"Variegated I" (draft 2)

(image 1)

(image 2)

Today's posting is the second image from yesterday with more layers. More than likely, there will be no more layers added except for the lettering. My quote will be...."Variegated thoughts are running through my mind."

This piece today represents me processing and practicing glazing and layering to create interesting shapes, edges, and maintaining the luminous qualities of watercolor. Like you, I am on a "learning curve" with these techniques since it has been a very long time since I made watercolor a part of my voice.

I am pleased that I did not overwork each layer by going over and over it. My mind was firmly wrapped around the idea of waiting until it was completely dry before adding more layers. Having said that, I really need to practice the ratio of water to paint. There are times when the water in the brush needs to be completely squeezed out before dipping it into more color.

And the value created by how much water is added to the pigment is also a major factor. I did exercise some control by testing my value on a "work off" piece before adding it to the actual piece. And I think this is a good practice tip, even with much experience. And I am also practicing different techniques on a 4" x 4" piece of 140 lb CP in between working on my other work.

My plan is to make notations of what I did on each 4 x 4, punch a hole in the corner, and place them on a binder ring. (They are available at office supply stores.) The reason these kind of exercises are important is to have a ready reference to make it easier in selecting which techniques to use to accomplish a specific goal. You can also cut out visual inspirations and mount them on large shipping tags and also place those on a binder ring. They also make a pretty display in a wood or decorative bowl in your studio.

So you can see in the two images today which colors I layered and in what order.  (My inspiration was the leaf patterns on an "Angel" plant....so you are seeing the top side of the leaf which is green and the underneath side of other leaves which is red.)  Planning out a layering strategy requires thinking ahead through the piece and then plotting your strategy. It's like thinking ahead and thinking backwards at the same time. You can also have no thought at all and simply paint whatever comes to mind. And that does work occasionally, but for long term success, you and I will both be better served by learning the basic techniques, color priniciples, and possible compositions before going crazy.

If you cannot recount to yourself and others what you did to create a particular look, then you can never intentionally repeat it. This means you will be starting at square one every time you paint. It will simply be a roll of the dice. Even artists who work very intuitively are thinking about a few things that are very important and making decisions as they go along. And there you have it...just a few more things to think about.

"Splendid"

(unavailable....6" x 12"........Water Soluble Oils on 300 lb HP)

"Splendid bands of color describe the sky." Even though the sky changes all through the day, horizontal bands of color are the way it is often depicted, especially if the horizon line is included. There are some artists who omit the clouds altogether and paint contemporary landscapes with bands of color. Either way is splendid and brings a calm attitude to any environment. 

This is my third experimental painting of a sky scape. So far, my favorite one was the posting from yesterday. However, the jury is still out since I plan to paint at least three more before making a final judgement on which one to mount for an exhibit. I rather enjoy seeing all three of them together. It enables me to ask myself why I like one over the other and see where I need to improve on the sequence of laying down the paint and improving my technique. This is an optimal way of working that generally has a good outcome as opposed to trying to make a perfect piece with the first try. The important thing is to stay with it and continue practicing your technique of mixing the color and laying down the paint.

Artists from all disciplines often have one piece out of (10) that is exceptional and as long as you're practicing every day that will happen. The theory here is to work on a different piece each time because creative energy tends to dissipate by painting the same thing over and over. No matter which process works for you, the important thing is to do it consistently and passionately. It is unlikely that great pieces result from painting something you have little or no interest in painting.

Another thought is that you might be working in the wrong medium if everything you're doing goes against your "grain" (or the way you're wired). I've know people who created flat work, but everything that came out of their mouth was a passion for dimensional work or sculpture. So pay attention to the materials and techniques that excite you.  Life is short and creating artwork does require effort, but it should also be rewarding.   And there you have it...just a few more things to think about.

"Burn Off"

(unavailable......6" x 12".....Water Soluble Oils on 300 lb. HP)

"Clouds burn off with time." Many mornings begin with an overcast sky, but within a few hours, all is well and the sun comes out. The same is true in life.  Circumstances get us down, but as we change our focus, all is well again.

This is my second experimental piece in a 6" x 12" size. You are simply seeing my practice pieces until I get one that passes my inspection. It's really quite a fun exercise. The practice of how to mix and lay down the paint is invaluable and at the end of the day...there are several pieces to choose from.

