MY PROCESS--DOCUMENTING "WORKS IN PROGRESS"- NEW PAINTINGS AND PRINTS. -- INCLUDES PALETTE AND COLOR NOTES.
Friday, August 03, 2007
PICURIS PASTORAL - UNDERPAINTING
"PICURIS PASTORAL" - UNDERPAINTING
Picuris Pueblo, New Mexico --At the onset of autumn every year, if this field has not been plowed under, the wild asters bloom, along with other fall wildflowers.
Picuris Pueblo, New Mexico --At the onset of autumn every year, if this field has not been plowed under, the wild asters bloom, along with other fall wildflowers.
Wednesday, August 01, 2007
Tuesday, July 31, 2007
Sunday, July 29, 2007
"AFTERNOON SUN" - UNDERPAINTING
Studio No. 4307 - "AFTERNOON SUN" (Underpainting)
14"x11" Original Oil on Cold-pressed Italian Gessoboard
To be framed in Gold with Linen Liner
Here is a quick oil sketch -- MG White mixed with basic oil colors - Cadmium Yellows, Thalo Blue, Prussian Blue and a little Mars Black in the dish at the base of the flowers.
14"x11" Original Oil on Cold-pressed Italian Gessoboard
To be framed in Gold with Linen Liner
Here is a quick oil sketch -- MG White mixed with basic oil colors - Cadmium Yellows, Thalo Blue, Prussian Blue and a little Mars Black in the dish at the base of the flowers.
Saturday, July 14, 2007
DIAS DE ORO -- GLAZES II
WORK IN PROGRESS - LOS DIAS DE ORO
(GLAZES II) - 36"x48" Original Oil on Fine Belgian Linen
In my last post to this web log, I demonstrated the difference between the underpainting and the beginning of the glazing process -- laying in the dark, transparent colors. This week I covered the entire canvas with glazes -- even thinning opaque paints to a semi-transparent consistency.
The two autumn trees: I thinned Yellow Ochre, Cadmium Yellow and Cadmium Red and brushed those colors over the shape of the trees to "tone" the ground. Then I began laying in the darker colors (Alizarin Crimson, Diox. Purple, C. Ox. Green Opaque) to create volume and shadows. I used Prussian Blue, Burnt Sienna and Chrome Oxide Green Opaque in the pinon trees at the top of the painting. The pastureland in the foreground and middle ground is a combination of all these colors to varying degrees of light and dark. I will let these colors set up for a few days before working into them again, otherwise the turpentine in my painting medium will mix with the heavier, opaque paints and create "mud".
If you have any questions regarding this new painting, just give me a call at (505) 758-7454.
The two autumn trees: I thinned Yellow Ochre, Cadmium Yellow and Cadmium Red and brushed those colors over the shape of the trees to "tone" the ground. Then I began laying in the darker colors (Alizarin Crimson, Diox. Purple, C. Ox. Green Opaque) to create volume and shadows. I used Prussian Blue, Burnt Sienna and Chrome Oxide Green Opaque in the pinon trees at the top of the painting. The pastureland in the foreground and middle ground is a combination of all these colors to varying degrees of light and dark. I will let these colors set up for a few days before working into them again, otherwise the turpentine in my painting medium will mix with the heavier, opaque paints and create "mud".
If you have any questions regarding this new painting, just give me a call at (505) 758-7454.
Tuesday, July 10, 2007
WORK IN PROGRESS - DIAS DE ORO (GLAZES)
WORK IN PROGRESS - DIAS DE ORO - THE GLAZES
Today I worked some glazes into the right side of the painting -- these transparent colors - Burnt sienna, alizarin crimson, and yellow ochre (thinned to a transparency with the painting medium) in the autumn trees. The pinons at the top of the canvas: Prussian Blue and Burnt Sienna for the darkest values, with some chrome Oxide Green Opaque in the lighter areas.
