Cardinal in the Flowering Pear

Cardinal in the Flowering Pear
Pen and ink on paper, 5x7

The flowering pear on the front lawn could not be more abundant with blooms, and this sweet little female cardinal has found a favorite perch!  I love capturing the spring beauty with pen and ink, freely using my pen as I squiggle on those petals feathers and bark.  I have a wonderful collection of india ink Pitt pens, but I return again and again to my favorite superfine and brush tips.  It seems I don’t even pick the others up until my favs runs completely out of ink.... and then, of course, I do!  This drawing is the 1173rd piece of completed artwork in 1173 days.

Monarch

Monarch
Pen and ink on paper, 5x7

Another day reveling in the freedom of drawing butterflies!  I should be working on figures, and I really need to work on my cafe scene skills, but instead I choose india ink and paper for a light and airy butterfly sketch!  I love to watch them fly about, and with spring unfolding before my very eyes - the grounds will soon burst with them!  This drawing is number 1172 in 1172 days.  Perhaps, I’ll return to my figure work tomorrow......

Swallowtail

Swallowtail
Pen and ink on paper, 5x6

Today, I draw butterflies!  No more of yesterday’s stressful cafe scene painting for me.....well, not today.  I do need practice, and practice I will, but for now I am retreating to my happy place!  I am using Pitt pens, black india ink, to complete this butterfly drawing.  I work loosely with my pens, letting the image unfold as the strokes spill out the tip.  I have not kept up with completing a pen and ink drawing every day, but I will continue to draw whenever I get the chance.  I sure wish there were more hours in each day, I never have enough time.  This pen drawing makes 1171 in 1171 days.

Blue Umbrella Cafe

Blue Umbrella Cafe
Acrylic on masonite, 6x6

Oh my gosh!  This was such a challenge!  I think cafe scenes with people, chairs and umbrellas are SO HARD to paint successfully, and I really want to master this - so it is my subject du jour!  I started with my block in, and I had to keep correcting shapes and angles all through the process.  I had trouble seeing each plane as it really was.  With such a complicated composition, my left brain kept feeding me all of this linear information, which was completely wrecking my “painting all the masses” method.  I am not yet happy with this, but I have to start somewhere.  I will look at it again tomorrow.  I already think I need to pop all the lights, and loosen some of the edges on the main umbrella.  I think I’m going to need to paint a month’s worth of cafe scenes before I get them right.....and I’m already dreading the work.  Oh why didn’t I draw butterflies in pen and ink today?  I should have listened to my inner voice!  Grueling painting number 1170 in 1170 days.

Follow the Leader

Follow the Leader
Acrylic on masonite, 7x5

With only a small painting window before picking up the boys, I jumped right into this reenactment painting.  Complete with three horses and one man, I treated the horses as one mass.  I have painted quite a few white horses lately, and it is a study in reflective color from their surroundings.  I really could see the greens, blues and even warm reds reflecting off their coats from other surfaces.  I needed to share the color of the chestnut horse with the landscape, to keep him from sticking out like a sore thumb.  My “sta-wet” palette is drying out, I’ve had to keep the ceiling fan running for big red lab - and it is not conducive for keeping the acrylic palette wet!  At this rate, I will have to replace the paper top in a day or two, when it has otherwise lasted me for months!  This painting makes 1169 in 1169 days.

initial color block in

Going Home

Going Home
Acrylic on masonite, 7x5

I had limited time to work on this painting, in between the busy appointments of my day.  I worked quickly to block in the color, and I put a little more finish into those masses - as I was thinking ahead without realizing it.  I must say, these figures grow more natural by the day!  This is another painting from my reenactment photo treasure trove, and I am having so much fun painting these!  As I look at this now, I may have put a little more polish on the horse than necessary, and perhaps I need a little more definition in the foreground.  As it is already getting late, I will let it rest for the night, and look again with fresh eyes in the morning.  This painting makes 1168 in 1168 days.

block in

After the Ride

After the Ride
Acrylic on masonite, 7x5

Oh, what a very busy Monday this has been!  I’ve squeezed so much into this day, my head is spinning!  Coming to my easel late (once again), I resist the urge to paint something easy and fast.  Staying on track, I choose another of my reenactment photos, this one with three figures - a man and two horses.  I start with a color block in of the forms, but in my haste I forgot to take a photo of the block in!  The values are always the most important part, so I work them into this first step, making all else that comes after a breeze.  The forms unfold naturally as I dry brush on the acrylics.  I am using a limited palette, and no medium or water to thin down the heavy body paints - which is what makes these paintings so rich with color.  My palette is almost to the stage of replacing the paper layer in my sta-wet palette......but I always stretch this out as long as possible!  Painting number 1167 in 1167 days.

