[I apologize to my blogging friends for falling behind in viewing your many entries.  There have been a number of deadlines I’ve been facing, and now I feel somewhat negligent in posting and commenting.]

In continuing to try and improve on my initial study of a pair of horses, I have placed them in a more complex setting.

Icelandic Horses "Odur" and "Lettir"

I am somewhat more satisfied with this result, and have been learning a great deal in the process.  This is Arches Hot Press Paper which is has a very smooth surface and is slightly creamy in tone.  It has the qualities of  illustration board.  The demand on the painter with Hot Press is the need to lay the initial wash down with the hope of not going back into it, or back over it.  Because there’s no ‘tooth’ to the paper, the paint floats on the surface before finally being absorbed.

Although the flaws of this scream out at me, the reason watercolour is considered the most demanding of painting mediums is simply because trying to correct the flaws will result in outright catastrophe.

All I can hope for is renewed confidence and another attempt.  However, I remain pleased with the composition, if not some of the particulars.

My painting mentor taught me to adhere to the “20 to 1 principle”–‘for every painting you keep, throw out 19’.

Horse study . . .

March 18, 2012

I have been endeavouring to paint a fondly-loved pair of horses for a friend of mine.  Were I to choose my own equine subject matter, I would likely have preferred more than two, or where they weren’t quite so front and centre.  I have painted horses before, but lack confidence due to not being raised around them.  I lack fundamental knowledge of what they are like, i.e. horse sense (groan).

A beginning (from the rear)

"Charging ahead from behind"

Starting from behind . . .

"Odur" nears completion . . .

"Lettir" joins "Odur"

"Lettir" joins "Odur"

Sky is dropped in with a few strokes

wash of sky is dropped in with a few strokes . . .

"Odur" and "Lettir"

"Odur" and "Lettir"

The horses aren’t too bad, but the sky is too blue, and the field too green.  I am also not thrilled I added the stone wall, as it cuts a swath right through the middle.  So . . . back to the proverbial drawing board.   I will keep you posted, and provide the next instalment.

Teeny Weeny

March 11, 2012

These two frames were recently given to me by my friend Shiela, and truly are the smallest I’ve ever come across.  Measuring 1.5″ x 1.5″, or 3.5cm x 3.5cm, the paintings themselves had to be 1″ x 1″  or 2.5 cm x 2.5 cm in order to fit within the glass.

teeny weeny and weeny teeny

I used as subjects, birds based on the photographs of Cornel Apostol at http://apostolcornel.wordpress.com, who has introduced me to species we don’t have here, but ones he has at his feeders in Romania.  I believe the first one is a Chaffinch or ‘fringilla coeleb’ and the one on the right is a Great Tit, or ‘parus major’.


March 5, 2012

My Great Niece and Nephew always enjoyed their Aunt and Grandmother’s ‘tuck-ins’, and the sharing of storybooks.

'Bedtime Stories'

This transparent watercolour was painted from a reference photograph taken some years ago now.

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