This is the last painting I made in the portrait workshop I took a few weeks ago. It took a lot of redrawing and correcting, especially to get the arm on the left and the hands right. Next week I’m going to try to paint a portrait on my own, without a teacher. Wish me luck!
We are in Chapel Hill for ten days with our granddaughter Lila while her parents both travel for work. The Farmer’s Market here is still selling beautiful summer bouquets.
Some sketches are valuable because they bring back memories.
My mother died in 2008. For the last few years of her life, she was bedridden in this room. I recently unearthed this sketch, and it all came flooding back.
I painted this in the workshop I took a couple of weeks ago, from a photo the teacher provided. It was challenging. A lot of time and erasing just to get the underlying pencil drawing. Doubt I would have had the courage to tackle it on my own.
“The most carefully studied 22 square inches in the universe,” is how the human face is described. Faces are intimidating to draw because we know them so well, and can detect the slightest distortion. But there are simple guides online to help you; here is one. The most surprising fact is that the eyes are at the halfway point between the crown of the head and the chin. Here’s my pencil sketch of a photograph I found on the internet. The placement of shadows shows that the light is coming from the right. It helps to have a good eraser!
One of the secrets of drawing people or other subjects is measuring one part of the body or subject against the rest. For instance, the average adult is seven heads tall. But a toddler is only four heads tall. This child is about five heads tall, so he looks maybe eight or nine years old. (For more info, click here.)
All this week I’ve been stretching my mind seven hours a day trying to learn to paint human portraits from Eudes Correia, a fabulous painter and workshop leader. Luckily, we’ve been painting strangers from photographs, instead of people we actually know, but still my brain is sore from all the exercise.
House portraits make great gift for yourself, or a birthday, anniversary or holiday present for others. They are a good memento of a past or current house, or a holiday cottage. Prints and notecards can be made for others in the family. Thank you, Amy, for letting me post my painting of your house. For more information, click here.
Channeling my mother’s spirit, and her love of fresh summer corn.
In the last 20 years, swans have become year-round residents on the Charles River. 
Every year since our children were small we have been blessed to spend the last week of each summer at Sandy Island, a YMCA Family Camp which occupies an entire small island in the middle of Lake Winnipesaukee, N.H. The same people return the same week each year, and there are lots of wonderful activities in a beautiful natural setting. We love it, and this week has been great. Here is my painting of the dining hall, where meals are served family style.
A quick sketch, floating along and dipping my brush in the Charles River beside my boat.
Continuing with my exploration of acrylics, and here’s a zinnia close-up and off-center, which is an interesting perspective.
We are lucky enough to spend time each summer beside lakes in Vermont and New Hampshire. Here’s a sketch (pencil, then watercolor in sketchbook) of my view of Caspian Lake, VT this weekend.
Channeling my Mom (may she rest in peace) who loved nothing more in life than a summer tomato sandwich with mayonnaise, salt and pepper. I had to paint this one before I allowed myself to eat it.
I took an acrylics workshop this weekend from Lisa Daria Kennedy, an excellent teacher. It was frustrating and fun. Here’s the one painting of this beautiful bouquet that I felt reasonably satisfied with.
The animal most tourists want to see in national parks is the grizzly bear, and we were lucky enough to see them twice in our July trip. The first time was in Grand Teton, where a herd of elk were grazing in a meadow a half mile from our lodge. One evening, two grizzlies came out of the woods and began chasing the elk. The chase went back and forth across the meadow for nearly an hour before the grizzlies, winded, gave up.
The second glimpse was in Yellowstone and is captured in this brief video (click here) of a mother and two cubs in the woods, causing a line of cars to stop. If you watch it carefully, you will see the motionless mother, the cub on the left, and at the last second, another cub moving in from the right. At that point, I stopped filming because a tourist (in search of the perfect photo) moved down the embankment toward the bears, and the mother got nervous and began moving toward the tourists. Luckily, at that moment, the park rangers, lights flashing, pulled up to save the tourists from themselves, no doubt for the umpteenth time.
