Small Works

March 15, 2019

In my city of Kamloops, British Columbia, our Kamloops Arts Council hosts a number of different painterly events throughout the year. One of them was called ‘The Small Works Show’, an annual fundraiser whereby the artist gets half the proceeds and the Arts Council gets the other half.

Unlike most art shows, this one allows patrons to walk out the door with their purchase rather than wait till the event is over. No little red dots on title cards here!

Participating artists are allowed up to fifteen pieces, and if/when one piece is purchased, another is immediately put in its place. So I contributed twelve paintings, and was pleased to have sold seven of them.

‘The Scavenger’, 4 x 10, watercolour on art board by Lance Weisser

This little piece (rather crudely photographed before being matted and framed) was given a new home, and as time goes along, I’ll post others which were also purchased.

I am very grateful for the commitment and dedication of those heading up our local Kamloops Arts Council.

Life Partners

March 7, 2019

Ravens take around two to four years to mature and before finding their mate, hang around in teenage gangs according to some research, but once they do mate, they are monogamous and establish a territory for themselves.

I most often observe Ravens in our Interior British Columbia setting in pairs, unlike their crow cousins which gather in huge numbers.

Together Forever‘ , 10″ x 10″, watercolour on art board
by Lance Weisser

“The raven is symbolic of mind, thought and wisdom according to Norse legend, as their god Odin was accompanied by two ravens: Hugin who represented the power of thought and active search for information. The other raven, Mugin represented the mind, and its ability to intuit meaning rather than hunting for it. ” [https://www.whats-your-sign.com/raven-symbolism.html]

Sometimes our guests awaken in the morning and come in the kitchen looking confused, ‘what is that strange sound coming from the back of the house? It sounds like a bunch of chickens being strangled.”

There are a number of birds named after their call–for example, the Whip-poor-will, Bobwhite, Killdeer and Chickadee. Now add to those the Chukar Partridge, which populates our back mountain ridge and does this: “Chu-Chu- Chuk-Chuk-Chuk-Chuk-ChukCHUKCHUKCHUK!!!!”

This is always the male progenitor of a brood (known as a covey) of some dozen or so chicks who often is announcing their collective descent down the ridge to wreak havoc in our vegetable garden. All one needs to do then is saunter down the back steps to suddenly frighten them to death as they go up in a giant, dreadful whir of feathers and squawking, after which the male will scold at me from atop the biggest rock, his ego bruised.

Native to Eurasia and Asia, including, Israel, Lebanon, Turkey, Iran, Afghanistan, Pakistan and India, along the inner ranges of the Western Himalayas to Nepal, Chukars were also introduced to Europe and N. America. [wikipedia]

‘Hiding In Plain Sight’, 10.5 x 7, watercolour on art board by
Lance Weisser


They are to me one of the strangest creatures I’ve ever come across.
They are either brazen as hell, or scared out of their freekin’ minds. Their markings are as odd as their call, their mannerisms are as odd as their habits (in our garden their choicest morsels are the tops of our onions–I mean, who eats the tops of onions?)

When you google them as a subject, you usually find sites generated by hunters in the ‘Lower 48’ who are on the prowl for ‘the illusive Chukar Partridge’ all decked out in camouflage. I’ve yet to hear of any hunters in our area on the prowl for them, but believe me, we’ve got Chukars and they ain’t illusive.

Here’s one in action, for your listening pleasure: https://www.youtube.com/watch?v=q09GNpev6sk

A Winter’s Eve

February 23, 2019

It snowed yesterday, the kind which floats down like sifted icing sugar, giving the impression that it can’t possibly amount to much, except it simply stayed that way for the entire afternoon and into the evening. And as I was cooking dinner, I glanced out and saw a van spinning its wheels, barely able to crest the top of the hill just below our house. That icing sugar now lay a significant number of inches deep, making the mule deer tracks under the bird feeders in our red maple appear as quilted dimples, leading off across the whited bedspread of the yard.

