Moraine Lake

The motivation for this one comes from a day trip to Canmore with the family. I was holding the baby like a football and walking while Di and the boys finished their hot chocolates. She wouldn't stop crying unless I got her away from her mom. She slept once I started walking, and my walking took me into a gallery. It was fascinating how the price of paintings depend mostly on their size. Di and the boys found us and started looking at the artworks too. Di expressed an interest in a big piece. We are so not in a position to buy a big piece of artwork right now.

When I got back to work in Ontario, I started wondering if I could do a big acrylic. My thing is usually watercolour. But a huge watercolour is beyond my competency. Acrylic materials are dirt cheap at Jysk. So I thought I'd give a little acrylic a try before getting a big canvas.

It's not like acrylic is super easy to get a good result. But there is the chance to paint right over mistakes. That's so not the case with watercolours where every brushstroke is permanent.

I added the grass because I thought it needed something in the foreground. But then I changed my mind after a few days. Also getting the perspective right on the canoe required more attention than it got initially.

I'm reasonably happy with this work as it is below. But something may start to annoy me as the grass did. Maybe it needs to be hung upside down or sideways for a few days too?

So producing a big work like Di wanted isn't totally out of the question. The challenge now is if I work on it in my free time in Ontario, how will I get it home to Calgary. Or if I work on it in Calgary, it would be taking precious time away from the family.

Perhaps putting an oversize piece on the flight home isn't as expensive as I imagine?

The Longest Grass

I started a sketch of my son. On the last painting I said the head was too small to get much detail into. This face is only marginally bigger. Maybe the size of a silver dollar rather than a loonie. None the less, I like the sketch so far because the likeness seems to be there.

One thing I'm trying with this sketch is working from a b&w reference photo. I'm hoping it will help get the tones relatively correct with more ease and not being fooled by changes in colour.

I did a crosshatch with the watercolour pencils to add colour to the background. Then I tried to take that texture out with a wet paintbrush and just have a solid colour background. I didn't bother to scrub all lines out.  I figure when I add the grass in with the pencils after the paper dries, it won't be too noticeable 

After the paper dried I added more lines for hair and grass and emphasized the dark part of the eyes, nose, and mouth. 

I'm pretty happy with the end result. There wasn't as much magic if paint is applied on wet paper with a brush. But I'll stick with this technique for a few more paintings and see if it keeps improving. 

Barefoot on Grass

I'm living away from home so I can work now. I anticipate there will be lots more time available to paint. Of course there is my full time job and I'll keep looking for a job back home. But after that there should be lots of time to paint.

I've been really inspired by Ali Cavanaugh's work. It's figurative paintings of her children. Her results are really remarkable. Of course she has a really skilled and well practiced hand. I'm sure it will take me 10,000 hours to reach her level.

I tried a little portrait of my son. I enjoyed working on it especially because it was my son and my family is so far away right now.

It is an 9x12 inch painting. I started with a sketch using Reeves watercolor pencils. Then I brushed it with water. I kept reworking it to try and get the likeness correct. But I think it looks way overworked  and still the likeness is not correct. Double whammy. Part of the issue was the face was only the size of a loonie and I was trying to do too much in such a small space. My brush is not small enough to maneuver in that tiny area.  Just getting the basics and broad strokes of his face might have been enough. At least not looking overworked.

I'll try it again with a bigger space, maybe the size of a tennis ball to paint the face.

Leaf of Gold study

I'm pretty happy with the way this turned out. It's a study of a Walter Phillips watercolour painting. Sometimes I don't know what to paint so I spend more time not doing anything than painting. I'm going to "study" other paintings a lot more. It gives me a chance to practice technique at the very least. Sometimes the study looks nothing like the original, so in those cases the original paintings are more like muses and it's probably fine to collect royalties from my work. This work looks an awfully like the Phillips painting, so I won't put it up.

To make this one, I sketched the mountains, cloud, lake and tree branch with a watercolour pencil crayon. Then I applied resist over the leaves and let it dry. Painted the sky, mountains, and lake and let it dry completely. Painted the branch and waited again. Finally I removed the resist and painted the leaves.

Some issues I have with the work include: the pencil crayon used was dark and it stained pretty good. I wish the outline of the mountains wasn't visible. The various layers of mountain rock is a great feature of the original that is missing here. As are ripples in the lake. Also the silhouette of the foothill trees is pretty rough and somewhat haphazard in my study. I should have found something finer to paint with. 

So I learned a thing or two. Hopefully the issues with my next painting will be mostly new ones.

Expressionist Moose

I started this painting at Swinton's in a class taught by Michelle Grant. She helped me getting the alignment of the moose right.

 I worked on it some more at home the next couple nights. Adding the darks.

The one above is a filtered photo of the painting. I was trying different photo effects on my camera, seeing if any would steer me in a particular direction, since I wasn't set on if it should be high key or low and what the colours would be. 