This is my last sketch from this trip, I hope you have enjoyed them.
Yellowstone’s Old Faithful geyser is so named because it can be counted on to erupt every 90 minutes or so. We were lucky enough to see two such eruptions. On the July day when we were there, a crowd of perhaps 1,000 people watched from the nearby boardwalk. Below is my sketch, and click here to see my 30 second video of the second eruption we saw. The park ranger said it was an unusually dramatic one.
This little guy, found throughout Yellowstone and Grand Teton National Parks, is misleadingly named a “ground squirrel,” when he’s actually not a squirrel at all, but rather a smaller relation of a prairie dog. He has to keep on his toes (literally), as he’s the number one prey of the rough-legged hawks who soar above the sagebrush where he builds his (or her) extensive burrows.
We have returned from our 10 day trip to Grand Teton and Yellowstone, but I am still painting from my photos and memories, and look forward to sharing them with you over the coming couple of weeks. This sketch was done sitting on the rocks overlooking “Artist’s Point” at Yellowstone’s Grand Canyon. Click here for a quick video that Bruce took of the actual scene. You can see I’ve taken some artistic license.
Just as we entered Grand Teton National Park, we were greeted by this furry fellow. We stayed inside our car, as everyone has been warned to do, and as he got closer he lowered his head, not to charge us, but to rub it in a clump of sagebrush. Click here to see my 30 second video of our encounter.
I did this sketch while we were eating lunch on the porch of a restaurant overlooking the panorama of the Grand Tetons and Jackson Lake. This Moleskine sketchbook is 5” by 8”, and when folded open it’s perfect for a view like this.
We have come to the Rockies for ten days to visit family in Provo, Utah, and then Grand Teton and Yellowstone National Parks. The Grand Teton range is awe-inspiring, especially for us New Englanders for whom 5,000 feet is a big mountain. We are staying at Jackson Lake Lodge, elevation 6,400, with this view of Grand Teton, elevation 13,700 feet. The conspicuous patches of snow are small glaciers.
We are entering what was, when she was alive, my mother’s favorite time of year. Ripe red homegrown tomatoes, perfect for a sandwich or salad. The hard pink store-bought kind never cut it with my mother. She found the best farmsteads around, and brought it tomatoes home a couple of times a week. Plus fresh corn with salt and butter. Salivating just remembering.
We have had a beautiful full moon the last few nights, though no snow since before Christmas.
Orange and blue are opposites on the color wheel. They make each other sing. This watercolor is wet-on-wet, wet paint on wet paper so the colors bleed into each other. If you want a precise and controlled painting, you work on dry paper and don’t let wet colors touch.
Not sure what to expect with that title?
Painters often do exercises like this, and the chickens are a fun twist. In watercolor, when an area of wet paint touches another wet area, the colors naturally mix together (which isn’t true with oil or acrylics). Keeping a chart like this helps to know how colors will look when they blend.
Hope you are having a good 4th of July weekend!
We have two grandchildren, Maggie, age 1, who is trying hard to master the art of walking, and Lila, age 13, who visited us last week (by herself for the first time) from Chapel Hill. It was magical to paint together — Lila painted this lovely abstract — and reading together — the same book!
This little landscape was made with pastels, as medium I don’t use often. Yellow and purple are opposites on the color wheel (like red & green, and blue & orange), so the combination “pops.”
Some beautiful lilies from Trader Joe’s are blooming on my table. What a wonderful scent!
It’s the longest day of the year, and the first day of summer. Time to break out our sandals. Here’s loose sketch of my green Teva’s on our red and green rug.
Esplanade is a tree-lined boulevard in New Orleans that leads to City Park. Here are two sketches I did in different seasons. I am sad to leave New Orleans today, and granddaughter Maggie who just turned 14 months old.