Unpacking the Horses

Unpacking the Horses
Acrylic on masonite, 7x5

Yesterday’s block in was the hardest one yet, but today I’ve turned a corner.  This block in seemed to unfold in such a natural way.  It was another complicated composition, and this time, I started with the mass of the dark horse and rider, and treated them as one.  As their angles came together, I connected the masses of the other two white horses.  I considered changing the color of the right one, since white is a questionable color to have going off the edge, but I liked the color - and kept it.  I simply grayed it down, so the bright white would not lead the eye right off the panel.  The landscapes were also a little awkward in acrylic at first (since I always use oils en plein air), but I am also getting more comfortable with them.  I am trying to paint multiple figures each day, all month long, and then see how far I’ve come by month’s end.  Just imagine if I can squeeze in 100 figures this month - what a long was that will go towards improving my skills!  Painting number 1166 in 1166 days.

block in

Adjusting the Reins

Adjusting the Reigns
Acrylic on masonite, 7x5

I didn’t realize what a challenge this composition was until I started the block in.  With this method of acrylic figure painting, there is no sketching first, only a laying in of masses.  I began with the background mass first, allowing the horse and rider to emerge as the background tightened in around the forms.  As you can see from my block in image, the man was out of proportion.  So, I adjusted him as necessary to align him with his horse.  With these small figures, I continue to wonder how much face definition is the right amount?  When I look at my reference photo, there is very little detail, only shifts in value, so this is what I paint.  I am letting my right brain take over, and ignore my left brain telling me there are eyes, eyelashes, eyebrows, etc, in this teeny tiny mass.  When I can’t see them, they shouldn’t be painted.   I really love the light in this landscape, and want to do it justice!  This is my 1165th painting in as many days, and another from my civil war reenactment photos.

initial block in - proportions are off....

Meeting in the Garden

Meeting in the Garden
Acrylic on masonite, 7x5

I chose this subject matter today because it contains three figures, interacting with each other, in a sun drenched garden setting.  So, not only am I studying the figures, but also the light pouring in - and I’m using the limited acrylic palette to do it.  This painting is small, only 7x5 inches, so the question remains - how loosely do I render features?  I feel they should be loose, especially as the landscape work is impressionistic.  Yet, I want the figures easily read, by gesture as well as values.  In principal, I should be able to merely suggest features and the eye will do the rest.  I will just need to paint more of these, and find my own preferences as to defining the face no more than a half inch square!  Painting number 1164 in 1164 days.

initial block in

Watering the Flowers - sketch

Watering the Flowers - sketch
pen and ink on paper, 5x6

After returning home from Michael's Academic Awards ceremony which immediately followed Alan's Second Grade Show, I am posting a vintage style pen and ink sketch of this woman tending her flowers.  I have an acrylic painting almost finished for my month of figure studies, but I am just too tired to tie up the loose ends.  I'll take care of that tomorrow.  This drawing makes the 1163rd piece in 1163 days.

Greeting the Rider

Greeting the Rider
Acrylic on masonite, 5x7

The photos I took during our civil war reenactment have proven a treasure trove for paintings!  Now that I am concentrating on figures, I am choosing photos with multiple subjects - giving me more to work on in each painting!  I am painting small at only 5x7 inches, so these figures are small.  I want to become so comfortable with painting them, that the strokes can be loose, yet define them clearly.  I spend about 30 minutes on the color block in, and find that I am capturing most of the painting at this point.  Finish work is just making the strokes more poetic, and marrying the colors a bit for good color harmony.  Most importantly, I want those figures to be accurate in form and gesture.  I am including quite a bit of background landscape, and it has been some time since I have painted landscapes in acrylic.  I am using the same methods as the figure and portrait work, only applying them to the landscape - which is certainly different from my former technique.  This painting makes 1162 in 1162 days.

color block in

Pumpkin Boy

Pumpkin Boy
Acrylic on masonite, 5x7

I saw this little darling at the plein air event during Buffalo Bill Days in Leavenworth.  He was holding an orange balloon, but the pumpkin was more in keeping with his period clothes.  This figure was easier to paint than yesterday’s.  I tried to keep the first colors of the block in - which was something I lost from block in to finish on “Fishing”.  I also used my Princeton Catalysts for some of the palette knife strokes in the loose landscape work.  They work well for acrylics, even though I prefer the thick, juicy marks they leave in oil!  It is hard to know just how loose to leave the features of the figure, this is only a 5x7, but I want him to clearly read as a young boy.  I hope these figures will be effortless by month’s end, and I’ll be able to quickly drop them in to my plein air work this season!  Painting number 1161 in 1161 days.

color block in

Fishing

Fishing
Acrylic on masonite, 5x7

I first studied for this small painting by doing a pen and ink sketch.  Next, I did a quick color block in.  Finally, I come in and mark all the tiny bits of warm and cool, turning the planes and giving them life.  What I find when I pull the two together to post, is that I really like the freshness of the color block in better!  I sometimes do this!  When I paint without thought, just quickly blocking in the masses, I often return to this and think - wow, I wish I would have been true to that color!  So, I am leaving this for now, but when I get a bit of time, I am going to pop back in some of that wonderful blue on the shorts, and the fresh green in the grass.  Then, I will call it done.  Painting number 1160 in 1160 days.