 

A Winter's Eve 6 x 4 February 2019

A Winter’s Eve, 4 x 6, watercolour on art board, by Lance Weisser

 

The mule deer–a party of three–come down from our backyard mountain ridge and go to town on the neighbourhood’s cedar hedges around four in the morning. Now, I’m not one to get all soft-hearted and nostalgic over having deer around, simply because they dine on just about anything except what mother nature provides in ample supply up beyond our neighbourhood: emerging tulips in the front–all manner of vegetables in the back–and everyone’s cedar.  The other morning around five one of them confronted our little dog Elmo in the predawn pitch dark as we did our morning walk.  Neither of them moved for a great while until the young buck got bored and sauntered off with its two pals to see what other landscape deconstruction they could manage before daybreak.

The Old Rookery

February 21, 2019

EVERY SO OFTEN I go truant and abandon my blog, but at least this time around it hasn’t (quite) been an entire year (!) I might be alone in this, but my temptation is to spend so much time daily exploring the interesting posts of fellow bloggers that I end up spending less and less time actually painting. My solution to this apparent addiction is to leave my own posts in limbo until enough progress has been made to once again continue.

In any case, thank you for your patience and understanding, and here is my latest painting entitled ‘The Old Rookery’, depicting a scene from my imagination, drawing on the spirit of book illustrators from the days of my youth:

“The Old Rookery”, 11″ x 14″, Watercolour on art board, by Lance Weisser

Thank you for reconnecting with me and I hope your Winter is going well for you!

Rock and Sky

May 1, 2018

We live in a very rocky place.  Our house is situated just below a mountain ridge that is home to native varieties of cactus, sagebrush, tumbleweed, and the domain of Chukar Partridges, mule deer, black bear, a variety of hawks and owls, and the occasional Cougar.

Painting rocky scenes is something particularly satisfying due to the artistically-geometric shapes which become something of a foil for the full-blown and free-flowing movement of cloud and sky.

This was simply an experiment–discovering where shapes and natural design and configuration would lead–a painting begun without knowing where it might end.

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‘The Home Place’, watercolour by Lance Weisser, 14″ x 16″, Arches Hot Press Paper

 

 

Taste of Spring

April 17, 2018

A painting drawing on a style in keeping with children’s books illustration, this painting was done for my niece and great-niece and nephews.  It was done more than ten years ago now, and is of a fictional place that now seems more like Middle Earth than anywhere else.

Taken by a low grade camera through glassed-in frame, I hesitated before posting this….

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‘Fields of Home’, watercolour by Lance Weisser

Arches Hot Press 140 lb paper,

10″ x 16″

collection of R. Jones & Family

‘School’s Out’

April 9, 2018

Not far from our Kamloops, B. C., home is the village of Pritchard which used to have an original one room school occupying a corner of a farmer’s pasture–a school he himself reputedly attended as a boy–that no amount of seeking to have it lovingly restored bore any fruit with historical groups or municipalities.

Fearing its derelict floors and frame would be responsible for causing trespassing children accidental injury, he reluctantly tore it all down some five years or so ago.  But fortunately I managed to capture its classic image with my camera while it was still part of this farmer’s horse paddock, and I’ve painted a series of watercolours using it as a focal point.

Since it no longer exists, I choose to place this old school in settings that depart rather dramatically from where it actually had been (on a rather non-descript flat field right beside Duck Range Rd).

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‘School’s Out’, watercolour by Lance Weisser, 14″ x 16″

Arches Hot Press 140 lb. Paper, Sold

The ‘how’ of ACEOs

April 6, 2018

To gain more know-how about the way ACEOs are collected and acquired, just go to eBay and view the huge number of them being sold/auctioned:  https://www.ebay.com/sch/i.html?_nkw=aceo+original+painting&_sacat=0&_from=R40

You’ll see the quality contrasts, the styles, the subject matter variety, the variety of mediums, too–as well as price, with some going for $40/ea to $1/ea.

Below are examples of how I personally approach doing ACEOs:

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‘A Westsyde Winter’, ACEO by Lance Weisser, Arches Hot Press 140 lb Paper, sold.

