Is SNOW really WHITE? - Painting & Drawing Tips

Well this year we had WINTER!!

Well for a few weeks anyway.  

It was cold. Really cold. Minus some ridiculous number cold!  We had snow.  Real snow. 12-14 inches of the stuff.  

A FLASH OF BLUE IN THE SNOW - 12 x 15 Vanished Watercolour on Wood Cradle   

Ok, I admit it.  I loved it!  

We had beautiful cold, crisp days, the sun was glistening off the snow and the mountains.  Fantastic!!  It was real powder.  None of our usual wet slushy stuff.  

Of course I had to PAINT it!

See what I mean, Snow is gray tones.  Not very exciting

When I looked at my snow reference pictures I discovered my camera had a common goal.  Use only White and Gray!  The snow was white and sure there were shadows, but they were usually tones of gray.  Not my idea of a great snowy scene.  

I decided to add some colour, my snow didn't have to be WHITE. . . .

First I went to my Resources: Stephen Quiller, a watercolour artist who's work I really enjoy.  He does lots of snow pictures and his snow is NOT WHITE.  

Then I chose my palette: I decided I would have pinks and blues for my snow colours as my Stellar Jay was going to be blue it would look good with my bits of ferns. I felt the soft glow of the pinks from the setting sun would give a nice punch to the whole picture. 

My colour chart for my snow - Light to Dark 

It was interesting to look at my colours in black and white.  It gave me a much better feel for their value.  

An easy way to see the tonal values of my colours - note how light the Cad Orange is. I was surprised at that.  

I studied my colours and arranged them from Light to Dark.  This helped me interpret the values on the snow with a colour.  I was surprised how light the Cobalt Teal Blue was.  It was my lightest blue.  And the Cadmium Orange, although very yellow, had a really light tonal value.  

Finally put Paint to Paper: 

Painting the Stellar Jay and my ferns was fun and fairly easy.  The kind of thing I am use to doing. But when I started on the snow I found I really had to take it slow.  Using colour for each area and assigning a value for each area did take me longer.  I found I needed to check my values as I went.  

The first section seemed so dark!!

When I did the first section I thought, OMG! That is way too dark.  . . . .

I kept checking things to make sure it was working out.  The more colour I put on the more things began to to work out.  In the end I had only a few very thin strips of white but my snow really read as Snow to the eye!! I found my eye really accepted all the colours, even the yellow and greens.  

I hope you are having fun with snow pictures too.  I think all of Canada and northern United States has snow now.  Give your snow pictures and infusion of colour.  I found it really makes me happy to see all the colour.  It reminds me of my walks on those sunny, cold crisp days.  I love the glow of colours in  the A Flash of  Blue in the Snow.  

 Move your work to NEW LEVELS?  

Contact Me for:

1. Private Drawing Lesson: (3 Sessions 2.5 hr each $250)  North Langley (Walnut Grove) 

Do you want your animals to breath, your flowers to sparkle or your people to walk?  Whatever subject your like to paint or draw I can build a drawing program for you.  Private Lessons allow you to focus on the skills you wish to develop.  Wendy is a experienced teacher, providing a calm, relaxing experience as you learn how to use the principles of drawing.  Beginner to Advanced are welcome.  Special rates for younger students.  More info here.

2.  Online: Teaching, Mentoring or Critiquing Your Work - Don't live in the Fraser Valley,  I would be happy to tailor a program just for you online.  Drawing and Painting Lessons, Mentoring you on your Art Journey or Critiquing Your Work with an Eye to Move It Forward.  Drawing & Painting Lessons: 1.5 hr sessions $75.  Mentoring or Critiquing 30 minutes sessions $25.  Flexible schedule and sessions can be longer or shorter depending on your goals. 

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Have a great Artful Day,

Wendy

The WHY of Your Art - Painting & Drawing Tips

Why do you paint/draw?

Why that subject??

Why that method?

Why that medium?

