Inspired To Paint These Cows :)

Reference Photo, ©June Rollins

Reference Photo, ©June Rollins

I’ve grown fond of the these cows I drive by twice a day 6 days a week on Brasstown Rd. Even though I’m often in a hurry, pre-occupied or tired, I always look for them. On this day, soon after they had just gathered around a fresh hay bale, I knew I had to stop and take some reference photos for a painting. I was delighted and inspired to paint from this humorous image I received.

Later, I described the setting to one of my co-workers who laughed and responded with, Sorry, Private Party. I immediately knew Kayla had just given me the title for my painting.

How To Receive Inspiration During a Typical Day

Notice what you are repeatedly drawn to during the course of a typical day. Zero in and become more aware of whatever it is. Each day, even while rushing by, consciously, take note. Wait for and be ready to receive perfect, and perhaps unexpected, picture-perfect, moments:)

Cows Traveling To Tennessee In April

Sorry, Private Party, 12 x 28, Watercolor, ©June Rollins

Sorry, Private Party, 12 x 28, Watercolor, ©June Rollins

Sorry, Private Party, has been accepted into the 38th Southern Watercolor Society Annual Juried Exhibition to be held at the Customs House Museum in Clarksville, TN, May 8th – July 5th.

Next post will share the painting steps behind this watercolor.

Enjoy The Journey.

Spring Overtaking Winter

Dreamscape No. 603,  Dreamscaping With June Rollins®

Dreamscape No. 603, Dreamscaping With June Rollins®

Felt a longing for Spring while this Dreamscape emerged.

Its message: Spring is more than a pretty, little bloom or two. She has to be powerful to overtake and melt away this winter…

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When one has faith that the spring thaw will arrive, the winter winds seem to lose some of their punch. –Robert L. Veninga

Learn to paint intuitively by Dreamscaping.

Big Bear Completed – Step 6

Step 9

Before tinting previously masked grasses, I stepped back from the painting to consider any final adjustments or improvements. Another way to do this, especially when working large, is to take a digital and study the thumbnail on your monitor.

Big Bear, 21x29, Watercolor ©June Rollins

Big Bear, 22×30, Watercolor
©June Rollins

I tinted the grasses and used gouache to lighten some areas in the distant mountains I thought were distracting.

ref photo

When you compare my watercolor to Franklin’s photo, you can see I simplified the land shapes. I intentionally placed a darker valued land shape to lead the viewer’s eye and to help move Big Bear forward. I also added a distant skyline.

This is the last post of a series focusing on the stages of painting Big BearThis painting is being donated to, 1st Annual Live United Gala, a local United Way fundraiser.

Choosing Big Bear Colors – Step 4

Step 5

Effortless illusion of distant terrain was created with Saran Wrap (Step 3). I’ve begun painting the rocks with Sepia and Cobalt Violet and put the first golden wash on Big Bear with Burnt Umber and Burnt Sienna.

Step 6

On scrap watercolor paper, I consider the colors I want to use for shading Big Bear. You can also see I used masking fluid for fine lined grasses. Dr. Ph. Martin’s Hydrus Watercolors: Cobalt Violet, Burnt Sienna, Sepia and Burnt Umber.

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This is part of a series of posts focusing on the stages of painting Big Bear.

Coloring Big Bear’s World – Step 3

Step 3I always experiment with different color themes on a scrap piece of watercolor paper prior to beginning a new painting. I’m currently fascinated with the vibrancy of Dr. Ph. Martin’s Hydrus Watercolors. (L-R): Phthalo Green, Cobalt Violet, Burnt Sienna, Cobalt Blue, Sepia and Burnt Umber.

Step 4

When I feel comfortable with the colors, I boldly move forward. Here, I’ve placed Saran Wrap into most of the wet washes and left it to dry overnight. See now, why I needed to save Big Bear? He would have been washed away:)

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This is part of a series of posts focusing on the stages of painting Big Bear.

Saving Big Bear With Frisket Film – Step 2

My plan is to cover the majority of the paper with dark valued hues, which means I need to save Big Bear, or save the white of the paper. I’m working on 140 lb. CP, so I used Extra Tack Frisket Film shown below:

ExtraTackFrisketFilm_b608_thumb

I applied the frisket film, rolled with a brayer, used an X-acto knife to cut around the desired shape and peeled away the excess shown below.  Using Frisket Film

Step 2

Using frisket film is great for saving large shapes that are challenging to paint around. There are also other methods for preserving whites.

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This is part of a series of posts focusing on the stages of painting Big Bear.