Brush Strokes

The Devil is in the Details!

2012-01-29T15:05:00.000-06:00

Mountain Stream
Great Smoky Mountains
January 2012
Watercolor Painting
16" x 20"

The old expression, The Devil is in the Details, is often true when watercolor painting. I am an Impressionist style painter and prefer less rather than more details. I like a blurry, dreamlike painting rather than a photograph. Details are a matter of personal preference and painting style.

However, in any painting, one more brush stroke can be one brush stroke too many. My painting above has minimal details. Below are closeup photos of the details found in the backgroud, the tree stumps and the rocks in the above painting.

I used only a few brush strokes to indicathe bark on the tree stumps and used several different colors of paint to add detail to the bark.

The background trees were only detailed by adding a few strokes to indicate tree trunks.

Only a few details were added in the rocks as well - a dark spot or a line to indicate a crack in the rock.

So, as you paint, examine your style and add the details to create the type of painting you enjoy. But, remember, no matter how much detail you enjoy.....the "Devil is in the Details" and you must know when to stop painting and simply enjoy your finished work!

Happy Painting!

Karen

Mountain Streat - Part 3 - Water!

2012-01-22T14:55:00.000-06:00

Water!

Water is all about reflections and shadows and very little color! When painting moving water, the more white spaces left unpainted, the faster the water appears to be moving. (I know from my “whitewater rafting” experiences, that is certainly true!)

The moving water in this stream was painted with touches of the following colors alone and in combinations:

Windsor Blue
Payne’s Gray
Sepia
VanDyke Brown
Sap Green

Remember the water reflects the color of its surroundings – rocks, sky, trees, etc. So, whatever colors used in painting these items are repeated in the water.

To give the appearance of bubbling water, common table salt was added to the water in the front lower section as the water swirls past the large rock and cascades to the right and our of sight. Sprinkle the salt while the paint is still wet. The salt will push the paint pigment aside and leave some interesting designs.

A light touch is needed when painting water. Don’t overdo it!

Happy Painting!

Karen

Mountain Stream - Part 2 - Rocks!

2012-01-15T14:54:00.001-06:00

Rocks!

I love to paint rocks! Rocks are a nice mix of several different colors ranging from deep brown to gray and even green and orange! Rocks reflect and absorb light and color from the surrounding water and landscape.

Rocks can be scratched in by dropping color/colors into the rock area and using a piece of credit card to scrape the color into the desired shape. Scraping with a credit card leaves areas of white paper showing through and mixes the different colors in a very pleasing way on the paper.

Rocks can also be painted in. To paint in the rock, completely wet the rock shape with clean water and a clean round brush. While still wet, drop in several different colors which will blend as the water pushes the pigment around and dries. It will dry in an uneven color pattern and made excellent rocks!

I like to use both methods to create rocks in the same painting. This adds interest and makes the total group of rocks much more interesting and realistic.

Watercolor Tip:

Wait for the rock to dry before painting the one next to it. Like painting the petals of a flower, they must be done separately or the colors will mix and you will not have distinctive, individual rocks. I like to alternate every other one when painting rocks and work across the page. When I get across the page, I start again on the same side of the page where I started painting the ones I skipped. I am left handed and work from right to left so I don't drag my arm across the wet paint. Right handed artists will want to work from left to right across the page.

Next blog……how to paint water!

Happy Painting!
Karen

Mountain Stream - Step 1

2012-01-08T15:12:00.002-06:00

Chimney Top Trail
Great Smoky Mountains
Tennessee

On a recent hike, I took photos of landscapes that I would like to paint. The photo above of one of the mountain streams is one of several photos I am using to paint the landscape sketched below.

Sketch of stream

Over the course of the next several blogs, I will be showing step-by-step instructions on paining this landscape. The first step is to lightly sketch in what you would like to paint. It does not have to be drawn exactly as the photo, but select elements can be inserted and/or removed to make the painting one of your choosing. In this case, I used photo angles from several shots of this location to capture the log across the stream; and I focused on the rocks and the water while eliminating some of the brush/trees on each side.

Sky and Trees
painted in first

In a painting of this type, the easiest way for me to paint is to start at the top and work down. I painted the sky first with a light wash of Ultramarine Blue. While the sky was still wet, I dropped in various shades of green for my background trees. Although this photo was taken during the winter, evergreen trees and bushes are still green. The shades of green vary and I used a mix of the following:

Sap Green
Hooker's Green Light
Hooker's Green Deep
Indigo
Ultramarine Blue

The deeper evergreen shades were made from the various greens mixed with the blues.

The trees were sponged in on top of the dropped in greens to create some light definition. After the trees were dry, trunks were added in places with VanDyke Brown and some tree trunks in the darker areas were defined by lifting the paint using clean water and a brush.

Next, we will work on the rocks and the logs across the stream. Until then..

Happy Painting!

Karen

Happy New Year!

2012-01-01T14:05:00.000-06:00

Snow Buddies
by Karen A. Cooke
Watercolor painting
9" x 12"

Happy New Year!

This snowman is the only snow we have in my part of the U.S. today - but there is the possibility of snow showers tonight. We probably won't receive enough snow to build this friendly snowman, but enough to make it seem like winter!

Since New Year's is a time of setting goals for the upcoming year, I wanted to share with you some watercolor thoughts.....

"Watercolors are not for the faint of heart, but for those willing to explore and experiment, knowing that failure may be just around the corner, knowing that each piece of paper may not end up as a masterpiece." As a fellow watercolor artist and friend has often said - "it is only paper!"

Watercolor artists must be able to relinquish control of the painting and be a partner in the process not the leader - allowing the pigment and water to perform their magic.

Remember that watercolor painting offers countless opportunities, but few second chances.

Continue to be amazed by new discoveries every time you sit down to paint. Push yourself to the limit of your abilities - AND then beyond them!

Enjoy the magic ---

Happy New Year AND Happy Painting!
Karen

Merry Christmas!

2011-12-23T18:29:00.000-06:00

Peppermist Twist
A watercolor painting
by
Karen A. Cooke

May each you have a wonderful Chrismtas holiday spend with family and friends!

Merry Christmas and Happy Painting!
Karen

Running Out of Time or Money?

2011-12-18T20:27:00.000-06:00

Handpainted Bookmarks
Watercolor

Christmas is almost here!

If you still need presents and are out of money and almost out of time, consider painting a bookmark for a gift.

The bookmarks above are specifically for Christmas with pine cones and holly, but bookmarks can be painted for any occasion by simply changing the picture. Below are instructions for painting bookmarks:

Painting instructions for Christmas bookmarks:

1) Tape down the paper, measure and draw the size of the bookmarks on the sheet. Depending upon the size of the paper, you can probably get 7 bookmarks from one sheet. Draw or transfer the picture on each of the bookmark section

2) Using a large flat brush, apply an overall wash with yellow ocher leaving the color more intense at the top of the paper and gradually becoming lighter at the bottom. Allow to dry.

3) Spatter the entire sheet of bookmarks using a darker shade of yellow ocher or a light brown.

4) Using a #4 round brush paint the red ribbon lightly with a simple controlled wash. Allow to dry. Add the shaded areas of the ribbon.

5) Wash the pinecones with a light yellow. Paint the details on the pinecones with dark brown.

6) Apply a controlled wash over the holly stems and leaves using a mixture of green and yellow. Allow to dry and add detail with a bit more green. Be certain to leave the edges slighter as this is what will create a variegated effect.

7) Paint the berries with a bright red. Using a liner brush, dab in the darker shadows and final details.

8) Allow the bookmark to dry completely. Sign your name! Cut the bookmarks apart. Punch a hole in the top and add a piece of gold cord or ribbon cut to desire length. CONGRATULATIONS! You have completed your painting – your bookmarks are ready for gift giving!

9) The bookmark can be given as is or color copies can be made at a copy store and then laminated for gift giving.

Happy Painting and Merry Christmas!
Karen

Christmas Shopping for an Artist?

2011-12-11T19:33:00.000-06:00

It is that time of year to be Christmas shopping. Many of you may be shopping for an artist and would like to have a few ideas of what to buy. If you are shopping for a beginning watercolor artist or if you are thinking about trying watercolor painting yourself, I would recommend the following for a "starter" set:

A set of watercolor paints. A basic set usually contains the colors used most often. I would recommend one of the higher quality brand of paints as these colors are truer and contain more pigment. If the person wishes to continue with this hobby, additional colors can be added.
For starters, a watercolor artist can create a painting using only 3 brushes: a large flat brush 1" or 2" wide, a #6 round brush, and a small #1 round or liner brush for details.
Watercolor paper: I would recommend Arches 140 lb weight paper - 11" x 15"
A sketch pencil and kneaded eraser
Sketch board (large enough to hold the size paper purchased). A presentation board can be used which is considerably less expensive than a sketch board.
Misc. items that are inexpensive or can be found around the house. (Container for water, paper towels for cleanup, paper/plastic plates for palette, and masking tape).

These are basic supplies and can be purchased at any art supply store. Many stores offer 40-50% off coupons on a regular basis which makes trying watercolor painting and Christmas shopping cost less.

Have fun shopping for an artist OR give painting a try yourself!

Happy Painting!
Karen

How NOT to Paint?

2011-12-04T15:35:00.000-06:00

Peppermint Twist
Watercolor painting by
Karen A. Cooke

How NOT to paint? How crazy!

Actually, this title is to illustrate a point that many times what is left "white" or unpainted is as important, and in many cases, more important than what is painted.

The painting above demonstrates this. A sketch was made of a few pieces of peppermint candy. The sketch was not very detailed and the emphasis was on the placement of color and shadow. The areas of white, or places left unpainted, were as important as the areas of paint. Without the white areas, the painting would not have taken shape.

I used light washes of Windsor Blue, Scarlet with a little bit of Naples yellow. The entire painting was done with varying washes and intensities of these three colors. Many areas were left unpainted, and the eye makes the connection of the stripes and the wrapping. Although the wrapping is every obviously present, it was only painted by use of shadows and light washes.

At this time of year when peppermints can be easily found, grab a few peppermints and a paintbrush and see if you can learn how NOT to paint!

Happy Painting!
Karen

Woodblock Printing

2011-11-27T19:43:00.002-06:00

Woodblock Printing
Although the emphasis of my blog is watercolor painting, I thought you might enjoy this post about woodblock printing. While visiting an antique store which specializes in a large variety of salvaged architectural materials, I ran across a set of woodblocks for printing. Since I like things that are a little unique, I thought these would be great for decorating….not to mention the fun I would have “playing with them.” The print above is one of the finished prints.

The photos above are the printer blocks that I purchased. Part of the fun was trying to tell what the finished picture would be. It was difficult to tell in most cases before the print was made. Some of the blocks are only sections of a completed painting and only discernible when viewed as the printed image. One print is part of a torso of a man – with no head and only part of his arms and legs. Another print is a pair of hands; another is a woman’s face, etc. I was able to obtain 6 different print blocks.

History:
Woodblock printing is a technique for printing text, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper.
As a method of printing on cloth, the earliest surviving examples from China date to before 220 BC and from Egypt to the 4th century. (Of course, my blocks are not nearly that old.)

The wood block is carefully prepared as a relief matrix, which means the areas to show 'white' are cut away with a knife, chisel, or sandpaper leaving the characters or image to show in 'black' at the original surface level. The block was cut along the grain of the wood. It is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. The content would of course print "in reverse" or mirror-image, a further complication when text was involved. The art of carving the woodcut is technically known as xylography, though the term is rarely used in English. In Europe, beechwood was most commonly used; in Japan, a special type of cherry wood was used.
Methods of printing:
Stamping
Used for many fabrics, and most early European woodcuts (1400–40). These items were printed by putting paper or fabric on a table or a flat surface with the block on top, and pressing, or hammering, the back of the block.

Rubbing
Used for European woodcuts and block-books later in the 15th century, and very widely for cloth as well as paper. The block is placed face side up on a table, with the paper or fabric on top. The back of the block is rubbed with a "hard pad, a flat piece of wood called a burnisher. This is the method I used to create my prints.

Happy Painting!
Karen

Seasons of the Sun

2011-11-20T17:14:00.000-06:00

Lighten Up
9" x 12"
Pastels

I love sunflowers. Everyone who knows me knows that yellow is my favorite color and the sunflower is my favorite flower. One can find sunflowers and yellow hidden everywhere in my home….well, maybe not hidden!

Included in this blog are a few sunflowers that I have created in watercolor or pastels.

Watercolor tip:
When painting sunflowers, remember to paint each petal separately and don’t paint petals that are touching until they are dry or the colors will run together and be indistinct. Skip every other petal when painting – this will allow time for each petal to dry. Use various shades of yellow, gold, green and brown, concentrating the deeper colors at the base of the flower. Remember – the petals are not perfect: twisted, turned and bent. This gives the sunflower character.

Bed and Breakfast
11" 14"
Watercolor

History:
Sunflower (Helianthus annuus) is an annual plant native to the Americas. It possesses a large flowering head and got its name from its huge, fiery blooms, whose shape and image is often used to depict the sun. The sunflower has a rough, hairy stem, broad, coarsely toothed, rough leaves and circular heads of flowers. The heads consist of 1,000-2,000 individual flowers joined together by a receptacle base.

From the Americas, sunflower seeds were brought to Europe in the 16th century, where, along with sunflower oil, they became a widespread cooking ingredient. Leaves of the sunflower can be used as cattle feed, while the stems contain a fibre which may be used in paper production.

he sunflower is native to Central America. The evidence thus far is that it was first domesticated in present day Mexico, by at least 2600 BC. It may have been domesticated a second time in the middle Mississippi Valley, or been introduced there from Mexico at an early date, as maize was. The earliest known examples of a fully domesticated sunflower north of Mexico have been found in Tennessee, and date to around 2300 BC.

Do sunflowers really follow the sun?
A common misconception is that sunflowers track the sun. When the plant is in the bud stage, it tends to track the movement of the sun across the horizon. Once the flower opens into the radiance of yellow petals, it faces east. No one knows why. However, it is likely a defensive response. Facing south or west could result in sun-scalding of seeds during very hot days.

While researching the sunflower for my blog, I found the following information about sunflower paintings, specifically those done by Van Gogh, who is the most well-known “sunflower artist.”