Why do you make the choices you make in your practice?

TREATS FOR MY SWEETHEART - Matted 20 x 24, Watercolour $700

You are driven to create.  That part is easy but have you determined WHY you do what you do?  What drives you?

Having a Show brings this all to the forefront. . .

I just finished a 2 week show at the Pop Up Gallery here in Surrey.  It was wonderful to see a large selection of my coastal wildlife work in a location right befitting it.  Right beside the coastal shore.  My herons, eagles, seals could smell the salt water, they were so close.  It was wonderful.

But . . . .people were asking all kinds of WHY questions.  

They expect an interesting, articulate answer.  Definitely hard to do if you haven't spent some time with yourself.  Some artists journal their thoughts.  Despite being a writer, that doesn't seem to be my way.  My thoughts rattle around in my head.  They emerge in my titles, my write ups, my advertising. . . And of course, in my work.

My Story

The first big why?
Why do I paint/draw wildlife?  I am curious, fascinated, drawn to wildlife.  As much as I love the scenic west coast, I find it hard to paint it unless it has some life in it.  A seagull, a bird, a deer.  Somehow that gives meaning to me.  I use only my own reference material.  This meets my second goal.  To share that feeling of awe and wonderment of seeing my bird or animal in the wild.  To sit on a log and watch a woodpecker feed its baby or a mother seal teach her pup to swim is special.  Something to share.

But why the method? the medium? the style?
This becomes more about my practice.  I work in three mediums: permanent ink, graphite and watercolour.  Together or separately.  How do I decide?

Sometimes it is the challenge . . .
Can I draw a realistic animal using just my line work in ink?  I had been working a lot with my pens and felt I was ready for that step.  Just line work.  No, watercolour to cover an errant line.

HERON: TIDES RUNNING - Watercolour,  Matted 8 x 10, $130 

Sometimes the style
Can I mix abstract with very tight realism? I had been playing around with ideas in my sketchbook and so decided to try it. 

JUNCOS AT THE FEEDER - Ink & Watercolour mounted on Wood Cradle, 8 x 10 $200

Sometimes the place . . .
Painting Plein Air, means painting from life.  I work smaller, 5 x 7 or 8 x 10.  I need to work quickly.  My animals wont stay there forever.  I chased these little pigs around the pig style for several hours to paint my Three Little Pigs!!   Maybe this was more of a Challenge than just a place thing. 

THE THREE LITTLE PIGS - Watercolour SOLD

Sometimes it is a memorable moment . . .
This little seal popped up to watch me as I kayaked on the Campbell River.  We were both there for the Salmon Run.  Him to eat, me to photograph.  He let me get a great shot then turned, flipped his tail and splashed me.  Not such a great good bye. 

UP FOR AIR - Coloured Pencil, SOLD

Sometimes I really want to do meticulous realism  . . .
I look to my pencils for this.  They allow me to convey the detail I crave, give me the textures I want, and the control that I need.  For me, the subject comes alive.

BIG BLUE - Matted 12 x 20, Graphite $450

Have you answered your Why's?  
Sometimes, my Why is simply to enjoy myself.  I love the feel of my pen on paper, the joy of watching colours flowing together and the soft blend of textures in graphite.  But the other riding goal

Bringing My Birds and Animals to Life on Paper

More on the Why's:
Why Graphite? 
Have You Felt the Freedom of the Line?
Ready to start Drawing

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Get Ready for Christmas!! with a Fun Way to Improve your Drawing Skills

This year's theme is Candles, Holly and Poinsettias

Christmas Card Classes 

Saturday, Nov 16, 10-12pm. Art by Wendy's Studio, North Surrey

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Treat your Friends to a Special Christmas Greeting

All supplies Incld $40      Contact Wendy

OR

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Drawing lessons in graphite, carbon, ink, watercolour, watercolour pencils or coloured pencils.
Based on your Schedule at my Studio, N. Surrey. 

