Full Moon Over the Marsh

A few weeks ago in art class Jerry did a demonstration of a marsh painting. I thought I would have a crack at one myself since I could incorporate some abstraction into the equation. I quite like the results of this one.

Abstract Trees

I decided to fix the distance of the tree trunks by adding two more, rather than redo the painting. I think this does look a lot better - hope you agree Saundra. Now I can take it to class and find out what else could make it a better painting.

I wanted to do an abstract tree painting and after trying the first one on Arches cold pressed paper I decided that the loose style it needed lent itself more to the hot pressed paper. Saundra Lane Galloway made a very good critque that the trees were too equidistant, which is exactly what my art teacher, Jerry Stitt (AWS) would say if I took it to class. I will redo this one.

Clouds Over The Bay

We get some spectacular skies this time of year over San Francisco Bay. I used artistic license and emphasized the colors a little. I think I will take this one to my art class for critique on Thursday. Will be interesting to hear what the criticism is. It's usually pretty good. I've learned a lot from the class. Will let you know what Jerry Stitt (AWS) has to say.

PS: Jerry liked my painting and the only suggestion he made was to raise up the hill on the left - which I did - so as not to have too many background hills all the same size. I guess I should have left the before pic up to see the difference, but I have saved over it now.

Abstract Landscape I

I took the watercolor below to my weekly class Thursday for critique. Jerry Stitt has a sign above where he posts our art that says, "how can I make this a better painting" - a very informative part of the lesson. Jerry advised the above crop which does away with some of the lower hill. I think he was spot on. He also suggested a cool glaze over the bright sienna forefront to tone it down and not make it so prominent that it draws your eye to that area. I agree on that too, but I've messed up so many watercolors thinking I could improve on them, that I am going to leave that alone. I'll remember the advice and use it in my next low key painting. I thought I would show the before and after to see what everyone else thinks.

It's been a while since I posted last but now I'm back. Thanks everyone who asked after me. I took some time off over the summer to spend with family. I also went through a serious painting block - which stemmed from not being able to put onto paper what I wanted to achieve. So I signed up for classes with Master watercolorist, Jerry Stitt, AWS. I am learning a lot from him about how to be more loose when painting. It's a four-hour class once a week in which he critiques one of your paintings and then does a demonstration watercolor. He has a nice loose style, and watching him paint has helped me a lot in achieving my goal of abstract impressionism. I'm also learning to paint larger pieces using larger brushes - which helps with the looseness. I never did get the abstract thing out of my system. I hope you like this early attempt.

Greens For Watercolorists

I've been so busy lately helping out my son with his business that I have not had time to paint. But I did have time to think, mostly about my fear of greens, which really limits me in my landscape watercolors. What got me thinking about it, and realizing I had this problem, was a recent Mineke Reinders blog on greens. She then went on to paint some really lovely watercolors using a myriad of greens and inspired me to face my fear. I needed to experiment with mixing greens and come up with a selection I would like. Here is my first attempt. Some worked and some didn't.

From top left to right: French Ultramine+Transparent Yellow; French Ultramarine+Aureolian Yellow; French Ultramarine+Windsor Yellow(a blue green); Phalo Blue+Transparent Yellow; Phalo Blue+Windsor Yellow. Middle row, left to right: Cobalt Blue+Aureolin Yellow; Cobalt Blue+Transparent Yellow; Viridian+Aureolin+Indian Red; Viridian+Aureloin+Light Red; Viridian+Light Red. Bottom row left to right: Indigo+Aureolin; Indigo+Transparent Yellow; Indigo+Windsor Yellow; French Ultramarine+Aureolin Yellow; Hookers Green+Alizarin Crimson; Hookers Green+Burnt Sienna; Alizarin Crimson+Hookers Green.

I don't usually buy greens in a tube because most that I have tried have been a little harsh on their own - like Hookers green. I only liked a few of these mixtures I came up with. I need to come up with a few more before I test them out in a painting - maybe this weekend. If anyone has a nice green mix to share please let us know.

Artists who seem to have no problem with greens.
Laura's Watercolors
Art For Life
Fabio Cembranelli
Robin Maria Pedrero
M.E. Bailey Art
Brent Perkins

Abstract Mountain Range

I have to get this abstract thing out of my system - or maybe not. This watercolor was painted on Arches hot pressed paper. I wanted to see if I could get similar results to what I got from painting on Yupo. Hot pressed watercolor paper is so different from cold pressed. It's easy to get blooms if you use watered down colors. I found the best results came with a slightly thicker mixture of watercolor paints. I was trying different techniques of applying the watercolors and was quite pleased with this result. Would love to hear your comments.

Aqua Bloom Watercolor

Another abstract watercolor on Yupo. One thing I can say about its smooth surface is that it really encourages you to be loose. I have seen some quite detailed work out there on Yupo, but if you add water to your acrylics or watercolors, the paint moves around and blends easily, sometimes giving surprising results. That's what makes it so interesting and well-suited to abstract painting. I plan to also try painting on hot pressed watercolor paper. I have never used it and want to see if it will give similar results to Yupo. I was wondering how many of my fellow bloggers use hot pressed watercolor paper. Your feedback and tips would be welcome.

Abstract Watercolor - Sea Life

Saundra Lane Galloway posted a photo she took on her blog and said, "The picture I am offering you today is for those abstract lovers out there. It is a pic I took at the local aquarium one day. If it appeals to you, have fun with it."

I have been experimenting with Yupo as a medium for abstract watercolors. I thought the colors in Saundra's photograph would possibly make an interesting abstract - so I did what she suggested and gave it a shot. Yupo is interesting to paint on - especially with fluid watercolors. The paint flows on this very smooth plastic surface and can be manipulated in a controlled way. A mistake can be wiped off and fixed, unlike regular watercolor paper. Yupo is made from polypropylene by the Yupo company who say they use 100% recyclable materials. One has to be careful handling it. The natural oils from one's hands creates an impenetrable surface. I had to use plastic gloves when handling the material. After taping it down to my table I was able to remove the gloves and was careful not to touch the surface while painting on it. I used an acrylic fixative to seal the watercolor once it was dry.