According to the National Sunflower Association:
The sunflower plant has almost 'human-like' characteristics and dimensions. The face of the blooming sunflower can almost speak to you. For this reason, the sunflower was a favorite subject for Europe's greatest artists such as Van Gogh and Picasso. Sales of these paintings can bring millions of dollars today. The sunflower continues to be a favorite art form for designers of fashion to the every-day coffee mug. It has, and continues, to stand the test of time.

According to research on VanGough’s sunflower paintings:
The colors are vibrant and express emotions typically associated with the life of sunflowers: bright yellows of the full bloom to arid browns of wilting and death; all of the stages woven through these polar opposites are presented. Perhaps this very technique is what draws one into the painting; the fulfillment of seeing all angles of the spectrum of life and in turn reaching a deeper understanding of how all living things are tied together.
Why are sunflowers popular subjects for art and a favorite subject for me to paint?

For the reasons above?........................ OR, maybe it is just because I like sunflowers and the color yellow…..it just makes me happy!

Happy Painting!
Karen

I’m Back to Blogging!

2011-11-12T18:36:00.000-06:00

I’m Back to Blogging!

During the past few months, we have relocated to the East Tennessee mountains; and with the packing, unpacking and just getting settled, I have not had the time to post on my blog! Whew! I think we are finally at the point to enjoy living here and for me to have time to once more sit down at the computer and blog!

I plan to post once a week and share with you my art experiences here in the mountains.

Happy Painting!
Karen

A Different Perspective!

2011-08-13T20:05:00.000-05:00

Cades Cove Church

A different perspective can make a good painting a great one.!

One of the most difficult parts of a painting can be the composition. This is especially true when painting on location or setting up a still life. My watercolor painting above titled Cades Cove Church, was painted from a photograph I took when visiting Cades Cove in the Great Smoky Mountains. I took several photos of the church from different perspectives to find the one that added the most interest. See the examples below:

Cades Cove Church

Same church....different perspective

As you can see from the photos above, a different perspective can make a more interesting painting.

Happy Painting!
Karen

Summer Hummer!

2011-05-29T14:07:00.000-05:00

Summer Hummer
Watercolor Painting

The hummingbirds have returned! These hungry little birds are a fun sight in my yard and we enjoy watching them eat at our feeders. As shown in this painting, they love bright colored flowers, especially reds and yellows.

I will be taking a short "vacation" from my blog until July while we are relocating to another part of the state. I thought the little fellow above would be a good example of how busy we'll be over the course of the next few weeks. We'll be as busy and probably as hungry!

Keep painting - summer is a wonderful time to grab that sketch book and your paint brushes and enjoy the wonderful opportunities to paint outdoors. Grab a camera too - capture the summer to paint when fall and winter weather arrives.

See you soon - keep checking back. I hope to have some wonderful paintings of our new location and watercolor tips to share.

Happy Painting!

Karen

Central Park!

2011-05-06T19:54:00.000-05:00

Central Park
Watercolor painting
11" x 15 Mats to 16" x 20"

The watercolor above was done for my son for his birthday and was double matted with a cream white and a rusty brown in a medium brown frame.

This painting contrasts the natural park settings of the old stone bridge, rugged rocks, trees and lake reflections with the manmade structures of the high rise buildings on the Upper West Side seen in the distance and invites the viewer into the scene to stroll along the foreground path.

As you look for subjects to paint, look for contrasts in your setting to add interest to your work.

Happy Painting!

Karen

Get Inspired!

2011-04-16T19:08:00.000-05:00

Dixon Garden Dogwood

Get Inspired! The BrushStrokes advanced watercolor class toured the Dixon Gallery and Gardens recently before continuing work on their spring palette painting! The photo above is one of many beautiful plants in the garden area. I have included a watercolor study of a dogwood I painted below.

Dogwood Study

The Dixon Gallery and Garden, one of the art museum in the Memphis, TN area, specializies in Impressionist and Post-Impressionist paintings. The museum inspires the artist not only through viewing the numerous paintings, but through strolling the beautiful gardens, which display many seasonal plantings that are a riot of color from spring through fall.

In addition to the permanent collection, the Dixon is host to numerous exhibitions through the year. We were able to view many works of Joe Jones. Mr. Jones was heralded in the 1930s as one of America's most powerful social realist painters.

So, if you need inspiration of simply want to spend an enjoyable afternoon, tour an art gallery!

Happy Painting!
Karen

Spring Flowers!

2011-04-02T17:13:00.000-05:00

Golden Trumpets
11" x 15" Mats to 16" x 20"

The technique used in this watercolor gives the painted paper a batik-look achieved without the traditional batik use of wax. Below is a short definition of batik.

Batik (pronunciation: [ba.te], but often, in English, is [bæ.tɪk] or [bətiːk]) is a wax-resist dyeing technique used on textile. Batik is found in several countries of West Africa, such as Nigeria, Cameroon and Mali, and in Asia, such as India, Sri Lanka, Bangladesh, Iran, Malaysia and Thailand. However, it is in Indonesia that it is considered a national art form.

Painting instructions:

1) Do not tape down your paper before your sketch. Sketch in the flowers and leaves with little detail. Make the pencil lines dark enough on the flowers to be seen after the crumpling and wetting technique, but do not press hard enough to indent or scratch the paper.

2) Here’s the hard part………crumple the paper up in a ball as though you were going to throw it away. Concentrate on making wrinkles in all areas of the paper without tearing it….crumple easily.

3) Submerge the paper ball into water making certain it is evenly wet. Remove from the water and unfold carefully. Smooth onto your sketch board and tape along the edges. The tape will not stick well to the wet surface; however, it will hold enough to keep the paper in place.

4) While the paper is still very wet, float in the background of green and blue working around the petunias. I used sap green and Windsor blue; however, other shades of blue and green can be used with a pleasing effect. Use a large flat brush or mop to place in the background except for working around the flowers. Use a #6 round or similar size brush to work in the background around the flowers.

5) Let this dry COMPLETELY!

6) Flowers: Once the background is dry the daffidols are painted in using a wet-in-wet technique. Wet the center first and apply a wash of yellow/gold. A wash of clean water is painted on the areas to be paintedyellow. Then a wash of yellow is laid in starting near the center and letting the water pull the color to the edge of the petals. A darker yelow is worked at the edge and allow to run back into the first wash of color creating a deep center and deep edges with a slightly lighter center. Some of the blue and green from the background will be found in the wrinkles and creases of the paper and will look like veins in the petals. Also, the wrinkles and creases will allow the yelow color to bleed into the white areas of the petals. Don’t despair, that is what you want to happen and is part of the beauty of this technique. Continue painting all flowers, alternating petals that are touching. After the flowers are completely dry, the centers are detailed slightly.

7) Leaves: The leaves are painted in only after the flowers are dry. If your leaves have become hidden under the washes, lightly sketch in some leaves. Using a mix of colors: gold, green, blue, add leaves using deeper colors to indicate shadows. Some of the leaves are simply painted with a wash of water to give the appearance of flowers fading into the background.

8) This painting can be matted on top of mat board with a torn edge in keeping with the batik look. Place a ruler along the edge of the painting and tear the paper lifting slowly and creating a jagged edge with layers of the white paper showing. Or, if you prefer, you may mat your painting in the traditional method.

Happy Painting!
Karen

Spring Watercolor Palette

2011-03-26T16:04:00.000-05:00

Paris in Spring
11" x 15" Mats to 16" x 20"

Spring - The Seasonal Palette
The green shades of spring are exceptionally fresh and vibrant. To capture the colors of spring in your paintings, color mixing should be kept to a minimum. Remember the more colors you mix together, the duller and more subdued the resulting color will be. For the spring palette, it is a good idea to limit your color mixing to only 3 colors. For example, most spring greens can be mixed from a simple 2 color mix of one blue and one yellow. Also, consider using a “purchased” green for some of the greens in a spring landscape.

The majority of greens found in a spring landscape consist of a lot of yellow. Early spring flowers are predominately yellow. For the first fresh leaves of spring, grass and flower, yellow is the most significant color on the spring palette.

Spring Palette Colors:

• Sap Green

• Ultramarine

• Viridian

• Cerulean blue

• Phthalo Blue

• Cadmium Yellow Pale (cool yellow)

• Cadmium Yellow Deep (golden yellow)

• Lemon Yellow (cool yellow)

• Indian Yellow (golden yellow)

• Yellow Ochre (golden yellow)

Color Mixes:

• Cadmium lemon + Ultramarine = Cool, fresh green…..good for flowerbeds

• Diluted viridian can be used to add bluish- green texture (good for shadows and shaded areas in foliage)

• Cadmium yellow + cerulean blue = Bright, sharp green for foreground foliage

• Yellow ochre + Phthalo blue = dull green for dark-leaved trees

Important Yellows

Cool, acid yellows are particularly useful for springtime because when mixed with blue, they create sharp greens characteristic of fresh leaves. The coolest yellows are those with a blue bias: lemon yellow, cadmium yellow pale, cadmium lemon. Depending on the blues theses yellow are mixed with, these yellows will produce a range of cool, vivid greens found in a spring landscape.

Golden yellow (those with a red bias) produce warm or subtle greens, depending on the choice of blue. These golden yellows include cadmium yellow deep, Indian yellow, and yellow ochre.

Spring Blues

The blues used are primarily ultramarine, cerulean blue and Phthalo blue. These blues are used for sky as well as mixing with yellows to create spring shades of green.

Purchased or Premixed Greens

Self-mixed greens are usually easier to integrate into a landscape than a single color of a premixed green. However, spring foliage is often so bright that it is important to have that color stand out, rather than simply blend in. In this case, purchased greens are great in a spring landscape. However, purchased greens can be mixed with blues and yellows to blend foliage.

The following are examples of purchased greens that work well in the spring landscape:

• Sap green

• Viridian (use in limited quantities as this color can dominate a scene)

Spring sunlight is usual low which make the colors appear particularly bright and luminous. With watercolor, you can capture this translucent effect perfectly by applying paint in a thin layer so that the white paper shows through the wash of color. Avoid using white paint in a spring landscape. The chalky effect of white paint is particularly unwelcome when you want to capture the fresh, sunny colors of spring. To create white flowers and highlights, leave patches of unpainted white paper.

Happy Painting!

Karen

Daylight Savings Time - What It Means to an Artist!

2011-03-12T15:34:00.000-06:00

Spring Smile
Watercolor 9" x 12" Mats to 14" x 16"

Daylight savings time starts tomorrow! Although I don't enjoy "losing" that hour's sleep when our clock's spring forward, I do enjoy the end result - later sunsets! Even though the number of daylight hours don't change with daylight savings time, the daylight hours are found on the clock at a time when I can better use them.

What does that mean to an artist? Well, to me, it means that I have more daylight hours when I am awake to paint. (It also gives me more time for yard work which will soon be needed with the coming of Spring.....but that is another story!) There is just "something" about natural light when painting.

March 20th is the first day of Spring, but I am already working on spring paintings and preparing my lesson plans for teaching the "spring palette." I'll discuss the spring palette in upcoming blogs. But, as you are outside the next week, take a look around at what's blooming in your area...even if it is weeds. What is the dominate color?

Until next blog....take a nap and rest up for "springing forward!"

Happy Painting!
Karen

Brenda's Barn

2011-02-27T14:51:00.000-06:00

Brenda's Barn

Watercolor 9" x 12" Mats to 14" x 16"

My watercolor painting above was painted from a photograph taken by one of my friends. Her photo was taken across the street from her home during our last snow...just a week ago. She is an excellent photographer who has a knack for composition in her subjects. Her photo caught my eye as an excellent subject for a painting.

My watercolor class is concluding a unit of study on the winter palette; so this painting was an excellent way to end this unit using the colors of the winter palette. As a recap, the follow are colors in the winter palette:

• Payne’s Gray

• Ultramarine

• Burnt Sienna

• Sap Green

• Burnt Umber

In my painting above, I used ultramarine and Payne's gray for my sky as well as the snow shadows. Tree branches and trees were painted with a mix of burnt umber and Payne's gray. The barn was a mix of reds and burnt umber to give a weathered texture to the red barn.

This was a fun painting for me....I love painting old barns; and this was is even more special since it was painted from a photo taken by a friend.

If the groundhog was right, Spring is just around the corner. We will start a new unit of study in our watercolor classes for March - the Spring palette. So, good by winter....see you next year!

Happy Painting!
Karen

Snowy Trail

2011-02-12T16:15:00.000-06:00

Snowy Trail
Watercolor 11" x 15" Mats to 16" x 20"

It keeps snowing, so I keep painting snowscapes. If it keeps snowing where you are as well and want to keep capturing the cold weather to help cool you off in July, the following are some tips for painting snowscapes.

Advice on Painting Snow:
Snow transforms a landscape, softening edges and imposing tonal harmony. In bright sunshine, its reflective quality gives the landscape a dazzling brilliance, with trees and other features standing out in contrast to the prevailing whiteness.

When painting a snow scene in watercolor, you need to work logically from light to dark, conserving the white of the paper for the snow and applying washes carefully to the surrounding areas. Using masking fluid as needed to preserve the white of the water.

Warm and cool color contracts are very evident in snowy landscapes. Shadows are a characteristic blue-lilac color and were often depicted in winter scenes by Impressionist painters, who understood how these colors complemented the yellowish orange of the winter sunlight.

Advice on Painting Winter Trees:
When painting winter trees, especially leafless ones, consider their structure and growth pattern carefully.

Use the flat of the brush for the main branches and the tip of the brush for the small ones.

When you paint towards the end of a branch, the line will naturally become thinner as you complete the stroke, creating a realistic effect.

A liner brush, a rigger, or a small palette knife can be used to paint very fine, thin branches.

Three Things to Remember When Painting a Snowscape:
Snow white paper….the snow is represented by the white of the paper itself.

Cool shadows are painted using cool violet-blue paint to contrast with the white of the paper and the glint of sunlight.

A crisply painted tree, fence post, house, or other object will create a focal point to draw the eye into the painting.

Don't complain about the snow.....paint it! You'll be dreaming of this cold weather in July and August!

Happy Painting!
Karen

Frosty Windows!

2011-02-06T18:20:00.000-06:00

Frosty Morn
Watercolor 11" x 15" Mats to 16" x 20"

In my watercolor painting above, Frosty Morn, the windows were "frosted" using a fun technique.

The painting was lightly sketched in using a ruler to make straight lines for the window panes. The wooden part of the panes was masked out using art masking tape. The snow can be masked using masking fluid.

NOTE: Artist tape is much easier to use then masking fluid when straight lines are needed.

