It was a dark and stormy tree

It is a cold, blustery and crappy day today as we wait for Joaquin.  Perfect for my mood.  I have not painted in a while and this was done without photo reference, visual reference or under drawing.  I just. . .painted.  

The sky, a mix of deep apatite blue and french ultramarine, and the deep dark greens, providing a contrast to the tree, reflects the puissance of the weather.

                                      Watercolor on 200lbs paper 14x10

Coach Barn - Duke Farms

A few weekends back I had the opportunity to visit Duke Farms and see the Coach Barn, which was open to the public for the first time in a long while.  It is a rather impressive building, complete with stables and working clock tower.  Constructed in 1900, the Coach Barn is where J.B. Duke conducted his day to day business.  The clock is over 100 years old, and has never broken down or failed to tell the correct time.  

The painting started on location and finished in my studio (I just like writing that) since the day was getting late and the bugs were biting.  As you can see below, it was still a bit rough and unformed.  I used several different pens to vary the line weight, trying hard not to "over work" it with unnecessary detail.

                          Watercolor, Pen & Ink on 140 lbs block 12x16

I set up with the en plein air easel and my niece joined me, creating her own painting.  It was fun.  Several people stopped over to watch us paint and ask questions, which is certainly something that never happens when I sit on a bench with a pad in my lap and sketch.

Here is the un-inked version of the painting.  I had to leave it a little too rough to call it a finished work.  The ink adding just the right amount of detail and clarity.

Rhododendron aka Rose of Sharon

Despite teaching biology in college, I have been accused of a having a willful ignorance of local flora (there is a running joke that I call all small flowering trees dogwoods).  While that may be true to an extent, I am not that bad.  But here is where I fail to disprove that hypothesis.  In our side yard, we have both rhododendrons and rose of sharon growing.  And of course, I call them both rose of sharon because, well, it amuses me (sad but true).

Below is a painting of said rhododendron in said side yard.  This painting is a rather large and has the distinction of being the first painting on my new en plein air easel and tripod set up (see below).  I was very excited to finally get to use my new kit, it makes me feel like a real artist.

                            Watercolor on 140 lbs watercolor block 12x16

 

Sailing off Sun Set Key

This piece kinda got away from me.  While in the keys, I took several photos of beautiful sunsets, some with deep oranges and yellow, some with soft pinks and reds, all with the intent of using them as the basis for studio pieces.  This is the first such painting.  

I wanted to add a bit more color to the water and may have overdone it a bit.  Not sure, I go back and forth as to whether I like this or not. You all can decide. I am pleased, however, with how the sail boat turned out. 

This is one of my larger watercolors at 12x16 as I am feeling more confident working bigger. 

                    Watercolor on 140lbs watercolor block 12x16 

Idyllic

This will most likely be my last studio piece of 2013, and for the first time in a long time, I feel I am making progress and showing growth.  The sky turned out how I wanted.  The mountains, for the most part, as well.  I was able to layer colors down (successfully), one on top of the other, to give this painting a more complex  look and feel.

                        Watercolor on 140lbs watercolor block 9x12

A Sleigh Ride Together with You

It is a bit muddy in parts, but I finally achieved that "atmospheric" look I have been attempting to do.  Still need to work on a consistent and cohesive composition, but I like this quite a bit.

                            Watercolor on 140lbs watercolor block 9x12

Transitions

One of my biggest goals regarding my art is to be able to incorporate both watercolor and pastels into a single unified look.  Previous attempts have been equivocal, mostly because I would not completely commit to the process or I would decide, "Hey, that watercolor is fine the way it is" and not add pastels.  But this time, I decided to be bold and, as the corporate jingle goes, just do it.   I like these results much better.

                            Watercolor and Pastels on 140lbs watercolor paper 9x12

Below is the watercolor without pastels laid over the top.  Like many of my watercolors, it lacked any compelling contrast; everything is a mid tone.  The addition of the pastels added more interest; darker clouds and bolder mountains. 