color block in

Standing Together

Standing Together
Acrylic on masonite, 5x7

I am working on figures in acrylic this month, and this girl with her horse are first up.  I had sketched them in pen and ink a few days ago, so I am familiar with my subject before laying paint.  Without sketching anything onto my panel, I do the color block in, careful to keep the angles and values accurate.  Next, I start looking for those tiny spots of color that round out the forms.  Since I am working small - only 5x7 inches, my marks need to be spot on.  I keep the brushwork going with the shape of each form, upwards for foreground grass or following the muscles of the horse.  Trying to keep strokes fresh and loose, I stop painting when the shapes ring of truth.  So, I am letting this one rest for today, and I’ll take a look again tomorrow and see if it calls for adjustments.  This painting makes 1159 in 1159 days.  Now, onto the next figure!

color block in

Fishing - sketch

Fishing - sketch
pen and ink on paper, 5x6

A big reason I wanted to start a drawing journal was to improve my drawing skills with pen and ink.  I am very comfortable in graphite, but ink is so permanent - there is no erasing and that was daunting!  I grow more comfortable with each sketch, and if I am tackling a difficult composition, I will select a dryer Pitt pen that is running out of ink, to make those first marks!  So, if those marks really fail - its okay, they will be light and easily dominated by the darker ink!  I know, its a bit of a crutch, but it works!  This sketch is of my youngest son fishing on the banks of the Portage River, behind my parent’s house.  I think sketching these figures is harder than just painting them - so that must mean I need more practice!  This sketch is the 1158th piece of artwork in as many days, now on to the paint!

Girl with Horse - sketch

Girl with Horse - sketch

Drawing is just like all other skills, if you don’t use it, you lose it.  I don’t normally do thumbnails, or sketches before I embark on  painting, and so I am doing so now in an effort to keep up with my daily drawing!  I am going to concentrate on figure work this month, and so here I have the figures of both girl and horse.  I will be using loose, impressionistic strokes when painting - which will be quite a contrast from the linear pen and ink sketch.  What will be a real plus though, is that I will thoroughly know my subject before painting.  I want to be able to effortlessly add figures in the landscape, where detail is at a minimum, and where the placement of the strokes show the movement.  It is something I need to strengthen, so it will be my focus - even though I may just slip a few other paintings in to break things up!  This drawing makes 1157 in 1157 days.

On the Perch

On the Perch
Pen & Ink on paper, 5x6

Today is Mike’s birthday, and after dinner and cake, I finally get to my easel.  I am working in pen and ink tonight, and the change from bold, vivid oils to pen and paper is a drastic one.  It is a bit of a struggle to go from such loose, free brushwork to the very linear work here.  I have slipped a bit in keeping up with my sketch journal, but I am determined to catch up.    I really need to get faster to be able to squeeze one more thing into my daily routine!  I will be doing figure painting this month, and I sat down to my journal to sketch out some figures......but the pen went where it would, and I have ended up with a couple of sweet cat drawings - in preparation for paintings to come.  This pen and ink piece is number 1156 in 1156 days.  Perhaps I’ll get to those figures tomorrow!

Bold Beau

Bold Beau
Oil on gallery wrapped canvas, 8x8

This sweet little lab weighs over 100 lbs - and thinks he’s a lap dog!  His head is larger than mine, and his feet bruise mine when he happens to step on them as he goes outside first thing in the morning!  So full of energy, he has certainly been a handful - but he is so full of sweetness and love, that all is forgiven.  My husband’s “special boy” is my muse tonight, as I push the colors in a bold direction.  It was a little harder for him than it has been for the cats and Ray.  He is such an unusual red lab color, and it was hard to translate that into the vivid hues.  I started with highlights, then dropped in bolder colors a little at a time, testing them against their neighbors as I went.  So much of the energy of a painting is in the relationships of the hues - what lays next to what.  He has the most unusual light green “people” eyes - they seem to glow in real life (it was a little creepy at first)!  I’ve mainly used my brushes for this one, but I did do a little topping off with my new catalysts - which I love!  If you don’t have one, you simply must try one!  They make marks unlike any other tool.  This painting makes 1155 in 1155 days.

Ray

Ray
Oil on gallery wrapped canvas, 12x12

colors in progress...

So, I have probably lost my mind, but I am having great fun with color as I get wild with Ray Charles tonight! What possesses me to go after this portrait in such a way?  Painting daily takes away all fear when it comes to trying new things!  I’m undaunted when I slap down a strong, vivid stroke, the unexpected is just that much more exciting, and most of all - it is sheer, undiluted fun to push those boundaries way, way back!  I chose Ray Charles, because I love the infectious joy that his smile exudes......and it kind of goes with the music theme I had going with a few paintings last week.  I got my new catalysts yesterday, and I have used three new styles on this painting - the square, the arrowhead and the large chisel edge.  I love each of them!  I used the tip of the arrowhead for those little choppy hair curls, and the others throughout.  I probably used the square head most of all!  I think they are SO much better than palette knives, and I may never pick another knife up!  This wild and crazy painting is the 1154th in 1154 days :)

first sketch over old landscape!