Instructions for "frosting" a window:

It is important that you pre-wet the area of the window pane, but not the snow at the lower section of each frame.
Pre-wet these sections using a flat brush.
You will want to apply pigment to these areas while the surface area is wet and shiny. Apply variation of hues using several shades of blues and lavender. Remember watercolors dry lighter.
Start with the top frames.
While the windows are wet, place a slightly wrinkled piece of plastic wrap over the top of the paint. Repeat this process on all window frames.
The plastic wrap can be taped in place if needed.
It is important you leave the plastic on the surface to form the “frost” until the surface is DRY.
If you life the plastic while the paper or the paint is wet, the pigment will have a soft edge and will not “frost” the window panes.
If the color is not as dark as you would like you can re-wet the area with clean water, apply more pigment, and plastic and let dry.
When dry, remove the plastic wrap.
It is very tempting to lift the plastic wrap to see what is happening under the plastic wrap, but be patient - the finished result will be forth the wait.

Happy Painting!

Karen

Painting Tile, Bricks, or Stonework

2011-01-29T13:40:00.000-06:00

The Avenue

Watercolor 9" x 12" Mats to 14" x 16"

In my watercolor above, The Avenue, the stonework behind the sign is a major part of the painting. Many times, brick, tiles or stonework (even if not the focal paint of the painting), play a major role.

The following are the steps involved in painting bricks, tiles, or stonework.

Lay down a wash of the light shade of the wall.....the lightest color that will be the "mortar" of the brickwork, etc.

While the background is still wet, add some deeper shades of paint in the same color family or contrasting shades to add interest and realism to the background.

Let this dry. Prepare the color desired for the brickwork. Dip a "kitchen" or rectangular sponge in the paint and place in the location for the bricks. Remember to leave areas of the background showing for the mortar.

Let dry and then complete your painting.

Happy Painting!

Karen

Watercolor Painting or First Aid?

2011-01-22T16:23:00.000-06:00

Winter Aspens

The painting above, Winter Aspens, is the finished product. The paintings below were done by student's in today's watercolor class and will show the painting during the various steps.

Susan's Painting with Gauze in Place

Removing the Gauze

Tracy's Painting with Gauze Removed

Watercolor painting lends itself to texturization. One of my favorite techniques is the use of surgical gauze to texturize.......it works as if MAGIC! The background trees/foliage was painted with the surgical gauze texturization method. The following are instructions for surgical gauze texturization.

Adding texture to a painting can be accomplished in many ways….one interesting way to add texture is the use of surgical gauze.

How and why does it work?

The gauze will absorb the paint and leave a mark when lifted. The difference in color from light to dark formed by the weave of the gauze will leave an interesting design.

What is important to remember when using this technique?

Manipulation of the gauze to make irregular patterns will create more interesting designs. The watercolor paper must be wet to hold the gauze in place before the paint is applied.

When should this technique be used?

This technique can be used to create spider webs, foliage, basket weave, etc.

How to texturize using surgical gauze

• Wet your watercolor paper with clear water. This will hold the gauze in place.

• Use a single layer of gauze if your gauze is doubled.

• Using your hands, manipulate the gauze into place purposely placing it irregularly on your painting unless a regular pattern is desired.

• Rewet any areas that may have dried.

• Using a flat brush, apply the paint. One single color or several colors can be used depending on the result you are trying to achieve.

• Let the gauze dry and remove it.

• Add any details with a round brush if there are areas that are not the consistent color or pattern you would like.

Texturization can add much detail and interest to you paintings and create designs that are not achieved easily by other methods. Use of surgical gauze is one of these methods.

Give this technique a try!

Happy Painting!
Karen

Down the Snowy Lane

2011-01-15T15:14:00.000-06:00

Down the Snowy Lane
Watercolor 9" x 12" Mats to 14" x 16"

How to Paint Snow
In watercolor painting, much of the snow is painted by simply allowing the paper to show through and painting the shadows. The snow is not actually "painted" at all. In my watercolor above, Down the Snowy Lane, you can see the shadows and "bare" areas of the ground are painted with the following colors:

Ultramarine Blue
Payne’s Gray
Burnt Umber
Sepia
Yellow Ochre

Leave the areas of the snow in the brightest light completely unpainted.

The snow on the tree branches were "painted" in the same way. Parts of the tree with snow were simply left unpainted.

During this cold winter, find a winter scene to paint, fix a nice cup of hot cocoa and enjoy painting the winter weather!

Happy Painting!
Karen

"IF" Technique

2011-01-09T13:15:00.000-06:00

Winter Aspens
Watercolor 11" x 15" Mats to 16" x 20"

My watercolor above, Winter Aspens, uses the "IF" technique to make the large trees in the foreground. Being able to mask out these trees, makes it much easier to paint the sky and the background trees and shrubs in an unbroken line.

What is the "IF" method?

“IF” or HOW TO MASK LARGE AREAS

One can use the “IF” method to mask large areas for watercolor painting. “IF” or ironing freezer wrap is a quick and easy way to mask large areas. It is not as messy and much faster for large areas than using liquid masking fluid.

The instructions are simple:

• Using a sharp pencil drew the painting on your watercolor paper making a dark pencil mark, but not pressing too hard into the paper to leave an impression.

• Place the freezer paper, waxed side down, over the area to be masked. Carefully trace this area onto the freezer paper. Secure the freezer wrap with small pieces of masking tape if needed to keep the wrap from slipping.

• Remove the freezer wrap from the sketch and cut the shapes from the freezer wrap using scissors.

• Apply the freezer paper, waxed side down, over the area to be masked on your watercolor paper. Make any adjustments necessary.

• Using a hot iron (linen or hot setting) and working quickly, press the shape onto the watercolor paper.

• Allow the paper to cool before painting.

So IF you need to mask large areas, give the “IF” method a try!

Happy Painting!
Karen

Welcome 2011 - Happy New Year!

2011-01-01T08:21:00.001-06:00

Happy New Year!

New Year's Day is often a time to make resolutions for the coming year. My cousin, Jim White (aka Tennessee Granddaddy) posted the following definition of a New Year's Resolution in his blog:

What is a New Year’s Resolution? A resolution is nothing more than a promise to yourself to change something you do for the better.

If you plan to make a New Year's Resolution, think about that definition and consider my suggestion:

Be realistic in your goals.

Would I like to be able to do a watercolor painting every day? Of course, I would --- I would definitely enjoy painting it. BUT, is that a realistic goal? Of course not! So, I considered my present time commitments and decided a completed painting a month would be a realistic and attainable goal. Does that mean I can't do more? No, it simply means that I will fit into my schedule time to paint one watercolor per month. I will paint whenever I have the time, but set a goal to paint at least one per month!

The most important part of making resolutions regarding your art and setting realistic goals is to never let the goal become more important than the art! When you lose enjoyment of your painting to attain a goal, you miss the point of what painting for enjoyment is all about.

Happy New Year and Happy Painting!
Karen

Cookies for Santa

2010-12-24T15:06:00.000-06:00

Cookies for Santa

Watercolor 11" x 15" Mats to 16" x 20"

Merry Christmas!

My watercolor above, Cookies for Santa, is my way of wishing everyone a Merry Christmas! This is a fun and quick painting......with very little actual drawing and a great way to get into the holiday spirit while painting!

Watercolor tip:

The window panes were simply drawn in with a white Crayon so that when the blue was washed in for the sky the panes did not take up the color....no masking fluid or tape required.

So, get your cookies and cocoa ready for Santa tonight and have a very Merry Christmas!

Happy Painting!

Karen

Mug for All Seasons!

2010-12-12T16:38:00.000-06:00

A Mug for All Seasons: Mug liners for Winter, Spring, Summer and Fall

Do you need a quick, but personalized Christmas gift?

I purchased some of the insulated mugs that have a screw off section to allow placement of photos, pictures, children's drawings, etc. Then I cut out a template from a piece of watercolor paper and painted several watercolors. The one above is a "mug for all seasons" as I have interchangeable paintings for each of the seasons of the year.

Mugs can be personalized with paintings of a person's favorite subject, sport, flower, season, landscape, etc. These would make a quick Christmas gift for someone along with tucking a gift card inside to go along with their favorite activity. Even a coffee shop gift card, a few packets of hot cocoa mix or tea bags would be a fun gift to give or to receive.

When selecting your subject for painting, select a painting that can be done quickly and has bright colors to show well through the plastic cover.

There's still time before Christmas to make a special gift for someone on your list!

Watercolor tip:

Include washing instruction when you give this gift. Just in case there is the chance of a "leak" if submerged or soaked in soapy water, remove the mug liner from the cup and only wash that section. When dry, replace the liner without worrying about getting the painting wet.

Happy Painting and Merry Christmas!

Karen Cooke

Let it Snow!

2010-12-05T19:04:00.000-06:00

Snow Days
Watercolor 11" x 15" Mats to 16" x 20"

My watercolor above, Snow Days, continues with the winter palette. Notice the use of a very limited palette to paint the house, barn and surrounding buildings as well as the trees. Remember the following colors for the winter palette:
• Payne’s Gray
• Ultramarine
• Burnt Sienna
• Sap Green
• Burnt Umber

I did not use any green, but used combinations of the other colors. However, I included one or two other colors to add interest and direct the eye to the snowman and sled. Using bright red and yellow ochre helped liven up the cold winter scene.

So, fix a mug of hot cocoa and sit down to a fun afternoon of watercolor painting.

Happy Painting!
Karen

Seasonal Palette - Winter

2010-11-28T19:49:00.000-06:00

Fence Posts in the Snow

Watercolor 11" x 15" Mats to 16" x 20"

My watercolor above, Fence Posts in the Snow, is one of my favorite winter season paintings for my watercolor students to paint. It utilizes several techniques, but is a painting a beginner can accomplish and enjoy.

This week, I'll introduce the winter palette.

Even if isn’t covered with snow, the winter landscape rarely contains bright colors. Although bold red and yellow colors may be useful in other season, they are usually unnecessary in winter. Even bright greens may have limited use, as winter foliage tends to be dull and subdued – particularly the dark evergreen of conifers and the faded grey-green of grasses that have lost their summer freshness.

Winter Palette Colors:

• Payne’s Gray
• Ultramarine
• Burnt Sienna
• Sap Green
• Burnt Umber
A palette of only 5 colors is usually all that are needed for the winter palette. The slightly cool Payne’s Gray is a good starting point for all mixes. It can be used with Ultramarine for the sky and cold shadow colors. Sap green is good for foliage with burnt umber and burnt sienna to all some warmer tones.

Trees and their shadows are made from the following colors:
• Sap Green
• Payne’s Gray
• Burnt Umber

Sky and shadows reflecting the sky are mixed from:
• Ultramarine
• Payne’s Grey

Warmer foreground shadows are mixed from:
• Ultramarine
• Burnt Sienna
• Payne’s Grey

Winter Light
With so few local colors present in the typical winter landscape, your choice of colors will be dictated by the weather and the light. On a cloudy day, the landscape can appear monochromatic – simply a range of blacks, whites, and grays with subtle tinges of green, blue, and brown. In this case the emphasis will be on mostly neutral colors – Payne’s gray and burnt umber.

Colored Shadows
If you are painting a winter scene in sunshine, the sun will bring out a spectrum of blue and warm good that require the addition of ultramarine and burnt sienna. Sunlight winter grasses will require solid sap green.

As the sun appears closer to the horizon in winter than it does in summer, it creates longer shadows. These shadows contain a lot of color – particularly blues and green. Against the whiteness of snow, they can appear very translucent and bright with color.

Contrasting Tones
Snow creates extreme contrasts. The lightest tone is the dazzling whiteness of the snow itself; the darkest tones will be created by the silhouettes of trees and other objects.

Watercolor is the perfect medium for a wintery painting because you can use the unpainted white paper to represent the snow. The bright whiteness of snow makes everything else in the landscape appear dark in comparison.

Opaque White
Opaque white can be used in the final stages of a winter painting. This can be used as scattered snowflakes, which lend a decorative and realistic touch to a scene. This is an effective detail, which you can add to any snowy landscape.

Simply spatter the finished painting lightly with white and grey. The white will show up against the dark tones; the grey will stand out from the white snow.

Warning: White paint contains chalk. When white is added to other pigments the resulting colors become pale and chalky….this can destroy the natural transparency of watercolor paints. White paint is best reserved for special effects.

Happy Painting!
Karen

Happy Thanksgiving!

2010-11-20T16:08:00.000-06:00

Drying Time
Watercolor 9" x 12" Mats to 14" x 16"

For those of you who do not live in an area where tobacco is grown or have never traveled through parts of the United States where tobacco is grown and dried, I wanted to let you know that the watercolor above is of tobacco drying in a barn. Tobacco is grown in the southern United States, especially in Virginia and if often seen drying in large open ended barns. Although I don't smoke, I like the color of the dried tobacco leaves and the throw back to earlier times. Virginia tobacco leaves go from green, to yellow, to brown. And my painting above shows some leaves in various stages of drying.

In my painting above, I focused on the contact of the dark interior of the barn and the lighter wood of the barn, and of course, the various shades of the drying tobacco.

Watercolor tip:
The tobacco leaves were first painted yellow and using a wet on wet technique, shades of yellow ochre, burnt sienna, and Van Dyke Brown were dropped in and allowed to blend. After the tobacco leaves were dry, veins were added. Color was lifted to lighten the veins, then Sepia was used to add a little detailed veining on the rest of the leaves.

Although this is not a traditional Thanksgiving painting, it reminds of the the fall season, harvest, and the pilgrims who settled the United States.

Happy Painting and Happy Thanksgiving!

Karen

Fall in the Smokies!

2010-11-13T15:55:00.000-06:00

Autumn Cascades
Watercolor 9" x 12" Mats to 14" x 16"

Fall is almost over.....snow fell in the upper elevations of the Smoky Mountains this past week. So, trees like the ones in the painting above will some be bare.

Since the rocks will not change, but remain the same for all seasons, my blog today will give directions for painting the rocks.

How to Paint Rocks:
The rocks are painted with a wash of raw umber, burnt umber, ultramarine. Light washes are added with the darker colors added to the bottom, sides and edges of the rocks. Apply clean water to the drying paint to add texture. The water pushes the paint outwards, breaking up its regular drying pattern, scattering the particles of paint. As they dry, the “watermark” can be seen, providing an appearance of wetness and texture.

