Things are warming up!

The is a view near Rockport, Ma. last summer.  Spring is still young enough that greens are just teasing. But I'm happy that I caught the glow of sun an this inlet, with it's promise of warm days and temperate nights. For now, I'm calling it finished.  Oil/canvas panel.  9 x 12

 

 And in further celebration of the Joy of Spring, here is an emerging, happy (or hysterical) sheep.  Lots more work to make him fully fluffy. Oil/canvas. 8 x 10

Nomination for best picture (of my weekend)

 Wild and Woolly!

 The value sketch for my first "marsh" painting. 

Lake Pentucket

I'm not sure I captured that the marsh/lake was frozen and covered with ice and snow.  Suggestions welcome.  I am pleased that it looks fairly "cold" though.

Downsizing is better in theory than reality.

.Actually, we have plenty of space... it's just that a lot of it is in the wrong place.

At 2:30 this afternoon the outside temperature was 26.  I think that means it was in the 30's in my basement art studio.  I was too lazy to check.  That also means I haven't been "at the easel" all week... except for the easel at my friend's instructional studio class.

 At least I made some progress there!  The town scape is looking more plausible, but still funky.

  

 The mama and baby sheep are, similarly, more realistic, but still funny.  (Maybe funky, too). I see several places I want to adjust... but they need GOOD light... if not natural light, then at least BRIGHT light.

And I don't really feel like working with pastels (which are upstairs in the warm cozy eat-in-kitchen/dining area).

So maybe I'll invest in an indoor-outdoor carpet or tarp and heave the big easel upstairs...
OR (This would be a BIG project)
Make my tiny upstairs guest room/office into an art studio.  Might have to put my yarn stash in closed containers, though.  Yarn and oil paint do NOT mix.
Downsizing is better in theory than reality.  At least if you are a crafty artist hoarder.

Found a studio group to paint with!

Hazy Horizon. oil/canvas  8 x 10

I joined the studio class led by fellow Nashua Breakfast Club Artist, Paula Mingolelli.  And already, I can tell it is a good thing. 

 I had done most of this high key landscape on a hazy day, but had managed to get the house tilted at about a 13 degree angle.  Calling herself the "Horizon Police" she insisted I straighten out the roof lines.  Didn't know I could do it... But I did!  AND it was worth it.

When you paint by yourself, it is easy to slip into denial, depression or just a giant lake of Prussian Blue. I still miss my painting buddies from Texas!  I'm sure it will take a little bit of getting used to a new "leader,"  but I figure it will take a little bit for her to get used to me, too!

After I set the Hazy Horizon to one side, I had enough time and "oomph" to begin another small painting.  SHEEP!

I toned the canvas with violet acrylic paint, sketched in with charcoal, and scumbled a bit with R&F paint sticks.  I've done thumbnails of this plenty of times, but the composition came together better than ever before. I still need to correct some of the colors and contrasts in order to prove it to you!

I wonder if the woman who bought one of my paintings because she "liked purple and green" will like this, too.

Revved Up, Reworked, Roughed In, Rambunctious!

 After watching the demo last night by Stapleton Kearns (photos and comments coming soon), I HAD to paint today.  Even though I got a late start, it was a productive session. 
I re-worked the Texas sunset scene I started the other day.  I don't think the colors are exactly true in the photograph, but I generally like the changes I made.

 Watching Mr. Kearns determine atmospheric perspective, mix colors and compose "in spite of" his reference photograph gave me courage to try some new stuff in this painting.  The mix of evergreen and deciduous trees (not to mention marsh grasses, snow and some ice) was a challenge I would have shrunk from only a day or two ago.).  The slope was intended to look evenly tilted toward the viewer:  I'm not quite sure why it looks as if there is a crevasse on the left of the snowy cleared section.  Otherwise, I'm quite pleased.

We'll see whether I can give this sheep dreadlocks AND an attitude.

Pastel Class V: Dialogue and Eavesdropping as learning methods.

 The instructions for all remaining classes is to "bring something simple" as a reference, and to work on it.  I was concerned that would mean A Local Artist wouldn't be as helpful or instructional as she was in the first few sessions.  However, it turns out that if you ask questions (or if she sees something that bothers her), she will take however much time it takes to answer.  Interesting that pastels "go quick."  Totally different from the oil class I took last Spring... where after 8 weeks I had ONE painting!

A Local Artist  reviewed my prior abstract landscapes, and the challenging cat, and gave me some pointers.  I don't know if I can make the recommended changes, or in some cases, whether I even WANT to make the changes.  I do, however, very much appreciate her time and attention. At least I have enough experience to understand the reasoning behind her suggestions.  (Nobody needs a floating cat!!)

I was also kind of surprised to find out that she sends her pastels OUT to be framed.  "Requires too much patience!" she said.  So if anybody wants to buy pastels, I'll probably sell them unframed! (Or use the excellent framer I have found since, who caters to artists who need/want to keep their overhead down.)

