….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!

 

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…. 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.

 

One Jay we do not have in the West is the Blue Jay.  The ‘why’ of this is puzzling simply because the weather and climate here rather mirror that of Eastern Provinces and States (minus the humidity, thank heaven).

As annoying as this bird can be, the sheer pleasure it appears to take in creating continuous drama — the screeching cry it passes off as ‘song’ turns the lovely silence of a Sunday morning into a birdie alarm clock — makes the Blue Jay an attention receiver (like that kid you always remember from Grade 4).

And….the Blue Jay–like most Jays–is beautiful.

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Their blue, black and white colouration is as dramatic as the Blue Jay personality.  They have the ability to turn any bird feeder situation into a Three Stooges food fight.  And for all these reasons, make a great subject for painting.

A favourite natural food in Winter is the Mountain Ash berry.

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These trees are in abundance here in Southern British Columbia, and grow very large, and are responsible for allowing the N. American Robin to return very early–often at the end of February–sustaining them until the ground becomes warm enough for pursuing worms.

Choosing both Blue Jays and Mountain Ash in Winter makes for great contrast in colour, and a lively composition for painting.

Now we’ll just have to see how it all turns out….

….depicting snowy pines

October 22, 2015

Snow-laden firs and pines aren’t the easiest of subjects for depicting in watercolour–(at least not for this painter).  The challenge comes in first understanding the effect snow has on branches, for, obviously, there is snow and then there is snow–each snowfall having its own unique effect.  That crystalline, hardened seizing of tender branches by icy snow pulls them heavily towards the ground, while sub-zero powdered flurries creates a mere dusting of needles–each presenting technical challenges.

Of course, the problem is one of always having to paint around the white of the paper allowing it to ‘be’ the snow in watercolour.  Given that opaque white can’t be used, a light dusting on pine needles becomes really quite a bit more difficult than painting the after-effects of a full-blown blizzard.  Leaving minute dots of paper surrounding green needles is a recipe for madness in my book.  Give me a snow-stormed pine any day of the week in its place.

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Figuring out just where branches are on a given variety of pine, fir, balsam, cedar or spruce is key to understanding where snow will sit when on them.  So it seems crucial that any study be limited to particular species, (in the above case, cedar) — otherwise, a painter of representational art will be in danger of ending up with a kind of ‘marshmellowed’, generic evergreen most often seen on Hallmark Christmas cards.

Truly, each variety of coniferous tree accepts snow in its own unique way.  A blue spruce, for example, with its stiff, jutting branches, is much more able to bear the weight of snow than the red cedar in the above study, whose branches are prone to drooping and bending.

This study was done on leftover piece of plain white matt board, using a chopped-up small fan brush to go after the greens, then a more pointed, conventional brush to soften the hard edges and provide shadowed depth to the snow.  The branches aren’t quite correct.  Once snow is included, it changes perception to such a degree, I have trouble understanding where it goes and branches fall.

The beauty of our being blessed with so many evergreens to choose from comes in knowing that each one offers the student of watercolour great and intriguing challenges, especially when brimming with that wonderful adornment–snow.

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

more night

June 5, 2015

I KNOW, I KNOW, it’s June.  I’m incurably attracted to Autumn and Winter, most likely because they are for me what I’d describe as cozy seasons, where a sweater serves perfectly.

ADMITTING to age preferences is slightly embarrassing, but only slightly.  Heat is no longer an attraction to me, weather-wise, and here it is June 5 and in two days it will be going to 92F (33C).  Now please, do NOT misinterpret this as whining.  I’m not (right now), but rather simply stating a preference in order to justify posting this painting….

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‘Pale Moon’, Watercolour on Arches Hot Press 140 lb Paper, 13cm x 18cm (5″ x 7″)

WHEN PAINTING,  I admit to finding it more satisfying to express feeling through stark scenes with diminished-light.  For one thing, the above place is not one many people would find themselves visiting at that hour in that weather.  It therefore brings us in as though inviting a search for Snowy Owls on the prowl, or a pack of Grey Wolves threading a path back to the lair.

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.’

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!

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

raven moon

May 20, 2015

PAINTING NIGHT has become something of a preoccupation.  On a very bald and pedestrian level, one could simply say that ‘night sells’.  However, it is the ‘why’ which is intriguing–why do scenes of watercolour-rendered night have an appeal.

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‘Raven Moon’, watercolour, 35cm x 25cm (14″x10″), Art Board, (sold)

THERE IS A FASCINATION over what goes on in nature while we are sleeping.  When walking the dog at 4 a.m., there are owls hooting, deer eating in people’s yards, the occasional cries of coyotes, and the enduring scent of lilac.

