I completed another blue painting of quince flowers inspired by the tonalist works of Whistler and Inness. I used thick cobalt blue to mark the petals. Cobalt blue is really pretty and I will have to use it again soon as a standalone color. This was painted on oil primed linen that I got on clearance from Blick. It’s a pricey, but wonderful support to paint on.
Previously I posted that I loved the look of raw linen and the universe heard me… Nancy Cuevas shared with me this product that Jerry’s Artarama sells of clear primed linen.
The weave isn’t quite as nice as the first one but it’s an interesting challenge to preserve the beauty of the raw linen as a ground. Here’s one that I’m going to call “Footprint Still Life”. It’s a much quicker study and I accidentally stepped on it. I think I like it as is but stay tuned I may play with it some more.
I finally completed the small oil painting of my trip to Bandon Beach this past summer. These last two paintings are on canvas board, probably the least fun support to paint on but it’s nice to having something that is ready to go to prevent procrastination.
This last painting is a gift and inspired by my trip to Lake George in upstate New York. Lake George was immortalized by the great Georgia O’Keeffe. This painting comes nowhere near her genius but I was able to explore colors that I had not used before and glazing pastels on top of other bright colors without any underpaintings.
I’m working on an oil painting landscape of Lake George at sunset. My goal was to use more vivid colors instead of the classic burnt umber understudy as the first layer in the hopes of capturing more glow and reflection. I also wanted to use darker transparent colors that I have not yet used before to ‘bridge’ the midtone, similar to the sweet pea study that I did a couple weeks ago.
There I painted the flower petals a bright lavender first. Then I glazed with a darker transparent color over it to build the mid tone bridge. This process is different than the slow build of dark to light. We’ll see how it turns out for this landscape.
In the first layer I used montserrat orange by Williamsburg mixed with naples yellow. Even though the trees are going to be this fabulous green orange dusky color, I used this amazing purple called dioxazine purple as the base color, it’s dark, transparent, and fairly balanced between red and blue. It’s like the sap green of purples.
In my second layer I brought out the sap green and a darker green mix made of sap green, burnt umber, and ultramarine blue.
At this point I was really hesitant to go over with paint for the fear of overworking what I already liked going on. But as I ‘ve been listening to inspirational words over the past year, you can’t be afraid to ruin it and I just need to treat this as a study, not as a masterpiece. If it’s ruined oh well I’ll just paint over it.
Being bold with the darks really helped ground the painting and I’m glad I did that. I also was lent this amazing maroon dark purple shade- not really sure what color it is but I’ll have to find a way to mix that. I love using dark maroons and purples in watercolors too.
For the orangey glow of dusk kissing the leaves I started mixing the transparent red oxide and the brown madder in with my sap green.
Art, Photography, Flowers- all images are my own unless specified