FYI

I am scheduled for a Demo at Opus this fall: 

 Drawing: Values, Light & Shadows - Saturday, Oct 19, 11-12:30 or 2-3:30 Free 

Contact Langley Opus to Register  604.533.0601

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Wendy

The Story of a Painting: Final Edition - Painting & Drawing Tips

NEW WORKS FROM THE STUDIO OF ART BY WENDY

HITCHING A RIDE - 12 X 16 -Watercolour

That train can start moving any time as my little Stellar Jay is ready for his ride.  Hitching a Ride is ready to roll.

When I  left you, in my last post, there were two challenging things to do: the Stellar Jay and that really involved section in the bottom middle of the painting. The hitch.  I must admit, I left them both to the last purposely.  It is much easier to face them once I have mastered my colours, value scheme and plan.  They were both complex areas but required different treatment.  The Jay was my star and needed to shine while the hitch was intricate but expected to blend and add interest, not steal the show. 

 (Need to catch up, you can begin the story of my painting with this post here - The Story of a Painting )

Just a light wash of  Winsor Blue to get this little fellow started

Challenge # 1 - The Stellar Jay

My Stellar Jay was a double problem as you know. As well as being a complex character,  my reference picture did not have the right lighting.  I was going to be making some big decisions on how the light would affect his colours.  I started with a light wash of blue close to my sunlight value.  Then I began to block in colour based on my value sketch for his new lighting. 

Blocking in some colour

I felt I was on the right track. So I kept on adding layers:  developed the tail feathers, set up his beak, worked on his crown, and layered his chest.  As I worked I started to do his legs and feet while I waited for other areas to dry.  When glazing it is very important to make sure the layers underneath are dry before adding a new layer.  If not they will mix together and mud can be the results.  I am not one to use a hair dryer, I like things to dry naturally.  So I often work on another part of the picture while I wait.

Checking the drawing and the colours - note pencil changes to the right shoulder

I was really feeling like things were coming together well.  The layers kept building.  Time to make a close check on the drawing as I was feeling body parts weren't right.  Yep, changes needed.  His right shoulder was too low and he was a little too fat and needed a trim on his left side.  This also changed how the tail appeared behind the chain. 

 (I am sure you are wondering about his eyes.  Since they are such an important element in bringing my birds and animals to life I leave them till I am ready to do them. I like them to fit into the body and not just float while I paint around them.  So sometimes it can be quite late in the process before they get painted or drawn in.)

I took a pencil and lightly drew in my changes.  Then using my trusting little 'lifting ' brush I lifted paint where needed.  The beauty of my background is I can add a few spots of colour to tighten up the drawing and they just blend in.  (Special Note: Even those special additions had to be done with 2 or 3 coats so they will blend in to the surrounding area.  I don't want any hard edges. )

Finished for now - STUDY MODE as I move on

Finished up the feet and tightened up the area around them.  Again, using a few layers I was able to blend into the base as I refined the feet.  I had purposely left this area a little undeveloped so I could work on it as I refined the feet.  Now it is time to Study him.  

Challenge # 2 - The Hitch

Step 1 - picking out some darks

 I found this Hitch area very interesting but very complex to paint.  I wasn't quite sure what to do.  I fell back on my tried and true method: paint what you see, don't try and interpret it and start with the darkest dark (Value 10)  Once I painted in the 10's I looked for the 9's then the 8's.  Always moving around the area.  If I found a colour that I liked, for example the greens, I put it in various areas that I felt it needed to go.  I played with the blues and grays the same way. Constantly moving around the area looking for little pieces to enhance. Always focusing on the shape and colours rather than 'the thing'.  

Step 2 - Picking out more and more darks and lights

Once I felt it had taken shape I really built up the shadows.  Again, glaze over with a layer of my purple, let it dry, check the value, add another layer.  Finally I was happy.

