Nine Nines

True confession: I just had to “paint” with glass tonight and I have a big risk in the kiln right now. I have taken nine of my nines and will try to fuse them all together in one “big” piece, about 7″ x 7″.

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Nine Nines, Fused Glass, 7″ x 7″, (29/30)

I have some technical worries, but I suppose if it doesn’t work out, maybe I can do something with whatever DOES happen. It was 11:11 when I was lowering the shelf into the kiln, so I made a wish right there!

Painted Nines

Coming full circle is probably a good thing. Working tiny certainly helps, too.

These two 3″ x 3″ paintings are really tonal interpretations of the idea of Nines. They are not pictures of glass. They stand alone.

As I was photographing them, I thought of Dr. Seuss’s The Cat in The Hat, a book I recently read to my 3-year-old friend, Daisy. These pieces are my momentary versions of Thing One and Thing Two. While these two little paintings wreaked no particular havoc in my life, this “30 in 30” has opened doors to me that I cannot go back through.

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Nine A and Nine B, 3″ x 3″, Oil on Canvas (27, 28/30)

Charlee At the Window

Our dog, Charlee, watches activity on the street. She stands up on the couch and peers down at the passers-by. Her fur is so dark she is hard to paint, but when she was watching our daughter get in her car the other day, Charlee made the perfect silhouette in the window.

I painted her in series because while she strikes nearly the same pose every time she looks out the window, there is always something a little different about it depending on the reason she’s inspecting her turf. It could be another dog (“horrors!”) or the Post-person (“gonna get ’em yet!”) or a cat (“grrrr…”) or just nothing (“something is bound to happen if I just stare long enough…”), but it is one of her favorite things to do.

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Charlee at the Window, Oil on Canvas, 11″ x 14″ (26/30)

This is probably unfinished, but for the sake of “30 in 30” I am posting it. I am one painting behind. The home stretch is a doozie.

Nine Owls

I was cleaning my room and came across this cute little pin.

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And looking at the shape-oriented drawing and thinking about the colors of the gulf from The Pier, and the Nines I’ve been doing, I thought I’d just have fun with mixing colors and so sketched it out like this…

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And then finished it like this…pretty much using some of my favorite techniques from this 30 in 30 series.

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Nine Owlets, Oil on Canvas, 6″ x 6″

25/30 for 30 in 30.

Fun. Just fun.

The Pier

A spectacular photograph by Thomas Lucas (https://www.facebook.com/ThomasLucasPhoto) inspired me to try painting something similar…as in he gave me permission to “copy ” it. And while I am shamelessly plugging the talents of family members, I must mention that Thomas’s brother and sister-in-law, Luke & Jackie, also do fantastic work at Little Acorn Photography (http://littleacornphoto.com/).

Pier by Thomas.s Pier without Border

My painting will never be as brilliant as Thomas’s photograph. A painting is a different animal. I can live with that. Sort of.

I find that the various blues of the Gulf coast are very difficult. This side-by-side visual is very instructive, too. I see all sorts of things that could be changed. But should they be changed?

I am also thinking about changing substrates and thank Dottie Leatherwood (http://dottietleatherwood.com/) for advising me on types and preparation of paper.

This is the biggest painting I have done in Leslie Saeta’s 30/30 challenge and it took me longer – can it count as TWO 6″ x 6″ pieces?

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Pier with Border, Oil on Canvas, 11″ x 14″ (#24/30)

And…I couldn’t help it; I decided to have fun with the paint again by blending a wave pattern around the perimeter of the pier image.

I’ll probably change it in the morning. Definitely “need” to change the clouds – or do I?

Rehash for Huntingdon

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I am posting this image because this coming Tuesday we will have our first critique in our painting class. I am asking my students to look at this because I’m hoping it will help them reflect on their own work. The assignment is:

  • Select one architectural element from the campus of Huntingdon College.
  • Create 4 close up details of that architectural element.
  •  Use watercolors to paint:
  1. A sepia-tone composition (mix black and brown)
  2. An interpretation using cool color(s)
  3. An interpretation using warm color(s)
  4. In class, a colorful interpretation using primary and secondary colors. Mix the secondaries by using only red, blue and yellow.

Grading Criteria

  • Minimum of 4 paintings
  • Choice of compelling composition
  • Use of wet-on-wet, dry-to-wet, glazing, washes, and dry brush techniques.
  • Use of full range of value scale, from dark to light

Students, please have fun with this…AND make sure you look at your work to make sure you have covered all those bases. I am looking forward to looking and discussing and learning with you!