‘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

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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!

where the heart is

March 24, 2018

Our city, Kamloops, B. C., is a native word meaning ‘the joining of rivers’ (where the North and South Thompson meet), and was founded by the Hudson Bay Co. in 1812.  As it grew and developed it became a railroad city (one of two cities in Canada where both CN and CP intersect).  The most gentrified residences are found on St. Paul Street, where many bear historical plaques for passers-by to read and gain knowledge of.

Turn of the Century–c1904–homes are difficult to maintain and keep in tiptop condition, as many reading this can appreciate.  Keeping up any house is expensive and challenging.

I befriended a woman who has outlived her spouse and is just able to keep the basics going while having to block off the upstairs from heat in the Winter.  Budgeting simply to stay put and keep living in her beloved heritage house before facing the inevitable and dreaded ‘downsizing’, her joy is feeding Crows, Ravens and Starlings using cat kibble poured into oversized vintage bird baths.  This certainly doesn’t make her the darling of her neighbours, but has earned her the moniker ‘the crow lady’.

She’s never seen this painting because I fear it may upset her, yet it was painted with affection and as a tribute to her intrepid spirit and unwillingness to let go of that which she dearly and completely loves:

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‘Where the Heart Is’

watercolour on Arches 140 lb Hot Press Paper, 12″ x 16″, collection of J. Weisser

 

 

Raven Trio

March 10, 2018

Portraying moonlight is something of an intriguing interpretation for painters.  Some, like the famous American painter Frederic Remington, chose a greenish hue for its earthly glow….

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Others, like the American painter Maxfield Parrish, often used yellow as the predominant colour of moon glow….

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I’ve noticed other painters depicting the colour of moonlight in hues of blue.  And in this little painting of Ravens, my choice is sepia and white….

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Three Ravens‘, 8″ x 10″, Arches Hot Press 140 lb Paper, Sold

By including my own, I’m certainly not attempting to put myself in the league of a Parrish or Remington–but merely drawing attention to how our eye finds mystery in the way the moon reflects and illuminates the landscape.  When I go outside on a full moonlit night, I feel it is a blueish reflection on snow, and more earth-toned on our backyard mountain and rocks.  And even though I never quite manage to see moonglow  as green, I simply adore Remington’s moonlit scenes and illustrations.  He convinces me it really is green!

What is it for you?

 

‘Raven Nights’

February 20, 2018

In keeping with my fascination over trying to capture night in watercolour, here’s another attempt at mood and texture:

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‘Raven Nights’, watercolour on Saunders Waterford Hot Press 90 lb. paper, 9″ x 10″, 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 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.

As a child there was probably no bird I wished more to see than a Waxwing.  In on-location photographs they just looked so exotic and intriguing–their colouration and little tufted crowns–the whole package was and is so appealing.

In those days we lived in Eastern N. America where Waxwings aren’t found and so it took many decades–after I’d moved to British Columbia–for my chance to encounter these birds.  And it happened as I stood at our front picture window looking out at the Red Maple just beyond the glass–a tree which had nestled within it a deserted Robin’s nest.

Suddenly there appeared a large group of birds I’d never before seen, Cedar Waxwings, darting about the nest, examining it animatedly and calling to one another.  I watched in fascination as they systematically began dismantling this Robin’s nest, their little bandit’s masks seeming very appropriate to their deciding to make someone else’s home theirs for the taking.

 

‘An Ear-full of Waxwings’ — work in progress — Saunders Waterford Hot Press Paper, 140 lb.

 

A grouping of these birds is known as ‘an ear-full’ almost certainly because they go about in bunches and are constantly chattering in a distinctive, rather conversational voice that is more insistent than melodic or song-like, yet charming even so.

….Chickadee Miniature

April 21, 2016

This Winter along with the usual Mountain Chickadees at our feeders, we were pleased to have Black-Capped Chickadees as well.  Coming from Eastern parts, they are the ones associated with childhood and so have a special place for me.

Right now we are experiencing amazingly warm temperatures–85F (30C)–and gardening is ramped up as a result.  Dividing time between perennials and painting is a pleasure. As an Autumn and Winter person, I continue painting with that pallet of tones and colourations, and so ask you to cut some slack if/when I post snow scenes in April.

