This will probably be my only Halloween-specific painting I do this autumn, mainly because the local county tends to dress everything in pink for Breast Cancer Awareness month (and I have three aunts who have been through that!) but Halloween has always been one of my favorite holidays. Well, except the year I got chicken pox in third grade, but that’s irrelevant even though my mom might mention it in a comment.
My previous painting of the pumpkin in sunlight inspired me to do up a carved jack o’lantern. While I still made the effort the get the shading and light correct, this one is a bit more whimsical than realistic. This is actually the second painting, as I was not quite finished with my first attempt when I noticed the sheet of paper had a flaw where the paint just would not adhere … right on one of the teeth. Once I noticed it, I had to redo the painting, because it was a couple of white splotches that stuck out like stark white pieces of spinach, and the position of the flaws reinforced that.
So yesterday I cut the flawed sheet off the watercolor block, transferred the general outline to a new sheet, and went to painting it again. I think this one is actually a slight improvement over the first, and I have the general feeling that this painting is fun to look at, in a very Halloween way.
Now, for all the links for those who are interested in owning either the original or prints or apparel (because it makes for some awesome shirts, and even more awesome face masks!). The original can be purchased either directly from me or through Daily Paintworks through PayPal. Prints and one style of masks are available through my Pixels page. For this image printed on all kinds of apparel and accessories, see my page at RedBubble.
Occasionally, a bit of artistic magic happens and the art piece just flows out onto the paper or canvas. That happened yesterday, and the result is a return to my watercolor paints, and what can best be classified as a still life, as it is a pumpkin in the sunlight.
I must confess to a fondness for drawing and painting squash. That will probably be obvious as time goes on, but I think the skin on squash is visually interesting. It gets even more interesting when you slice it open and reveal the flesh, pulp, and seeds, like in my charcoal drawing of a quartered squash with a wedge. Since I felt inspired to play with color yesterday, the focus visually was more on the orange of the pumpkin skin and how the sunlight and shadows modified the color.
Believe it or not, I started this painting with blue – indanthrene blue, to be exact. I only left the one corner of that blue uncovered, but it is lurking in the bottom-most layer of the shadows. I only used two oranges: a bright, cheerful yellow-orange, and a strong, vibrant red-orange. I actually used more colors on the stem than the pumpkin flesh, but part of that was trying to tweak the tan.
Now, for the reveal:
I couldn’t think of a more-original title than “Pumpkin Close-Up,” but perhaps I used all the creativity getting the shades of the skin just right to look like October sunlight is hitting this symbol of autumn. I suppose whoever buys the original can rename it. At 14 by 10 inches, this is actually my largest watercolor painting to date, though I would like to go a bit larger once I can put together a cat-free zone. I still have not forgotten finding a cat’s-paw print on one of my early watercolor exercises.
For those who would like this painting but in a different size, prints are at my Pixels store … along with jigsaw puzzles. I think this would be a fun puzzle to put together (in a cat-free zone, of course). My RedBubble store also has a puzzle option, along with apparel and other accessories. Finally, if you are the person who wants to put the original on your wall, you can purchase it through Daily PaintWorks and PayPal. Oh, the original does NOT have the domain name on it – that is something I add to the scan because I know image “borrowing” is almost as old as the internet itself.
I am starting to list my original paintings on the site Daily PaintWorks for additional exposure as well as making it a bit easier to handle the business side of selling online. First listed is the 10 by 8 inch watercolor, Monarch on Coneflower. Prints will still be available through my Pixels store, and apparel and accessories through RedBubble, even after the original is sold. I’ll be uploading an available original painting at DPW each day for the next month, as they offer a 31 day free trial, and I am still looking for my “place” on the internet where my art will do best.
I am finally getting to the final image from the black and white challenge, which ended up being a photograph I took in early July of my husband’s jalapeno plant, cropped, straightened, and with the color taken out. I had a busy day out of the house that day, running errands up in Palatka, and was tired both physically and mentally once I got home. I really was not happy with the result, and immediately planned to redo it and replace the image with something better, something more “me” than a cluttered and busy photo.
That something else ended up being the very next challenge, which I started with the Calla Lily painting in acrylic. Since the theme for the next challenge was “anything goes,” I figured to do up three images from the black and white challenge in color, using acrylic paint since I could use the practice with that medium.
Some days, the paint just flows perfectly, and the painting comes together “like magic,” as the saying goes. Then, there are days when I feel as though I am fighting every step of the way … and the first day of this painting was definitely a struggle. I blocked out the position of everything easily enough, but my first stab at the background color turned out too purple, so I mixed up some more paint and tried again, with this time being too light a blue. Then, when that dried, I noticed I did cover the too-violet paint well enough in some spots, so I went over it a third time, using the paint straight from the bottle. Then, I turned my attention to the green leaves and stems.