How to Paint the Mountain Stream:
As water tumbles across rocks and boulders and breaks around them, areas of white water appear. In watercolor, the best way to convey this is to leave areas of white paper showing as you paint around rocks and boulders. The more white paper you leave, the faster the water appears to be moving. Remember: Water rarely flows in a straight line. Paint the water area with a light wash of yellow ochre and will in with lines of raw and burnt umber….very light washes. Remember to leave areas white. When dry scratch off tiny flecks of paint with a sharp knife to represent light bouncing from breaking water. To create a feeling of distance, space the scratched areas of paper unevenly – closer together in the far background, further apart in the foreground. Reflected shapes in moving water appear as colors rather than discernable images.

Happy Painting!
Karen

Grab Your Salt Shaker!

2010-11-06T15:52:00.000-05:00

Seasons at Herb Parsons Lake

Watercolor 9" x 12" Mats to 14" x 16"

An old tree with with a broken off limb made for an interesting subject found during an outing at a nearby lake. This early fall scene made for an interesting subject to paint.

The background was painted in shades of green and orange which were allowed to blend together with no definition of trees, grasses, or leaves - only the impression of them. Thus the emphasis was placed on the tree trunk and leaves.

Watercolor tip:

Now grab that salt shaker!

The lichen was painted by dropping in several shades of green and generously sprinkling with salt. When the paint and salt dried, it was bushed off to the reveal the white areas of lichen shaped spaces. No extra painting required! This same technique was used in the area of the tree trunk on the upper right side where the bark had fallen off. I dropped in various colors of paint: Paynes' Gray, Yellow Ochre, and Burnt Umber painting wet on wet. While the paint was still wet, the salt was applied.

Use different types of salt to create different sizes of shapes.....table salt, pretzel salt, and even ice cream salt make some interesting designs in the paint.

So grab that salt shaker and see what happens!

Happy Painting!

Karen

Fall Glow!

2010-10-30T16:18:00.000-05:00

Fall Glow

Watercolor 11" x 15" Mats to 16" x 20"

My watercolor above, Fall Glow, is another in a series of paintings using the auturmn palette I discussed in earlier blogs. This painting was done from a photo taken in the North Carolina side of the Great Smoky Mountains.

In order to paint the foliage with consistency across the tree area, I masked off the large trees trunks before painting. However, I did not mask the split rail fence in the foreground.

I also painted the sky from the top to the ground level in a pale wash of Phathalo Blue adding clean water as I drew the color down to the horizon. This allowed a little bit of blue sky to show through some of the tree foliage and the color became also white as it reached the horizon.

I placed a wash of color in for my background trees first and then used a deerfoot stipler to dab in foliage using several shades of yellow, orange, red, and even some green. Once the background foliage was dry, I removed the masking and painted the tree trunks.

Watercolor tip:

Some of the tree trunks and branches were painted using a "secret" technique. Some of the smaller trunks and branches were painted by applying paint to the edge of a piece of mat board and pressing into the dry foliage. This allows for a quick application of paint and a consistent fine line.

Happy Painting and Happy Halloween!

Karen

How to Paint Rust!

2010-10-24T14:39:00.000-05:00

How to Paint a Rusty Hinge Using Sand Texturization

One of my favorite things in watercolor painting is using different "things" to create texture. In this instance, sand is used to give the appearance of rust. This is the technique I used in my painting above. Below are the steps involved:

• Sketch the hinge.

• Begin with a flat wash applied to a damp surface and let it dry thoroughly. This needs to be the base color of the iron. I use a mixture of indigo (sepia and ultramarine mixed together) and burnt sienna.

• Over the dry base color, stroke on a varied wash of yellow ochre, burnt sienna, and touches of indigo.

• Sprinkle sand over the wet wash.

• DRY COMPLETELY.

• Remove the sand by brushing off with either your hand or an old toothbrush.

• Add details using a wet on dry technique. A wet on wet technique will “dissolve” your texturization.

• Spattering can be used to add texture as well as scraping paint off with the craft knife.

Watercolor tip:
Do not try to peek at your painting under the sand UNTIL the paint drys!

Happy Painting!
Karen

Brush Stokes - Answer to Reader Questions

2010-10-16T13:57:00.000-05:00

I have had inquiries from several readers about how to get started in watercolor painting; but was unable to respond personally because they failed to provide an email address.

Early blog entries will provide some tips on setting up a palette, supplies needed, paper to use, etc. as well as providing instructions on specific pictures.

Also, you can find instructions on a new site I have recently joined, VideoJug pages. Here is the link to that site: http://pages.videojug.com/users/BrushStrokesbyKC

Please feel free to email questions and provide me with an email address if you would like a personal response.

Happy Painting!
Karen

Pumpkins for Sale

2010-10-16T13:49:00.000-05:00

Pumpkins for Sale
Watercolor 11" x 15" Mats to 16" x 20"

Seasonal Palette - Part III
My watercolor above, Pumpkins for Sale, is another example of the autumn seasonal palette. A limited palette was used with these colors being mixed together to create the various shades in the pumpkins.

The colors used to paint the above painting were:

Cadmium Red
Cadmium Yellow
Sepia
Payne’s Grey
Burnt Sienna
Sap Green
Phthalo Blue

Steps involved in painting a pumpkins:

Apply clean water to the pumpkin working around the stem.
Apply a wash to yellow first to the entire pumpkin surface.
Drop in shades of orange (mixed from the red and yellow), burnt sienna, sap green, and sepia.
Add the deeper colors where one pumpkins touches another.
Add drops of sepia, gray, sap green, etc. to indicate dirt and other imperfections in the pumpkin surface.
This is my favorite part of painting the pumpkins - letting the colors blend together.
Be certain to leave some of the underlying yellow showing for highlights. And spot of unpainted painted can be left as well to indicate reflected light.

Watercolor Tip
Each pumpkin must be painted separately and must be dry before the adjacent pumpkins can be painted. If not, the colors will run together and the pumpkins will look like one big blog!

Don't rush this painting by not following the "watercolor tip" or you will be disappointed.

Happy Painting!
Karen

Sleepy Hollow: Seasonal Palette - Part II

2010-10-09T11:40:00.001-05:00

Sleepy Hollow

Watercolor 9" x 12" Mats to 14" x 16"

Seasonal Palette - Part II

Last week I discussed the autumn seasonal palette and displayed a painting that used "traditional" colors associated with autumn. I used the same seasonal palette to paint my watercolor above, Sleepy Hollow. Titled so--- because I think one could see a headless horseman ride by any moment! :)

See my watercolor tip from last week:

Watercolor Tip:

Color sets the mood for the painting! This is true no matter what season or subject matter. Remember this when selecting the colors used in your painting.

Color definitely set the dark and somber mood for this painting. However, I still used colors from my seasonal palette:

Sepia
Paynes' Gray
Cadmium Yellow
Cadmium Red
Burnt Sienna
Sap Green
Phthalo Blue

I created the sky first in this painting.....using very little blue and mostly gray with a drop of yellow and burnt sienna. I wanted the sky to look dark and foreboding, not clear, bright and cheery as the one last week.

After the sky dried, I put in the distant hills and the large, dark mass of trees/hedges. The trees were painted using mostly gray and sepia. I misted the trees with a light spray of water to help the trees blend into the sky.

The grasses were laid in next using clean water first and then dropping in a weak wash of gray also dropping in a weak wash of yellow and orange. The orange was mixed from my red and yellow. After this wash dries, dry brush in some grasses with a foliage brush.

The pumpkins were painted last.

Watercolor tip:
Leave the pumpkins mostly white dropping in only light washes of yellow and orange. This will make the pumpkins look as though they are washed in moonlight!

Happy Fall and Happy Painting!
Karen

Autumn - The Seasonal Palette

2010-10-02T08:44:00.000-05:00

Harvest
5" x 7", Mats to 10" x 12"

AUTUMN - The Seasonal Palette
Depending on the weather and climate, autumnal trees can be either brilliantly colored or neutral and understated. Brilliant fall colors can be spectacular when with paired with a bright blue sky.

Autumn Palette Colors:
• Cadmium Red
• Alizarin Crimson
• Cadmium Yellow
• Sepia
• Payne’s Grey
• Burnt Sienna
• Sap Green
• Phthalo Blue

Basic Leaf Color is made from the following colors:
• Cadmium Red
• Cadmium Yellow
• Sepia

Redder Leaves are mixed from:
• Cadmium Red
• Cadmium Yellow
• Burnt Sienna

Distant Trees are mixed from:
• Cadmium Yellow
• Burnt Sienna

Deep Colored Leaves and Shadows are mixed from:
• Alizarin Crimson
• Phthalo Blue

Dark Green Tones are mixed from:
• Sap Green
• Payne’s Grey
• Sepia

Muted Green Tones are mixed from:
• Sap Green
• Sepia

Painting Trees:
The foliage on any tree is usually multi-colored, visible as tiny flecks of color and tone that represent the leaves. The palest flecks are the highlights – reflections caused by the bright light on the leaves, darker flecks are the shadows on the underside of the foliage. A helpful technique for capturing the effect of broken color in foliage is a manner of applying color. Instead of mixing red and yellow to create orange, try dabbing separate dots of color red and yellow onto the picture. The two colors merge in the eye of the viewer to create a vibrant orange. Dabbing on color also creates an impression of movement.

Word of caution: leave some spaces white to keep the painting from looking messy.

Using the colors in the autumn palette, brilliant or quiet autumn scenes can be created. Depending on the amount of colors mixed, the colors can tend to be bright vivid colors or shades of brown or gray.

Painting the Autumn Sky:
A bright wash of Phthalo Blue will make a nice contrast with brilliant reds, oranges, and yellows to indicate a clear, bright and sunny autumn day. However, a diluted wash of Phthalo Blue with a little Burnt Sienna will subdue the color and blend well with clouds and leaves of shades of brown and gray.

Watercolor Tip:
Color sets the mood for the painting! This is true no matter what season or subject matter. Remember this when selecting the colors used in your painting.

Happy Painting!
Karen Cooke

White Watercolor Paint?? What? Why? When?

2010-09-25T10:46:00.000-05:00

Storm Tossed
Watercolor 11" x 15" Mats to 16" x 20"

Use white watercolor paint? Should I or shouldn't I?
In my watercolor painting above, Storm Tossed, I used white watercolor paint to make the white water created when the waves hit the rocks and the shore. By using white paint as well as leaving some areas white, I was able to create a turbulance that would be difficult to achieve any other way.

Watercolor painting in its purest form doesn't use white paint to tint colors or provide highlights.

Instead, white areas of paper are covered with only a very pale watered-down wash to simulate light areas or, to achieve pure white, are left unpainted altogether.

This means you have to have a good idea where these areas are going to be before you start painting. This involves some pre-planning of your picture - which is actually a very good discipline, whatever paint medium you use.

In other more opaque mediums like oil painting and acrylic painting, the artist relies on adding the finishing highlights with lighter colors or white paint. This gives a bit more flexibility if you change your painting half way through.

However, don't be put off by this. Great watercolorists often used white in their watercolor paintings.

Turner was a good example. He had to use white for some of his highlights as he frequently started off by staining his paper with tea, coffee or even wine to create a particular atmosphere!

Watercolor Tip:
Never use white to mix with other colors to produce a lighter shade. This is done with oils and acrylics, but never watercolor. Adding white to other colors will only “muddy” up the color.When Does a Watercolor Artist Use White Paint?

The following are suggested time to use white paint:

a. Snow - applied via spattering to create an overall effect of snow falling.

b. Spray from water, etc. (like in my painting above)

c. Highlights that would be very difficult to achieve any other way.

Remember, there's only one rule in painting and that's to enjoy yourself. So if white paint's good enough for Turner and the other greats, you go ahead and use it as well!

Happy Painting!
Karen

Lazy River - Part 3: The Water

2010-09-18T13:01:00.000-05:00

Lazy River
Watercolor 11" x 15" Mats to 16" x 20"

Part 3: The Water

This week I will discuss the last main element of this painting - the water.
How to Paint the Water:
Using a large round brush block in the river using broad horizontal strokes of Ultramarine. Use deep color in the foreground, diluting it as you move towards the distance. While the color is still wet, smooth out brush strokes with water and a fan brush.

Start to paint the foreground reflections into the wet Ultramarine paint, using mixes of burnt sienna and indigo with vertical and horizontal strokes. Refer to the painting above for location.

Add distant reflections next. Wet the far part of the river with water. Using a smaller round brush, work over this area with vertical strokes of yellow. Add darker bands with mixes of lemon yellow, Payne's grey, and burnt sienna.

Remove the masking fluid in the water area. Paint strokes of indigo mixed with burnt sienna between the lines where the masking fluid was removed.

Make squiggly lines to capture the movement of the water with the indigo and burnt sienna.

Finishing the painting:
Remove the masking fluid from the background. Pant a dilute mix of indigo, burnt sienna and green among the trees. Add reflections of green in the water for these trees. Define the bank using washes of cerulean blue, turquoise, and yellow. Paint the posts in the foreground using burnt sienna and yellow.

Check your painting for any areas than need emphasis: shadows, reflections, etc. and fine tune.

Sign your name! Your lazy river is ready to enjoy.....

Happy Painting!
Karen

Lazy River - Part 2: The Trees

2010-09-11T10:57:00.000-05:00

Lazy River
Watercolor 11" x 15" Mats to 16" x 20"

Part 2: The Trees

As mentioned in last week's blog, there are three main elements to this painting. Now that the grass and foliage have been painted, I will discuss how to paint the trees; and we will finish with the water next week.

How to Paint the Trees:
Use a small round brush (a No. 4 or No. 6) and paint green bands ACROSS one of the tree trunks with a dilute mix of indigo, turquoise, and yellow. While still wet, define the trunk of the tree by quickly dragging a wash of Payne's Grey quickly down (vertically) through the bands of wet paint. The paint will run horizontally to suggest branches. Paint one tree at a time so that the paint is still wet when the Payne's Grey is applied. This is a handy technique to paint trees quickly.

After this initial wash has dried, paint the bark on the trees using Burnt Sienna--don't over do it. Work from the wrist to make natural shapes that are not too "set" and geometric in shape.

Finish the trees using a rigger or liner brush to put in the smaller branches.

Watercolor Trivia:
In the 19th century, marine artists and architects often used a tail feather of a woodcock to paint fine, even lines. The feather, which is very springy and holds a surprising amount of color, works like our current fine liner brush or a rigger.

Next week, we will finish this painting by putting in the water element!