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‘Pause That Refreshes’

 5"x 7", Watercolour, Saunders Hot Press #140 paper

Cool Facts

  • The Black-Capped Chickadee hides seeds and other food items to eat later. Each item is placed in a different spot and the chickadee can remember thousands of hiding places.
  • Every autumn Black-capped Chickadees allow brain neurons containing old information to die, replacing them with new neurons so they can adapt to changes in their social flocks and environment even with their tiny brains.
  • Chickadee calls are complex and language-like, communicating information on identity and recognition of other flocks as well as predator alarms and contact calls. The more dee notes in a chickadee-dee-deecall, the higher the threat level.
  • Winter flocks with chickadees serving as the nucleus contain mated chickadee pairs and nonbreeders, but generally not the offspring of the adult pairs within that flock. Other species that associate with chickadee flocks include nuthatches, woodpeckers, kinglets, creepers, warblers and vireos.
  • Most birds that associate with chickadee flocks respond to chickadee alarm calls, even when their own species doesn’t have a similar alarm call.
  • There is a dominance hierarchy within flocks. Some birds are “winter floaters” that don’t belong to a single flock—these individuals may have a different rank within each flock they spend time in.
  • Even when temperatures are far below zero, chickadees virtually always sleep in their own individual cavities. In rotten wood, they can excavate nesting and roosting holes entirely on their own.
  • Because small songbirds migrating through an unfamiliar area often associate with chickadee flocks, watching and listening for chickadee flocks during spring and fall can often alert birders to the presence of interesting migrants.
  • The oldest known wild Black-capped Chickadee was at least 11 years, 6 months old when it was recaptured and re-released during banding operations in Minnesota.

source:  https://www.allaboutbirds.org/guide/Black-capped_Chickadee/lifehistory

….House Finch miniature

April 16, 2016

It is so heartening to have requests from bloggers and site visitors who have arranged to have original bird miniature paintings sent to them.  The last posting of the Raven miniature, “Keeping Watch”, is currently winging its way to Hawaii, and the March 5th miniature entitled “Raven Moon” is sitting on Byron’s desk in Wisconsin.  Another of a wintering Chickadee is with its new owner, Cynthia the poet, https://littleoldladywho.net/ in Maine.

Some bird species are seemingly germain to just about anywhere, the House Finch being one.  When we moved from Eastern Canada to extreme Western Canada, there they were.  And on fellow blogging sites like H. J. Ruiz’ Avian 101 (https://avian101.wordpress.com/), there they are in the Peach State of Georgia.

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‘House Finch’ — watercolour on Saunders Waterford 140# Hot Press Paper, 2.5″ x 4″

They are, along with wintering Goldfinches, the most frequent visitor to our feeders, and have such a delightfully melodious song.  Unlike the slightly larger Purple Finch which probably isn’t found in the West, they do not so much look like they’ve been dipped in raspberry concentrate, as they’ve stuck their heads in wild cherry cream soda.  Their disposition is mild, insofar as they aren’t pushy or argumentative when at the feeders.  If another species is bossy, they simply flit down to the snow and eat the remains below, along with the Juncos.

If you are ever interested in owning one of these posted bird miniatures, simply email me at: weisserlance@gmail.com and we’ll work out the arrangements.  Thank you to all who are so very supportive in comments and visits!

…..Keeping Watch

April 7, 2016

Our little Gallery in the small city of Kamloops, B. C.’s historic Courthouse (1911) has a Featured Artist offering every month and May will be my month to put on a display of recent miniatures.  So now it is a matter of working towards having a good showing.

Raven Watch

“Keeping Watch”

watercolour on Saunders Hot Press #140 lb paper, 4″ x 6″

I can’t quite explain why it is that depictions of Ravens sell so well, but they do.  So it is a pleasure to be able to comply and feed the need, so to speak.  They are indeed a very symbolic and ancient bird whose fame is heralded in many countries and cultural legends concerning them abound.

Out taking photographs of them this week, I came across a pair whose size was truly astonishing and whose throaty calls echoed off the nearby boulders and across the wide Thompson River.  Once that is accomplished, it is a matter of trying to place them in a scene which has definite mood and emotional impact.

….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…..

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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!

 

….Raven rave

March 9, 2016

Having found a frame the perfect colour and size for a larger version of the Raven painting done a few days ago, this is turning out to be a Raven rave of sorts, this time a little more wintry.

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7″ x 7″ on Arches Hot Press #140 paper

…. mackerel sky

January 29, 2016

There is an Old English saying about weather which goes:  “Mackerel scales and mare’s tails make tall ships carry low sails”.  ‘Mackerel scales’ refers to Altocumulus clouds which (to some) resemble the markings on the sides of mackerel.  ‘Mare’s tails’ refers to Cirrus uncinus clouds which–according to the saying–must, like mackerel scales, indicate strong winds, though the two types wouldn’t likely appear together in the same sky.

 

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The subject is taken from a view of the British Columbia coast, beaten down by the effects of storm after storm.  Having lived on Vancouver Island at one point, the weather forecast for the most northerly tip seemed to nearly always call for wind and rain which made me thankful we lived on the most southerly end.  We received quite enough rain as it was.  However, seldom was it ever a pelting, all-out soaking torrent–which made local people say to tourists complaining about the constant drizzle, “Yes, but it’s a dry rain.”

This was painted on treated illustration board.

 

…. 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.

 

 

 

 

 

 

 

heatwave relief

June 24, 2015

IT IS BARELY PAST the first day of Summer and temperatures here in Southern British Columbia, Canada, are scheduled to climb to 40C (104F) and stay there.  It is feared the heat and drought affecting California is heading North,  Along with such heat, thunderstorm probabilities rise, and they become fire starters. By August there’ll be what weather reports term ‘local smoke’–a haze hanging over everything–accompanied by the sound of helicopters and planes working to douse flames in affected regions close by.