Step 3 - Checking the final Shadowing Glazes

The Final Stage: 

Study Mode.  Make notes on what I wanted to change. Study some more. I have my picture up on an easel so I can see it when I go by my studio. I leave it for a day or two and then revisit it.  I take a picture and look at that, both in colour and in black and white.  I often look things up. In this case I felt there needed to be a light highlight on my Jay's breast and I felt that the dark on his crown needed to be adjusted. I looked at other pictures of Jays in the sunlight.  I also felt there should be reflected light from the yellows and greens on my Jay. When I was ready, I made the changes.  

I use to jump in and make changes as soon as I thought of them.  Often that lead to fiddling and needless lifting again.  Now when I am in this final stage I find it better to wait and study.  Somethings those changes are just the feeling of the moment and once I step back I feel differently. 

HITCHING A RIDE is ready for his Train Ride.  

What are some of your steps in finishing up a picture? How do you 'decide' if it is done?  

My next project is already on the easel - Signs of Spring featuring a pair of Varied Thrushes.  REally excited to get it underway, I love their bright orange breast and mine was caught in the sunlight, really feeling me with thoughts of Spring. 

 Etsy Store: WendyMouldsArt  is always open and new things added all the time.  Original Artwork, prints and cards of Art by Wendy's Work.

Try Your Hand at Plein Air Painting: 

Plein Air Painting Festival - August 17-19,  KilbyHistorical Site, Harrison Mills, BC

Great Opportunity to Paint on an Historic Site with costume models, farm animals, farm scenery, old store and more.  Painting Friday and Saturday, & Sunday Morning,  Prizes, Luncheon, and Sales on Sunday Afternoon.  Great Prizes for all levels - Beginners to Advanced Welcome.

$15  Register  events@kilby.ca 604-796-9576 by August 15, 2018.  

This is an awesome event, there are juried prizes and draw prizes so fun for all levels.  Registration gets you on site for all 3 days.  I will be camped at the Kilby Campsite and there all 3 days so be sure and say hi.  

Drop-In & Draw Sessions: 
New people are always welcome.  Beginner to Advanced 

 Monday, June 18, 10-12pm & 1-3pm.  Monday, August 13, 10-12pm & 1-3pm

Expression Art Gallery, Valley Fair Mall, 227 & Lougheed Hwy, Maple Ridge,

Choose a morning or afternoon session. Bring your sketchbook or project and come and work.  I will be happy to give you pointers.  $15 Pre-Registration Required.  Contact Wendy Here. 

Artists reading this also find the following valuable: 

How to Find your Sketchbook Friend - here
Is Your Sketchbook  Ready for You - here

How to Find Your Starting Point in a Drawing - here

 Be sure to like and share my posts.

You won't miss a single post if you Follow by Email or Like my Facebook Page.

Have a great Artful Day,

Wendy

The Story of a Painting Part 2 - Painting & Drawing Tips

Who would have believed it?    ME painting machinery!

I love the outdoors.  I am a wildlife artist.  Trees, stumps, rocks, those are my friends.  Since when do I paint rusty metal, springs, and chains.  Well actually I am and the thing I enjoyed the most was those chains and gears.  I can hardly believe it myself.

HITCHING A RIDE - Well underway, Still some big challenges to do!

Every painting has a story and my latest painting on the easel, "Hitching a Ride" has turned into a real surprise for me.  Chains - fun to paint!  Yes.  And my picture is set up and ready for paint. My last post The Story of a Painting outlines all the preparation involved in setting up this painting. 

Let the Painting Begin!

My Paints
My palette: Ultra Marine, Hooker Green, Cobalt Blue, Winsor Blue (Blue shade), Permanent Rose, Burnt Sienna, Yellow Cadmiun Light

The Undercoat - fun to just drop on paint - wet into wet.  

The Undercoat
The colours of the springs, chains and rusty metal are so much part of this picture.  I decided to start with an underpainting using all my colours.  This way they would show through some of my glazes and really add interesting, colourful textures.  It also meant that everything would be cohesive, no stray colours hidden in the rust.