Once one of mine is matted and framed, it is generally priced at $25 to $30US.  Unframed, $20US.  But I’m not beyond letting interested people barter for them because what is most pleasing to me is having a person get an original watercolour that is within his/her means.  As painters, we really just want people to enjoy what we do, and know our work is being appreciated and displayed.

If interested, please just email me at weisserlance@gmail.com. 

I can work from an emailed attached photo, or your personal subject matter ideas.  It can be mailed to you wherever you may be — postal costs will be built into the final price 🙂

 

ACEO #2

April 4, 2018

Here’s another 2.5″ x 3″ art card–the same size as a baseball card.  My experience with them is that watercolours simply have to have protection from the elements, so the only way I’ve ever sold ACEOs is matted and framed behind glass.

I find 3″ x 3.5″ metal frames and cut mats to fit, and sell them that way.  The notion that they are to be traded and sold in the same way baseball cards are is to fail to take into account how a miniature original watercolour needs to be treated in order to be acceptable for the buyer.  IOW, they may be the same size, but they aren’t baseball cards, lol.

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‘Lone Pine’, watercolour by Lance Weisser, 2.5″ x 3″, Arches Hot Press 140 lb Paper, Sold.

 

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[source:  https://creationsbygena.zibbet.com]

An ACEO is 2.5″ x 3″ — artwork the size of sports trading cards — otherwise known as a miniature.  I personally love the challenge of painting something that small.

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Old Barn, watercolour ACEO, 2.5″ x 3″, Arches Hot Press 140 lb paper. Sold.

Have you ever done them or bought one?  I’d be interested to know!

 

Happy Easter

March 29, 2018

As children, we loved writing on eggs with crayon and then colouring them, the smell of vinegar used in setting the dyes filling the kitchen, and our fingers almost permanently stained purple and orange and green–yet we weren’t very keen on then having to eat cold hard-boiled eggs, pretty though they were.  Our mother held a big church breakfast at our parsonage home, card tables decorated up, little ‘favour’ cups filled with mints and peanuts, lots of hot chocolate for people returning from sunrise service.  And of course, lots of coloured, hard-boiled eggs.

I enjoy painting watercolour on eggs, which receive it quite well, the best eggs being duck eggs whose satin-smooth surface is perfect for watercolour.  The eggs then have to be blown out and finally spray-lacquered to protect them.

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Christmas tree ornament egg done using the traditional Ukrainian beeswax and dye method.

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‘Little Bunny’, watercolour on Saunders Waterford Hot Press Paper, 4″x6″, sold.

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‘Arctic Hare’, watercolour, Arches Aquarelle Hot Press Paper, 4″x6″, sold.

A blessed and Happy Easter everyone!

Pinantan Country

March 5, 2018

Pinantan Lake is about twenty minutes from Kamloops, British Columbia, where we live.  It is a small community spread around the little lake’s perimeter and prides itself on being independent, artistic, and avant garde.

Although this painting is not of an actual barn or photographed scene, it attempts to capture the spirit of what the area looks like under a snowy mantle when viewed from the road leading towards the lake.  I’ve done it from my collective memory, rather than choosing to make use of photographs or while on location.

 

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‘Pinantan Country’, watercolour on Saunders Waterford Hot Press Paper 90 lb., 9″ x 12″ Sold

 

 

It is snowing again, and is likely to continue through today and tonight and into tomorrow.  As my friend Shiela says, snow today is water tomorrow, meaning we live in a characteristically arid part of British Columbia (our backyard mountain ridge has many cacti plants) and so every source of water is cherished.  The snowmelt from the mountains is crucial to ensuring our lifeline, the Thompson River, is of normal size.

Around here, many people kind of roll their eyes and sigh when learning we’re getting another ‘dumping’, but I’ve always delighted in snow and can now sadly envision a day when there won’t be any.  Our living situation is such that I can handle clearing the driveway without much effort, otherwise I might be joining one of the eye-rolling crowd.