At the time, I only had two shades of green at hand, and neither one was dark enough to be a good jalapeno green. I tried mixing, but at this point it was time to put the critters up for the night and I was frustrated enough I needed to suppress the urge to throw the canvas across the room. That’s usually a clear sign to stop working on it, and try again the next day. So, this painting knocked me out of the short, three-day “anything goes” art challenge, which requires one completed work each day of the challenge. Dropping out of a challenge is only a minor disappointment for me, and one I actually prefer to posting up something I don’t like.
After officially dropping out, hubby was home and asked me what part of the painting had me so frustrated. When I got to the part about not having a good green, he started digging around his bunch of paint (he has used this brand for several years now) and started pulling out half a dozen shades of green for me to choose from. Then he remembered some blending medium that slows drying time that he tried but doesn’t use often, and also a wet palette setup to keep the paint you mix up on the palette from drying while you work.
With the expanded selection of greens available the next day, this painting came together so much easier! This one I actually like, and it is currently on display at El Amigo Mexican Restaurant – because that really is a perfect place to display a painting of a jalapeno plant that has a couple white blossoms, one dark green fruit, and two ripe red peppers (when jalapenos turn red, they are called chipotles). This particular painting may not be perfect (and to be honest, it isn’t because I can spot mistakes) but I like it much better than the photograph.
I’ll likely do a similar painting, or maybe recrop the photo for a more close-up view of it, and hopefully it will have fewer mistakes and be less frustrating. For those who may want a print either larger or smaller than the original 11 by 14, check out my Pixels store. If you want this printed on apparel or swag, look here on RedBubble. For the original, you can email me (“artist” at this domain) or message me on Facebook – or call the number on my business card at the restaurant.
The working title for this is Garlic and Chives, and it is an acrylic still life on a black 10 by 8 inch stretched canvas. I am working from a reference photo, and I have been stuck at this stage for about a week. Something seems a bit off, and I am still not quite sure what. Part of the challenge for this is the reference photo has two light sources out-of-frame, which throws odd but interesting shadows.
I am feeling a bit frustrated with the very narrow range of reference photos for garlic as a still life subject. Most of what I have found is lighted for photography (duh) which is actually not so good for painting. In painting, especially a still life, you want dramatic lighting with definite contrast between the lit highlights and the shadows – in art jargon, a high contrast in values. The test I use is to take all the color out of a potential reference photo and see how it looks in greyscale (also commonly called black and white).
What seems to be the obvious solution to the lack of good reference photos – set up my own still life arrangement and paint it from life – is not so simple when you start to play around with trying to light it. Most artists who do this on a regular basis have a box and specific lamps to get the desired effect … oh, and usually a cat-free studio. That is my dream: a cat-free studio, with windows that are high up on the walls, with the right lamps to cast the right shadows. Until I attract a wealthy patron, or get a winning scratch-off lottery ticket, it is still in the realm of dreams. But hey, everyone needs to have a dream for what the end goal is.
I did both of these pieces from the same reference photo, and both turned out nicely in my opinion. I worked this drawing first as the sixth in the black and white challenge, done on 9 by 12 inch black paper with white colored pencil. I included as much detail as I could, keeping the pencil point sharp to even get most of the dew drops on the white petal while trying to capture the light and shadow.
As the black and white series progressed, I found myself enjoying these white on black drawings a lot when I chose a good subject for it. I will be returning to this medium for more white flowers in the future, with and without additional colors.
As I’ve noted in the caption, the original work is available (unframed). I will ship (packing and shipping costs are extra) so if you want the original, you can message me on Facebook, or email me direct (artist at this domain). If you prefer a larger or smaller print, those can be ordered at my Pixels store, while apparel and accessories are at RedBubble.
I will likely be revisiting this particular reference photo for more work … as I already have. The art challenge immediately after the black and white challenge was “anything goes” in terms of theme or subject, and I wanted to redo the calla lilies in color on black canvas, using acrylic paints since they do dry quickly enough to scan the same day. I chose this particular photo reference for my first painting, and had two 8 by 10 black canvases gessoed to my desired smoothness prior to the challenge starting. On that first day of the new challenge, the painting flowed smoothly from my brush with ease.
I think 8 by 10 is going to be the smallest I paint for now. I know some artists love working on a small scale, but I must confess to dreams of working on LARGE canvases at some point in the future. That will likely involve a cat-free studio space, so for now 18 by 24 inches is probably my upper size limit, while 8 by 10 looks to be the smallest I can be happy doing.
For the acrylic on stretched canvas, the original is available, again you can either message me on FB or email me directly. Prints large and small are at my Pixels store, while swag is at RedBubble. I should probably mention that the image I uploaded to both print sites is the original high-resolution scan, without the domain name on it. I am going to be putting the domain name onto all my smaller and lower resolution images because the battle of image theft is about as old as the internet is. I should have done it as soon as I got this domain name.
Finally finishing up my six day blue-feathered bird series from the other week is a pair of scarlet macaws. Personally, I’ve always thought we should call them rainbow macaws, because while most of their feathers are a lovely shade of scarlet red, they also have bright yellow, vivid green, and brilliant blue feathers, as you can see from their multicolored backs.
