Garden Phlox

Garden Phlox   watercolor   10 x 10

What watercolor class would be complete without a floral study?  ....which I consider to be among the most difficult of subjects, due to the fact that there is an overwhelming amount of information that must be sifted and sorted.

But I also believe that there must be a why...the reason why this particular bloom, among so very many, was selected as a subject.  For me, this painting was color-driven.  As I pass by it beside our porch, I am momentarily stunned by its color, the mysterious product of nature.  The overall atmosphere is so much more important to me than perfect leaves, perfect blossoms, perfect stems.

The greatest challenge in this one was the middle circle, the missing area that contains information on a plane that is further back than the outer rim of blossoms. The background wash was extended into this inner circle and the information only suggested.  And, of course, I added my signature brown to neutralize the sweetness of the so much pure color.  I also like the stem which has been skewed from the vertical.

I am pleased.

Fruits of the Summer...I just couldn't stop!

Cherries   watercolor/cold wax on wood cradle   8 x 8 x .75

Plums   watercolor/cold wax on wood cradle   8 x 8 x .75

Watermelon   watercolor/cold wax on wood cradle   8 x 10 x 1.5

Grapes   watercikir/cold wax on wood cradle   98 x 8 x .75

Fruits of the Summer and Parlor Tricks

I am not really into parlor tricks, or "special effects" in painting.....as I value solid painting skills and solid brushwork...at least that is my aim.  Sure, I have used wadded up plastic wrap to create texture and rely regularly on spritzing for its subtle effects.  But I have to draw the line at sponged trees.  In fact, being a watercolor purist nagged at me for years before I succumbed to being "allowed" to add Chinese white or gouache for more opacity.  I am more forgiving these days.  My notion of what makes for good artwork has expanded considerably.

These small fruit paintings were adhered to wood cradles with acrylic matte medium and glazed on top with cold wax.  The resultant effects were quite exciting to me, as a painter who always matted and framed watercolors.  (increasing their size substantially)  I worked in brighter colors and simpler shapes.  The results are richer, more compact.  I feel that they pack more of a punch, being similar to small oil paintings which I usually work on a gallery wrap canvas.  Very exciting.

Do watercolors always have to be matted and framed?  I think not.  And I am anxious to try some larger works using this method.

Granny Smith and Lime   watercolor/cold wax on wood cradle   8 x 8 x .75

Lemon   watercolor/cold wax on wood cradle   8 x 8 x .75

Grapefruit   watercolor/cold wax on wood cradle   8 x 8 x .75