Misty Lake

I tried to capture the sense of mist rising from a lake in the early morning. Dry brush seemed to be the best solution, but I think I sort of missed it (hahahaha). I used a square, flat brush, moving up and down and sideways. The thing is, it wasn’t really foggy and blurred, but rather defined in the image.

Feels good to be painting again!

Misty Morning

Summer, fog, early morning rising mist. One color blends into another, overlapping, blurring together. How to express this?

Gouache does not readily lend itself to the color movement as does watercolor. In watercolor, you can discharge one color into another, and the wicking action of water and paper do the work for you. Here, I thought a lot about how to blend and merge colors to create that soft effect of fog. In the end, for this painting, I decided to use a narrow, flat brush with stiff bristles and scumble all the colors together.

Rather a brighter painting than I anticipated, but I think it does express the rising fog and early morning sky fairly well.

7×10 Arches hot press paper.

Breaking Fog

Another study of an Oregon coastline. Morning fog with a bit of sun breaking through.

I must admit, I am really pleased with how this painting turned out. It seems that returning to the scene (of the crime?) is helpful, as well as working in different media. I did this same scene in watercolor a bit ago, and I plan to do it in pastels as well.

Done on Arches 7×10 inch hot press 140# watercolor paper. Hot pressed paper seems to be the best choice for gouache. Time to order some more!

The Palo Verde Tree

The local botanical garden is open at last!  It has been closed since Ventura County closed trails, stores, and such, as well as issued a shelter-in-place order to keep the spread of the coronavirus at a minimum.  Some places are beginning to open up, though the shelter-in-place order is on until the end of May.

It was such a treat – a real slice of heaven – to be able to walk around the garden again.  Many of the spring flowers have gone, like the poppies, but many of the flowering trees are in bloom.  The palo verde tree at the top of the hill has leafed out in all its delicate bright yellow-green glory.  It is so graceful and lovely in spring that it could not be overlooked – here it is for today’s painting.

You would think that a pair of cherries would be easy . . . uncomplicated . . . a breeze!

Not!

But now that I have begun to focus on simplifying everything, and moving into detail, it actually got easier.  So, rather pleased with the final result.  I took my time and find the results worthwhile.

Estuary

 

This is a pretty small painting – but most gouache paintings are as the medium almost seems to demand it.  After the disastrous flowers of the other day, the feeling of overworking my paints, I decided to simplify.  Yesterday’s beach scene is a good example of simplification.  And today is a bit more complex of a painting, but it is still simplified.

To simplify things, I looked at the big areas.  This meant the sand in the foreground, the sky, and the masses which make up the middle ground, both light and dark.  Those were laid in first.  From there, more details in a middle stage, and final details – the small stuff – were done.  This also matched the brushes I used – big to medium to small.  “The Three Bears” and the Goldilocks effect.

I also was a lot calmer when I did this painting, and I was in the studio, not in 85F weather with a steady breeze to dry out my paints and raise my temper!  Lesson learned there.

Icky and Not Too Icky

Let’s start with the flowers I did that I like.  Spontaneous background, flat brush, working on edge of brush for dots and lines of stems and flowers.  No pencil drawing.  I liked painting this one a lot.  Not so icky.

This one absolutely sucks.  Pencil drawing.  Overworked.  I was ready to snap the brushes and burn down the house.  I really hated doing this painting as it so uptight.  Icky.  Icky.  Icky.

Buildings & Boats

If you follow along here at all, you know two things about me.  One is a lack of real depth perception.  The next is my ongoing struggle with perspective.  I have learned that my poor drawing – sloppy drawing, really – due to impatience – ruins a lot of my attempts at perspective in paintings.

I have decided to work on perspective, particularly architectural perspective.  That means buildings!  As a country girl at heart (no cowboy hats, though), I like the idea of buildings in a non-city setting.  No skyscrapers for me.  Instead, a boat house, a farm house, a barn perhaps.  A building along the waterfront, even suburbia.  Why?  I want a few trees and some water.

This is the first in a bunch I intend to do to really work on perspective.  Looking at things dead on is easy, but looking at something with angles is different.  Also, looking down on something from above, or upward from a low vantage point.

Here, gouache.  This took hours.  About an hour drawing and probably three hours painting it.  It works to a degree.  All this for a 5×7 painting!!

The thing is more than anything is to just get out there and do it, no matter how icky it turns out!!