….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.

chickadee miniature

‘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

…..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!

 

…. 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.

 

 

 

 

 

 

 

….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.

….a little nuts

November 20, 2015

Quite some months ago I asked Jackie of ‘Lost In Thought Photos’ (https://lostinthotphotos.wordpress.com/) for permission to do a miniature based on her wonderful photograph of a little tree squirrel.

Jackie very kindly agreed and emailed me back a very fine image of what –based on its colouration– appears to be a Fox Squirrel, which, even the most hardened rodent defamer would have to be a little nuts not to admit is cute.

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Here’s how they are described in Wikipedia:  “. . . Fox squirrels are strictly diurnal, non-territorial, and spend more of their time on the ground than most other tree squirrels. They are still, however, agile climbers. They construct two types of homes called ‘dreys’, depending on the season. Summer dreys are often little more than platforms of sticks high in the branches of trees, while winter dens are usually hollowed out of tree trunks by a succession of occupants over as many as 30 years. Cohabitation of these dens is not uncommon, particularly among breeding pairs. . . ”

Besides their cuteness, it is charming that they are non-territorial, and have been known to share their homes.  That is certainly not true for a great many squirrels, who seem to busy themselves hurling insults and chasing rivals all day long.

Hunting for frames is fun, losing myself in one or some of our ten or so 2nd hand stores, and recently resulted in this very nice (likely faux) leather 5″ x 7″ one for $.75.  It allows this little painting to sell for $35.

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Our little Gallery keeps 20% commission. So many thanks to Jackie at https://lostinthotphotos.wordpress.com/ !

 

blue moon

July 4, 2015

Because watercolour basically amounts to taking white paper and staining it with various colours by way of a brush and water-activated pigments, the possibility of texture using a buildup of paint, gesso, gel medium and other ‘helps’ available to painters in acrylic and oil just isn’t there.  IOW, in classic watercolour technique the word ‘impasto’ doesn’t exist.

Some painters get around this disadvantage by way of collage, and apply watercolour to glued on tissue and similar textural material…..

forest forager by shari hills,  “Forest Forager”, watercolour and collage by Shari Hills, source: httpwww.drawntothevalley.co.ukartistsdetailshari-hills

Here, the painter, Sheri (Colours by Sheri), used ‘delicate papers’ as a glued foundation to provide textures which then received watercolour paint to complete the effect.  On her site she describes how she also has used organic leaf material at times.

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“Winter’s Chill”, watercolour collage, Colours by Sheri, source: httpwww.coloursbysheri.comcurrent-series.html#sthash.aUBXtd8f.dpuf

If this method is used, painters are required to identify their medium as ‘collage’, or ‘watercolour collage’ if entering the piece in an exhibition or juried show.  Such work falls outside the accepted boundaries of what constitutes a ‘watercolour’.

In order to remain within the rather strict boundaries painters cannot have more than one third be of another medium or it then becomes a ‘mixed media’ work or ‘collage’ or ‘gauche’.   Gauche is watercolour which uses white tempera paint, and thus is opaque, not transparent. Of course, that is perfectly well and good.  Every painter does as (s)he is led to do.

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‘Moonrise’, watercolour on art board, 19cm x 24cm, (7.5″ x 9.5″)

Personally, like writers who enjoy the challenge of staying within the bounds of iambic pentameter and composing 14 line sonnets, being ‘confined’ to the rather strict parameters of traditional watercolour is rewarding.  These protocols include reserving paper to serve as white in a painting (such as the moon in the above example) — and the white of the paper is what brings life to the pigments laid over it.   And it means having to discover ways of creating texture which, in the end, remains just an illusion.

twilight time

June 26, 2015

DUSK HAS ALWAYS BEEN a magical time for photographers and painters alike.  Exemplifying this is John Singer Sargents’ famous work, ‘Carnation, Lily, Lily Rose’ . . .

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He would work on the piece by running outside every evening at that magical time to take in the effects the setting sun created in his garden, and add more detail to this wonderful painting–and did this over an entire year, between 1885 and 1886.

It borders on fatuous to have a Singer Sargent and something of mine on the same page, so please refrain from making a comparison.  Rather, note along with me that regardless of who is photographing, painting in oils, watercolour, or pastel, trying to gain an understanding of the effects of the setting sun continues to be a worthy and challenging pursuit, no matter which century we happen to find ourselves living in.

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“Winter Sun”, watercolour, 20cm x 30.5cm (8″ x 10″), art board, unsold

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

painting night

May 18, 2015

THERE IS A FASCINATION surrounding night, when all is cloaked in darkness and the earth dons a mysterious manteau.

WE SEE, and yet we don’t.  Depicting night is a painting fascination because I personally do not have a firm visual anamnesis of what exactly night ‘looks like’.

FOR EXAMPLE, is the moon really white–or silvery?  Or is it, rather, lemony–or perhaps, blue?

A NUMBER OF RENOWNED NORTH AMERICAN PAINTERS made the depiction of night their signature subject.  Some, like the famous Western painter, Remington, chose to depict moonlight as a bit of each, including even at times, degrees of green….

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IT IS SOMEWHAT OF A MYSTERY as to what our eyes truly see, in terms of chromaticity, when looking at night, and particularly, moonlight.  Painting night offers an enjoyable challenge: convincing viewers that what has been painted corresponds to their personal, nightly experience.

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Up Late’,  watercolour, Arches Hot Press Paper, “14×18”, (sold)

THIS IS ANOTHER heritage home in Kamloops, known locally as Fort House, because it was built on land originally used as a Fort by The Hudson Bay Company when Kamloops was established in 1812.  At present, this early 20th century farmhouse is a rather rundown rooming house.

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.

brushes, trees for Cornel

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.

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.

 

 

 

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

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 SUBJECT MATTER  comes from this photo, very quickly taken when we’d stopped the car on the dirt road running through The Dewdrop Valley (just outside the city limits of Kamloops) after I’d yelled, ‘Cows!’

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This grouping was described to me by my friend Max as a perfect example of a bull and his harem–and the ‘harem’ got nervous and didn’t remain in place very long once I began snapping pictures.  The bull couldn’t have cared less what I was up to, and just lay there chewing.

The very prominent tree in the painting is placed to provide focus.  Rather than leave in the barbed wire fence (in front of them), a natural enclosure is placed behind to sneak a storyline into the scene (the best grass lies out of reach)—that, and taking out the wire fence gives a more natural feel to the setting.

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 IN THIS GRASS RICH region, cattle roam all over boulder-strewn and mountainous terrain throughout the Spring and Summer.  They are finally rounded up on horseback in classic cowboy style in the Autumn.  Because of this, the beef from Kamloops is renowned for its organic, grass fed superior flavour and quality.

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.

 

 

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