Lost Boys Kite

 

                                   Watercolor and gauche on 5 x 6.9 inch 140 lb Arteza paper.

This watercolor experiment was inspired by the kite the boys send Max in The Lost Boys (1987).  I made it for my boyfriend to remember our first kiss.  Here is a pic of the kite from the movie!

Buffalo Moon

 

 

 

                                  Watercolor on 9x12 Arches 100% cotton paper. 

I made this watercolor experiment for a friend who loves buffalos 

Nightfall at Collinwood

                                 Watercolor 6"x9"

I made a Dark Shadows themed card to celebrate my child's fourteenth birthday.

e. 1065

Collinwood in the year 2020, where Barnabas and Julia, escaping from Parallel Time, have found themselves in the future.  To their horror, they have discovered the great house in ruins and the family mysteriously vanished without a trace.  

 

The Retiree

 

                            Watercolor on 8"x10"

I painted this to celebrate my dad's retirement on Friday, July 13, 2018.  I reinterpreted the Rider-Waite Tarot card The Magician, using symbols and imagery to represent my dad.

Sunscape

"Sunscape," watercolor, 8.5x5.5

This was just a quick little watercolor experiment I did when I got my new watercolor set. 

Athene Noctua

Athene Noctua, acrylic on canvas, 14 x 18

This project began last October when Celeste asked me to make a painting about the goddess Athena.  I knew that I wanted to use symbolism to convey the goddess.  I had an idea to paint the Athene Noctua (Little Owl), as this is the owl that is especially sacred to the goddess Athena and that is depicted in all the ancient Greek artwork.  I wanted the owl nestled in a great olive tree, as this tree is also one of the goddess's symbols.  In the morning on my way to work, I observed a crescent moon with points facing completely upward.  As the upwards crescent is also a symbol of the goddess, I knew I had to paint the moon this way.  I made a quick sketch in my sketchbook, and planned to follow this basic design.

I was hit with a personal tragedy and had some trouble creating artwork.  I was able to make my background, which I decided should be abstract and made of colors I associate with the goddess.  I wanted to show a gradation of dark to light.  Here is my process:

I used a white gel pen to draw my sketch directly on top of the canvas.  I tried using a charcoal pencil at first, but it was too dark and I knew I would have trouble seeing it when I painted.  The white gel pen is great to sketch with on such dark backgrounds, as water or even varnish makes it dissolve to nothing.  I placed my canvas in the closet and left it there until January.

When I finally began working on the painting again, I started with the tree, then the crescent moon.  I painted the owl, using several reference photos but not directly using any one photo as a model.  After I made a good sketch of the owl, I painted it over in a beige color so that it would be easier to paint on top of that dark blue background.  Then, I was ready to start painting my actual owl.  The owl I came up with was a little bit on the round side.  Interestingly, it reminds me of a painting I did of a Saw Whet owl in high school:

I suppose this shows that while techniques improve, essential style can remain the same.  One thing I've learned since then: always paint the background first! 

A problem I had when I finished my Little Owl was the moon.  Whenever I see a crescent moon in the sky, I can see the dark side of the moon.  I wanted to convey this in my painting, but I didn't want to cover up my background too much or use any opaque paint.   I solved the problem by putting a coat of gloss varnish over my painting.  Before I varnished, though, I carefully drew the full circle of the moon with dark blue paint and a small paint brush over my charcoal moon sketch.  I didn't want to lose the perfect circle when I put the varnish on.  When the varnish dried, I put a few layers of dark blue glaze over the dark part of the moon.  I also added some details to the visible part of the moon to make it more three dimensional and realistic.

I placed three coats of satin varnish over the painting and completed the project. 

Bananas

Banana 1, Pastel and Colored Pencil over Watercolor, 8 x 5 on 140 lb paper

Banana 2, Pastel and Colored Pencil over Watercolor, 8 x 5 on 140 lb paper

Banana 3, Pastel and Colored Pencil over Watercolor, 8 x 5 on 140 lb paper

Banana 4, Pastel and Colored Pencil over Watercolor, 8 x 5 on 140 lb paper

This little set is the first artwork I've made since mid October.  It was time to get going again. 

I wanted to play with a split complimentary color scheme, so I used a yellow subject with a red-violet background and a blue-violet background, and a blue subject with a red-orange background and yellow-orange background.  I was really nervous about making blue bananas!  I worried that they would be unrecognizable.  My banana browned significantly between when I started the set last night with Banana 1, and when I finished it this afternoon with Bananas 2, 3 and 4.  I started feeling like my artwork actually smelled like bananas by the time I was done.  I think the smell helped me make them more natural, along with the browning. 

I first did a watercolor wash for each of the paintings.  Then, I sketched my banana quickly in pastel and completed and under painting with Prismacolor Pencils, using complimentary colors (violet for the yellow bananas and orange for the blue ones).  I also sketched in some detail with dark brown, raw sienna and burnt umber colored pencils.  I went over the work with pastel, then added more detail once again using colored pencils.  The shadowing also began with colored pencil, but ended with pastel.