Karl and Kaden

Karl and Kaden
16x20 graphite on bristol
sold

The bonds that tie are such a compelling subject for me.  This is the companion portrait to the "Kat and Chloe" of the last post.  I love drawing mothers and babies, but I also love the father-baby bond.  There is no relationship as tender as that of a parent and child.  This piece was also executed mainly with an 8B pencil.  I like to use a variety of paper tortillions to blend and shade the flesh areas of the faces and hand.  I additionally use a mechanical pencil for the lash and brow work - once I have shaded in the main areas.  Once I feel like the portrait is finished, I spray it lightly with workable fixative to prevent amy smudging of the graphite.  I also try very hard not to touch the bristol with my hands as I work.  If the oil from my skin gets onto the paper, it changes the way those spots accept the lead.  If I decide more work is needed, I simply continue drawing, always finishing with a fixative on top.

Kat and Chloe

Kat and Chloe
graphite on bristol - sold

It is so easy to draw someone I know - especially when she is one of the sweetest friends I have ever had the pleasure of knowing!  She is pictured here with her new little bundle of joy.  There is something about the bond of motherhood that draws me in like no other - almost as if I am compelled to capture it with pencil and paper.  I used my favorite vellum bristol and did the majority of work with my trusted 8B water-soluable pencil.  Perhaps as little as 5% of this drawing was executed with my other various pencils.  They are simply not needed.  When I reach the point where I can almost feel my subject breathe, I lay my pencil down, step back from the paper, and take a long look.  I let it rest until the next day, and look again.  If I am still satisfied, I sign it, and look towards the next piece.

My Little Chickadees

My Little Chickadees
Oil on panel, 11x14

Flowers and birds always call out to me when I'm out in the countryside painting.  These irises called to me from a garden along the road side in Augusta - just east of the little park in town.  I started this during a Joshua Been workshop on a cool, crisp morning - my first attempt at plein air iris painting using my oils.  The trick for me was to be sure and get enough paint on the surface!  I was able to lay the paint on thicker than I normally do - which was so much fun!  I absolutely love the feel of the creamy oil paints under my brush.  Feeling like the painting needed a little more interest, I added the chickadees later - while looking out my kitchen window to the feeders. That is the great thing about being the artist, I can change things up with a few more strokes - anytime :)

Autumn Color in the Quarry

Ruckus Ridge
oil over acrylic on panel, 12x9

The misty sky was a good backdrop for the changing leaves in Augusta.  The locals call this "Ruckus Ridge" - a place where people like to hike up the ridge and gather around a campfire.  I under-painted this one in acrylic, and layered the oils over this foundation.  The palette knife was my last tool, building up texture on the rocks and foliage.  There are rumors that a cougar has been spotted here - so each rustling of the brush behind me pushed me to work a little faster.  It is so fun to experiment surrounded by such beauty!

No Greater Gift

No Greater Gift
graphite on bristol
sold

From beginning to end, this was an absolute joy to draw!  I have gently bumped up the contrast by deepening the darks, trying to keep   it all soft and balanced as I work.  If I apply too much, I simply pull it back out with my favorite pink eraser (yes - the one we used in grade school!)  I have many erasers - but this is my "go-to" one - always.  The very last thing I do is to take a small sable brush lightly dipped in water to the darkest lines.  I know it sounds crazy - but this is the real benefit of using water-soluable graphites.  It darkens the darks even more, for a more life-like result.  What better way to spend the day?

First Day of New Work

graphite on bristol - 11x14

It feels SO GOOD to pick up my tried and true graphites again!  It is just like slipping into a warm blanket with a hot cup of tea!  The "mother and child" subject matter is one of my absolute favorites - so this day has been very rewarding.  I begin with my line drawing, then I focus in on the most important facial features - eyes, lips, noses.  Once I am satisfied with this foundation, I spread out from there.  I use mainly an 8B water-soluable graphite pencil for this work.  I have dozens of others, and may pick up a different one for lashes and brows, but the creamy soft lead is by far my favorite.  Tomorrow, I will lay in the rest and start to deepen the darks for good contrast.

Misty Morn in Autumn

Misty Morn in Autumn - 11x14, oil on panel
sold

I love when the weather starts changing and autumn is in the air - especially after the super hot, dry summer we have had in Missouri!  Fog and mist were spreading like a blanket as I started this painting.  Easel and paints set up in Augusta shores, this plein air "path" was really a clearing through the woods for electrical wires.  With a little artistic license, the path unfolded before me.  The leaves were dropping beautifully - lining the woodland floor and leading me right down that path.  I pull out indian red and cad yellow deep at this time of the year - and I'm playing with the Gamblin grays, too.  I use a limited palette so much of the time - it is fun to try something new on a whim!  The turning of the leaves is such a brief and magical time - I sure hope they don't all turn and drop before I've painted my fill!