Here is the painting ‘Raven Winter’ that is now framed and ready to be presented to my friend Patricia Kellogg as a possible choice in our painting exchange deal:

 

stage 3 final painting of Raven Morn

‘Raven Winter’, watercolour on treated art board, 9″ x 12″

 

Stage Two: ‘Raven Winter’

February 14, 2018

The painting for my friend Patricia Kellogg is taking shape.  The treated surface of the mat board I’m using to paint on was/is achieved by applying a product by Daniel Smith called ‘watercolor ground’.  It comes in a jar and is painted onto any surface one desires, instantly turning it–once allowed to thoroughly dry–into one which can be painted on using transparent watercolour.  So, glass, metal, wood, masonite, anything of the kind can basically become a surface with the characteristics of watercolour paper.

stage two of raven morn

 

Stage One: ‘Raven Winter’

February 13, 2018

My watercolourist friend Patricia Kellogg [https://www.facebook.com/Patricia-A-Kellogg-357357001050096/] and I are doing a painting exchange.  I acquired one of hers of an artichoke plant in late autumn–that expressive form plants take when frost renders them lifeless, yet beautiful even so.  And because she has a couple of mine with ravens in them, she wanted one more and so here’s the first stage of it.

stage 1 of Raven morn

The surface for this painting is treated mat board and the medium is transparent watercolour.  It is a 9″ x 12″ piece.  Once it is finished I will enjoy taking it over to The Red Beard Cafe where we have our monthly coffee and seeing if she likes it.  I’ll also bring a couple of others with me to provide a choice.

‘The Way Home’

January 24, 2018

In the spirit of watercolour experimentation, it was interesting to take ordinary white mat board and coat it with a thin layer of clear acrylic medium.  The board then had to dry for a good 24 hours.  The experience when painting is one of finding it acts as a kind of resist while providing a rather intriguing texturing quality.

The Way Home, 6 x 9.5, August, 2017.jpg

It is a bit tricky because there’s no wet-in-wet opportunity, or much reworking/touching up or the acrylic medium will moisten and lift from the surface and become gummy.  So getting one crack at it is pretty much all one gets, making every brushstroke really count.

 

 

 

 

….eggciting week ahead

March 20, 2016

Painting eggs is something of a little hobby which began almost 35 years ago when the process of the dyed Ukrainian eggs was intriguing from an artistic point of view–meaning, the way/how it was done, not the desire to become overwhelmed with making intricate geometric designs.  So employing the method of using beeswax to wax over those parts of an egg one wanted kept white, then dropping the egg into coloured dye, again waxing over the area which would retain that dye’s colour, and dropping it into yet a different coloured dye and repeating the process until the entire egg was covered in wax.

At this point, the wax was removed by carefully holding it over a candle flame and wiping the melted wax free with a tissue.  Once the wax was removed, the egg was blown of its contents and if being used as a Christmas tree ornament, a string was affixed to the top.

Here is an example…..

duck eggs, email size

Quite a number of years later, the notion of doing away with the dye/wax method in favour of actually painting on the egg’s surface was experimented with.  This was successful but a huge breakthrough occurred when moving from painting chicken eggs to painting duck eggs.  A duck egg’s surface is not chalky like chicken eggs, but rather satiny smooth and extremely receptive to watercolour.  This was discovered while staying in The Philippines, where duck eggs were easily come by.

Painting a duck egg would be done, then the egg would be spray-lacquered so as to protect and seal the watercolour-painted surface.  Once completely dry, the insides would be blown out….

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……and in honour of the 6th day of Christmas….

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….which brings us to today and trying to replicate a moonlit rocky mountain scene on a duck egg purchased locally ($3.50/half doz) through craigslist and meeting the man carrying his trusty picnic cooler outside the supermarket:

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A very Happy and Blessed Easter to all my blogging friends!

 

Results of ‘composition exercise 1’: dividing a landscape into thirds, placing visual interest at each intersectional  point….

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Results of ‘composition exercise 2’:

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and 3:

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bringing us to 4:

It has taken a long spell of waffling over what to do about being less than pleased with the finished piece.  The snowy fields seemed to extend themselves too far down, without enough visual interest to hold a viewer’s attention.  And then I gave into the temptation/artistic trap I almost always seem to fall into, which is going one step too far by defining open field with regimented rows of corn which wind up being so monotonous, the fence posts going the opposite direction only add yet more visual predictability  and kill whatever freshness the piece had going for it.