I am adding this post today to focus on the contrast between the glazes on the right and the underpainting on the left side of the painting -- these dark colors not only help to emphasize the light of the final opaque colors, but they add a richness to all the colors. If you really look at Renaissance paintings -- those dark colors are glazes -- observe how they make the lights appear lighter!
If you have any questions or comments regarding this painting, please call me at (505)758-7454.
I am adding this post today to focus on the contrast between the glazes on the right and the underpainting on the left side of the painting -- these dark colors not only help to emphasize the light of the final opaque colors, but they add a richness to all the colors. If you really look at Renaissance paintings -- those dark colors are glazes -- observe how they make the lights appear lighter!
If you have any questions or comments regarding this painting, please call me at (505)758-7454.
Saturday, July 07, 2007
WORK IN PROGRESS - "LOS DIAS DE ORO" (DAYS OF GOLD)
WORK IN PROGRESS - "LOS DIAS DE ORO"
36"X48" - Original Oil on Fine Belgian Linen
To be framed in Gold with Linen Liner
36"X48" - Original Oil on Fine Belgian Linen
To be framed in Gold with Linen Liner
My colors in this underpainting are laid in loosely and mixed with MG Underpainting White and Turpentine using a variety of bristle brushes. Colors in the trees: Cadmium Yellow, Cadmium Orange, Cadmium Red, Yellow Ochre, Burnt Sienna, Chrome Oxide Green Opaque. Shadows: Combination of Prussian Blue, Burnt Sienna, Diox. Purple and Chrome Oxide Green Opaque. This underpainting will need to dry completely (about a week) before I can work into the colors again with the glazes (darks). In the meantime I will complete "POPPY LOVE" and "MORNING POEM".
If you have any questions, please e.mail or call my Taos Studio at (505) 758-7454.
If you have any questions, please e.mail or call my Taos Studio at (505) 758-7454.
Thursday, June 28, 2007
WORK IN PROGRESS - MORNING POEM
WORK IN PROGRESS "MORNING POEM" - PHASE II
©DonnaClair2007 - All rights of reproduction reserved.
18x18"Original Oil on Fine Artist's Canvas
Here is my second sitting with this painting - a combination of glazes and opaque colors (See Palette Set-Up). First I put in a thin wash of Payne's Grey over the top half of the painting. Sky and Snow Colors: Paynes Grey, Cerulean Blue - a little ochre -- and the best kept secret color - Holbein's Rose Grey. This color will be dominant throughout the painting. Also mixed some of these colors with Permalba White for the lightest areas. The Trees: Mars Black, Burnt Sienna, Indian Red -- Chrome Oxide Green Opaque for the smaller pinon trees.
I want this canvas to have a dreamy, just-waking-up-morning effect -- So once all the colors were all laid down, I took a large, soft watercolor brush and "blended" the whole canvas lightly.
This phase of the painting is now complete and I will let it dry for three or four days. Stay tuned to see this completed canvas.
If you have any questions regarding price and availability, please call my Taos Studio at (505)758-7454.
I want this canvas to have a dreamy, just-waking-up-morning effect -- So once all the colors were all laid down, I took a large, soft watercolor brush and "blended" the whole canvas lightly.
This phase of the painting is now complete and I will let it dry for three or four days. Stay tuned to see this completed canvas.
If you have any questions regarding price and availability, please call my Taos Studio at (505)758-7454.
Tuesday, June 26, 2007
WORK IN PROGRESS - MORNING POEM
WORK IN PROGRESS "MORNING POEM"
(Phase One: The Underpainting)
©DonnaClair2007 - All rights reserved under Federal Copyright Law.
18"x18" Original Oil on Fine Artist's Canvas
To be framed in silver with Linen Liner
A late spring snowstorm as seen from my backyard a few weeks ago.
Turpentine washes using MG White mixed with regular paletted colors. Sky: Payne's Grey, small amounts of Cerulean Blue, some litttle Thalo Red Rose and Diox. Purple.
Same combinations for the snow colors in the bottom half of the canvas. Trees and dried grasses: Ultramarine Blue and Burnt Umber for the darkest colors. Burnt Sienna and Alizarin Crimson for the lighter grasses -- also a little ochre.