Sunlight in the Garden

As I approached this path, I knew instantly that this would be my scene for the Sunset Quick Paint at the STEMS Plein Air Event.  Time after time, I find myself picking out spots where I am looking into the sun as I paint.  I am drawn to the way the light illuminates the flowers and foliage as it strikes them from behind.   Trying to keep my wide brimmed hat between the sun and my eyes, I mix the oils and apply the paint.  Laying in the lights quickly - I move next to the shadows.  Upon finishing, I find this is one of my favorite plein air pieces painted in one of my favorite places.
Sunlight in the Garden
Oil on panel - 14x11

Woodville Grain Elevator

Irene Webster Pippitt Historical Award
2012 HFAA Show

This fabulous grain elevator is virtually unchanged since it was built in 1920.  It received it's last coat of paint in the 80's, and has only been used sporadically in recent years.  It resides in the town of Woodville, OH - which is just down the Portage River Road 4 miles from my parent's house.  Reports say that it will be torn down before it becomes a dangerous building.  I wanted to capture it in oil, before it goes the way of so many other american icons.  This is hands down the most beautiful, historic grain elevator I have had the pleasure of seeing and painting.  This is now showing at the HFAA Show in the Historic Catergory.

Woodville Grain Elevator
Oil on panel - 11x14

The Peaceful Portage

Judge's Merit - HFAA 2012 Show

This was painted from a small plein air study that I did from my parent's back yard.  I set up on the bank of the Portage River in Elmore, Ohio, early one morning.  With family health concerns looming, the act of putting paint to panel calmed and soothed my nerves.  This special place called to me each day.  As I walked it's banks, I could see paintings in every direction.  On this day, rain was coming and the sky was changing - so I had to work quickly.  All stress evaporates with brushes in my hands.

The Peaceful Portage
Oil on panel - 18x24

Windows of the Soul

Honorable Mention - HFAA 2012 Show

Sometimes, a drawing just flows off the tip of the pencil.  Other times, it is brought into this world like a hard fought battle.  I must say, this falls into the latter category.  Using new pencils AND changing up my normal methods was certainly the biggest drawing challenge I have had.  No resting in my comfort zone for this little darling.  After so much more work (i.e. blood, sweat, and tears...) I can lay my pencils down.  This one is now framed and ready to go to the HFAA show tomorrow.  I feel like I poured my own soul out on this one!

Windows to the Soul
tinted graphite on bristol, 20x16

Autumn in the Air

I have mixed it up again with this fall plein air painting.  I started first with my sketch, then with my palette knife applied the texture for the tree and shrub foliage.  Once dry (again, holding it in front of my car heater on high), I worked a loose underpainting in acrylics.  I like my Golden acrylics the best, I love their high pigment content - and they have wonderful mediums to play with!  The acrylic dries very quickly, so I then started with the oils.  When I layer like this, I find the depth and atmosphere build up easily and naturally.  I painted on location at the top of Kill Deer in Augusta Shores - where the autumn color is amazing :)

Autumn in the Air
9x12 oil, acrylic & molding paste on panel

Through the Rose Arbor

When I look again at one of my plein air pieces, it is just as if I am transported back to the time and place in the painting.  I can smell the humid air, feel the breeze on my skin and the brushes in my hand.  I painted this one to replace a piece I sold at the Stems Plein Air Event of the rose garden at the Overland Park Arboretum.  I used my artistic license and changed the sweep of the path for better composition.  I also painted the beds a little wilder than the perfectly manicured flowers on site.  The day was hazy and the morning sun was just starting to warm up the scene, when I picked up my brushes.  The paints seemed to glide into place almost without thought.  I intended to underpaint in acrylics, going over with oils as I neared completion.  But, once to this point, I only topped off the flowers and foliage with oil.

Through the Rose Arbor
22x28  oil over acrylic on panel
Best Of Show Award - Tri-County Art Show

And still working......

Once I start laying in the background color - there is no going back!  I'm not at all sure I like where this is going......I will next add more shading to all edges and blend.  I will keep working it until I am satisfied.  It has already taken three times longer to get to this point, than with my normal pencils.  Well, there is no learning without stretching outside of my comfort zone - and I am way out now.

Work in Progress...