I was extremely pleased with how the tree limb perch came out, although getting the scarlet red with shading was a challenge. In retrospect, I think the green background is not quite right, and probably needed to be toned down a bit more. The birds themselves look more Impressionist style than realist, but since this was for an art challenge I had a (self-imposed) time limit on how much I could fiddle with it. Being the last day of the art challenge, I was not inclined to drop out to fuss over it. As usual, prints are at my Pixels store, while swag and accessories are at RedBubble. If you are interested in the original, you can reach me on Facebook or email me directly (artist at this domain dot com).
I have to say that I am loving these art challenges organized on an art forum that I participate on. I particularly love the themed challenges, as it feels more like a group activity, instead of just me as a solitary artist trying to capture fleeting images from my mind. I remember that one semester of drawing I took in the autumn of 1991 in Texas, where there were about forty of us situated around the large room, all drawing the same objects in the center, but from forty different angles and by forty different hands. I like to listen to an art podcast while doing it, which reinforces that feeling, as we used to discuss the drawing subject while we did it.
I have finished another art challenge, seven days with the theme of “black and white,” and will be starting a shorter three days (“anything goes” non-theme) tomorrow. I may even get caught up over this week, as I am planning to redo at least two of the images I did for the black and white challenge, in color on stretched canvas, but in a different aspect ratio – 8 by 10 inches instead of 9 by 12 inches all the black and white drawings are.
Continuing the blue-feathered bird series I completed the other week, this Peacock Portrait is the fifth acrylic painting. A close-up head study of this beautiful crested bird, I feel I was able to capture a small (but significant) bit of why I love to look at these birds. Yes, I know they can be noisy, but they really are pretty and make a challenging subject to draw or paint.
This is actually the first time I have attempted to draw or paint peafowl, believe it or not. This was part of the six day “blue” themed challenge, so something about an art challenge feels like permission to try things I might feel intimidating; permission to push my boundaries and try new subjects and media. The part of painting a peacock that feels most challenging is trying to capture the elusive, shimmering iridescence of the feathers, without going too far and having your bird look more like sunlight sparkling on water.
This painting scanned nicely, so if you want a larger print you can get that through my Pixels store. If you want it on some RedBubble swag, the scan works well there also. The original is 9 inch by 12 inch unframed, and if you want that, contact me directly via email at “artist” at this domain dot-com.
Day four of the six-day art challenge with the theme “blue,” which I narrowed down to “blue-feathered birds,” was a difficult one for me. Not because of the subject nor the medium, but my back decided to act up in a most uncomfortable way.
I was actually quite excited and enthusiastic about this painting in the early stages. First, the sketch went smoothly. The paint went on evenly for the sky, then I started painting the sea with three or four shades of blue to give the appearance of waves rolling in from the horizon. I painted the handrail after that, and was even more pleased with how well it resembled weathered wood.
Painting the heron proved to be not QUITE as easy as I anticipated. I mixed shades of the blue-gray, dabbled a bit of brown in some for the neck, and still was not satisfied as my back began to really hurt. I didn’t want to drop out again, since I had dropped out of the “green” challenge a couple weeks ago when my second piece needed more work than I had done in one day. Then, I had the idea to lighten the sky and see if that made the colors and shades on the heron work.
It did! I felt like I dodged a bullet there. I started to do a little more on the heron, then noticed the white of the paper showing around the bird’s feet. Ugh – I hadn’t painted close enough on the wooden railing. At this point, I said , “Good enough!” and scanned it for the challenge then went to lay down for two hours.
As I was laying down, I decided I would NOT finish this piece. Instead, I will be doing it again, in oil paint on a traditional stretched canvas. Since the stretched canvases don’t scan as well as flat canvases, panels, and paper do, there will be no prints of the painting to come, nor any of the fun little accessories with the painting printed on them. So, the oil original will truly be an original, and the only prints will be of this acrylic study on paper, available through my Pixels store.
I’ll try to post the fifth in the blue-feathered bird series tomorrow, depending on weather – satellite internet gets fussy during thunderstorms.
I have finished the series of six blue-feathered bird paintings, although I did fall behind on blogging them in a timely manner. I hope to get caught up before I start my next series. Here is the third blue-feathered bird, the blue and gold macaw parrot.
He looks like quite a cheerful and playful parrot, as he cocks his head to one side while looking at the camera (for the reference photo). He is probably someone’s beloved pet, and the main change I made from the reference photograph was to take out the concrete and chain-link fence in the background and just use a muted orange for a background color. I think I caught the macaw’s expression, and spent a bit of time on the eye, face, and patch of green feathers on top of the head.
Out of all the parrots, I like macaws best as subjects for drawings and paintings. They have the most brilliant colors in some very saturated hues, and the color combinations are so pretty. I have already done the hyacinth macaw, and there is one more macaw to come (already painted).