Reckless Abandon

Did a painting of fruit on a nice linen canvas. It was done far too careful and neat. Did not like it, wiped it out and did this one on a piece of paper, with a completely different approach - base pure colour on the fruit, over the lines, then sculpted with strong contrast colour with fast decisive strokes. I much prefer this look.

Next Step.....

Bit more work on the foreground - Richard actually cut off a few inches off the bottom after the fact. Some refining details on the buildings were needed, and maybe still are needed. Interesting experience for sure.

Painting with R. Schmid 2 - November

It felt very appropriate to be painting this scene at this time of year since Schmid paints it in Vermont end of November. He is outside in snow flakes and minus degrees, I am in a warm room by the fire and the television screen. This lesson ended faster than the last, and the foreground is not complete. I think I will continue on my own.....

Painting with Richard Schmid

What an experience! Am I finished - is it complete? Richard goes on and on with so many strokes that he is very clear on but I can not really follow. But I am pleased with the result.

Painting with Richard Schmid - first step

Yesterday I was watching a painting DVD by Richard Schmid "White Pine" and decided to paint along with him. It is getting complicated, but what an excellent way to really listen to what he is saying. I think we are half way.......

Coe Hill

From a month ago, on our way home from Thanksgiving at Gigi and Paulo's cottage.
Although the majestic tree in full fall colours was to be the focal point, the eye does get drawn to that dark mysterious spot at the forest edge. I love little meadows like this.

Murray's Shed

We actually went plein air painting today. It was nice until the sun went down - amazing how fast the fingers start to freeze. Mary has a favourite spot that gives us endless compositions.

I am an easel junkie and got another one while in the US - my newest one is an Easy L and this is it - finally the right one for me. It is so compact, light, sturdy and diverse. In Kiawah it held 16x20 canvas as easily as a 6x8. Today was its first outing in Canada - oh joy!

One Pear

So many aspects of practice are involved in painting one pear on one plate - get the ellipse right, the values of the plate, the base shadow and the second cast shadow of the plate, the pear, the shadows and reflections in the shadows on the pear, the highlights....and viola, add a stroke for a stem and there it is!

Illusive Weeds

I had started this composition on the workshop but had wiped it out because of the foreground weeds - they had turned to a brown grey nothingness. Fall weeds in the sun are difficult to see and define shapes within their massive jumble. This attempt is better than the first, but it is still not where I want it to be. So to be continued....

Orange Zap

On the final day, we painted in a new location - finding a composition of shapes, light and shadows etc. A fellow painter, Christophe, suggested the little stroke of intense orange in the background - I like it, it adds that little element of pizzazz.

Squares Exercise

We had to paint squares of the colour that we saw, and then paint the scene.

Sweet Grass

Yes, this was an exercise - and the pink stuff is actually the low country sweet grass in bloom.

Veranda Oranges

On Wednesday, three still lifes were set up on the veranda, in the full sun. We were to focus on what was in sun, and what was in shadow and find the correct value and temperature.

The Marsh at low tide

After we did paint chips and colour/value/temperatures squares, we were to paint a simple scene using this experience.

Kiawah Island

We painted black and white exercises, for shapes and values. Then we graduated to black/white and yellow ochre and included colour temperature. Sounds easy - wasn't!