalt Turquoise (Golden). The second step is three colors mixed individually with approximately a 6:1 ratio of Liquitex Pouring Medium. (6 parts medium to 1 part paint) It must be mixed with a palette knife because of the "tacky" nature of the medium. These three mixtures are then applied to the surface with a palette knife. The next step is to take a fine tooth comb with the ends cut off to run through the paint, revealing the first layer. (If you have signed up for my upcoming Color Workshop, this is one of the techniques you will be creating.)

The end result is a thick, high gloss image that makes a compelling statement. There are endless arrangements that can be done, with or without lettering. You can now call yourself a "colorist"....since color is the main attraction.

For those of you who do lettering, this surface, as is, will not receive gouache. So you will need to mix up (2) parts water to (1) part Gel Matte Medium and use your hair dryer simultaneously with brushing on this solution to get it to attach. It also helps to use painter's tape to attach the back of this piece to the surface so it won't move. Persistence pays off when the entire surface has a matte look. Apply (2) more coats and then you can write. This same technique works with metal leaf. Just something to try or think about.

"Blending and Moving" ($60.00)

(adjusted price....$60.00....mounted on a 1.50" depth clayboard)

"Blending and moving color is the most stimulating design element." It is a truth in the visual arts and an excellent metaphor in thinking about relationships. When we can be happy for others and even assist them in their hopes and dreams, we are blending and moving in relationship.

This old antique bottle with a hazy patina has been sitting on my drafting table for weeks. I was waiting for the right quote and right background. So this is a perfect illustration of allowing spontaneous processes and materials do their thing and then putting the remainder of the design elements in their places. It is a very exciting and contemplative process.

The basic design elements are present in most works of art. But knowing what they are and how to bring them together is the essence of good design. So in case you have forgotten...line (straight or curved)...direction (horizontal, vertical, or diagonal)...shape (formed by lines and their direction)...size (small or large)...color (actual hue(s) and combinations)...value (light or dark)...texture (simulated or real).

Observing what is happening with each of these elements is the first step in creating well designed work. So put on your exciting glasses today and really observe what is happening in your artwork or in someone else's art. Tomorrow I will list the principles of design...to give you something else to think about.

Please contact me personally to inquire about this piece.

"In or Out" ($60.00)

(adjusted price.....$60.00......mounted on a 1.50" depth clayboard)


"Editing is the process of deciding what's in and what's out." Every artist is an editor and must decide what design elements are in or out. Actually, everyone is an editor of their own lives as well. We each decide what thoughts are in or out. Enjoy your life by being a good editor.

You may be wondering why I painted a light fixture in this piece. It represents the big moment in art or in life when there is a paradigm shift that often results from good editing. In artwork, it is that awesome moment when nothing needs to be added or taken away. In real life, it is allowing the right thoughts to occupy your mind and disallowing the negative ones to dominate.

So I definitely wanted to use a random application of gesso to create light filled shapes in the background. The band of black gesso on the right grounds the piece. You are able to see clearly how a dilute application of acrylic in Green Gold and Cobalt Turquoise (Golden Fluid Acrylics) reacts when painted over the gesso and the more saturated areas where the paint hits unprimed paper. It is important not to keep "fussing" with a piece until it's ruined. Let the process and materials do the work. Observe why something turned out the way it did so you can repeat it again. Acute observation is essential to the editing processl So turn the light on by becoming a good editor. Just something to think about.

Please contact me personally to inquire about this piece.

"The Human Spirit" (unavailable)

(unavailable)

"The fires destroyed everything except for the hope of the human spirit." Churches and individuals in Texas are now involved in coming along side the families who lost their homes. What I have noticed is that hope is rising out of the ashes.

This piece and particular quote gave me the opportunity to visually express the power of contrasts in color saturation and texture. The dark green band on the left is very saturated representing the trees and foliage before the fires. The center band of color with a grayish / green and texture created with gesso looks charred. The bright and intense band on the right represents the hope of the human spirit.

By knowing how to "gray" down a color or to apply an intense stain on unprimed paper is a part of being a "colorist". Color is the most emotional design element and a never ending learning process. I hope you're enjoying these color studies. Go one step further and try them yourself. Any effort to understand color takes you one step closer to a satisfying way of expressing your concept. Just something to think about.

"Creative Friends" (sold)

(sold)

"Creative friends provide the soil where seeds of thought can grow." I have many friends who are creative. It is my joy to be with them and have creative discussions about the art process. Thanks to all of you!

(You may have noticed there was no posting yesterday. My husband is back in the hospital with pneumonia. Everything is okay and he is getting better. Those of you who are in my script class tomorrow afternoon....the class is still on. Jim is exactly where he needs to be and will remain there until he recovers.)

Tropical plants are fast growing and seem to go hand in hand with the concept of creative thought. This one is not a completely realistic interpretation because I got carried away with the colors, design, and watercolor techniques. Notice that the plant divides the space nicely by going completely past the edge on three sides. The color palette is the star attraction with two sets of split complements...violet / green and orange / green. Any time I can squeeze in two sets of complements, it's a happy day! The visual impact is always compelling. There is also happiness when I can include my two favorite violets. The violet band at the top is Light Violet (Golden Acrylic). The darker violet in the plant and lettering is Perylene Violet. (WN Gouache) The next time you see some tropical plants, notice their colors. Consider using them even if you don't want to actually paint the plant. You cannot go wrong. Just something to think about.

"The Southwest" ($40.00)

(adjusted price.....$40.00)

With each of us, some color(s) have more significance because they are associated in our minds with special memories. Burnt Sienna is one of those colors for me. Clay pots, adobe, and the beautiful rock formations in New Mexico and Arizona all look as though burnt sienna dropped from the heavens. What color does it for you?

This is an abstraction of the Southwest that includes the colors and texture without all of the detail. We all have so many details in our lives. It is very refreshing not to feel compelled to interpret every memory or image down to the last detail.

It can be a liberating challenge to create an abstract piece by observing the characteristics of a place or thing. But by being very selective and resisting the urge to interpret in a literal sense, new paths of expression will open.

In this piece I used the gesso and Transparent Burnt Sienna to partially hide some lines and lettering that were written on the paper initially. More texture was inscribed into the gesso to mimic the texture of canyon walls. The brown band of color at the bottom is Caran d'Ache ink called Grand Canyon. This process was fun and worth a try.  Just something to try or think about.

Please contact me personally to inquire about this piece.

"The Shade Tree" (sold)

(sold)

If you are blessed to have a large tree either in your yard or surrounding area, then you can appreciate its significance. Perhaps you've noticed how quickly all of the parking places near a tree get "snapped up" as we continue to endure the Texas heat. Trees are good!

The primary appeal of the tree in this piece is the transparent watercolor plus a "wet into wet" application. The soft blurring of color is a great contrast to the hard edges of the tree's outline. The contrast in color was "bumped up" in the lettering and the dark areas of the foliage with the addition of Perylene Violet Gouache (WN). Violet is a split complement of green which gives a more subtle contrast than a direct complement.

Shapes and division of space are always present in my thinking process. By extending the tree from top to bottom and choosing a tree with interesting branching, I was able to mimic the same shapes that were present in the first layer of paste paper. Extending lettering, shapes, and imagery from edge to edge is so much more exciting than placing everything in the center. And that is something to really think about!