just got these new blending brushes and am learning how to use them. This is only the fourth painting I've created using these particular brushes. The bristles are super soft—which throws me off. They lack the structure and elasticity I'm used to with my normal synthetics. Perhaps I'm not using them in the right instances.
wanted to do a little something different today. While I love painting florals, I easily get bored of that subject matter—particularly in the flat manner I've been painting. This piece has such shadow and fogginess that it is strikingly different than my previous works. I could almost see taking that smokiness into my floral paintings to create depth.
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omething about the combination of these two flowers just captured me. I love the coral colors of the poppy with the bright mustard yellow daisy center. Moving away from a single flower allowed me to work each flower on a smaller scale and not get caught up in the details.
I'm still trying to figure out these new brushes I bought: Robert Simmons. They much softer than the synthetic brushes I am used to painting with and make blending a breeze. However I think I've always been more partial to seeing each brush stroke expressively. I may need to go shopping.
My style has regressed a little due in part to my unexplained brief break from painting. While I don't feel the need to justify the pause, just know that I am happy to be back and putting a little less pressure on myself to paint everyday. I'm taking it one day at a time and trying to enjoy every step of the learning process as I go.
While I can honestly say I don't paint everyday — I do paint most everyday, even when I don't post to this website. I often struggle with deciding whether something is good enough to share — or even sell. The ironic part is that I truthfully feel no painting has felt complete or good enough. I suppose that is the constant struggle of living a creative life. I go back to the Ira Glass quote to help me get through it.
I find I paint differently when the ground is white vs. black. I've gotten used to the contrast that traces of black give my paintings. When I paint on white grounds, my paintings have a softness because I feel inclined to cover every inch of the surface. It's interesting.
This is a little different from my usual floral study. I've chosen to paint over a panel I was never excited about and thus didn't start out with the black ground I've been partial to, as of late. So I decided to include the background from the inspiration photo I was using.
'm feeling a little out of practice as last week's "daily" practice turned into just a few days of painting. However, I practiced some vinyasa yoga last night and am feeling limber and ready to take on this week with gusto!
Seventy paintings and counting! The chair series has great appeal in the form of prints.
Beautiful yellow Eames chair!
A patron of DPW asked me to try out a yellow mum during my floral explorations. To be honest, I had always ignored flowers like these because the sheer number of petals made me nervous. However, as I began the painting, I started to see the blurred lines. I focused on the basic shape of the whole flower and incorporated petal-like structures within it using shadow and light. When I stopped concerning myself with each individual petal it became about showing the relative lightness and darkness within the flower... and it was quite enjoyable!
fter completing 20 floral studies I was interested in trying something new for subject matter. For some reason I stumbled upon a photo of a chair and was drawn to it's simplicity. I felt I could use similar techniques from my floral studies in this paint sketch of this chair.
I think it turned out quite lovely.
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