Putting my colours down I tried to make sure the right side was light and the left darker.  I didn’t put much in the top yellow area as I wanted it a more pure yellow.  I also made sure the smaller chains were kept light, close to the value of their lightest value.  That way I could add the darks and they would be done. This was actually on my mind everywhere: colours dark enough to show through some of the glazing but also light enough to be the light value in that area.  It's nice to not have all that white paper staring back at you.

Trying out my colours, getting a feel for how each area will be developed. 

Getting into the Picture

This is what I call my feeling the picture mode.  I tried a few colours in the dark at the left to see how much colour would show through my glazes.  I painted the yellow area on the right so I could see how that would work. It has to be light but still offer a good contrast to my Stellar Jay. I started on the chain to see how that would work.  First focusing just on the darks and then gradually working on the other values.  It was so much fun to see it come to life.  I fell in love with that large chain.  

Really liking what is happening.  My poor little Jay is almost forgotten as I am really loving what is happening with chain and spring!!

Starting to Really Roll

Things are really getting fun now.  I just had to work on that large chain, my favourite spot.  The more I worked on it the more I wanted to move around it and make it shine.  My poor Stellar Jay was forgotten.  I loved mixing up the colours as I glazed and seeing the underpainting come through.  It really made for great ‘rusty bits’.  

Moving out - Getting a real feel how my Stellar Jay is going to work out.  

Time to Move Out

Okay, I admit I kind of got carried away with my chain and it is time to move out and meet my Jay.  I decided to set up his background.  I needed to see how his light side on the left would work with the background and at the same time keep the right side light to work with his dark side.  I want to be able to make the right side the lost edge so I need to paint it first. 

I really enjoyed painting the base for the Stellar Jay.  As you can see the underpainting really shines through with lots of interesting texture. 

Really feeling the finish coming. 

Working hard on glazing and completing each section.  Sometimes I picked out the darks first and then glazed over the rest for the mid tones.  Loved how the Stellar Jay’s base worked out.  It really didn’t need a lot of work, a few glazes to grey it down and then of course those awesome touches of dark.   

Only two challenges left: my Stellar Jay and the lines and hollows in the bottom middle.  

Picture in Colour and Black and White - Both tell you different information.  Study Time is here.

Time for a Value Check

Things are going well but I really felt it was time for a value check.  Looking at the picture in colour really causes me to get lost in the colour mixes:

• the shadow highlights in the bottom left (aren’t those bits of peachy orange great),
• the golden yellow beam left of my Jay ( love the texture and colour changes there)
• and of course my large chain and spring down the left side.  I really like what is happening there. 

When I change the picture to a gray scale all those great colours disappear and I can see what is really happening with my values.

Things I noticed right away:

• spring on the bottom left and the cavity there are a little flat, possibly another light glaze in the shadow area might give it some depth.  Not too much as this is not the star of my picture. 
• Shadow of the middle chain is a little too light and blue for my sunlight. 
• The middle chain might be a little too washed out, possibly darken the darks a little more. 
• Looks a little to dark by the large chain in the top right side.  Have to think about that for a bit.
• Need to finish the chain at the far right to see how the balance will work.  Must keep its value close to the surrounding area so it will ‘stay at the back’.

What do you see?

Enter the Study Mode

Have to slow down a bit now.  As I near completion it is time to really study my picture.  With a light glaze I can bring something forward or push it back.  I like to paint, study, paint, study, study . . .  This is probably the slowest stage of my painting. 

Sorry,  picture not complete this week but it will be ready for my Next post: Hitching a Ride - DONE

I realized I only talked generally about my painting techniques, let me know if you want to expand on something in my next post.  

My Etsy Store: WendyMouldsArt  is always open and new things added all the time.  