Happy Painting!
Karen

Lazy River

2010-09-04T08:36:00.000-05:00

Lazy River

Watercolor 11" x 15" Mats to 16" x 20"

In my watercolor painting above, the bright yellows in the foliage and grass are used to indicate areas of sunshine streaming through the trees. The small amount of foliage on the trees and bushes indicate an early Spring day.

There are three main elements to the this painting:

Water
Grass
Trees

Each one of these elements are treated separately and a different technique is used to paint each of these different sections. Over the course of the next few weeks, I will address each of these elements and how to paint each one.

First, sketch your painting with minimal detail. Spatter masking fluid in the tree area in the background and dab some masking fluid between the trees. Also, mask out distant horizontal reflections in the water and the stumps in the foreground. Refer to the "white" unpainted areas of my painting above for placement of the masking fluid.

Watercolor tip:

How to Paint the Grass and Foliage

Spattering is the key to the fresh, grassy river banks. The first spattering is made with clean water and then paint so that the paint finds its way into the pools of spattered water. The first spatter of paint looks like an explosion of tiny stars, but as each layer of color is applied the impression of grass starts to take shape.

Be certain to create perspective in the painting with larger spatters in the foreground and smaller ones in the distance.

Add darker colors of green in areas of the bank to create the shadows from the tree trunks on the opposite side of the river.

Next week I will discuss painting the trees. The water and details are put in last and will be discussed the 3rd week.

Happy Painting!

Karen

It's All About the Sky!

2010-08-28T11:01:00.000-05:00

Seaside Villa
Watercolor 11" x 15" Mats to 16" x 20"

In my painting above, Seaside Villa, the emphasis is on the sky! In this painting, it appears that sunlight is trying to break through a gap in the heavy clouds illuminating the little cluster of buildings on the cliff top. Notice how the color of the sky differs on the right and left sides of the painting helping to create the storm clouds and imply ilumination behind the clouds.

Watercolor tip: How to paint the sky
Mix your sky washes before you being to paint. You will be working wet on wet so that the colors will flow and mix easily together.

I used the following colors for the sky: cadmium red, cobalt blue, a mix of these two colors, Paynes gray, and sepia.

Use a large round brush to paint in the sky.

Place your first wash of a diluted cadmium red in the lower sky.

Drop in some colbalt blue at the top of the sky, leaving some of the paper white.

Add a mix of the two colors and paint in cloud shapes wet in wet on the left and right side of the paper.

Use the point of the brush to paint in smaller clouds lower down.

Paint dark clouds using Payne's gray to create a stormy look on the lower part of the sky behind the buildings. Drop in a little sepia.

Spray a mist of water on the sky if it is getting too dry to work well.

Lift some areas of white shaping the clouds using a tissue.

Clouds can be an interesting part of a painting.....sometimes the painting is really all about the sky!

Happy Painting!
Karen

The Dome

2010-08-21T09:20:00.000-05:00

The Dome
Watercolor 9" x 12" Mats to 14" x 16"

My watercolor above titled, The Dome, is an excellent example of layering wash upon wash to build up color. The painting above was executed by laying in thinned washes of uniform and varied tones, applying color wet-in-wet, and overlaying washes onto dry colors to build up deep tones and color. The broad area of shadow is not painted in one tone of a single color, but created using wet-in-wet technique. Different colors are added to a wet or damp area and allowed to mingle and fuse. This will allow for some interesting colors and results.

Note: The whitest area of the dome was left unpainted allowing for the greatest contrast of light and shadow.

Watercolor tip:

Working successfully with wet-in-wet techniques relies on a balance between control and spontaneity. Limit the effect of the technique by wetting only specific areas of color or tone, such as the side of a column shadow, as shown in the painting above. By dealing with separate areas in this way your paint will move freely within those areas only, but will not run out of control over the work as a whole.

Happy Painting!
Karen

Poppy Splash!

2010-08-14T09:07:00.000-05:00

Poppy Splash
Watercolor 11" x 15" Mats to 16" x 20"

The watercolor painting above, Poppy Splash, was painted using a fun technique. The painting composition was not drawn on the paper before I started painting. I wet the paper and flooded in the colors for the flowers and the foliage. I tipped the drawing board while the paint was still very wet and allowed the colors to merge and blend and then allowed them to dry to see how they settled on the paper. I drew my composition on top of the wash. The shape of the flower does not have to take up the entire area of color. This painting is intended as an abstraction and the colors of the flowers, greenery, etc. may be "outside" the lines of those shapes. The extra paint will indicate a "blurred" flower or leaf in the background. Paint was then applied on top of the initial wash and deepened in some areas and lifted in others.

Try a different approach like this one and see how much fun it can be!

Happy Painting!

Karen

Doors and Windows

2010-08-07T10:52:00.000-05:00

Doors and Windows
Watercolor 9" x 12" Mats to 14" x 16"

Interesting doors and windows have always been a favorite subject of mine for paintings. The watercolor above incorporates both in this simple arrangement. From barn doors to European doors, one can always find something interesting to put on paper and give the viewer the desire to wonder what interesting things or people might be found inside.

Watercolor tip:
This watercolor uses a resist to add texture to the stone wall, around the window and the door on the right. I used oil pastels applied to the watercolor paper prior to painting.

A resist is defined as a method of preventing paint from coming into contact with the paper, or other paint layers, by interposing a paint-resistant coating, such as wax. This is often used to preserve highlights, or for specific textural effects.

If you have not tried using a resist, give it a try. You do not have to use oil pastels, plain old "Crayola" crayons will work as well!

Happy Painting
Karen

Fog Comes On Little Cat Feet

2010-07-31T08:47:00.000-05:00

Fog Comes On Little Cat Feet
Watercolor 9" x 12" Mats to 14" x 16"

Fog

by Carl Sandburg

THE FOG

comes on little cat feet.

It sits looking

over harbor and city

on silent haunches

and then moves on.

My watercolor above, Fog Comes On Little Cat Feet, received its title thanks to Carl Sandburg. I remember memorizing this poem in elementary school and this painting brought that poem to mind.

Watercolor Tip:

How to paint fog:

I completed the entire painting using very vivid colors - much brighter than I would have ordinarily used so that when the fog was added the color would show through. After the painting was completely dry. I applied several washes of white paint using a dry brush. The first application lightly covered the entire painting. The second application covered from the top down to the a spot half way between the yellow and the red boat. The third application covered the sky and mountain area. This allowed the fog to be more concentrated in the distance and lighter in the foreground.

Caution: Work quickly and DO NOT have the paint too wet or you run the risk of completely hiding the painting. Also, do not overwork the area. Work from top to bottom with single strokes across and move on.

Happy Painting!

Karen

Why Paint?

2010-07-24T09:52:00.000-05:00

Faceless China

Watercolor 9" x 12" Mats to 14" x 16"

Many times I have been asked this question: "Why do you paint?" There are many responses to that question.

I enjoy it!
I like to express myself in pictures rather than words!
It is a relaxing way to spend time.
It is my hobby.
It is a stress reliever! It calms the mind and the body.
Painting is a way to release creative energy.
Paintings can capture a moment in time.
Paintings can make a statement.
People paint for a living and a career.
People paint because they can!
Paintings is a way to learn something about themselves and the world around them.

All artists have their reasons; some that I have mentioned and other reasons of their own.

My watercolor above, Faceless China, was enjoyable to paint, but it also makes a statement about the many people in China. Because this person's face was painted with minimal detail and the clothing could be worn by either a male or a female, this person stands for every person in China and depicts a culture, a way of life.

No matter what your reason is to paint - do it!

Happy Painting!

Karen

Golden Days

2010-07-17T14:19:00.000-05:00

Golden Days
Watercolor 9" x 12" Mats to 14" x 16"

The watercolor above titled Golden Days is a painting of one of my favorite summer

birds. We always plant sunflowers across our back fence - both because I love sunflowers and because the finches love them as well. We leave the sunflowers once the blooms have faded for the seeds to dry out and attract the birds. Finches seem to be especially drawn to these seeds. We also have several varieties of daisies in our flower garden which also attract a finch or two.

Watercolor Tip:
How to paint weathered wood:
Begin with a pale, varied wash applied to a damp surface and let it dry. Wood colors vary. Use a wash of the following colors:
Yellow Ochre
Payne’s Gray
Sepia

Do not paint all washes over the top of the other washes, but blend the colors together.

• Use a flat brush with the bristles fanned out slight to drybrush in wood grain lines. Use a medium dark wash of Burnt Umber/Payne’s Gray or Sepia/Indigo.

• Finish with wavy lines creating a woodgrain using Gray, Sepia or black. A fine liner brush can be used or a very fine line pen. These lines need to be soft, not hard heavy lines.

• Detail can be added using the following techniques:
Spatter
Alcohol drops to “bleach” out some of the wood color
A knothole created using your knuckle.

Enjoy these golden days of summer while you can and paint a memory or two to carry you through the cold winter days ahead!

Happy Painting!
Karen

Greek Holiday!

2010-07-10T11:07:00.000-05:00

Greek Holiday
Watercolor 11" x 13" Mats to 15" x 17"

It is travel season and we sometimes think of exotic places to visit. I did not make the journey physically to this Greek isle, but traveling via my painting is one of my favorite ways to travel. (Much less expensive means of travel, too! When you think of how much money you are saving by traveling via painting, the splurge of a new paintbrush is not a big deal!) The painting above is of a clifftop village of Oia with cobblestone walkways, on the northern tip of the Greek island of Santorini.

Notice the sharp contrast of the black hillside rock and the whitewashed builings. The black rock of the island is due to a unique landscape from volcanic eruptions. A volcano, still active, stands at the center of the ring of islands with Santorini being the longest island in this group. The colorful bright blue doors bring out the beautiful blue of the sea and sky.

Watercolor tip:
The volcanic rocks were painted by dropping in various shades of brown paint and scraping the shape of the rocks in using the side of a credit card.

So, if you don't have a "real" vacation planned, do what I do......take a trip with your paints.....and you'll have a little money left over to splurge on a paintbrush!

Happy Painting!
Karen

Artist Trading Cards - Part 2 - "How to Paint ATCs"

2010-07-05T10:17:00.000-05:00

ATCs or artist trading cards are a fun way to share your "style" with other artists. At the conclusion of our Artist Trading Card Workshop, we traded cards. Scattered throughout this blog are individual photos of some of the ATCs done by the artists.

Essentially ATC’s are miniature works of mixed media art. Using a wide variety of materials to create new works of art is not new. We all remember Raushenberg, Duchamp, and Matisse to name but a few. But what makes it fun and interesting is that this is meant for everyone. All levels of work are welcome. The main goal is that they are created with the idea of sharing them with each other. They can be seen as an artist calling card, and can be whatever the artist wishes them to be. It is art after all, would we expect less?

But ATC’s themselves do have rules. The only rules being that the small works of art are, (1) exchanged and not sold, and (2) that they must be 2 ½ X 3 ½ inch or 64 X 89 mm in size.

Artist trading cards, or ATCs, began in the tradition of business cards, but with a personal, artistic twist. Most ATCs are created on paper, but they may also be any other medium that can be worked in a suitable size. ATCs are traditionally the size of baseball cards and other trading cards. They're a fun way to exchange your own one-of-a-kind artistic flair with other artists you meet. Also use them as business cards.

Instructions

• Start with the size in mind. Artist trading cards are generally 2 1/2 by 3 1/2 inches. This is the size of playing cards and other trading cards. You can even start with mismatched playing cards as a base for collage or altered item artwork.

• Express yourself or show your style, using your preferred medium or media. If you can do it inside of 3.5 x 2.5 inches, you can make an ATC.

• Work somewhat quickly. You don't need to be careless when making an ATC, but there's no need to work your masterpiece in miniature, either. ATCs should be simple pieces that you're willing to give away when you're done.

• Make lots. You'll need a selection of cards. Remember that you will be giving your cards away. "Lots" can be relative. It could be half a dozen or a few dozen, depending on how many you expect to trade.

• Show your style. Is there a particular palette or medium you prefer or a technique you've been exploring lately?

• Sign your cards and attach contact information, if you choose to. An email address or website is a good compromise if you'll be giving these cards to strangers.

• Title your work. The title is optional, but it will give your recipients or viewers a context in which to view your work.

• Share. The whole point of ATCs is to trade with other artists, so once you have a selection of cards, trade them.

o Find artists or groups in your area that trade cards.

o Attend gatherings of artists in your area, and remind them to bring ATCs to share.

o Carry them with you as you would business cards, so that if you find an occasion to trade or give away a card, they are with you.

o Spread the word. If your local artist community is unfamiliar with artist trading cards, you may have to give away a few cards or offer them with a request for one in return before you get many back.

o Organize a gathering to swap ATCs. Let people know what ATCs are about, and get together to try trading some.

o Look on-line. There are on-line groups that will match you up with others the world over who can mail cards in exchange for yours.

Collect others' ATCs. Because they are the size of other standard trading cards, most will fit in trading card sleeves. ATCs should be as unique as the artists who create them, so enjoy the selection. Start a collection of ATCs and try to get as many as you can.

Happy Painting!

Karen

Artist Trading Card Workshop

2010-06-26T16:17:00.000-05:00

The advanced Brush Strokes watercolor class just finished a two part workshop focusing on Artist Trading Cards. Scattered throughout this blog are photos taken during the workshop.

Artist Trading Cards (or ATCs) are miniature works of art about the same size as modern baseball cards, or 2 ½ X 3 ½ inches (63 mm X 89 mm), small enough to fit inside standard card-collector pockets, sleeves or sheets. The ATC movement developed out of the mail art movement and has its origins in Switzerland. Cards are produced in various media, including dry media (pencils, pens, markers, etc.), wet media (watercolor, acrylic paints, etc.), paper media (in the form of collage, papercuts, found objects, etc.). The cards are usually traded or exchanged rather than sold.

History

Artist trading cards were used throughout Europe and America as art training tools. Artists would trade the cards between themselves to study each others’ techniques and explore new art movements. The cards paid a particularly important role in the Impressionists art movement. The Impressionists utilized both sides of their artist trading cards, art on one side and a kind of brief resume on the other. The Impressionists were the first known artists to use the cards in trade for anything other than more art. Impressionists often traded the cards with art collectors in exchange for room, board, and art supplies.

M. Vänçi Stirnemann is credited in many circles with popularizing the modern artist trading card in 1996, holding trading sessions in Zurich, Switzerland. This resurgence of interest of Artists trading cards has spawned the popular ACEO (art cards editions and originals) movement. Many people consider art trading cards and ACEO cards to be one and the same. Others feel they are decidedly different pieces of art.

