I did these small flower studies all on the same piece of paper. The first thing I did was adhere the paper to a piece of 2mm Sintra PVC panel with some brushed on acrylic soft gel medium. I let that dry for about an hour under some heavy books. Next I split the page into quarters with blue painter’s tape.
On the Willamette
I did this small study today to test out how watersoluble markers work on a smooth gessoed panel. It’s like working with a limited selection of watercolors. Also I discovered that ink just sits on top of the gesso. It does not stick or sink into it. So, if you apply a second layer, it tends to lift the previous layer instead of building up to a darker more opaque color. The color remains transparent and shows the texture and streaks in the gesso underneath.
6×6 inch (15×15 cm) Sintra PVC gessoed panel, Arteza Real Brush pens, and Arteza flat waterbrush.
Daffodils in the Woods
I’m looking for a way to do plein air paintings without carrying brushes or water or wet media. I did this small study to see how tempera paint sticks and brush markers handle on canvas panel. I laid in the major areas of color with the paint sticks first and then I added detail with darker colors using the brush markers.
Reference Photo – Daffodils in the Woods
5×7 (12.5×17.7 cm) canvas panel, Mod Paint Sticks, Arteza Real Brush Pens.
This bush is in our backyard. It’s in full bloom. I’ve been glancing at it throughout the day thinking about how I’d approach sketching it with paint sticks dabbing on the pure color. Finally, before dinner I found the time to sit down and try out my plan.
Fabriano Studio Watercolor hot press 140 lbs 8×10 inch (20.3×25.4 cm) paper, Mod Paint Sticks.
Sketching from Google Street View. Testing tempra paint sticks on smooth paper with water.
Strathmore Mixed Media 400 Series 9×12 inch (22.9×30.5 cm) paper, pencil, Mod Tempra Paint sticks, Arteza flat waterbrush, ArtGraf Viarco 6B water-soluble pencil, Kuretake #13 brush fountain pen with Platinum Carbon Black ink, and Molotow 2mm empty pump marker with Dr. Ph. Martin Pen-White ink.
The other day I found a box of cardboard heat-seal 35mm slide mounts and an old custom built slide mounting press. I wondered if it still worked and if so, how I might put it to good use. It occurred to me that I could do miniature paintings and frame them in slide mounts as a novelty. They might make interesting business cards.
These aspen trees are on the road between Lake Louise and Jasper, Alberta, Canada. I took the reference photo on our honeymoon trip in 1975. I painted two of these for Christmas gifts – one for my wife and one for our daughter.
Acrylic on Gessobord. 6×6 inches (15.2×15.2 cm).
A Blue Day in the City
I’ve been meaning to try this for quite a while. I bought a cheap plastic one inch putty knife with the idea of using it to spread some paint around just to see what kinds of marks it can make. I then used a dip pen to add some detail with acrylic ink.
Acrylic on paper, palette knife and dip pen. 5.5 x 7.5 inches (13.5 x 18.5 cm).
My three paintings in the Paint the Town Exhibit
I finally got to the Elsinore Gallery on the last day of the exhibit and took this photo with my iPod Touch. One of my three paintings was awarded an Honorable Mention. I thought that was pretty cool for my first time out.
This slideshow is embedded using a shortcode from Slideshare.net.
I made this slideshow with Google Slides on my iPad.
Backyard Acrylic Sketch
“If I ever go looking for my heart’s desire again, I won’t look any further than my own backyard; because if it isn’t there, I never really lost it to begin with“.
I’m continuing my quest to find the perfect materials for painting on location. This isn’t it, but I’m getting closer.
Geranium Gouache Sketch
Today I’m testing my homemade paint box before I take it out on location. I set it up on the back porch on top of my small Sony tripod. I’m painting with Holbein Acryla Gouache on a 6×6 inch canvas panel.
This is my second try at painting a pair of paintings at the same time. I like it. It goes faster than painting two separate paintings because you save time preparing and mixing the colors. I worked back and forth mixing a color once and applying it twice.
I’ve had this idea for a while now that I could do two paintings side by side of the same subject in about the same time as doing one. This is my first experiment to test my theory.