Try Your Hand at Plein Air Painting: 

Plein Air Painting Festival - August 17-19,  KilbyHistorical Site, Harrison Mills, BC

Great Opportunity to Paint on an Historic Site with costume models, farm animals, farm scenery, old store and more.  Painting Friday and Saturday, & Sunday Morning,  Prizes, Luncheon, and Sales on Sunday Afternoon.  Great Prizes for all levels - Beginners to Advanced Welcome.

$15  Register  events@kilby.ca 604-796-9576 by August 15, 2018.  

This is an awesome event, there are juried prizes and draw prizes so fun for all levels.  Registration gets you on site for all 3 days.  I will be camped at the Kilby Campsite and there all 3 days so be sure and say hi.  

Drop-In & Draw Sessions: Only a few Sessions left till Summer
New people are always welcome.  Beginner to Advanced 

 Monday, June 4 & 18, 10-12pm & 1-3pm.

Expression Art Gallery, Valley Fair Mall, 227 & Lougheed Hwy, Maple Ridge,

Choose a morning or afternoon session. Bring your sketchbook or project and come and work.  I will be happy to give you pointers.  $15 Pre-Registration Required.  Contact Wendy Here. 

Artists reading this also find the following valuable: 

How to Find your Sketchbook Friend - here
Is Your Sketchbook  Ready for You - here

How to Find Your Starting Point in a Drawing - here

 Be sure to like and share my posts.

You won't miss a single post if you Follow by Email or Like my Facebook Page.

Have a great Artful Day,

Wendy

The Story of a Painting - Painting & Drawing Tips

NEW WORKS FROM THE STUDIO OF ART BY WENDY

"How long did it take to paint that picture? "

This question is often asked at my Art Shows.  People don't really want to know it was 16.5 hours or something like that.  They are really asking how did you do that.  How were you able to take your idea and produce this wonderful picture.  What is the story of its Creation.

Every picture have a Creation Story? 

The Story may be long or short, full of intricate details and thought provoking moments, reaching a Climax when you finally put the brush down.  

Hitching a Ride is on the Easel and well underway!!

"Hitching a Ride" is on the Easel right now.  There is excitement in the air, I just want to paint. I had a hard time tearing myself away from it to write this blog.  Now that is it underway, I just want to paint!!

Here is the Story of "Hitching a Ride"

Inspiration:

Our local Art Center was advertising a Call for Artists this spring called "Paint the Train" in partnership with the Fraser Valley Heritage Railway.  I wanted to support this event but wasn't sure how I could.  Trains and equipment are not my thing.  I settled on an idea of having a bird, hitching a ride on the train.  My working title became "Hitching a Ride". 

Lots of places for a little Bird to sit and hitch a ride on a train

Resource Material:

I didn't really have any train pictures so when I was in Agassi I stopped at the Heritage Museum and checked out their train.  I wondered around the train looking for a place to put my bird. I wanted it to be a place that 'looked like' a train not just a piece of machinery.  It wasn't till I started really taking the pictures that I began to see how my idea would work.  I put my camera case in the picture to give me a sense of size and shadow pattern for my bird.  

This little Stellar Jay came often to our Feeder.  He has a nice stance to fit into my scene

Once I had my train picture I needed a bird in my resource file. I decided on the Stellar Jay.  He is local to the area, he would look great with the oranges and yellows on the train, he is big enough that he would not get lost in the chains and bands of colour.  And he is also one of my favourite birds to paint.  Going through my files I was looking for a pose that had his tail up so I could place him on the hitch.  I liked the idea of him sitting near the middle chain.

I liked the spot by camera case for my bird - the lines and shapes all seemed to point to him.

Cropping and Prepping: 

Once I had my pictures, it was off to photoshop to crop and play with the images.  I decided not to use the picture on the steps as once I cropped it, it wasn't as interesting a place for me.  I really liked the chains, lines and colours in the picture around the hitch.   I the jay was similiar in size to my camera case so it made it easy to see how he would fit in.  (sizewise that is)

My little jay just fits nicely around the chain to really give him a 'settled' look. 