The Hike

I tried something different with this picture and used my new studio set up to paint (see below).  First, I was used Canson Montvale watercolor block on a table top easel instead of painting on a flat surface. Second, I finally used fresh paint from the tube, instead of dried paint in a travel set.

The point of the painting was to work fast and rough (still need to get better flicking paint and water onto the paper) and not worry about details.  The final result was quite satisfying.

                                     Watercolor on 140lbs watercolor block 9x12

Here is my new set up, with the watercolor block (it is bound on all four sides which prevents curling of the paper and the need to tape it down), table top easel and the porcelain butcher tray.   I had to adjust the lighting but I am quite happy with how my studio is starting to take shape.

                                                          The Set Up

Sleepy Farm in the Waning Days of Summer

There is a special kind of light in the waning days of the summer that tantalizes us with whispers of longer days now past.  It can make us pause as the light captures our attention and freezes a sleepy image in our mind.  And there is something about farms and rolling hills that I associate with this summer light.  

                                          Watercolor on 140lbs paper 9x12 

A small church in Chateau d'Oex

Sometimes you have to be prepared to ruin perfectly good paper. It allows for greater freedom.  And while I did not exactly ruin this one,  I am not sure if I hit the mark with it either.  Still, I am quite happy with some of the layered washes and will put this one in the "win" column.

                                     Watercolor on 140lbs paper 9x12

Caroline's View

The rare landscape painting done in portrait mode.  I felt the height of the sky was the most important design element and so I flipped the paper thusly.  A friend sent me the view from her backyard and I felt inspired to paint it.  The sky in the photo had more pinks than purples, but purple was where my mind was at.  I also omitted the palm trees on the side of the painting.  I thought about going all Bob Ross and doing a dark tree up the left side, but I just could not.  I think it would have distracted from the sky.

                                           Watercolor on 200lbs paper 14x10 

Where My Mind Is

I think I need a vacation. . .someplace with sunsets like this.

                                          Watercolor on 200lbs paper 12x16

This is the largest watercolor I have ever done.  I stood while painting and was very loose and free with the strokes.  I think I futz too much with the sky but otherwise, I am rather happy with results. 

And historically speaking. . .this marks my 22nd post of the year and the 200th over all.  2013 has now tied my third most product year since I started this blog in 2006.  I doubt that I will ever match the first year (101), where I was posting pictures from a 10-20 year period.

A Moment at Dusk

Done entirely with only the Hake brushes. . .that is right. . .no flat or round or rigger brushes. . .Just the Hake, ma'am.

                                         Watercolor on 200lbs paper 10x14
The two things that I am learning about Hake, and both relate to the fact that they hold lots of water (as advertised).  First, is the amount of water you start with is the secret to doing light washes as an under painting.  Second, to go effectively go over those light washes, you cannot be afraid to use lots of paint.  Initially, I was only using the paint sparingly and I need to stop doing that.

Today's Hike: An Interlude

I am still need work mastering the Hake brushes. . .that much is obvious.  And I am struggling with creating the wispy atmospheric feel that light washes of watercolor can produce.  That said, I consider this to be more of a success than failure.

                                           Watercolor on 120lbs paper 9x12 

A New Day Dawning

Just because it feels like it is. . .

                                          Watercolor on 200lbs paper 10x14

Completed using only Hake brushes (except for the two fishermen in the boat).  This may very well be my favorite sky. Someone challenged me to work lighter and use more sensitivity with my brush work. I think I am getting better.
 

Big Brush Canyon

No, that is not the canyon's name (I am not sure where the reference photo was taken) but this was the first watercolor painting I have done with my new BIG Hake brushes.  Hake brushes are very versatile and hold lots of water.  They will take some getting used to (I probably need to use more paint).  

Besides new brushes, I also bought lots of different paper.  This was done on a 10x14 200 lbs sheet, much bigger and thicker than anything I have done in the past.  I also bought even larger paper and two different hot pressed watercolor paper pads (9x12 and 10x14).  I am going to wait before I try those out.

                                     Watercolor on 200lbs paper 10x14