HEARING, TOUCHING, SMELLING all come alive, while seeing is at the pleasure of the muted moon–at once reassuring and mysterious.

tortured brushes

May 12, 2015

THE BEST BRUSHES–in my wacked estimation–is a dollar store packet in the crafts section,  next to those garish tubes of glitter and such.  The second those poor things get home, they undergo an Edward Scissorhands attack that is not pretty.

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SECOND-HAND STORES also usually have some wonderful, pathetic-looking excuses for brushes, pretty much being handed out for free.

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VERY FEW BRUSHES I own get to keep their original shape except ones sized 0, 00, 000, and 0000. For some additional fine work, a nib pen loaded with watercolour does well also.  But for large areas, chopped-up, hippie-freak brushes are like, tubular, man.

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FORGET SABLE–even squirrel is too refined–woodchuck, maybe–and those synthetic sponges on handles used to paint walls with are good, too.

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‘Mountain Mists’, 20cm x 28cm, Arches hot press 140 lb paper

THE TRUE ENJOYMENT OF PAINTING comes when viewing how another painter’s personal and unique need for self-expression realises itself in ways personal and unique.  Interaction with the subject demands an approach which only the painter her/himself knows is right.

Silt Bluffs

April 26, 2015

THE KAMLOOPS REGION is a geological wonder.  50 million years ago, volcanoes erupted and volcanic ash and lava covered the land, and their record is preserved in fossil beds throughout the area. Ancient rivers carved the landscape, forming the modern valleys of the Thompson Rivers and, during the Ice Ages, ice sheets carved the valleys and rounded the plateaus and mountains in the Kamloops area.  (sourced from ‘Tourism Kamloops’ website)

THIS PAINTING is of a local geological formation called The Silt Bluffs.  In the height of summer they are baked by a 40C sun, and are the home of rattlesnakes and cacti . . . and Ravens.

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“The Silt Bluffs”

23cm x 30.5cm (9″ x 12″), watercolour, 140 lb. Arches Hot Press Paper, sold

THE COMMON RAVEN is amply represented in British Columbia and enjoys the distinction of co-existing with people for thousands of years, to the point where–in Haida Nation tradition–the Raven has god-like qualities.  It was the Raven which released the Sun from its little box–made the stars and moon–and even brought people out of the earth in order to populate a party being thrown.  But in traditional stories Raven doesn’t actually create (make things out of nothing), so much as steal, exchange, rearrange and redistribute and generally push things around into new combinations.  If that isn’t humanlike, I don’t know what is, lol.

 

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“Spring Thaw”

watercolour on art board, 20 cm x 28 cm (8″ x 11″), sold

In Kamloops it is against the law to feed them, as well as crows.  A buyer of my work named Joan pours bags of cat kibble into her elaborate and large cement bird baths in the Winter and revels in their continuous, noisy presence.  The neighbours?  not so much.  When they report her, she just pays the fine and keeps at it.

ARTIST TRADING CARDS aka ART CARD EDITIONS AND ORIGINALS are popularly known as ACEOs. ACEOs are the size of baseball cards–65mm x 89mm (2.5″ x 3.5″) and are purchased and then traded and sold the way sports cards are.  The ACEO movement originated in Switzerland in the 90s but grew in popularity through eBay, where art cards are now sold and bought on a 24hr basis.

They require precision and are very enjoyable to do.  But then, who wouldn’t be fascinated by the challenge of painting tiny things (smile).  The subject matter can be chosen by the purchaser, and the painting done accordingly.

 

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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)

THESE ARE BEEF COWS, Herefords, the breed most favoured by ranchers in our region.  Their origins descend from small red cattle introduced by The Romans in ancient Britain, along with breeds from old Wales, their subsequent nurtured evolution taking place in Herefordshire where the Hereford is king.  Today more than five million pedigree Hereford cattle exist in over 50 countries.

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BECAUSE THE LARGE FALLEN CEDAR is indicated with only a minimum of brushwork it is necessary to help give it size, weight and substance through the simple use of shadow.

THE PAPER IN USE HERE  is a very smooth-surfaced one called Hot Press (140 lb.) by the French Company, Arches (a very old watercolour paper maker).  Hot Press paper has virtually no surface texture at all and is slightly cream-toned.  When papers are this smooth, the paint initially floats on top before being absorbed.  This floating quality creates effects a rough surfaced paper can’t deliver.

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So Hot Press paper looks and feels pretty much like dollar store poster paper–smooth, shiny, and about the same thickness.  And because it is not a heavy paper, and because it is so smooth, Hot Press watercolour paper cannot take a lot of scrubbing out if mistakes are made.  The painter needs to be rather confident about the strength and amount of pigment to use before putting brush to paper.  So because I am always a bit tentative when beginning to paint something as challenging as an animal, I gain confidence by always having a scrap piece of watercolour paper handy to try things out on first.  Once I see how to do it on a scrap piece of paper, then I have confidence to do the same thing on the painting itself. 

