Morgan Reading

Oil on Board   9 x 12

Morgan sat for a group of us in Jay Senetchko's studio. His well defined features made capturing the likeness somewhat easier. Too late, I noticed trouble with the way I positioned his image on the board, kind of crunched up in the top right corner. I wanted his head to the left and up a bit, but not that extreme. I'll do that better next time, I swear.

This is the last portrait I'll paint for awhile as I am heading to South Africa with my husband, Ian, to visit his family. I'll take my sketchbook and camera, but no paints.

If you want to keep track of me while I'm on my trip, visit my new photo journal South Africa Days. More pictures, less words.

Reflections for My Biggest Fan

Oil on canvas 8 x 10

My sister, Debbie, generally gushes over my paintings much to my enjoyment. This one is for her to hang in her newly painted blue bathroom. I enjoyed capturing those reflections on the vase.

I have an idea that the sea shell and vase might look intriguing sitting on the counter somewhere near the painting. I'll try it out when I visit Debbie in Okotoks this week.

Tarnished Pot, Blushing Apple, Drying Lemon Redux

Oil on Canvas Panel
8 x 6

On this journey of learning to paint, I have accumulated many paintings in various stages of success. Stacked in my studio closet, they await judgement in the half-way house between the garbage and the gallery.

This morning, I pulled them out, looking for any gems worth signing and varnishing. The rest will be tossed or painted over.

My old Tarnished Pot painting, first posted in January 2010, didn't deserve to stay but I couldn't give up on it either. (You can see the original below.) Something about it always annoyed me but I couldn't say exactly what. Today, I realized that the background was wrong. With nothing to lose and piles of wet paint already on my pallet, I attacked the painting with abandon.

The only changes I made were to the background and foreground. Removing the horizon lines gave the composition a stronger sense of resolve. The brighter colours in the fruit and the crispness of the objects are due to improvement in my ability to photograph my work.

Original  Version: blurry photo, washed out colours, split background.

Time Flies When You're Having Fun

Naomie - Oil on Board 9 x 12

Most Monday mornings, I kick off the week with a painting session at Basic Inquiry , an artist-run life drawing society in Vancouver, BC. I love the atmosphere of the group, a dozen or so artists all in deep concentration, trying our best to produce a good result. Some are drawing with charcoal, pencil or pastel, some paint with watercolours. A few of us work in oils. The studio provides easels and drawing horses and we circle round the model, who sits in the same pose for three hours. We do let her take breaks.

The time flies by and three hours is a short time to paint a portrait. I consider this a sketch. Next Monday, we have the same model, same pose, so I'll have a chance to fine tune things, the lights and darks and the shape of the eyes, to start with. I find noses particularly difficult and will be scouring books for painted images in a similar pose to get some hints. A couple of the other artists asked me for advice today (Yes!) which made me feel darn good.

Portrait of a Fellow Artist

Deep in Thought
Oil on Canvas, 12 x 12

I've been painting figures and faces lately with nothing finished to show you, until now. This is a big day for me: my first painted portrait that is good enough to post. I feel great about having achieved a likeness.

I painted this in the studio of artist and teacher, Jay Senetchko who gave me direction along the way to keep me on-track. The model was fellow artist, Chad Krowchuk who sat calmly while seven or eight of us strived to capture him on canvas.

Lessons I learned from Jay this time round:

• If the model's eyes are cast off in one direction like Chad's are here, leave more space on the canvas in the direction he is looking.
• Simplify. Once the initial drawing is complete, block in the shapes of the face and hands in only two skin tones, then go back in with more tones to give more definition.
• A bit of colour placed in close proximity will activate other bits of the same colour nearby. For example, the blueish tinge in the shadow on Chad's hand, nearest his face - that blueish tinge draws out the blue in his eye. (I've known to apply principle when buying accessories to decorate a room, but never thought to transfer the knowledge to painting.)

I tried the technique of glazing. After the initial three hour session with the model, I let the painting dry completely, then I painted a very thin coat of reddish-orange over the entire canvas. During the second session, I worked back into the cooler colours, blues, grays, and greens.

Tangerine Peppers

Oil on Panel 6 x 6

These lively fellas came from a nearby Kin's Market. I bought a bag of four gorgeous peppers in four brilliant hues for a ridiculously low price. 'Twas an artist's delight. My dilemma was this: should I roast them or should I paint them? Decision made.

The painting is an entry in the Daily PaintWorks challenge Color of the Year - Tangerine Tango.

A Friend I Didn't Know I Had

Shadows
Oil on Canvas, 6 x 8

An online acquaintance, fellow painter, Darla commented on my blog today, kindly remarking on my absence and complimenting me. I was touched and encouraged to post again. Thank you, Darla.

Today's painting is an entry to the Daily PaintWorks White on White Challenge.

My painting activities this year have been primarily figures and faces. Nothing worthy of posting. I wipe off most of my efforts at the end of each three hour session with the model. I'm making progress, but you won't be seeing those for awhile.

PS  Have at me with all your egg jokes.  (Please. I could use a few new ones.)