Clubs, trading sessions, and online mailart communities have largely replaced the original concept of trading the cards during individual encounters, and many ATC workshops end with a trading session.

Our class session ended with a trading session; and when we are rich and famous artists, we can proudly say that we own a work of art by a famous artist.

My blog next week will show some of the individual ATCs and give instructions for creating ATCs of your own.

Happy Painting!
Karen

Archway to Spring

2010-06-19T14:29:00.000-05:00

Archway to Spring
Watercolor 11" x 15" Mats to 16" x 20"

The watercolor above, Archway to Spring, is an excellent example of the use of various types of masking and resists. Liquid masking fluid was used to mask the bars on the window frame, highlights on the rims of the flowerpots, and areas for flowers in the mass of greenery on the left.

A "resist" was used to apply color and texture also. The resist I used was oil pastels; however, good old Crayola crayons could have been used as well. . The oil in the pastels acts as a resist when the watercolor paint is applied. Roughly dash in leaf shapes using light green for the tallest bush and darker green for the in the foreground. Drag pale yellow streaks across the stonework under the window. Put in some orange on the bricks and the flowerpots. Put in some light tones of gray or black on the stonework under the window.

Watercolor Tip
Do not paint all areas of the paper - let the painting fade into “nothingness” with little detail on the edges.

Happy Painting!

Tickets, Anyone?

2010-06-12T10:56:00.000-05:00

Tickets, Anyone?
Watercolor 11" x 15" Mats to 16" x 20"

The watercolor above, Tickets, Anyone?, is a corner Broadway ticket booth in New York City during the early hours of the morning when everyone is still in bed. :) The early morning light is filtering through the tall buildings from the right side of the painting. Of course, one could put people in the painting, but I prefer to let the play of light on the architectural structures be the focal point. My opinion is that people in the painting would detract from the painting.

Watercolor Tip:
Let the white of the paper provide the highlists and illuminate all the other colors and tones in the painting. Leave the areas in full sunlight completely white such as the dome, the front part of the sidewalk and part of the right side of the ticket booth. Lighter areas of filtered sunlight are on the left side of the painting including the top of the building on the upper left. The right side of the painting is in shadow shielded by one of the tall building on the right. Keep the colors on the right darker.

The ticket booth is the focal point and all the surrounding buildings are vague and blurry.....my favorite style of paintings.

Try a street scene and remember - just because there is a building or object in a photo or on location, one does not have to paint it. As an artist you have "artistic license" and can interpret a scene in anyway you chose!

Happy Painting!

Gourd Harvest

2010-06-05T19:00:00.000-05:00

Gourd Harvest
Watercolor 11" x 15" Mats to 16" x 20"

The watercolor above, Gourd Harvest, was an interesting still life to paint - with both challenging areas and easy ones.

The Challenging Areas:
Painting the water-filled pitcher was the challenge. Actually, the water was not painted at all, only the reflection of the items in the water. The glass pitcher was painted by only painting the shadows and highlights.

The Easy Areas:
Painting the gourds were fun. One of the reasons that I love watercolor is the ability to blend colors seamlessly. The gourds were based painted in the lightest shade of the gourd, then washes of darker colors were applied and allow to dry.

Watercolor Tip:
Don't forget to paint the reflections/shadows of the gourds and pitcher.

Happy Painting!

Bamboo Triptych

2010-05-29T16:25:00.000-05:00

Bamboo Triptych

Watercolor

(3) Panels each panel 7-1/2" x 17-1/2"

Framed with bamboo and jute

I enjoy trying different types of paintings and this one is different from most of my work. However, it was fun to do and turned out to be an interesting painting.

A triptych is a series of three paintings which together make a whole.

Watercolor tip:

Sketch in the bamboo with little detail on three sheets of watercolor paper or one large sheet in a continuous stalk.
Begin painting the large bamboo stalk using a large flat brush. Paint a separate wash for each section of the bamboo stalks. To keep the painting consistent, work on all three (3) panels simultaneously.
After the painting has dried, tear the edges of the painting around all edges.
To "frame" the painting, use jute and bamboo stalks.

Step outside of your "comfort zone" and painting something different---you'll enjoy it and be pleased with your results.

Happy Painting!

Southern Summer

2010-05-22T15:30:00.001-05:00

Southern Summer
Watercolor 11" x 15" Mats to 16" x 20"

My watercolor painting above, Southern Summer, is one of my favorites and is in my personal gallery. This house and garden are typical of a Southern home complete with a white fence, garden gate, blooming flowers, a balcony above the door and a warm Southern welcome!

Watercolor Tip
The fence and gate as well as the balcony rails were masked in using liquid masking fluid. Although this is time consuming (and I am an impatient painter) masking was well worth the time and effort in this painting. The flowers and greenery were painted before the masking was removed. After removing the masking a few flowers and greenery were sponged on top of the rails depicting those flowers growing through the fence. Although I used masking fluid for the rails, narrow painter's tape could have been used as well.

If you are often like me and eager to paint rather than mask and wait for it to dry, consider the finished painting. Many times, masking is worth the effort.

Happy Painting!

Sow What?

2010-05-15T19:59:00.001-05:00

Sow What?
Watercolor 11" x 15" Mats to 16" x 20"

Today's advanced watercolor class concluded their study of painting a still life. The painting above, Sow What? is my interpretation of the still life from the objects set up. There are many possibilities of subjects to paint in a still life, especially following my favorite definition -- "anything that does not move or is dead." Because of the many possibilities, selection of a subject was difficult. I finally decided since it was Spring and time for gardening that gardening tools would be a fun subject. The photo below is the set up for the still life.

Once I had the items setup, the fun part for the students began. Everyone sat at a different angle on the subject, so that in itself would make each painting unique. Also, each student had to select "how" to execute the painting - how big, how small, how to position on the page, background, etc. My favorite part as a teacher was to see how each student interpreted the subjects in their own special way and how the painting was executed using the skills learned in class.

Watercolor Tip

When painting any subject, each artist should put their own special style on the painting.....that is what makes a painting of the same subject unique. Don't be afraid to look at things from a different angle, use a different technique, try a new color! Make the painting your own and most of all - have fun!

Happy Painting!

Unusual Still Life

2010-05-08T19:59:00.000-05:00

Sea Wall

Watercolor 8.5" x 11" Matted to 12" x 16"

Our unit of study this session in my advanced watercolor classes is still life paintings. When one thinks of a still life, a bowl of fruit is usually the subject one thinks about first - or perhaps a vase of flowers. Based on the definition of a still life from the Tate Museum Glossary, the subject of a still life is "anything that does not move or is dead." (I like this definition.) :) This definition opens up a whole new world of what can be considered a still life. Traditionally, some objects in a still life were likely to have been selected for their symbolic meaning, but this symbolism eludes most modern day art gallery visitors. A still life is a work of art of inanimate subjects, typically commonplace objects.

My watercolor above, Sea Wall, is one of my favorites-- very simple still life of a sea wall with a chain and rope.

Watercolor tip:

The background of this painting used a technique that I found interesting. The wet watercolor paint was dusted with flour in spots to add texture to the sea wall and give the illusion of age and pitting from the sea. The paint and flour were allowed to dry and then dusted off creating some interesting texture.

Find something that "does not move or is dead" and paint yourself a still life! You'll have fun and smile when you think of the definition!

Happy Painting!

Flutter By

2010-05-01T16:22:00.000-05:00

Flutter By

Watercolor 11" x 15" Mats to 16" x 20"

Wildflowers are starting to bloom and nature seems to be awakening! Butterflies and birds are returning to my flower garden. I like wild flowers; and in my painting above, Flutter By, I have painted Queen Anne's Lace with a butterfly sipping the sweet nectar. One of my fondest memories of this particular wildflower was at a nature center near our home. We took our son to the Spring Festival at the nature center when he was around 6 years old. At one of the exhibits they were preparing "natural" foods. They had dipped Queen Anne's Lace in a pancake batter and deep fried it....probably not too healthy, but it was "natural." We enjoyed watching the faces of the people who sampled the delicious "batter cakes" and then found out they were eating wild flowers. Yum! I figure if you dip something in batter and fry it - what is there not to like! :) My son thought this was great fun!

Watercolor Tip

I masked the flowers and butterfly using a liquid masking fluid so that I could paint the background easily. I used a very wet wash of several different colors and allowed them to blend and merge as they dried. If the colors did not blend naturally, I sprayed a little water on the paper to help with the blending. Use a concentrated wash of color so that as it dries, it will stay bright.

Now, get out and enjoy Spring, sketch something special, and pick up that brush! Pick a few wildflowers while you are at it.........is that batter cakes I smell! :)

Happy Painting!

2010-05-01T15:51:00.001-05:00

Flutter By
Watercolor 11" x 15" Mats to 16" x 20"

Many varities of wild flowers are starting to bloom and the painting above is "Queen Anne's Lace" with a butterfly enjoying the nectar. The blurred background makes the butterfly and flowers stand out in stark contrast to the mulitcolored colored background.

Watercolor Tip:
The flowers and butterfly were masked out with liquid masking fluid to allow me to paint the background in a very wet wash of several diferent colors that blended and merged as the backgroun dried. The flower shadows were painted with a wash of blue onto the dry background. The shadows were painted before the masking was removed from the flowers.

Enjoy the many colors and sights of Spring! Find something simple in nature, sketch a painting and pick up that brush!

Happy Painting!

Big Sky

2010-04-24T16:49:00.000-05:00

Big Sky

Watercolor 9" x 12" Mats to 12" x 16"

My watercolor above, Big Sky, concluded the study of landscape painting for this unit. Various methods and techniques for painting building roofs were explored. A slate roof and tin roof were highlighted in the landscape above. Although the focus of this painting is not on the roof, knowing the color combinations for specific types of roofs play an important part of this landscape and any landscape containing a building.

Watercolor Tip:
How to paint a slate roof:
The colors for slate roofs can be described as a blue/gray. The following watercolors are often used for slate roofs:
• Burnt Sienna
• Burnt Umber
• Ultramarine
• Cobalt Blue
• Raw Sienna
Sketch a slate roof and paint using the following steps.
1. Paint the ridge tiles at the top of the roof with a medium round brush and Burnt Sienna mixed with a little Ultramarine.
2. Mix a slate gray from Cobalt Blue and Burnt Sienna or Ultramarine and Burnt Umber and paint the roof using a larger round brush.
3. Drop in Raw Sienna wet into wet.
4. Drop in your chosen mix of colors wet into wet: (Ultramarine and Burnt Umber or Cobalt Blue and Burnt Sienna).
5. Using a rigger brush or a small flat brush, add detail to the ridge tiles with this same mix of blue/gray – wet on dry.

Happy Painting!
Karen

Twisted!

2010-04-17T16:20:00.000-05:00

Twisted
Watercolor 11" x 15" Mats to 16" x 20"

I love the twisted truck on this tree growing by the water. The time I spent on the preliminary sketch for this painting was not wasted time. It would have been very difficult to paint in the twists and turns of the truck without my sketch for reference.

I masked in the branches and tree truck which extended into the sky and background trees. This allowed continuity in the sky and background color. Note that the ground is not completely painted, but many areas are left white; thus, allowing the contrast of the darker tree truck to stand out and drawn the viewer's eye to the tree.

Watercolor tip:
To achieve a good contrast with the background and foreground and to emphasize the large tree, I avoided unnecessary background detail. The soft haze of foliage in the background was achieved by sprinkling a little table salt onto the wet paint creating "instant leaves."

Happy Painting!
Karen

English Thatched Roof Cottage

2010-04-10T16:46:00.000-05:00

On Fall Holiday

Watercolor 8" x 10" Mats to 11" x 14"

As I continue with my teaching unit on landscapes, the focus this week in my advanced classes was a thatched roof cottage. In addition to the technique to paint the thatched roof, other techniques used in this painting include: painting rocks, masking (the gate) scratching (highlights on the foreground branches) sponging (background tree foliage), and a wash for the fall foliage, and path.

Watercolor tip:
I used a slightly different technique to paint the sky in this painting. I applied clean water to my sky area and while it was still glossy, dropped in Ultramarine Blue and Paynes Gray using a mop. Instead of my usual method of painting the entire sky area and then using a tissue or paper towel to lift out the clouds, I painted around the clouds and softened the edges with a wet brush. This helped to create an autumn sky to help put "a chill in the air" and tie in the colors of the thatched roof and the rock fence.

Next week will conclude my series on landscape painting and we will be working on how to paint a still life in May.

Happy Painting!

Happy Easter!

2010-04-03T15:57:00.002-05:00

Spring Basket
Watercolor 11" x 15" Mats to 16" x 20"

May each of you have a wonderful Easter - full of joy and hope!

Happy Easter!
Karen Cooke
Brush Strokes

Paris, anyone?

2010-03-27T16:17:00.000-05:00

On s Street in Paris
Watercolor 8" x 10" Mats to 11" x 14"

Even if we can't visit Paris whenever we would like, we can create a scene in our minds. I liked this simple street sign in Paris on an old stone building with the metal sign showing wear and rust.

I masked out the white areas using masking fluid---all the numbers and letters as well as the sign border edges. I was able then to paint the blue and green of the sign without worring about keeping a straight line. The sign was painted first, then the building. I added the rust last.

Watercolor tip
The building background was painted and allowed to dry. The darker green stone colors were sponged on using a simple kitchen sponge with wonderfully straight lines. I did not mask out the spaces between the blocks on the painting. I simply carefully placed the sponge.

So, take a visit to Paris - one way or another!

Happy Spring!

2010-03-20T16:38:00.000-05:00

Sunny Side Up

Watercolor 8" x 10" Mats to 11" x 14"

Since today is the first day of Spring, I wanted to share a spring painting with everyone. A Shasta Daisy is an early bloomer and is a fun and simple subject to celebrate Spring!

This painting combines details with a controlled wash. I did not mask off the flowers but this can be done if you are a little tentative about painting around the flower. The background is done in a wash of several colors: blue, greens and yellows. The green and yellow background provide an out of focus field of daisies surrounding the detailed flowers.

Watercolor tip:
Keep the background fairly dark to lift the foreground subject off of the page.

In my area, we are experiencing a nice, sunnny, and warm first day of Spring! I hope you are too! If not, grab that paintbrush - Spring is only a brushstroke away!

Coffee, anyone?