The photo below is also an effect that influenced my direction. I decided to desaturate the colour of the background by adding grey and hoping the figure would pop more with colour.

Below is the final result. It's still quite colourful. But I'm pleased with it. Moving on at any rate. Tired of fiddling with it.

Another moose

Another moose painting. I did this one quite quickly. Maybe two hours, tops. Mostly trying sort of a drip look. But I took some pains with the shape as well. Not so much with the colour. I quite like it. 

I thought the rack on the last moose painting might be somewhat of a fluke. I really liked that part of the painting. But these ones turned out quite nice too. So perhaps it wasn't so much a fluke.

The reason I didn't take so much time was that I intend to start tracking my 10,000 hours painting. These being the first two. So I didn't want to get too detail orientated. Not sure if the logic is quite right there. Probably more because I'm not a detail orientated kind of guy. In painting at any rate, I like to use a big brush. If I spend 10,000 hours, I'm sure I'll come across the colours and style that's mine without fussing too much about it in the first two hours. However pro athletes are always saying they practice hard. So that's a totally opposite philosophy.

18x24" watercolour

Moose

I painted this one pretty quick, three hours, one sitting. It's about 18x24 inches, watercolour on paper.

The difference between the first photo and second is the back of the moose around his hind. I thought it was too ambiguous about how it stood apart from the background, and bigger than intended. So I used an almost dry bristle brush and pushed the background down.

I've taken a bit of grief about painting a realist moose. I chose the subject because I'm going to be showing some paintings at the central library and I'm hoping to sell a couple. All the downtown galleries are stocked with Canadiana. So I picked something there seems to be a market for. Thus the grief.

Anyway, I've been thinking if I did this painting again, I would add something in the foreground to frame the moose and give it more depth. Maybe trees around the edges as a dark frame.

I'm mostly happy with this. I especially like the way the antlers turned out which was truthfully more luck than planned.

West Coast Trail

This is a work in progress

It's huge and taking forever. 40x59 inches. I see why big paintings cost so much more. The material alone cost so much. It's sucking up a lot of paint. Will probably be about 5 big 20 ml tubes. And the paper itself was in the $160 range. So that's about $250 total. And i'm not convinced it'll even turn out. I can't even imagine what it would cost to frame. But it will be unique.

I've never seen a watercolor so big. Keeping my fingers crossed it will turn out and not just be crumpled up and used as fire starter.

Landscape

I was happy with the way this one started. Before the above photo. I think one of the difficulties I'm having is not planning the colours before getting started and using transparent vs. staining paints in the wrong succession.

The painting below is still a bit tonally flat. The middle foreground shape needs to be dark as well. The hole into the background is also too big. It also needs a pop of colour; maybe red?

Update 12-Nov-12: I wasn't happy with the painting, so added a bunch of rose and violet while it was under wet plastic wrap. That didn't improve it. Was even flatter, muddier, and dark. So I tried to scrub off vertical strips of paint. And this is how it is. This is probably how I'll leave it.

Or I could run the whole kaboodle under the bathtub faucet and see where to go from there?

Abstract

11x17"watercolour

I was organizing the office putting paintings into appropriately sized boxes, when I found a couple paintings that I appreciate now more than when they were completed. Pretty sure this is 2012 vintage.

I like the textures within the various colour fields. I also like the transparencies of the orange and blue on the left. I'm not sure what is on top of what and what it means?

Plastic Wrap Abstract

I wasn't painting anything in particular. Hardly a plan. Abstract expressionism. This is the result.

11x17" watercolour

It looks rather cold. My wife sees a person. I asked who, but she must have known I was teasing and didn't answer. It wasn't my intention to paint a figure.

The technique was to paint the entire sheet yellow, then lay wrinkled plastic wrap on top the yellow paint. The painting was stood upright and very wet runny grey and blue paint was made to run down the wrinkles under the wrap. This was allowed to set for 30 minutes or so, and then the wrap was taken off, washed under a faucet and layed on the painting again.  Then violet paint was run under the wrinkles. This set for another 30 minutes and then wrap removed to let the paper dry.

Update 21-Sep-12:
So I said I was happy with the painting. But not over the moon. And I'd taken a picture of it. So why not give it another treatment. So I wet the paper again and let some runny cad yellow run under the wrinkles. When that dried, some spots were wet and lifted. Many of the edges look softer from the additional washes.

I'm still not over the moon about it. But I like it. I don't think it's going to be improved with any more similar treatments. It would take a major renovation to blow my hair back

Certainly thinking about painting more...

Yes, at least been thinking about painting more. Trying to sneak in a few brush strokes during nap time.

This one was "inspired" by another painting. But not to worry they don't even look remotely similar.

I really like the textures that were achieved on this one. I've been asked to do a big one of a tree, and I think the technique used here is what I'll use for that piece.

The commissioned piece will be less abstract, so I'll do a study to make sure the technique is applicable before using the big sheet of paper.

Geez I forget what that sheet cost. I think it was over $100 for one piece of paper?