Here is the next day's work.  I'm getting used to the tinted graphite - but I still miss the super soft blending of my normal pencils.  These little curls are becoming such a fun exercise!  It is just like putting a puzzle together.  At first, there is just a mess of squiggles, but as each curl is defined - it all comes together.  I still need to put more color on the face, then the shirt.  Last, I will blend in the background.  Nothing distinct, just color and shading..........I hope it turns out!  I want to enter this in a drawing competition, if all goes well :)

Work in Progress

I thought I would show my current work in progress, which is a little scary - as I am trying out  a new chestnut graphitint pencil.  I can feel the extra pigment as I work.  I can not blend as I normally do, it takes far more effort.  I love the warm color, but I miss my black and white already!  I'm also going to fill in the background, which I almost never do.  I like the effect of only the subject reaching out from the page, but I feel like experimenting (I hope I'm not sorry!)  I love these curls  - and they are sure going to be a challenge :)

A Dream of Hydrangeas

Early one morning before a workshop, I set out to find just the right spot to paint at the Overland Park Arboretum (during the STEMS Plein Air Event).  As I approached the beautiful iris garden, these hydrangeas bloomed in profusion!  It has been such an early year for all the flowers, that these were out a month early.  It was misty and damp as I started blocking in the masses.  This time, I worked in acrylic, fully intending to top it off with oils.  The early morning sun cast a golden glow as it rose over the tree line.  I used a little soft gel medium to add texture to the petals, laying in the colors in a loose manner.  As I neared the finish, I stepped back, took a long look, and decided the oils just weren't needed.  The effect was misty and moody - and it was time to put the brushes down.  That is one of the hardest things to know - just when to stop.

A Dream of Hydrangeas
14x18 acrylic on panel
sold

Magic in the Morning

I painted this one at the Two Hour Quick Paint competition at the Deanna Rose Farm on the last day of the STEMS Plein Air Event.  Arriving by 6:30 am, the artists were treated to donuts and bagels, before we all headed out to paint at 7:00.  This spot is located a good distance from the entrance, but is a favorite place of mine for garden painting.  Hustling down with my gear, I came to this spot, and the light grabbed me.  The early sun lit up the flowers, while the shadows remained long across the path and into the more heavily treed area through the gate.  I set up my easel and started on my masses.  About half way through, the sprinkler system came on, drenching the whole left side of my scene!  I already had most of the preliminary work done, so I concentrated on the rest, knowing the sprinkler would go off soon.  As I worked, I noticed there were also sprinklers right in front of my easel leg.  Boy, I hoped they wouldn't go off next!  I worked faster, feeling the pressure that I might have to suddenly move if the "rains" started.  In 20 minutes, the sprinklers went off.  Five minutes passed, and YIKES!!! - they came on right behind me!  I quickly moved up six paces to clear the downpour - and set back to work!  I raced to a finish, and started packing up my easel, just before the last sprinklers went off in front of me!  Plein air painting is always an adventure.  One day, it is the bugs in my pant (or up my leg), the next - hidden sprinklers pop up out of nowhere and rain down on my painting.  I have almost lost my easel twice as it started sinking down into the edge of a lake.   I have painted in the cold, driving rain (and hail), as well as the hottest summer sun at 105 degrees.  But, I have also painted numerous occasions in weather so beautiful, surrounded by God's beauty and abundance - that I am forever inspired to go back out and capture the glory.

Magic in the Morning
11x14 oil on panel

Mother & Babe

I drew this in graphite on bristol of my oldest daughter and my first grandchild, Alan.  She was comforting him in the front hall when I captured the reference image.  Drawing is very natural to me, it is as if I don't even have to think while I lay down the strokes.  It is the first medium I remember picking up long before preschool.  By the time I was in kindergarten, I had been drawing for years.  I love the feel of pencil on paper, the way it blends into the best skin shades.  It is the root of where all art begins for me.  Each piece begins with a sketch, and blossoms from there.

See this one on display at the Kansas City Club at the Missouri Valley Impressionist Society Juried Show, Public Openings Sept. 21 & Oct. 9, 6:00-9:00.

Mother & Babe
16x20 graphite on bristol
Print Now Available

Summer Oasis

 My easel was set up close to water's edge, in the shade of the trees.  This one was started in the afternoon on one of those 105 degree days.  Despite the heat, the breeze blowing over the water was cool and refreshing.  There were several us Missouri Valley Impressionist Society members on the banks, painting en plein air at the Perry Yacht Club.   It was one of those days where time stopped as I worked, and I could have painted all day.  The yachts and the waves were such a compelling subject, I painted three panels in oil from this place.  This day was my first experience painting sailboats - and I loved it!  I can't wait to paint at this event again next year.

Summer Oasis
9x12 oil on panel