Meeting The Green Challenge

It’s that time of year when many of us are facing the challenge of incorporating greens into our nature inspired paintings.

Have we met web

I took this reference photo a few years ago. While working in my flower garden, I would often be surprised by Carolina Anoles like the one you see above. I grew fond of their bold, inquisitive ways.

AnoleEven though the painting will be primarily green, I didn’t only use out-of-the-tube, green pigment. I also like the effects of mixing yellow, gold, red and blue to make a variety of pleasing greens. More info at: Mixing Greens

P1110372I began with rich color working wet-into-wet to create soft-edged shapes. I later defined the subject with a light wash.

P1110373I continued adding darker values aiming for a subtle leading and flow of edge variety and interlocking shapes.

Lean Mean Green Machine 10x21 web

Lean Mean Green Machine, 10×21, Watercolor, ©JuneRollins

I lifted color and glazed to create unity. Because of the glazing and predominance of green, the finished painting was difficult to photograph. Above is close in color, although actual painting has more depth.


When meeting the green challenge this year, make your painting unique by following Picasso’s advice, create “that particular green” that can’t be bought…

They will sell you thousands of greens: Veronese green and emerald green and cadmium green and any sort of green you like, but that particular green, never.


Watercolor Dreamscaping

The 4th Alcohol Ink Dreamscaping DVD is out into the world and the Alcohol Ink Dreamscaping Quick Reference Guide, projected to be available the end of this month, has been turned over to a professional, which means I’m considering directions.

Yesterday, I began dreamscaping in watercolor; no photo references, no pre-planned sketching. More of a seeking, sensing way to create. A Winter’s NIght Series is emerging.

Winter’s Night 2, 5×7, Watercolor
Dreamscaping With June Rollins®

Winter’s Night 2 was created, working  wet-on-wet with Daniel Smith Sodalite Genuine and Hematite Burnt Scarlet. Wonderful granulation just by using water. Subdued neutrals felt soothing. Edges wanted to be torn.

I posted this image of a Winter’s Night watercolor in process on my Facebook Art Page earlier today. It’s been encouraging to receive 17 comments and 52 likes. One in particular really stood out, “Quite a departure…”  Yes, and I’m seeking and sensing direction all along the way.

Let’s Keep Dreaming 🙂

Entering Into The Forest…

…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

House Portrait Continued – Trim Detail & Roof

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…

Amazing Brush Discovery

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.

-Pablo Picasso