It needs to be stressed that Arches paper is superb and bears absolutely no comparison to poster paper when paint is applied to it.  The weight (140 lb) is how thick the paper is.  300 lb. paper is very thick and therefore can take a lot more scrubbing and multiple washes, without losing luminosity.  The downside is that 300 lb. watercolour paper is quite a bit more expensive.  And when I work on very expensive paper, I am too aware of its cost.  That makes me somewhat nervous about possibly ruining the painting.  So I usually choose 140 lb. paper because if it gets ruined, I am not that concerned, and so therefore approach the painting with more boldness which gives a better result.

 

THE DEWDROP VALLEY is a local site and part of a much larger area near Tranquille River and the Tranquille River Gorge.  In essence, the Dewdrop is really rocky, hilly, grass-and-tree- covered pasture for cows and cattle during the Spring and Summer months.  The Kamloops Thompson Nicola Shuswap Region is no-nonsense cowboy rancher country, complete with serious Rodeos and horse and rider cattle round-ups in the Autumn.

This is the first of recording daily progress towards completing a watercolour depicting a typical scene in The Dewdrop Valley . . . . 

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ON DISPLAY are a fine collection of tortured brushes.  Some are from dollar stores or second hand bargain stores, and as soon as they get into the spare bedroom cum studio they’re cut up with scissors.  None of them cost more than $2, and who knows what they’re made of–Moose? Sasquatch hair, perhaps.  Each, however, is priceless.

 

 

Local Mountains 2

April 9, 2015

THIS COMPLETED PAINTING of the mountains in our Kamloops area was in need of cropping in order to strengthen the composition . . .

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THE PAINTING WAS REDUCED IN SIZE down to this as the completed painting .. .

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THE CHOPPED OFF parts of cropped work can successfully be made into bookmarks, I’ve found, and then be sold for around $2 ea in our little co-op Gallery (www.kamloopscourthousegallery.ca).  Waste not, want not, lol!

 

Local Mountains

April 8, 2015

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A decision has to be made as to whether this painting ‘holds up’, composition-wise.  It succeeds in conveying the misty atmospheric conditions of winter in the mountains.  But the composition is troubling me.

A FEW LAST COMMENTS about this painting…..there is a decided difference between nature and the art of depicting nature.  Mother Nature is not only a hoarder, but not interested in housekeeping nor pruning, encapsulating, or boiling-down.  She wants it all, all the time, and enjoys lavishing on us the plentitude of what happens when everything we look at, at any given moment, reproduces at will and overwhelms us with dozens–and even thousands–of itself.

FOR THE LANDSCAPE PAINTER the challenge, always, is to take Nature and make it into Art.  It is the very human discipline of paring down, re-arranging, configuring and composing.   What separates raw Nature from the art of painting is having a limited space, with only two dimensions, which is ultimately going to end up on a wall inside a human-made space.  That restrictiveness requires moving trees and clouds and birds about in order to have a sense of balance or sense of wonder or sense of drama.  It means the painter must dare to alter time itself, put limits on colour, and restrict amounts of what is naturally before the painter’s eyes.

MAKING ART is similar to the difference between looking at a field of wheat and sitting down to a loaf of freshly-baked bread.  What happens between those two events is the act of altering something to create something else.

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THIS PAINTING is not what the photograph of this scene looks like.  For many years I struggled with whether I was ‘allowed’ as a painter to do anything other than depict Nature as it presented itself to me.  Sitting out on some stoney ground, I would suddenly find myself slavishly working at painting the weeds between cracks of rock, then painting the seed heads on the weeds to look exactly like what my eyes saw, when really I knew the larger purpose of sitting there in the hot sun was not to pay attention to weeds, but to paint the distant mountains above and beyond them.  By the time I’d gotten away from doing weeds justice, I was so hot I had to fold up my equipment and go back to the car.  And I went home with a painting of weeds between rocks and a big expanse of white paper above them.

THAT DOESN’T HAPPEN ANYMORE.  I have learned that I must take what is presented to me and do with it as I wish to do.  That is the work of a painter.

A PHOTOGRAPHER has a whole different set of challenges because a lens is very different from a human eye (it can’t do half of what a living, ‘breathing’ eye can do) and from human imagination (once it has seen what is before the eye) .  But I have noticed some irony happening between the worlds of photography and painting.  In the past, painters often worked very diligently to make a painting ‘look like’ a photograph.  These days, with technological photo-shopping manipulation, a photographer seems more or less obsessed with trying to make a photograph look like a painting.  I am not convinced either enterprise is worth spending all that amount of time on.