The finished painting was going to be 12 x 16 so I printed the picture out the actual size in black and white.  It took 4 pages of 8.5 x 11 paper which then had to be cut and taped together.  I like the actual size as it is easy to draw it when I can see the correct scale.  I also printed it out in colour on  8.5 x 11 photo paper.  Having a black and white gives me a good look at the values and the colour photo gives me colour info and good back up info.  I needed this for my train and for my bird.  

Drawing/Layout

I do my drawing first on a large paper and then transfer it to the watercolour paper.  That way I can make any drawing changes and erasing without causing any damage to the watercolour paper.  I am using Arches 300 lb paper and although it is tough, erasing can damage the fibers. 

Once I was happy with the drawing I used tracing paper to transfer it onto the watercolour paper.

 (To Turn your tracing paper into a graphite transfer paper:  First trace the picture, then turn the tracing paper over and using a soft graphite pencil (I use a 7B or 8B) and go over all the lines.  This leaves a layer of graphite on the back of the tracing paper where your design is.  Then turn the paper back to the right side and place it on my watercolour paper, now go over the lines. )

Once I have checked over the transfered drawing I am now nearly ready to paint. Yipee!!   (Sorry no picture, I was too excited to paint and forgot to take a picture.)

Some ideas as to how to change the lighting on my Steller Jay 

A Setback

As I worked on my layout, I realized that although my Stellar Jay fit into the picture really well I needed to do more work on him.  He is back lit in my reference photo but in my train picture the light is from the front.  I needed to make some changes to him.  First I drew him with a new value scheme that reflected his new lighting.  I decided I wanted more help so I looked online for pictures that would give me more of an idea on his colour changes.  Finally I was ready to Paint!!

This little guy looks good with his new value plan

Next post, "Hitching a Ride" comes to life.  

My Etsy Store: WendyMouldsArt  is always open and new things added all the time.  

Try Your Hand at Plein Air Painting: 

Plein Air Painting Festival - August 17-19,  KilbyHistorical Site, Harrison Mills, BC

Great Opportunity to Paint on an Historic Site with costume models, farm animals, farm scenery, old store and more.  Painting Friday and Saturday, & Sunday Morning,  Prizes, Luncheon, and Sales on Sunday Afternoon.  Great Prizes for all levels - Beginners to Advanced Welcome.

$15  Register  events@kilby.ca 604-796-9576 by August 15, 2018.  

This is an awesome event, there are juried prizes and draw prizes so fun for all levels.  Registration gets you on site for all 3 days.  I will be camped at the Kilby Campsite and there all 3 days so be sure and say hi.  

Drop-In & Draw Sessions: Only a few Sessions left till Summer
New people are always welcome.  Beginner to Advanced 

 Monday, June 4 & 18, 10-12pm & 1-3pm.

Expression Art Gallery, Valley Fair Mall, 227 & Lougheed Hwy, Maple Ridge,

Choose a morning or afternoon session. Bring your sketchbook or project and come and work.  I will be happy to give you pointers.  $15 Pre-Registration Required.  Contact Wendy Here. 

Artists reading this also find the following valuable: 

How to Find your Sketchbook Friend - here
Is Your Sketchbook  Ready for You - here

How to Find Your Starting Point in a Drawing - here

 Be sure to like and share my posts.

You won't miss a single post if you Follow by Email or Like my Facebook Page.

Have a great Artful Day,

Wendy

Where do Your Edges Meet? Painting and Drawing Tips

NEW WORKS FROM THE STUDIO OF ART BY WENDY

PEANUTS, MY FAVOURITE  - Matted  to 8x10 $130

Painting/Drawing is like preparing for a Trip to parts unknown.  Lots of pre-trip planning: researching the destination; visualizing the journey; and of course building up GREAT Expectations for the results!!