2010-03-13T16:26:00.000-06:00

Columns in Time
Watercolor 11" x 15" Mats to 16" x 20"

Usually when someone offers coffee, it is to drink - but, not in this case! The painting above, Columns in Time, is painted with coffee. Have you ever painted with coffee? Believe it or not, it’s a wonderful medium for monochromatic artwork, with a wide range of rich brown hues.

I had a great time painting this one and enjoyed the aroma of the coffee too. I used instant coffee for my painting, but brewed coffee can be used as well. I find that it is easier to adjust the intensity of the shade when using instant. Not dark enough? Just add another teaspoon of coffee. In addition to the coffee, I only added a few touches of watercolor paint: Sepia, Paynes gray, and Hookers Green. These colors were only used in a few places - the majority of my painting was done with coffee.

PAINTING WITH COFFEE TIPS
• Change the coffee/water ratio to achieve a lighter or richer color. Darker hues will require less water than the lighter shades.
• Use 140 lb. watercolor paper, paper towels for blotting up excess coffee, and several small plastic cups to hold your "paint."
• Coffee lightens when it dries; so no matter how dark your thickest mixture is, you will probably want it to appear even darker on the paper. You will need to go over your paper quite a bit until you reach the desired appearance.
• Wait until the previous layer is completely dry before adding the next. You can use a hair dryer to dry each layer and speed the process; it works beautifully.

Give it a try.......coffee anyone?

Teacup Garden

2010-03-07T19:13:00.000-06:00

Teacup Garden
Watercolor 7" x 10" Mats to 11" x 14"

This week's blog is done in honor of my aunt, Dorris, who passed away this past week. She was 92 years old and a very special lady. She always loved paintings of flowers and pastel colors were her favorite. My painting above, Teacup Garden, reminds me of her. She will be missed!

Watercolor Tip:
When painting flowers, each petal must be done separately or there will be no distinction from one petal to the next. Wet each petal with clean water and drop in color. The water will pull the color and when dry create a nice color transition. To speed up the painting, paint every other petal. By the time you have returned to the first petal painted, the touching petal will be dry and can be painted.

It's Spring.......in my dreams!

2010-02-27T19:36:00.000-06:00

Sunnyside Up
Watercolor 11" x 15" Mats to 16" x 20"

Spring really is just around the corner, but until Spring arrives we can dream about it or we can paint it! One of my favorite flowers is a daffodil. Not only are they yellow (my favorite color), but they are the early messengers of Spring!

I had a great time painting this one-- it has a surprise technique! This technique can be used for various subjects, but I especially like it for flowers. Here is the surprise!

1) Do not tape down your paper before your sketch. Sketch in the flowers and leaves with little detail. Make the pencil lines dark enough on the flowers to be seen after the crumpling and wetting technique, but do not press hard enough to indent or scratch the paper.

2) Here’s the hard part………crumple the paper up in a ball as though you were going to throw it away. Concentrate on making wrinkles in all areas of the paper without tearing it….crumple easily.

3) Submerge the paper ball into water making certain it is evenly wet. Remove from the water and unfold carefully. Smooth onto your sketch board and tape along the edges. The tape will not stick well to the wet surface; however, it will hold enough to keep the paper in place.

4) While the paper is still very wet, float in the background of green and blue working around the flowers. I used sap green and Windsor blue; however, other shades of blue and green can be used with a pleasing effect. Use a large flat brush or mop to place in the background except for working around the flowers. Use a #6 round or similar size brush to work in the background around the flowers.

5) Let this dry COMPLETELY!

6) Now you can paint in your flowers!

Have fun! This technique must have been discovered by a frustrated watercolor artist who wadded up, threw away the painting AND then had second thoughts, pulled it out of the trash, smoothed it down and went to work!

Give it a try - if nothing else, you can release some frustration while you dig out of the snow and wait for Spring!

Shelter in the Pines

2010-02-20T16:08:00.000-06:00

Shelter in the Pines

Watercolor 8.5" x 11" Mats to 12" x 16"

I have been highlighting landscapes these last few weeks; but since so many areas have had large amounts of snow, I thought I would take a break and show this seasonal snowy painting. I enjoy painting birds and have done at least one scene for each season of the year.

Birds are interesting subjects to paint and can be very detailed, if that is your style of painting. However, some very realistic paintings can be executed with a minimal of detail, such as my painting above. I don't detail every feather and let one's imagination fill in the blanks.

Watercolor Tip
The snow was achieved on the branches by using masking fluid to keep the background color off as well as the branch color. I painted the entire painting before I removed the masking fluid. When the masking fluid was removed, the snow was a nice contract with the brown branches as well as the background. The painting was finished by spattering a little white paint on for snowflakes!

Perhaps, this will be the last of the snow and we can look forward to Spring!

Sam's Barn

2010-02-13T18:29:00.000-06:00

Sam's Barn

Watercolor 11" x 15" Mats to 16" x 20"

The painting above, Sam's Barn, is typical of barns found in the Blue Ridge Mountains in the Eastern United States. The season in this painting is early summer with wild flowers blooming in the foreground and bright green foliage on the trees.

This barn is another example of a flat tin roof using the technique I discussed in my last blog. This is a good example of the same type of roof only with different colors more suitable for an old barn. I used additional burnt sienna and ultramarine on this barn roof than on my cabin roof.

Watercolor Tip
A fan brush was used to add the tall grasses in the foreground. I have found a fan brush to be quite versatile and can be used for many applications from grasses to fur. If you have not tried a fan brush yet, I would recommend giving one a try.

Painting Flat Tin Roofs

2010-02-06T16:16:00.000-06:00

Retreat at Hollow Rock

Watercolor 11" x 15" Mats to 16" x 20"

Landscapes have been the focus of my watercolor classes this session and one of my favorite types of landscapes includes rustic structures.....cabins, barns, etc.

My watercolor above, Retreat at Hollow Rock, contains a flat tin roof cabin. Tin roofs vary in color based on many different factors including age, climate in the area, and the surrounding landscape (wooded or treeless). Also, the light or dark color of the roof is also influenced by the reflection of the sun. The tin roof above was painted during midday sun and is much lighter and brighter than a tin roof painted in a shady area or in early morning or afternoon.

The materials used for barn roofing or sheds can vary from region to region depending on what materials are more readily available locally. Tin roofs have a certain rustic appeal. The types of roofs are most often found in rural areas of the United States. The following are colors useful when painting rusted flat tin roofs.

Burnt Sienna
Ultramarine
Windsor Orange

These colors are also used; however, the instructions below used the above listed paint colors.
Burnt Umber
Paynes Gray

Sketch a flat tin roof and paint using the following steps.

1. Using a ½ inch flat brush paint the roof using Windsor Orange.

2. Add Burnt Sienna to the mix to paint the bottom panels and leave some areas white.

3. Add Ultramarine to the mix and continue painting wet into wet. Allow to dry.

4. Paint the horizontal sections of the roof with a rigger brush or a small flat brush on edge using Burnt Sienna and Ultramarine.

5. Finally paint the diagonal lines following the slop of the roof with Windsor Orange and Ultramarine.

6. The flat tin roof is complete, paint the remainder of the structure.

Corruggated tin roofs have a few additional steps to indicate the grooves in the tin.

Meet Sadie!

2010-01-30T14:00:00.001-06:00

Sadie
Watercolor 11" x 15" Mats to 16" x 20"

Painting animals of any type is a challenge for me.   Yet, every now and then I run across an animal that tempts me to pick up my brush and see what I can do. Needless to say, I love furry dogs - any size and this one just pulled at my heartstrings. So, above is my attempt at capturing Sadie's personality.

I am not the type of painter that enjoys excessive detail in my work.....a photo can do that. I wanted to paint "personality".  Therefore, the fur in this painting is an example of that - my interpretation. I laid down a wash of different "fur" colors (leaving some spots of white paper highlights) with a few detailed bits of fur which were accomplished with my larger fan brush. Painting eyes can sometimes be tricky as well. I wanted depth without detail.

Below are a few tips for painting dog fur and eyes.

Painting Dogs' Fur Tip:

Dog hair doesn't only vary in length, color, and curliness, but it also grows in different directions on different parts of the body. This is visible even on the shortest-haired of dogs. The face is one region where there are several 'changes' in direction of hair.   Check the direction and length as you paint. This does make a difference in the final product.

Painting Dogs' Eyes Tip:
Start by observing where the highlights in the dog's eyes are. Draw this, then the size of the pupil (black part of the eye), then the size of the iris (colored part) and then the rest of the eye. If you get the highlight in a dog's eyes in the correct place and in the correct proportion, the eyes will look right.

Most dogs have brown eyes, but of course not all browns are the same, nor uniform, so once again be sure to not to paint a generic eye colour but to look closely at the specific colour of that specific dog's eyes. The irises of the eyes of miniature dogs tend not to be very visible. Like humans, dogs can have eyes that are different colors, though it's rare.

I love a challenge, don't you? Accepting a challenge in painting helps one grow as a painter. Pick up that brush, accept your challenge! You'll be glad you did. I was! And because of that I was able to introduce you to Sadie!

Happy Painting!

Wind Power

2010-01-23T19:01:00.000-06:00

Wind Power

Watercolor 11" x 15" Mats to 16" x 20"

My watercolor class focus this session is on landscape painting. I think the students all agree that the most difficult part of landscape painting is selecting the subject to paint. I'm not saying that executing the painting is not challenging, but that there are so many wonderful things to paint that getting started is one of the hardest parts!

Painting a sky in a landscape sets the tone for the painting. In my painting above, Wind Power, I selected a stormy, cloud-filled sky to accent the power of the wind as well as give additional credence to the wind blown grasses/reed in the foreground. My favorite part of this painting is the foreground. The reeds, which emphasis the movement of the wind, are the first part of the painting to catch the eye. The viewer is then drawn into the painting.

Landscape Painting Tip:

Give the foreground preference. Draw the viewer's eye into the main focus of the landscape painting.

Tile Roofs

2010-01-16T19:25:00.002-06:00

Field of Flowers
Watercolor 9" x 12" Mats to 14" x 16"

This entry will focus on how to paint a tile roof. This was the topic in my advanced watercolor class this past week. I am trying to tie elements of a landscape together by focusing on specific features that may be found in a landscape. Since Mediterranean landscapes are popular subjects now I thought I would highlight an element that might be found in one of those types of landscapes. In the painting above, "Field of Flowers," the farmhouse has a tile roof. Although the main element of the painting is not the farmhouse, a poorly done roof would spoil the painting. The following steps should help with painting a tile roof.

Tile roofs fall into the color range known as terracotta, which can be anything from a light, sandy red to a deep orange with a splash of blue. Terracotta color is achieved by mixing several different watercolor paints together. The following watercolors are often used for tile roofs:

• Burnt Sienna

• Raw Sienna

• Burnt Umber

• Cadmium Red

• Windsor Orange

• Ultramarine

• Cobalt Blue

Note: Not all of these colors are used at the same time.

Sketch in a section of tile roof and paint using the following steps. Your choice of colors depends on the shade roof that would fit appropriately in your painting. The following colors are simply selected as a sample.

1. Wet the roof area with a round brush (a #12 works well).

2. Drop in Windsor Orange followed by Burnt Sienna.

3. Leave some areas of the roof white and/or light in color.

4. Drop in Cobalt Blue wet into wet to create an uneven, weathered effect on all tiles.

5. Continue working wet into wet; run the Cobalt Blue down the gulleys between the tiles.

6. Paint the divisions between the ridge tiles and the shadow beneath with a small round or liner brush and Burnt Umber mixed with Ultramarine.

7. Using the same brush and paint mixture, paint the tile with little half moon shapes. There is no shortcut t painting these – you must take your time.

8. Paint the vertical shadows between the tiles with a slight darker mix of Burnt Umber and Ultramarine.

9. Paint the reversed tiles under the roof which carry the water away. This step completes your tile roof.

Winter Landscape

2010-01-09T19:21:00.001-06:00

Snow Days
Watercolor 9" x 12" Mats to 14" x 16"

Landscapes are some of my favorite types of paintings. Although I enjoy painting a still life and other subjects, I enjoy the act of recreating a landscape. There’s simply something about a magnificent landscape that makes me long to capture its essence on paper, to be able to create a landscape painting that generates the same powerful feelings in someone who views the painting as the landscape did in me. A well done landscape allows the viewer to be pulled into the scene and become a part of that moment in time. To me, painting a landscape allows me to make time "stand still" and to create memories for the future.

I love snowy weather and the fun memories that a "good, fresh" snow can make. In the painting above, the color of the sky and the use of browns and grays in the house, trees, and buildings convey the idea that this snow probably fell overnight and the storm is not over yet. I included the snowman and sled to add some "happy" color, tell a story and introduce the idea that this snow has been enjoyed by the children living in this house who may well be inside warming up with steaming mugs of hot cocoa!

Whatever type of landscape you paint, consider the message you are trying to convey and use your paint to bring that idea to life.

By the way, landscapes are one of the top-selling subjects for paintings. So, I am not the only one that enjoys a good landscape!

Reflections

2010-01-01T00:01:00.011-06:00

Soulful Reflections
Charcoal Pastels on grey paper by Karen Cooke - 9" x 12"
Artist's private collection

The start of each new year calls for reflection on the year past and a commitment for renewal and growth in the coming year. As we take stock of where we are currently, remember to be proud of accomplishments and growth no matter how small and set goals for the coming year - both personally and artistically.

As I review 2009, I ask myself these questions:

Did I paint as much as I had planned? Absolutely not! No matter how much I enjoy and plan to paint daily; everyday life, jobs, and commitments, kept getting in the way.
Can I draw or paint more in 2010? Positively! I will schedule more time for painting, just like I schedule time for grocery shopping, doctors' appointments, etc. The time is mine to prioritize in any way I see fit.
Did I make mistakes in my painting? Of course! But, I learned from those mistakes and am a better artist because of them. Happy mistakes make some of the best paintings!

As I plan my goals for 2010, I am reminded of a comment by one of my watercolor students when a painting does not turn out as planned. "It's only paper!" So live each day with an unlimited supply of paper. Don't be afraid to start over on a new day. It's only paper -- each day and each sheet is yours to create!

Happy Painting and Happy New Year!

Good Tidings of Great joy!

2009-12-25T10:00:00.001-06:00

Joy!

And the angel said unto them, Fear not: for behold, I bring you good tidings of great joy......

Luke 2:10

The Littlest Angel!