My favourite month is November.  It is both an exciting and contemplative month–exciting because any day, any moment I might step out to feel those fortifying winds suddenly becoming the first snow squall.  Contemplative, because the fog rising from the closeby Thompson River mixes with wood stove breathings and the last of the leathery oak leaves falling to join the others, invites thoughts on things ethereal and eternal.

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“Logging along Jamieson Creek Road”, watercolour, 20cm x 25cm, (8″ x 10″) Arches Hot Press 140 lb Paper, unsold

As a child, there was nothing more beautiful than what I called ‘purple snow’–that snow which signalled to us that we’d best take only one more turn sledding down Dead Man’s Hill (many years prior, legend had it, a man went down its twists and turns standing on his sled and smacked into a maple–back in the old days, when men apparently went sledding).  Purple snow meant dinner.  Purple snow meant finally discovering just how cold our digits actually were– thawing under a running cold faucet–pins and needles hot pink cold.

And even now, there is nothing to me more beautiful than purple snow.  On this 40C second day of Summer, all I can say is, Lord get us through to November.

mountain pine

June 20, 2015

In January 2011, a Pacific ponderosa pine in the Rogue River–Siskiyou National Forest in Oregon was measured with a laser to be 268.35 ft (81.79 m) high. This is now the tallest known pine. The previous tallest known pine was a sugar pine.

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 Ponderosa Pine photo by Jason Sturner

The needles are harvested by First Nations and other local artisans, then washed and woven into Ponderosa Pine needle baskets . . .

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(photos: PineGardenBaskets, Etsy)

The mountain pine beetle is just over six millimetres long (about the size of a grain of rice). But the tiny forest insect has infested huge areas of mature pine around the interior of British Columbia, causing colossal amounts of damage on B.C. forests.

The beetle likes mature pine and mild weather. Because B.C. has more old pine than ever before, and has had several consecutive mild winters, mountain pine beetle populations have exploded to epidemic levels.  (source + photo: Government of British Columbia)

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Here in Kamloops, B. C., even pines growing in people’s yards get ravaged–as much as in our great forests.  It is a helpless feeling, yet more and more innovative products are being developed from pine beetle timber.

Below is the Richmond, B. C., Olympic Skating Oval, totally made from pine beetle-killed timber.  The wood has retained all the pine beetle bores and markings, and has been acclaimed as a ‘truly majestic work of art and design’.

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photo: Architectural Review

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‘Mountain Pine’, (study), watercolour, 15cm x 36cm, 6″ x 14″, Arches Hot Press 140 lb. Paper, unsold

tranquille creek gorge

June 3, 2015

ANCIENT FLOWS OF LAVA have left our regional landscape (Kamloops, B. C.) with dramatic canyons, a single lane dirt road skirting the edges.

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‘Tranquille Creek Gorge’, watercolour 23cm x 41cm (9″x16″) Arches Hot Press 140 lb. Paper, sold

MY PAINTING FRIEND MAX drove me through this arid landscape, only 10 minutes outside a city of nearly 100,000.  Every so often she’d tell me of cars which had not been successful at executing a snowy, icy, tricky piece of road only to careen down the sides.  At one place, the car was still there, making me both dizzy and almost nauseous, leaning over to see its rusting bulk caught between broken pines and rock.

‘MY GOD, WHERE WERE THEY HEADED?’ I’d asked.  ‘Home, of course’, Max pointed ahead.  And there was a small grouping of houses not far from the road, some fencing in horses or livestock–one had alpacas–and looking semi-deserted, though that was far from the case. Dogs barked at Max’s pickup as we threaded through and headed into yet more wilderness. ‘They take this road to Kamloops and back?’ — it seemed to my chicken, urban-minded guardedness a scary place to build one’s home.  ‘Only for shopping, or a night on the town’, Max said.  ‘Which is why someone sometimes doesn’t make it home–especially in the Winter.’

mountain storm

May 24, 2015

MOUNTAIN STORMS ALWAYS COME WITH high winds and occasionally with hail, and here in Kamloops, British Columbia, are often felt in one part of the city and not in others. Being a city of roughly 90,000, built around, about, and on top of mountainous terrain, the overall elevation is about 350 meters (1,125 ft).  There can be terrible flashes and crashes and gusts–much huffing and puffing–with the promised deluge itself being delivered everywhere else but on our crispy, thirsty yard and gardens.

'Mountain Storm'

‘Summer Storm’ 

watercolour, 30cm x 23cm, (12″ x 9″), Arches Cold Press 140 lb. paper,

G.W. Weisser Collection

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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“Logged-In”, 25.5 cm x 35.5 cm (10″ x 14″),  Watercolour on Arches 140 lb Hot Press paper, (donated to Kamloops Art Gallery Annual Art Auction)

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