In New Orleans near where our son lives, there is a rooster who makes it his job to wake up the neighborhood, often getting loose and patrolling the streets to make sure everyone can hear him. Here is my photo of him, and a drawing using watercolor pencils.
We are in New Orleans visiting our son Andrew, daughter-in-law Eva and year-old granddaughter Maggie. They moved from Brooklyn to New Orleans in April. Here’s a quick sketch at a nearby cafe. And Maggie’s solution to beating the 90 degree heat is to sit in her kiddie pool, drinking smoothies.
Nighttime in the winter can be magical.
Our friend Keith said, “I know just where it is. It’s the coastline of Norway with the mountains behind. The red is the people and towns just barely hanging on at the edge of the sea.”
As I paint, I imagine looking across the lakes of Vermont and New Hampshire where we vacation every summer.
What do you see?
Just for fun.
Sketching on location rarely produces great art, but it’s a fun way to be in the moment and really tune into your surroundings. I have a small sketching kit so I can “grab and go.” I love cafes like L’Aroma in West Newton. Last week I visited a wonderful cafe/bakery called Flour and spent a lovely hour munching and sketching.
Painting a single object like a lemon is not as easy as it looks. Getting the highlight when the sun hits, and the curve, and the shadow side take practice. Luckily, with acrylics, you can make mistakes and change things. I like the background, which looks like copper, but is actually the product of several different colors on top of each other. The whole little painting, actually, is on top of another painting that didn’t work.
In the South End of Boston last week, I saw this half block community garden in the midst of an expensive gentrified neighborhood. There was a sign on the gate telling how neighbors could sign up for a plot. I took a quick photo on my phone, went into a coffee shop and sketched it.
People say to me, “Isn’t watercolor the hardest medium? Acrylics and oil are so much more forgiving.“ My response was always that for me watercolor was like being an only child. It’s all I’ve ever known, and so I it feels normal to me. But as I’m learning to paint with acrylics, I’m starting to see what people mean. It’s crazy how with acrylics you can change things over and over. This little painting went through many stages.
A black and white postcard with this photo caught my eye. I loved it, so I translated it into paint, using just two colors, French ultramarine blue and burnt sienna. Together they make varied shades of gray and beige.
Spring, belatedly, has arrived in New England. On Tuesday, my friend Betsy invited a couple of us over to paint. This bouquet of flowers were picked fresh from her garden.
Matted original 11″ x 14″ available for $95.
A friend of mine once replied, when asked to do something, “What’s in it for me?” I didn’t know what to say, but this poem is the answer.
These Muscat grapes are a delicate pale color. It’s so much easier with acrylics to paint a dramatic background, so I tried it here with red and green. Red is the opposite for green, which makes it more exciting; a similar background, green on green, is more restful. I prefer the red; which one do you like better? The drip was an accident, but I like it.
For the last 39 years, on the first Sunday in May I have gone on the Walk for Hunger. The money raised from sponsors like you benefits food pantries and soup kitchens across Massachusetts, and the 1 in 10 residents here who sometimes go hungry. Here is a sketch I did of the Walk. If you would like to sponsor me, click here, and thank you!
The brushstrokes in acrylic (which has the consistency of toothpaste, though you can thin it with water) are much more textural than watercolor. The main difference from watercolor is that with acrylics (or oils) you can paint light colors on top of dark, and add white even at the end, which makes it much more forgiving. In watercolor, white is the white of the paper, and you can’t paint, for instance, yellow on top of dark blue, because the medium is transparent.
We have been in Chapel Hill for Easter, where spring is in full bloom. This painting celebrates two years since our daughter Kate (Rademacher) published Following the Red Bird, a memoir about her faith journey. We raised our three kids Unitarian, a non-dogmatic faith which honors all world religions. In the last dozen years, my husband Bruce has become Catholic, Andrew is Christian (attending African-American churches where he plays gospel piano and organ), Kate has become Episcopalian, and Christopher and I are still Unitarian. Did I mention our son-in-law practices and teaches Tibetan Buddhism?