2009-12-19T15:44:00.000-06:00

Christmas is coming and I wanted to share with you one of my Christmas angels. This one was painted for a Chrismtas card.

I wanted a contrast between the starry sky and the bright angel. So, I used a deep blue (Windsor Blue) for the sky and placed in drops of white to indicate stars after the sky was completely dry. The angel wings and robe were painted wet on wet using a very pale Paynes Gray for shadows and a little bit of yellow on the wings.

The redbird on the branch was added as a sign of hope.....with the angel anticipating the birth of the Christ child!

May each of you experience the hope of Christmas and the best Christmas present ever---God's gift of Christ!

Merry Christmas!

Let it Snow!

2009-12-12T09:32:00.000-06:00

Since so many parts of the United States have recently experienced a large snow, I thought it would be appropriate to have a snowman on the blog today. Nothing brings to mind Christmas and winter more than snow. This friendly little snowman was painted for my Chirstmas cards and he is quite easy to paint with a limited palette.

The background and foreground were painted first using a wash of Windsow Blue with deeper blue in the sky area and a light wash in the foreground. While the paint was still wet, I dropped in large grains of sea salt to create the snowflakes both in the sky and in the foreground. I let this dry before painting the snowman.

The snowman was painted wet on wet using a very pale Windsor Blue - just enough to make shadows. The rest of the snowman (hat, details, etc.) was painted after the body was completely dry.

I finished up with a "spatter" of white to make some additional snow on his hat and in the deep blue sky!

So, if you are like me and live where you have not had the pleasure of a snow - yet, paint a snowman---it is almost as much fun as making one AND much warmer!

Winter's Hope

2009-12-05T16:36:00.000-06:00

Winter's Hope

The painting above titled, Winter's Hope, is another holiday season painting. Although this tree is standing alone in a winter snow storm, we see a small splash of red - a small bird on a branch. This hope of love and life depicted by the redbird on the limb reminds me of the holiday season and the love and hope given to us by Jesus' birth.

This painting is a simple sketch of a tree. The tree was masked off. I used masking tape rather than liquid masking fluid because of the large size of my tree. This was painted on 11 x 14 paper. My favorite part of this painting was the background. I painted wet on wet with a base of clean water. Blues were washed in and a drop or two of brunt umber. I sprinkled in a little salt to make my snow flakes. I like the way the salt miraculously paints the snow.

Perhaps because I live in the South, I love snow. We don't have many days with snow in the winter, so I have to enjoy snow however I can....so I paint it!

Enjoy the holidays and don't forget to take time to paint!

Tis the Season!

2009-11-28T15:51:00.002-06:00

Pears and Poms

Now that Thanksgiving is a memory, I can look forward to Christmas! When I saw a catalog filled with gifts of fruit, I thought I would paint some fruit as a way to get into the holiday spirit. Above is my painting, Pears and Poms, which was painted by inspiration from a Harry & David catalog! When one likes to paint, everything and anything can be an inspiration for another painting!

My favorite part of painting this watercolor was blending the paint on the pears and the pomegranates. Each fruit was painted first with clear water and then the colors were dropped in and allowed to blend. This is one of my favorite techniques and I don't think I have ever not been satisfied with the result. The water, the paint, and the paper have a "mind of their own" and create a unique blend of colors. The same technique was used on the pear leaves.

Hopefully, this will be first of many holiday season paintings! Remember as we jump into the hustle and bustle of the season - take a few minutes for yourself and paint! Tis the season!

Happy Thanksgiving!

2009-11-22T16:45:00.000-06:00

The picture above titled "The Thief" reminds me of Thanksgiving. I drew this picture with pastels on black paper. Although this is not a watercolor painting, I wanted to share it with you during this holiday season.

May you enjoy this day with joy and thanksgiving in your heart with family and friends!

Happy Thanksgiving!

Autumn Cascades

2009-11-07T16:04:00.004-06:00

I love the mountains - any time of year, but Fall in the mountains brings such brilliant colors that one can't help but smile and be happy!

This painting is one of many mountain streams in the Great Smoky Mountains National Park. When looking at this painting, I can almost hear the rushing water, feel the cool air, and the warm sunshine.

My favorite part of this painting was creating the rocks!

The rocks are painted with a wash of raw umber, burnt umber, ultramarine. Light washes are added with the darker colors added to the bottom, sides and edges of the rocks. Clean water was applied to the drying paint to add texture. The water pushes the paint outwards, breaking up its regular drying pattern, scattering the particles of paint. As they dry, the “watermark” can be seen, providing an appearance of wetness and texture.

The water is mostly "illusion." Much white area is left...the more white area, the faster the water appears to be moving. Water rarely flows in a straight line. Tiny flecks of paint can also be scrapped of with a knife when dry to add reflected sunlight.

Enjoy painting this one - you'll hearing the rushing water too!

Fall in the Birches

2009-11-07T15:41:00.004-06:00

Fall in the Birches

This is one of my favorite paintings! Perhaps because Fall is my favorite season with bright colors of leaves, the crisp, cool air, and brilliant blue skies! When I look at this painting, I can feel the coolness of the air and the taste of a good crisp apple! This painting is a fun and easy one to paint...even for beginners. Very little drawing skill is needed.

The trees are sketched in lightly with little detail. Masking fluid is used to cover the trees. Single line branches can be left without masking fluid as they will be painted in using a darker watercolor paint.

Now for the fun part! The background foliage and trees are painted on a very wet background. First a flat brush is used to apply paint of various "leaf colors" in random places on the painting. Blue sky can also be dropped in. Allow colors to mingle and blend. After this has dried, use a sea sponge and sponge in additional foliage with the same bright colors.

When dry, the masking is removed and the trees are painted in with light washes of burnt umber and sepia. Sponge in leaves on top of the some of the trees. Vary shades of color to indicate shadows.

My hands get messy painting this one - I really get into sponging!

Enjoy! And Happy Fall!

Pumpkin Patch

2009-10-31T20:20:00.005-05:00

Since today is Halloween and Thanksgiving is just around the corner, I thought a pumpkin painting would be a good blog entry. The painting above, "Pumpkin Patch" places the foreground posts and pumpkins as the focal point of the painting. This is achieved by creating an "illusion" of a pumpkin patch in the background by painting wet on wet and dropping in colors.

The posts are painted using a technique I use for painting weathered wood. I used the steps below to paint the posts:

Begin with a pale, varied wash applied to a damp surface and let it dry. Wood colors vary. Use a wash of the following colors:
 Yellow Ochre
 Payne’s Gray
 Sepia

Do not paint all washes over the top of the other washes, but blend the colors together.

Use a flat brush with the bristles fanned out slight to drybrush in wood grain lines. Use a medium dark wash of Burnt Umber/Payne’s Gray or Sepia/Indigo.

Finish with wavy lines creating a woodgrain using Gray, Sepia or black. A fine liner brush can be used or a very fine line pen. These lines need to be soft, not hard heavy lines. Detail can be added using the following techniques:
• Spatter
• Alcohol drops to “bleach” out some of the wood color
• A knothole created using your knuckle.

Students in my November watercolor classes will be given the option to work on this painting. I had fun painting it! Give this painting a try......you'll enjoy it too!

Happy Fall!

The Avenue

2009-10-24T16:49:00.004-05:00

I enjoy painting buildings, houses, barns, etc. So. when I saw a photograph of this street scene, I wanted to paint it. This street is a famous shopping area, but I like it because of its bright colors and the tile roofs.

Once the sketching was done, the painting went quickly. Most of the buildings are left white with only shading in places. This shading was done using violet or a mix of rose and Windsor blue. The roofs were painted with a mix of rose, medium yellow and burnt sienna. I varied the amounts of each color on the roofs to include shadow and light. I also used my palette knife to scrape in some tile shapes here and there. The palette knife was also used to scrape in lines on the palm trees and leaves in the palms.

I only used three (3) brushes and a palette knife for this painting. A flat brush to wash in the sky and the street, and to shadow the buildings. I used a #6 round brush for the tile roofs, the windows, and the greenery. A liner brush was used to put in the details on the windows, balconies, street lights, etc.

If you like buildings and streets, give this painting a try. One evening sketching and only an hour or so of painting will give you a fun, street scene that you can enjoy without spending money and shopping!

Plein Air Workshop Masterpieces!

2009-10-17T15:51:00.013-05:00

Autumn at Herb Parson's
by Karen

Two weeks ago, the Brush Strokes watercolor class painted on location at Herb Parson's Lake in West Tennessee. Photos of our class were on the blog at that time. Sketches and basic paintings were completed on location with most of the paintings finished in class today.

Debbie's Painting

Each student took a digital photo of their subject, copies were printed, and painting done in class today using the digital photo.

Susan's Painting

What a difference a couple of weeks has made in our weather! Two weeks ago, the weather was warm and sunny. However, today the skies were cloudy and the forecast for tonight is for the possibility of our first frost of the season. Those digital photos came in handy!

Tracy's Painting

The students did a fantastic job on their paintings. Painting "plein air" is much different than painting in a classroom - more difficult in many ways. The photos of the completed paintings are scattered throughout this entry. Paintings are shown in "ABC" order by first name....except for the teacher's - mine is at the top (After all, it is my blog! :) And, every one's painting turned out so well that I simply could not showcase one at the top.). I'll have one more student painting to show in another blog - just as soon as she as she has time to finish it.

Great job, class! Hope you enjoyed this workshop as much as I did!

Spice Junks

2009-10-11T20:25:00.000-05:00

The painting above titled "Spice Junks" uses several techniques that I have discussed recently:

1. Painting reflections
2. Use of "wedgies" or an inclined board
3. Blending colors

An inclined board was used to assist with the flow of paint when painting the water and the reflections.

Reflections of the boats as well as the mountains in the distance were painted in the water. With the assistance of the inclined board, the water was painted and then the colors of the mountains and of the boats/sails were dropped into the water and allow to blend.

The sails were painted by blending paint using a wet on wet technique.

Most paintings can be painted using various techniques. I think each artist should use the technique they feel will create the look they are seeking. Using different techniques to paint the same picture will add a different mood and feel to a painting.

I think the main objection in any painting is for the artist to express themselves and enjoy the process. If the first attempt is not successful, try again. After all, to quote one of my students: "It's only paper!"

Plein Air Watercolor Class

2009-10-03T17:15:00.000-05:00

Today the Brush Strokes watercolor class was a plein air workshop at Herb Parson's Lake in West Tennessee. The fall weather was ideal for painting "on location" with warm fall temperatures, a nice breeze, and sunny skies!

With so much beauty around, the most difficult part of the class was selecting what to paint. I'll share photos of the class in today's blog and share photos of the finished paintings in another blog later this month.

The following are tips for "plein air" painting:

Plein air is a term derived from the French phrase en plein air, which literally means 'in the open air'. It's a familiar concept today. In the late 1800s when the Impressionists ventured out of their studios into nature to investigate and capture the effects of sunlight and different times of days on a subject, it was quite revolutionary.

The following are questions and answers about plein air painting:

What and Where Do I Paint Plein Air?
Your subject matter is entirely up to you, but remember that you don't have to paint everything you see; be selective, think about what the essence of the scene is. Focus on what you see, not what you can imagine or intellectualize about the subject (otherwise you may as well be back in your studio. Look right around, 360 degrees, so you don't miss the possibilities 'behind' you. Look around first before you start painting.

Don't think that it needs to be somewhere far away or exotic, you can go to a local park, to a friend with a lovely flower garden, or even set up your watercolors on a table in a coffee shop. The ideal spot to set up will be in the shade, out of the wind, but this often isn't possible.

How to Deal With Spectators While Painting Plein Air
There's something about seeing an artist at work that makes people extremely inquisitive, more likely to talk to a stranger, and prone to giving unwanted opinions. It can be disconcerting, especially if your painting isn't going well, and quite disruptive. Considering positioning yourself where people can't come up behind you, such as against a wall or in a closed doorway. If you don't wish to chat, be politely non-responsive along the lines of "I'm sorry I can't talk right now I've only a limited time to do this".

Do I Have to Finish the Painting Outdoors?
Purists will argue that a plein-air painting needs to be started and finished outside the studio, but surely it's the end result that counts, not simply where you created it? If you prefer to sketch or make preparatory paintings to work up in the studio, do so. I recommend taking a photo of what you are painting to complete later in your studio. Painting outdoors can be unpredictable – weather, crowds, wildlife, etc. Take a photo of your subject so that the painting can be completed later. It is very difficult to remember details of what you were painting when you are finishing it up back in the studio.

"Tea" Time

2009-09-26T16:45:00.000-05:00

In the painting above, I used "tea" texture on the pottery to add some "age" and to help accentuate the crack. In addition to texture, the tea mix added color and shine.

Texturing your painting with instant iced tea mix is similar to using salt or sand. However, when instant iced tea mix is used, in addition to texture a color stain is also deposited.

The effects will vary according to the following factors:
• How wet the paint is, and
• How thickly or thinly the mix is distributed.

How and why does it work?
Iced tea mix is granulated like salt and will leave texture. Tea is very staining and will also leave a brown stain on the paper after any residue is brushed off when dry.

What is important to remember when using this technique?
Practice first before it is used on a painting so that the amount of iced tea mix and water can be determined for your specific application.

When should this technique be used?
Use this technique when a painting calls for texture and color, such as pottery, rocks, trees, leaves, etc. One of the students in my watercolor class used this technique to add texture and color to a pear in a still life she was painting. It turned out great. Tracy, hope you like the results!

Tip
Use only unsweetened tea mix - without flavors, sugar, or artificial sweetener.

Thought?
Another student suggested instant coffee. I have not tried that yet, but I happen to have a sample of instant coffee which I will never drink! I'll just have to try that and see what results I get. Thanks, Susan, for the suggestion! If anyone has tried instant coffee, let me know how that works.

Using a Palette Knife with Watercolor Painting

2009-09-19T16:44:00.000-05:00

Use of a palette knife in watercolor painting is much different than using a palette knife in oils or acrylics.

In the watercolor painting on the left titled Wake Up Call, I used a palette knife to scrap in feathers. The scaly lines in the feet are scraped in using the palette knife as well as a few veins in the grass growing through the fence.

The rooster on the right titled Fighting Mad, was painted in oils using only a palette knife - no brush at all. All paint was applied using the palette knife.

Watercolor tip
When using a palette knife with watercolor paint, you must scrap in your lines/design while the paint is still wet. A palette knife can also be used to put in small lines, such a grasses or small, fine tree limbs.