….so the only satisfactory outcome was to crop the painting and salvage what could be salvaged.

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It is a very small painting, about 6″ x 12″, and has at least enough mood still going on to make it only just worth framing.

As an exercise, however, it was more than useful, and confirmed satisfactorily that placing interest at intersectional points within a composition divided into thirds works (sans rows of corn, that is), does hold one’s attention, and lends a feeling of balance.

 

…. Tranquille Creek Gorge

January 21, 2016

The watercolour video demonstrations of David Dunlop are challenging and yet simple.  https://www.youtube.com/watch?v=Lgtg-Adql1Y&index=6&list=PLtEJwQmsB7SvVg8C4J2c4LDijerH7SSKF (I tried to embed the video itself in this post, but WordPress thought otherwise).  But here is the blurb describing it….”Emmy Award winning David Dunlop takes you to his Connecticut studio to demonstrate a two minute watercolor, used as preparation for an oil sketch or to explore ideas“.

Mr. Dunlop is an artist/teacher from Connecticut, whose manner when teaching is inspiring and animated.  He is a great follower of descriptive, energetic Masters like J.M.W. Turner and Winslow Homer, and seeks to employ their methods, while demonstrating their techniques.

The video cited above challenges painters to do two to three minute painting sketches, which convey the movement and mood and spirit of the subject, without stopping to think and rework.  In an effort to ‘do’ and not think, the subject chosen here is a favourite–a place about 20 minutes from our house–called Tranquille Creek Gorge.

 

 

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Mr. Dunlop’s videos are quite dynamic and aimed more at oil painters a bit more than watercolourists, but full of very encouraging lessons because of the force of his optimistic personality and sense of fun.  They are well worth watching, for those who enjoy painting as a means of expression.

 

….composition exercise 2

January 17, 2016

Continuing on with an attempt to test out the compositional dictum known as ‘the rule of thirds’, which was conceived and named by John Thomas Smith in 1797 :

“. . .  Analogous to this “Rule of thirds”, (if I may be allowed so to call it) I have presumed to think that, in connecting or in breaking the various lines of a picture, it would likewise be a good rule to do it, in general, by a similar scheme of proportion; for example, in a design of landscape, to determine the sky at about two-thirds ; or else at about one-third, so that the material objects might occupy the other two : Again, two thirds of one element, (as of water) to one third of another element (as of land); and then both together to make but one third of the picture, of which the two other thirds should go for the sky and aerial perspectives. . . “

To illustrate its basics…..

ruke of thirds

Once again, this is the drawing I did initially, to put this into practice….

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And this is the first go at painting the scene….

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And now today, here is the progress so far, attempting to locate some visual interest at each of the four intersections within the piece, the barn being the first and the pine being the second and the creekbed being the third…..

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The darkest darks and greatest contrast will remain with the barn, for that is the intended focus for the picture, when completed.

The ‘rule of thirds’, as stated above, holds that generally two-thirds of a landscape be devoted to the sky, with one-third given to the land below (the sky being such a vast and dominant feature).  In this case two-thirds is dedicated to the land and a very high horizon means that the one third is devoted to the sky area.

 

 

 

 

 

 

 

….snow

November 25, 2015

We received about 12cm overnight and now everything’s white, with temperatures starting to drop to around -10C (16F) under strong winds.

The birds are in the branches of the large Red Maple just beyond our big front window–at the four hanging feeders and suet cakes.  We get mostly goldfinches and house finches, chickadees, juncos, nuthatches, flickers, clark’s nutcrackers, pine siskins, ring-necked doves, occasional pileated and downy woodpeckers, grosbeaks, stellar’s jays, magpies, ravens, white-crowned sparrows, and when it gets really cold the sweetly-blushing redpolls come down from the Arctic (but not likely until January or so).

Occasionally we see a Northern Pygmy Owl which swoops in on the dining lot, lighting on a branch like a handful of fluff with alarming eyes and causes the rest to take off like an explosion. They are one of a few daylight-hunting owls, and for two or three days following, the feeders remain untouched, the memory of that fist-sized, feathered-danger keeping everyone away.