Another Bodhi Tree

I think this is the third bodhi tree i've painted. They seem to be quite popular. Was recently asked to paint another one that is 36x48. That will be my biggest painting.

This one is 30 inches high. The friend that asked for it wanted a 36x36 painting, but paper that high is not easy to find. This was actually a piece of illustration board. I hope it is archival quality?

So after it was done and as photographed above, I cut it to 30 inches wide. My friend wanted a square painting. It didn't look as good square. I think next time I'll cut the paper to the size required before painting, so it will be painted to fit the correct ratio. That is the composition will be correct. I'm not against square paintings, I just think that i painted it in a rectangle and when it was cut to be square it didn't look as good.

Outreach Peru

I'm pretty happy with this iteration. Not sure if it will be the last. Looks great in the frame bought for the gala auction.

Maybe it's time to move onto a different scene and offer something different for my friend?

Outreach Peru

Here's another version of the same scene I've been painting over and over again. I think it turned out pretty well. Maybe the composition isn't quite right though?

I'd like to bring the foreground mountain forward and make it look three dimensional rather than flat like an aerial photo. It also seems like the shapes are too equal. Maybe some should be skinny and some fat?

Maybe i need to make the whole foreground mountain much darker to give it form? If anyone has any suggestions to do it differently, I'd love to see comments.

Horse and Train

I love this painting by Alex Colville!

I tried painting my own version and pretty happy with it. It's definitely not as awesome, but I think the experience of copying is very interesting. I didn't get the horse quite right. In awe of how he captured it's form.

I drew lines over the original to study composition. I noticed how the bottom half of the horse's ass is in shadow and fits under a diagonal intersect and the lighter half of the torso is above the diagonal. Also, the horizon is pretty much two thirds up the paper following the "rule of thirds." Even the smoke from the train follows a diagonal in the NW quadrant. It's very interesting.

Abstract Portrait

I like this painting now. I didn't when it was first finished. It turned out much different than intended. So perhaps disappointed at first and not liking it for what it is. But we're all good now.

I wanted to make a pretty realistic portrait and then put wet wrap over it and smush it around until it was partially unrecognizable. That is, eyes and nose and mouth etc might blend or be distorted. After the smushing everything was unrecognizable and only a vague outline of head and shoulders remained.

I feel like I'm learning a lot everyday about how to paint watercolors and my learning curve is very steep right now. If that is true, I must still be at the very start of my 10,000 hours of painting. That's kind of exciting.

Recent revelations include:

1. layering a colour over another before the first one is BONE DRY will lift the first one and reveal blank paper underneath.

2. A dry brush swished around over almost dry paint or a slight damp area can make some nice brush strokes.

3. Over mixing of colours makes a muddy dull color.

None of these revelations really relate to the painting above. The Peru pictures are move applicable.

Peru study

Even though I haven't been painting much lately, I'm still super stoked about contributing to my friend's Outreach Peru gala silent auction. My other friend is also letting me use her travel pictures as photo references, which is super nice and cool. Above is the first attempt.

I like a lot of things about this little study, but on the other hand it still looks a little weak. The terraces in the bottom left don't seem quite right. Maybe they need to be more opaque or I didn't get the perspective quite right? I paid a lot of attention trying to give the painting depth, by making the distant areas light and mauve-ish and the closer areas darker. But I think I need to do more of this as well as blurring the distant horizons.

Outreach Peru

Pastel Abstract

I got a really exciting request yesterday. My buddy Errin asked if I would donate a painting to a silent auction to raise money and send a medical team to help children in Peru. I love that I can help out even though i can't send a bunch of money. It will also be interesting to see how much one of my paintings will raise.

I'm going to try and paint a Peruvian landscape so there is a connection for the buyer between the artwork/donation and the cause country. But Errin and I will figure out which painting is best. The gala auction isn't until April.

This Pastel Abstract isn't that landscape, just a just finished painting. I like the way it turned out. It's a mixed media work.

I started with coloured sidewalk chalk making pastel shapes. Then i applied water using a paint brush and pushed and pulled the shapes. I think it turned out pretty good, but whether you like is probably highly dependent on if you like the colour scheme. It would probably be best in a room decorated by a little old lady.

Mountain Lake Abstract

I started this painting trying to stencil some curved marks onto the paper. They looked okay but i wasn't sure how i'd make a whole painting from this technique. So i quickly started using the brush full on.

I was probably using too watery a mixture because the painting was starting to look too greyish without any depth. I wanted some hard lines and texture so i put on the plastic wrap again.

I like how the black trickled down the wet wrap, so i covered the whole painting using this technique. Then the board was flipped over and red was applied in the same manner.

After drying it and flipping around to see which way it looks best, i settled on the vertical aspect. It looks a little like a mountain scene with a lake and red sunset reflections in the foreground.

I'm sorry the video has poor lighting. I started it in the late afternoon and most of the light was coming in the window. But by the time it was finished the lighting was tungsten so the white balance is wrong.