Leana Fay was an established lettering artist and a mentor of mine. She has since passed away, but her influence still reverberates in my head. Even though she was an excellent lettering artist, she spent three days practicing the lettering for a particular piece before committing it to the final piece. With my experience in piano and mentors like Leana Fay, I have learned that it is futile to think any of us will paint that one perfect piece. More often than not, it is the practice of doing a lot of work that creates the best artwork. So I guess my encouragement is to create art consistently and frequently and you will be rewarded with pieces to choose from. There really is a tremendous satisfaction in this kind of process. 

Another key to successful artwork is learning to work with a limited palette.  I still see work that is "jarring" in the color harmony because the colors really are not that harmonious. It really is worth the effort to change course and quit trying to use the particular green, blue, yellow, etc that you want by squeezing it out of a tube. It is totally possible to have intense color that is pleasing to the viewer by using a double palette of the primaries.

More than one established oil painter has told me that and most are willing to share their preferred palette. If you want to succeed as a painter, you must learn to work with a limited palette. And there you have it...just a few more things to think about.

"Fountains and Flowers"

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


"Fountains and flowers are natural companions for any celebration." Not all Christmas Eve celebrations happen with snow falling. Many happen in tropical climates which can also be very special even without the snow and evergreens. I was drawn to this image in the same context of Christmas because most of my teen years was spent in the Rio Grande Valley. This would have been a typical scene in a hotel or town square. In fact, I was in bermuda shorts on many of those Christmas celebrations. So whether you are enjoying snow or tropical plants, may your Christmas Eve be festive.

This photo was actually taken in a public square in Sedona, Az. I enjoyed zooming in at many different angles to get the best composition. This one happens to be my favorite because of the interesting division of space and the flower contrasted against the neutral color of the fountain.

If you like pointed pen techniques and like to frame a piece with some simple flourishing, one of the things I think about is allowing the flourish to begin from one edge...go off of the edge and reappear from another edge as though it were one continuous line. It is a wonderful way to practice your "press / release" technique and enjoy the process at the same time. I think all of us could learn lettering a lot quicker by just playing with the pen and enjoying the tactile sensations rather than always focusing on forming the letters immediately. Once you understand what the pen will do, it is much easier to learn the letters. It also helps to learn the form of the letter with pencil first because it is very difficult to struggle with the pen, ink, and form at the same time. If you absolutely know what the letter looks like (after much pencil practice and even tracing), it will be so much easier to then deal with the pen and ink (or gouache).

As you can see (or read), I have my "teacher hat" on today. I just have a tremendous desire for those of you who want to do well with your lettering to have success and be encouraged to pick up the pen often....like everyday. It takes courage and you have my full support. I do not despise "small beginnings" because everyone has to start somewhere. Just some more things to try or think about as we quickly approach a new year and new beginnings.

"Morning" ($30.00)

($30.00....mounted on a 1/8" clayboard panel)

"Morning rewards early risers with a treasure trove of fresh ideas." I already know that some of you are going to tell me I don't know what I'm talking about! But I would challenge you to try it for awhile and see how it goes. It really can be the quietest and most productive part of the day.

Many mornings in the hill country look like this piece right before the sun comes up. Often the fog settles in and then burns off with the sunrise. It really is a restful piece that required a restful script to support the concept.

Spencerian Script is a very "poetic" hand and I fell in love with the simple beauty of this script almost from the first moment I really began to understand and practice its unique characteristics. It is deceptively simple because it has very few shaded strokes, has an angular and smaller x-height than copperplate, and has a "rounded check mark" type of exit stroke,  but when it is viewed in a longer passage, it has a sparkle and simplicity that lends itself to quieter, more thoughtful pieces where more pronounced lettering does not contribute to the piece. These are just some of the reasons why you see so much of it in my work.

It also has a historical look and fits perfectly with vintage photographs or collage pieces where you just want a simple line of lettering without being too "fussy". So my advice to those of you who are still struggling with spencerian is simply to hang in there and practice just one line of writing a day. To quote myself....."everything is difficult before it is easy". (posted on May 14, 2011) Practicing with a very sharp pencil until you understand the form of every letter will speed up your progress. It is extremely difficult to write with pen and ink until you understand the form and characteristics of each letter. Just something to think about.


Please contact me personally to inquire about this piece.