For more price and availability, please call my Taos studio at (505)758-7454.
Same combinations for the snow colors in the bottom half of the canvas. Trees and dried grasses: Ultramarine Blue and Burnt Umber for the darkest colors. Burnt Sienna and Alizarin Crimson for the lighter grasses -- also a little ochre.
For more price and availability, please call my Taos studio at (505)758-7454.
Wednesday, June 13, 2007
Saturday, June 09, 2007
"NUESTRA SENORA DE LA ASCUNCION" - SOLD!
"NUESTRA SENORA DE LA ASUNCION"
Completed this painting late last week and this morning pulled some proofs for a new Studio Edition Print.......it's a beauty!
"NUESTRA SENORA DE LA ASCUNCION" (The capilla in the small village of Placita along the High Road to Truchas") -- $100.00 -- Hand-titled, hand-signed and printed to order on fine art paper 22"x17" sheet size, enclosed in PolyFoldlock transparent sleeve and mailed flat. Free shipping and handling within Cont. U.S. Visa, Mastercard, Discover and American Express now available for your convenience. All sales are guaranteed.
The original painting is also available (18"x18" on fine artist's canvas, custom-framed in gold with linen liner) -- for more information, please call my Taos studio at (505) 758-7454. SOLD!
"NUESTRA SENORA DE LA ASCUNCION" (The capilla in the small village of Placita along the High Road to Truchas") -- $100.00 -- Hand-titled, hand-signed and printed to order on fine art paper 22"x17" sheet size, enclosed in PolyFoldlock transparent sleeve and mailed flat. Free shipping and handling within Cont. U.S. Visa, Mastercard, Discover and American Express now available for your convenience. All sales are guaranteed.
The original painting is also available (18"x18" on fine artist's canvas, custom-framed in gold with linen liner) -- for more information, please call my Taos studio at (505) 758-7454. SOLD!
Wednesday, June 06, 2007
"EVENING THUNDERSPIRITS" -SOLD!
Sunday, May 20, 2007
Sunday, May 06, 2007
PUESTA DEL SOL - GLAZES
WORK IN PROGRESS "PUESTA DEL SOL" - GLAZES
30"x60" Original Oil on Fine Belgian Linen -- To be framed in gold with linen liner.
The glazes are the second phase of the painting and, in this work, they are concentrated in the bottom half of the piece. The sky has been "semi-completed" -- that light will inform the light in the rest of the painting. Sky: combination of Permalba White, Prussian Blue, Cadmium Red, Cadmium Yellow, Payne's Grey, and Thalo Rose Red in various combinations.
The lower half of the painting -- Glazes are dark transparent colors, mixed with my painting medium (see recipe on the front web log page) --- burnt sienna and prussian blue for a deep, rich green; burnt sienna, olive green and alizarin crimson for the warmer shades. The river is Prussian Blue, with some thin Chrome Oxide Green and the sky colors as the beginnings of the highlights.
This painting will be completed in about ten days. STAY TUNED!
The glazes are the second phase of the painting and, in this work, they are concentrated in the bottom half of the piece. The sky has been "semi-completed" -- that light will inform the light in the rest of the painting. Sky: combination of Permalba White, Prussian Blue, Cadmium Red, Cadmium Yellow, Payne's Grey, and Thalo Rose Red in various combinations.
The lower half of the painting -- Glazes are dark transparent colors, mixed with my painting medium (see recipe on the front web log page) --- burnt sienna and prussian blue for a deep, rich green; burnt sienna, olive green and alizarin crimson for the warmer shades. The river is Prussian Blue, with some thin Chrome Oxide Green and the sky colors as the beginnings of the highlights.
This painting will be completed in about ten days. STAY TUNED!
For price and availability, please call my Taos studio at (505)758-7454.
©DonnaClair2007 - All rights reserved under Federal Copyright Law.
©DonnaClair2007 - All rights reserved under Federal Copyright Law.
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