…where it is quieter and cooler and still.
After removing the masking and pondering for I don’t know how long, felt drawn to work in this area. Here, I am softly, sculpting background woods by gentle lifting with a damp, flat brush.
Adding foliage using triad tree technique.
Feeling calmed and refreshed after a cool, quiet walk in the woods
To read how Stepping Away From The Painting can be applied to our daily lives, visit: Appreciating A Masterpiece by Paula Lewis
To read why I am painting Follow The Red Railed Walkway and see earlier stages of this painting, click: Follow The Red Railed Walkway
To see additional images, visit June Rollins ART
Subtle Definition Makes Big Impact
Probably one of my most often used techniques…lost and found edges. I love the illusion this creates. I feel like I’m sculpting in watercolor.
Feeling the need to add some dark values to give me a better reference for judging mid to light values. Time to put on that roof.
I try to use the largest brush possible for the area I’m working in. But every now and then, a tiny round comes to my rescue
There, that’s better. How about those shutters next…
Only for the brave and desperate
Iris No. 15 reference photo. For those new to my blog, this is part of the All About Iris Series I’m creating for an Oct. 2013 exhibition at The Campbell House, Moore County Arts Council, in Southern Pines. NC. A collection of 60 paintings, all from flowers from my flower gardening efforts.
Was happy with my initial wash.
But, further along into the painting, felt lower right corner shapes shot viewer out of the painting and started trying to correct with value and color and edge shifts.
Nothing worked and nothing to lose…
Time to share my amazing brush discovery…
A toothbrush did this.
Especially happy to sign this one!
Not a painting method I would recommend.
And only an option for strong watercolor paper.
This was on Arches 140 lb CP. Less durable paper would turn into a pulpy mess.
Iris No. 15, 20x15
I am always doing that which I cannot do,
in order to learn how to do it.
Here She Is, Iris No. 14
Can you see a major change I made from the previous post
showing Iris No. 14 in process?
I can’t remember the last time I’ve spent the day painting.
Or, doing 6 loads of laundry. Guess it had been awhile for both
I’ve spent the morning (in between four loads of laundry) lost in the continuation of Iris No. 14 that was begun as a demo in the Watercolor Sculpting Workshop I offered yesterday at Artists League of the Sandhills in Aberdeen, NC.
An additive and subtractive method of creating form. Color is painted in and lifted out, in sections. Sometimes wet-onto-dry, sometimes wet-into-wet. Sometimes following the photo reference, other times heeding the painting’s call to take a different path.
It’s been a much-needed day of shutting out noise and distractions. For me, quiet and solitude give rise to the flow and expansiveness of creativity.
As I stepped away to consider Iris No. 14 from a distance and to begin laundry load no. 5 the thought came to share this with my students from yesterday who I am wishing the same kind of rejuvenating day, especially for the one who was not able to be with us. I believe that was your white lily watercolor I admired and almost used as an example. Funny, what one can hear when it is quiet enough. Peace.
True contemplation always overflows into creation –
it becomes a creative act.
the Artist’s Rule, by Christine Valters Paintner