Then THE Day comes. . .   
The Trip begins.

In your studio you have finished all the pre-planning and your new Adventure begins.  Your canvas is out, the paints are mixed and the brush/pencil begins to dance.

WOW!!  So exciting!  It feels like the moon and starts are aligned and life is perfect.

Suddenly disaster!

Well really is it a disaster?  So you missed the bus, there's others.  Your reservations are lost, you will find another spot to stay.  Every adventure has its challenges, solving them is part of the adventure.  It's what makes it.

Your painting/drawing adventure follows the same path.  Pleasure.  Excitement. Pushing Forward.  Then . . .Oh. Oh!  Things are not working. It's wrecked!

Hold it!!  

When I hit this wall, and yes, it seems most artists hit this wall at some point in the process.  I find it is not a disaster, it is a time to step back and rethink.  My first questions: What do I like? Why? What do I not like?

Your good friend, EDGES is often the culprit.  You read some of his stories in my last post "6 Stories your Edges Tell"  but there is more.

Where do your Edges meet? 

Edges are the sides of any shape in the painting: a beck, a shadow, a petal.  Where an two or three edges meet are important intersecting points.  There is a lot of information shared there.

The petals on this Black-eyed Susie are rolled and curled, full of life.  

Take a look at these Black-eyed Susies in the Big Picture and the small one on the left.  The petals appear to have life: they are rolled and curled as they emerge from the center and yet connected to the center.  The story is told in where the edges meet.  The little curls in the edges as they emerge from the center give that information to the eye.  Cover the center and petal tops and see if they have the same fullness.  Now look at the second close up on the right.  Here those little curves are flatten.  The petals do not dance and bounce, they are flatten as well.  A tiny little change in the line, just at the point of intersection and a different story is told. 

Note the places marked where the Edges meet

Check out my Little Stellar Jay, PEANUTS, MY FAVOURITE.  I have pointed out a few places where Edges meet and very subtle stories are being told. 

Note the subtle changes to him when I flatten out those MEETING Places

The edges of my little Stellar Jay hve been flatten out at those Meeting Places.  The stories are now quite different. 
1.  Feet no longer look like they are 'in' the grass.
2.  The downy feathers are no longer at the top of his leg.  It has a very hard look
3.  The Feathers tucked in no longer have the sharp edge of the flying feathers
4.  The slight rise on the back is gone making that top feather no longer look like it is sitting on top of his back.  And I removed those light shadow points on his back.  That whole layer of feathers seems to have disappeared!
5.  That slight bump is gone at the side of his head making the crown feathers lose their fluffy, feathery texture. 

I know, these are just tiny points but combined they take away from your work.  Not everyone wants realistic work but even loose flowing work has edges to watch for.  On your next painting/drawing check out those meeting points and see if you agree with me.  I would like to hear your thoughts.

I am really interested in shapes right now, more painterly ones coming up next post.

Great Art needs Good Marketing to Move it out the Door

1 -Day Marketing Workshop for Artist - Let's Get Your Art Out There! with Wendy Mould, AFCA 

Sunday, Feb. 25, 2018 10-3pm $84(Tax Incd)

During the day you will learn what the main focus of your marketing materials should be, see  effective ways to promote your work and find a path that is right for you.  It is a full day and the synergy generated from the experience will keep you on track for 2018. Turn your Art Making into a Business. Maximum 8 people so register early. 

I look forward to working with you.  

 REGISTER  Contact Wendy               Gift Certificates Available

Good Follow-Up Session to the Marketing Workshop: 

April 9 - Building Your Online Presence 6-8pm. Federation Gallery, Vancouver, BC. $20 nonmembers $15 members.


Looking for more Drawing Tips, check out these popular posts from the latest Drawing Series.  

How to Find Your Starting Point in a Drawing - here

4 Ways to Grow the Sketchbook Habit - here

Get Those Values Working for you - here

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 Have a great artful day,
Wendy