IF A PAINTER WISHES TO BE A PHOTOGRAPHER, then don’t go trying to make a painting into a photograph.  Do go and take courses and buy equipment and learn how to take photographs and do the work a photographer must work at in order to eventually become a photographer.  And IF A PHOTOGRAPHER WISHES TO BE A PAINTER, then leave the photo-shopping manipulation apps alone and do take courses and buy equipment and learn how to paint paintings and do the work a painter must work at in order to eventually become a painter.  They are two distinctly separate and inherently different artforms and–in my flawed way of viewing things–should stay that way.

AND YOU…what’s your view?  Tell me how I’m missing things you’ve discovered!

 

 

 

 

 

 

BECAUSE WATERCOLOUR is such a watery, transparent, delicate medium–one which must always allow the paper it’s laid on top of to breathe through it–one which traditionally doesn’t use white pigment, but relies on the paper to be the white of the painting–BECAUSE of this (and more) the challenge of the watercolour student is to convey an illusion of texture, without the ability to actually build up a surface texture.

WERE WATERCOLOUR PIGMENT applied so thickly as to create an impasto-like texture on the paper beneath, it would lose its luminosity and look pasty, muddy, dull–worse, it would crack.  Watercolour pigment only works when the paper beneath dazzles through it and brings life to the pigmentation.  In other words, watercolour as a medium is more the business of staining paper than it is a business of building up layers and coats of daubs, stipples, slatherings.

THAT’S WHY CARE is required to not apply so many washes that the luminosity of the paper receeds and eventually provides no life at all.  And that’s why the whites of the paper must be thoughtfully reserved and left untouched in key areas–the crests of waves; the moon; snow; clouds; a picket fence–and skill taken to paint AROUND these places to let the paper be the white.

SO….a student of watercolour (me) learns early-on that (s)he will be a student of the medium for life–that mastery is illusive–and failures, many.  A good piece is approached very thoughtfully, noting where the paper will be left to serve the function of white (pigment) and painted around.  Then the student will also have to gather enough courage to apply exceedingly dark washes in one ‘go’, while maintaining a sense of secure, carefree animation in order to present an immediacy and liveliness in the final piece.

THE DEATHKNELL of a failing, dying work of watercolour is finicky overworking of areas, and a refusal to accept what happened when water joined pigment joined brush joined paper.  It is NOT a medium for those who love to micro-manage or be in control.

THE STUDENT OF WATERCOLOUR has to be more a Peter Pan than a child wanting to grow up–loving the thrill of what happens when ‘danger’ is courted, yet having the assurance that daring will win the day.  However, that daring and search for adventure–on the surface of a good piece of paper–will only be pulled off if it is backed by enough experience to have a good hunch about what will happen when such-and-such is tried.

ATTEMPTING what remains beyond one’s ability isn’t courting danger–it is ignoring it.  Trying to fly without thinking happy thoughts will give a person a broken bone.  Within the bounds of representational art–(i.e. wishing to have a tree ‘look like’ a tree)–a painter cannot ‘pull off’ a landscape with lots of shadows if (s)he has yet to study them in some depth.  Trying to do a scene which includes far far more than what one yet learned how to interpret is an invitation to frustration and wanting to give up watercolour for say, acrylics (oh, my).

AND SO FOR MYSELF, I know by this time that I must confine my attentions to learning about how corn grows, what it feels like, looks like, behaves like, before I can throw my abandonment into rendering a watercolour of winter corn in January.  Not only that, but I must also have studied the qualities of snow–the qualities of what a winter sun does to shadows of corn stalk–the blues, the purples.  And only then can a learned abandonment bring about a possible reward.

IT TAKES A LONG TIME to find the right paper, the right brushes, the right working pallet of colours, the right approach and the right subject matter.  Knowing what can be done when paper is sopping wet–and what can’t–depends on who made the paper, how thick it is, how textured it is, how stretched it is, how quickly it will dry.  Knowing when to wait until the paper is exactly wet or damp or dry enough to throw one’s energies at it, comes (usually) through ruining (many pieces of) good paper.

HERE IS THE LATEST DEVELOPMENT of the subject of Jamieson Creek in a February thaw…..

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TOMORROW will (hopefully) provide a photo of the finished piece!

 

 

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JAMIESON CREEK is about a 15 minute drive from our home, along a dirt logging road.  The Kamloops, British Columbia, region is a geologist’s dream come true, featuring some of the oldest mountains in Canada.  As a student of watercolour, I am fascinated by stone and rock, particularly because it is so challenging as a subject.

 

This is Jamieson Creek, taken four years ago around February, early March….

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And here is my initial drawing of the subject…..

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As you can already see, photography is not my gift (which is why I paint, lol)–so forgive the darkness.  It was taken, pre-dawn in the spare room which serves as a studio.

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