 

Here are the sheep I started yesterday, with a bit more facial definition (and legs!).  

Here they are at the end of class.  Seeing them on screen and in various sizes, I can see that they need more work, although I'm not quite sure what or how.  Nevertheless, I was pleased that every time another student, or A Local Artist, for that matter, came over to look at them, they smiled or even laughed out loud.  

"Cute, but not cutesy!" was the primary verdict.  "Gives me a warm feeling, right here," was another.

Which is OK with me.

 Last night I spent a long time searching for barn images on the web.  In the last 20 minutes of class, I tried to get the bones down.  It needs blending and a sky.  Not sure what color the sky should be.  Lavender?  Cerulean blue?  Orange?  Maybe I'll play with in Photoshop before I apply any more pigment.

 The woman who sits in front of me did this lovely rainy landscape.

 Kevin One (There are two Kevins in our class!) Worked from one of his own photographs and was discovering amazing blazing trees.

 I like his scribbly style and tonal variations; not to mention the way his work looks confident... even when he sounds doubtful.

Tomorrow, I plan to use the coarse pumice gel medium on some watercolor paper and do some experimenting with that.  I might even cut some of the sanded Wallis paper into workable sizes.

Oh, and my right hand index finger aches at the first joint.  Apparently I am not ergonomic with my blending technique.  I have found myself wishing that I had witch-like pointy fingers so my blending was more focused. 

More Chalk Dust and Slightly Less Frustration (for now, anyway)

 I think these trees are "as good as it gets."  They are decidedly lollipop like, but the colors seem tasty!  My plan is to go to the art supply store tomorrow and get some pastel medium (gesso with pumice grit in it) and see if part of my problem is the paper I've been using.

 These trees, also inspired by Richard C. Harrington, seemed to "go" better than the ones above.  Perhaps the pinkish background of the first was overly dark for the final effect I was looking for.  This paper was merely "cream" and I was able to leave a pretty bright halo on the tree tops.  If you double click you can see the myriad oranges, yellows and pinks that are in those flaming trees.

 

This is from a photograph I took around the corner from the house.  I'm pretty pleased because a) it actually resembles reality!! b) it is complicated  c) for how much green there is in it, I don't think it is too acidic or bilious and d) the tree shadow on the boxy white building seems to work.  Maybe you have to squint.

I even got brave enough to block in some sheep.  You knew they wouldn't stay away for long!

Carried Away at Cider Hill Farm (mostly)

 I saw a big sign in Amesbury this afternoon that said:  THE PUMPKINS ARE COMING! Sure enough.  and I believe there will be plenty for everybody!

 Cider Hill Farm is an active farm that does sells produce throughout the year and encourages picking your own fruit from Spring through Fall.  They keep plenty of chickens (for the egs) and a few sheep and goats.  I took a LOT of pictures for painting references. 

 Can't wait to do this red/orange rooster AND his goofy shaped shadow!

 I don't think most of the toddlers knew THEY were bugging the chickens.  One apparently lost it's egg.

 While the goats LOOKED pristine, they still smelled bad to this city "girl."

 I don't know if this one had indigestion, was trying to sing or what.  NOISY!

 The temporary "lake" in the grass left moss on the duck breasts.

 Sparrows (or maybe Finches) were well camouflaged in the sandy dirt.

 Searching for food was as good UNDER the feeder as in it.

All of the chickens were mesmerized by a man walking by with a (tiny) Boston Terrier.  They stopped picking, clucking and running.  HIGH ALERT.

 I enjoyed watching a group of siblings picking "special" grass and clover (?) for the sheep and goats.

 The "lake" from recent rains.  There were lots of ducks!  And when the children scared the chickens, about half of the ducks would lift off, too.

 A couple of long views of the orchards.  Corn, apples, peaches still.  And there were onions, garlic heads, and eggplant in the barn.  Not sure where those were growing.

 Varied pumpkin display.

 View toward the East with shed and tractor and shadow.

 Pumpkins for selecting, segregated by size.  Kids always gravitated to the hugest ones, parents seemed less enthused, although the prices were reasonable.

 Pastoral scenes on the way home from the farm.  I hope I can turn these into pastel or oil paintings.

 This farm had probably sold most of the eastern acreage to a newish subdivision.  I loved the chain of buildings:  homestead, barn, silo, more barn, more shed, another house, etc.

 Sunflowers at Heron Pond Farm.  I hadn't seen ruddy sunflowers before.

 Church adjacent Kingston Town Hall.  I don't know how I can make this into an interesting painting.  Suggestions welcome.

 View toward the street from the church.

 Farmstead on the far side of the Town Hall.

 Farmstead's weathervane.

 One of many local Christmas tree farms.

 Re-paving some more roads before the plows scrape them up in winter.  This was a VERY sophisticated looking asphalt paver.

 Plans around the fresh water marsh, with its beaver den, below.

Tomorrow we're going to Newbury Street in Boston.  I'll be looking at paintings.  Who knows if they'll let me take pictures.