Posts Tagged ‘painted canvas’

Nonesuch Moon is an expressive painting using a paper plate for a template, worked on a stretched canvas. Like some of my expressive paintings, it exists no more as the desire to paint portraits of women with moustaches took over and this canvas got repurposed. In order to preserve the lineage of work I do like to take pictures of finished work, even if (or especially if) I think it may only have a short life span. I like this painting and will very likely use this image in my journal at some point if I ever again get a color printer that works. In this way, paintings that no longer exist, whether the canvas was repurposed or the image was sold, can live on for the artist in current work. Be sure to document all your work with either photos or scans, if the work is small enough. Shoot the work at least 300 dpi so that you could have a greeting card or print made, and do a separate image at 72 dpi for the web display. I always keep the original photo in case either “saved” copy (your altered copies) get destroyed. Another idea for photo use of artwork is having a book made. Not as expensive as you might think and great fun to have. Comes in handy when visiting a new gallery or going out on an art date with friends to keep them updated on your progress. Happy painting and happy shooting!

The design for this pretty picture was not mine but Dina Wakley’s, whose class I took on Saturday. In three hours I made this painting and another on stretched canvas. Dina is a good teacher and we used very good supplies which made the project even more enjoyable. This image is on watercolor paper, gesso’d, birds were traced, then overdrawn with Stabilo ALL water soluble pencil (which I LOVE–new go-to tool), painted, stenciled and journaled on. I don’t take very many classes, this was my first art class in many years. Definitely worth the time and funds. Check to see if Dina might be coming to a venue near you.

Completed yesterday, this expressive painting is the closest raw emotion I’ve funneled through art since the home invasion. To me it signifies the idea of being watched and more importantly, the hyper vigilance I’ve been feeling in watching everything around me, inside and outside my house. My startle response is off the charts these days. However, the situation is looking up and the home security system has made a big improvement in sleeping at night and starting to relax during the day. Like all other healing processes, this one will take time.

The last thing I expected to see after working on this expressive painting was a beetle, but there was the definite body shape and plates, wings, little pointy head. When i charcoaled in the legs I knew she was a lightning bug, as we call them in the south, so I dotted the orange-y yellow paint around the body to represent the etheric light. Many an evening was spent with my sister chasing, catching, admiring and releasing (unharmed) some of the hundreds of fireflies alive in the 1960’s summer evenings. Sadly, it is a commentary on the decline in the natural environment that many previously lightning bug laden locales no longer support these insects and they have become a rarity to spot. A real shame and frightening on many levels. The simple joys of lightning bug spotting should be a birthright to earth’s children everywhere. This painting was worked entirely with my fingers with paint, mixing it directly on the canvas in many layers and then drawing in legs with charcoal. The pleasure of making an expressive drawing is to allow that which is there to move forward and to accept it and cherish it for what it is.

Another in my Mehndi Hand series, this one done a bit differently. First I stenciled the hand in purple Claudine Hellmuth Studio Paint, then when that dried, I re-stenciled with Golden Light Modeling Paste, using the stencil a smidge off register. This allowed the previous purple image to show instead of covering it up. Then I rubber stamped on the message and used the Sew Stamper tool to put in the crazy quilt inspired zig zag stitch line. Lumiere paint in green provides the background around the hand and I may have used a Distress dauber in chartreuse over top of the modeling paste. On 6″x8″ canvas board, the first background is paper.

This is the last of a series of five expressive paintings I created (not all of them have been posted to the blog yet). Is it an angel? Is it Icarus? My feeling is that the figure is looking down slightly before taking off, there is a little something in the shadow on the back of the head that suggests that to me. These paintings really are about the feel of the paint on my hand, the colors that happen, what I want to “save” and what I want to cover up. That is how the white got there. covering up something that I wasn’t as pleased with as the deeper colors and layers at the top of the work. Generally, several days after the paintings are made some idea as to what is there becomes conscious,  and I will often outline or mark the canvas with charcoal at that stage. This one has so many marks in it for the feathers and the hair that I didn’t feel the need for charcoal…yet.

Another mehndi hand, this one the classic eye in the palm. Stencil is from Balzar Designs by The Crafter’s Workshop. The stencil has six hand designs on it in this size, and the same designs are available reduced on a separate stencil. Paper foundation to canvas board, Golden Light Modeling Paste thru the stencil to give the image height and texture, then painted with Claudine Hellmuth Studio Paints. The stitching lines are these awesome little pre-inked stamps called Sew Stamper from We R Memory Keepers that you run along the image where you want the line to appear. They have about half a dozen stitch styles, are easy to use and really give this project a “crazy quilt” vibe. Words were rubber stamped with Staz-On ink, my favorite. I am not affiliated with any of these companies, these are my “go-to” supplies at the moment and I just want to share the info.

Get it, digit-al! Wow, is that bad. But this stencil from Crafters Workshop is not, it is detailed and makes a great image. Some of the lustrous quality of this canvas is lost because the scanner can’t pick up metallic well, but it was painted in part with Lumiere metallic paints on a paper background. Pointilism is also in metallic copper-y gold. If I can find something cool in the way of a 3-D object that adds to this piece I will, but for now it is finished.

This is a 16×20 stretched canvas with a close up of the focal point. The painting was done expressively using only my hand, although the rest of the body does come into play occasionally, like to stand up! After painting, I noticed the figure on the left and outlined it in charcoal. That was yesterday. Then today, I noticed the figure on the right and outlined it in charcoal as well. The rest of the painting has different textures and colors. This type of painting is very freeing and is the direct opposite of the work of the past several weeks, detailed faces which take much more control, and a paintbrush. I like to work this way in series, as once you get paint all over the hand it is a shame to waste it. More to come this week.

Here is a pretty strawberry blonde with a special affinity for dragonflies. She speaks to them softly as they zoom around the pond and the garden. I used a stencil from Balzar Designs by Crafter’s Workshop to rough in the features, acrylic paint, a paper background and charcoal doodles to finish the canvas off. Stenciling is a great way to get your face proportions correct and you can do any kind of eye, nose or mouth you want to use. It removes the need to be good at drawing facial features, the paint does most of the work for you.