Silverpoint on Pink Clay-coated Paper with White
Gouache Highlighting, 7 1/2" x 10"
I taught a small workshop at my home today called
"Exploration in Art". We will be doing four different
media altogether. Today we did silverpoint and
water-media monotypes. I did this while my students
were doing theirs. I was so happy with it, that I decided
to post it to my blog. I've always loved this statue.
She is standing up, and holding a large book. But, it
is her beautiful face and peoccupied eyes that have
always fascinated me.
I usually prepare my own silverpoint paper using
hotpress watercolor paper and a mixture of gouache
and Liquitex acrylic (colored with acrylic paint), but
this paper was given to me by a person in a church I
use to go to. She gave me a whole bunch of it. It's
a beautiful pink, and really smooth. The silverpoint
just glides over the surface, so it is really fun to draw
Thanks for visiting today, and have a nice weekend.
Essence on Laid Paper, 7" x 9", $100.00 SOLD
This is another painted drawing done in the
essence technique that I've talked about in
previous posts. I wasn't crazy about the color in
this one, but I do love the pose, light, and linear
work. The paint goes on the laid paper (Ingres
paper in this case) just beautifully once the oil has
been leached out of it, and of course it dries with
no ugly oil stains around it. I love this technique!
It is great for quick sketching of the model. I will
be offering a workshop in this at The Art League
School in Alexandria, VA next School year, and
will also ge using the technique this quarter in
my figure class.
Drypoint Etching, 2" x 3 $55.00 Bid Here
This is an image that I have gone back to several
times - which seems to be a habit that I have. If
I didn't know that it was/is common among other
artists, I'd worry about it. But some images just
sort of grab you and don't let go. This guy was
a model for my classes for a while. He was unusal,
and that is all I'll say about him. But his face in this
image has something transcendent about it, and I
was happy with the way that I caught that. I also
like the burr in his hair.
For those of you who are not that familiar with drypoint,
it is a demanding medium, that differs from etching, in that
you draw directly on the bare plate with a diamond or
carbide steel point. There is never any acid involved. Any
tone, line variation, texture, etc., all that has to be produced
with the point of your instrument. It takes a lot of practice. I have
taught many people to do it, and have found that some people are
naturally skilled in it, yet for others, it is a struggle they eventually
master if they keep at it.
People who do a lot of graphite drawing find drypoint etching
rather natural, so if you think you might be interested in doing
this, that's what you should be doing to prepare for it. Or course
you need an etching press , and printmaking paper, and ink to print
the plate. Editions from drypoint plates are not large, because the
burr (the piece of metal that is kicked up along side of the line that
you draw through the metal surface - that would be cut off by an engraver,
for instance) wears down a bit with the pressure of every printing.
Twenty prints is a large edition for drypoints!
Oil on Board, 5" x 7 1/2" , $100.00 SOLD
This is another composition that I have played
around with several times. I took a series of
photos of this model in various positions quite
a while ago. I was so captivated with her long
torso and legs, and her white skin, which really
was pale like this. She owned the kimono, and
the colors weren't anything like this, but I have
fun making up the colors each time I paint her.
Creating color harmonies is one of the things
I enjoy most about painting.
When my husband and I lived in Boston in the
80's and part of the 90's, we had an architecture
and interior design business. I am not an architect -
he is - although he also went to art school... but I really
enjoyed the interior design part of it; particularly
when we had interesting, imaginative clients who
weren't afraid to experiment with color and pattern.
My own taste does not lean toward the modern in
interior design, so it was fairly easy to get along with
our clients, most of whom had a "Beacon Hill" mentality.
We got one job just because, when the woman said,
"I'm thinking of a specific color for my library", I piped
up with "Pompeiian Red?". That just happened to be it,
and we began a job that lasted two years, and included
our designing everything in her residence down to the
bookshelves, the rugs, the tiles in her bathroom, and
a mural in her dining room. That was something.
A lot of work. But, I learned a lot as well.
Thanks for visiting today.
7 1/2" x 5", Oil on Board, $100.00 BID HERE
I went to Chicoteage with my family many years ago, and I was
most fascinated by the marshy land that spread everywhere, and
the little inlets of water that would reflect the colors of the sky.
It was also fun to see the horses.
The last time we were there some of those horses were actually
wandering around on the beach trying to steal peoples' lunches
and treats, and my daughter, quite a bit younger at that point,
kept talking about "ponies gone bad". It was so funny, and we
had a wonderful day. I think this is kind of a Technicolor
Chincoteague, but, whatever. I had fun using my memory,
which was probably looking " through rose-colored glasses".