In honour of the occasion — the advent of real Winter — a wintry watercolour, not unlike what the countryside looks like presently.  The subject no doubt wishes the wind were less than it is….

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….but imagine the pleasures of fireplace and toddies once he gets back.

It’s an old painting–6 years–and approximately 8″ x 10″ on my favoured Arches Aquarelle Hot Press 140# paper.  It took approximately 30 years to finally discover the right paper, having gone through all the choices of surface, weight, paper-maker (brand), and so on.  Were it to be done again, the figure would be altered some, as there’s something anatomically odd about it.

….the silt bluffs

November 22, 2015

An area east of Kamloops, B. C., follows the South Thompson River which flows between dramatic limestone cliffs originally formed (it is estimated) 270 million years ago.

Among those cliffs is a gully–a waterworn ravine known as ‘the silt bluffs’, featuring very distinctive rock formations which have the look and feel of something out of a Western movie.

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Massive geological formations such as these require some form of treatment by a painter in order to adequately convey their uniqueness and grandeur.  This watercolour attempts to do that by purposely choosing to paint directly into the sun.

This part of our landscape gets quite literally baked by heat at midday, so when painting outdoors it is important to get it done quickly.

 

 

wee glimpses

May 26, 2015

PAINTING OUTDOORS has a way of getting a person to make judgment calls quickly, and in our area it is quite simply the heat of the day.

KAMLOOPS, B.C., IS UNIQUE IN THAT its mountainous hillsides are grass-covered with considerable sagebrush but little tree growth to the 900m level, creating what is known as an inverted tree line.

IN MOST PLACES TREES WON’T GROW above a certain level due to the lack of precipitation, but in Kamloops, they won’t grow below a certain level due to the lack of precipitation.  We are known as The Sunshine Capitol of Canada, receiving over 2,000 hours of sun annually.

IOW, IT IS HOT.  And since sun and heat are our landscape’s signature features, painting a local watercolour outdoors demands sitting right the heck out there.

THAT IS WHY IT MAKES GREAT SENSE to me to choose to do this by way of painting miniatures.

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‘A Kamloops August’, watercolour, 6.35cm x 8.90cm (2.5″ x 3.5″), Arches Hot Press 140 lb. paper

MINIATURES demand quick thinking and choosing the elemental–the scene’s compositional essences–getting them down efficiently and thoughtfully, though, at the same time, quickly.

A GOOD MINIATURE can serve as the template for a much larger, studio piece.  And good miniatures stand up very well all by themselves.  This particular one has been accepted into two different juried Federation of Canadian Artists Shows, including the annual ‘Small, Smaller, Smallest’.  It was, in that show, the very smallest of the lot.  And that made me very happy!

composition woes….

May 3, 2015

MY GREATEST CHALLENGE when painting anything is composition.  For years I felt I was being a ‘purist’, insisting that I always paint on location, never in a studio setting.  And once at the location, I convinced myself that if a tree was in that spot, then that was how it needed to be depicted.

IT WAS ALL DUE TO my tendency to early-on stop referring to the subject in front of me and become more and more involved in what was happening on paper, to the point where I may as well have not been on location at all.  So in an effort at self-discipline, I decided that not only should I paint what things actually look like, I shouldn’t muck around with how and where ‘mother nature’ placed them.

THE SILLY THING WAS, I ended up choosing a composition by default because of course, I couldn’t paint everything my eyes saw in front of me.  And more often than not, it was not a good composition.  So now, not only do I go to some lengths to study the skill of creating an interesting arrangement, I realise it is the painter’s task to take what ‘mother nature’ provides and make art out of that.  Fences do need to be repositioned, as do trees and hills and clouds.

SO NOW I MAKE thumbnail studies first on matt board before beginning anything . . .

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THE OBJECTIVE is to provide a focal point, a visual way in towards it, then additional visual interest so the eye has more to discover by wandering beyond the subject itself.  These thumbnails are exploring the use of a compositional figure ‘Z’ shape to lead the eye of the viewer.

 

 

 

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