Archive for

October, 2010

...

A Little Bit of Garlic

no comments
Little Garlic I: a painting on clayboard by Jenny Armitage

Little Garlic I ( 6" x 6" watercolor on clayboard) $40.00

I did these three little paintings at the Gallery on Wednesday.  My primary purpose was to continue learning to handle clayboard.  I had taken the reference photos some time ago and they seemed perfect for the little six by six inch panels I had to work with and they were great subjects for learning technique as they have soft and sharp edges and a full value scale from black to white.

I used  the same palette for all three paintings:  burnt sienna, red brown madder (much the same color as burnt sienna but much less sedimentary and brighter), cobalt blue, phthalo blue, new gamgee , raw sienna, and because both reds are really orange, dioxion violet.   This gave me a highly sedimentary pigment, and transparent pigment for each primary.  The transparents, new gamgee, red madder and especially phthalo and dioxion violet are difficult to lift from paper.

Little Garlic II: a paining in purples and yellows by Jenny Armitage

Little Garlic II (6" x 6" watercolor on clayboard) $40.00

I emphasized different pigments in each painting. Little  Garlic I is all about blues and greens with a little orange-red and  orange for punch, i.e. two analogous colors with a touch of each compliment.  Little Garlic II is a complimentary color scheme, violet and yellow.   Garlic III is simply the reverse of Garlic I; orange-red  and yellow predominate and blue-violet and green provide the punch.

I mixed the colors almost entirely on the clay-board, laying down the warmer colors first and dropping in the cooler ones.  Primarily, I mixed sedimentary colors with sedimentary colors and transparents with transparents. Mixing transparents with transparents and translucents with translucents is another trick I learned from Karen Vernon.  Droped into thier own kind, they spread out nicely.  Otherwise sedimentary colors tend to push everything else aside.

Little Garlic III watercolor on clayboard by Jenny Armitage

Little Garlic III (6" x 6" watercolor on clayboard) $40.00

Because of the ease of lifting  from clay-board, I didn’t use mask.  The very whitest whites are reserved through negative painting but most of the whites are lifted.   All of the soft edged lights in the garlic roots are lifted.

After I completed the paintings, I fixed the surface with two coats of Krylon’s UV Archival Varnish, and three coats of Golden’s Polymer Varnish with UVLS (satin). The result is that the paintings may be  framed without glass. The coating is not only protective, but archival and removable for conservation purposes.

These paintings are currently for sale on line at my Etsy shop.

Prints of all three paintings are available through Fine Art America.

SociBook del.icio.us Digg Facebook Google Yahoo Buzz StumbleUpon

Mangos and Pears, a Color Exercise

no comments
Still Life watercolor of magos and pears by Jenny Armitage

Mangos and Pears (watercolor on clayboard 11 x 14) $150

I started this painting in Karen Vernon’s workshop this October. The photo I worked from is hers.  The photo showed two mangos and a pear.  I broke up the trio by moving one to the mangos to the wall.

We spent one of the five days working on color. The lessons aren’t unique, but certainly useful. Color has several properties, hue, intensity, value, temperature. Hue is the actual color. Intensity is the brightness or dullness of the color. Value is the lightness or darkness of a color. Temperature is the warmth or coldness of a color. Blue is the coldest color and yellow the warmest.

We spent one one morning working on changing color value without changing any of the other properties. This is not as straight forward as it appears as some colors de-intensify or intensify as they are diluted with water. Adding a bright and warmer hue of the same color will re-intensify a color.

Then we de-intesified the colors at each value. As I discussed earlier in a blog about gray, the way to deintensify a color is to add it’s compliment. Red and green deintensify each other as do purple and yellow and blue and orange.

Colors will appear brighter next to their compliment and next to deintensified color.

In the afternoon we discussed the color of shadows. Shadows are generally the deintensified compliment of the color of the object casting them as altered by the color of the surface they fall on.

Light will bounce from surface to surface. Thus one object will affect the color of the object next too it.

This little painting is a lesson in color begun in the workshop.  I rarely work from other people’s photos, but this painting began with one of Karen’s photos.  The photo showed  two mangos and a pear.  I moved the second mango onto the wall.

The bright fruit works well for playing with the color concepts we discussed in class.  The green pear and the red mango are compliments.  Therefore the shadow of each is the color of the other.  The red of the mango reflects onto the green of the pear.  The deintesified floor helps make the  relatively intensified color of the fruit pop.  The background is almost as bright as the fruit, but it’s darker and much cooler in temperature.  Both dark values and cooler colors tend to recede.

This painting is protected with a polymer varnish and may be framed with or without glass.


SociBook del.icio.us Digg Facebook Google Yahoo Buzz StumbleUpon

The Columbia River on Paper and Clayboard

2 comments
Foggy Morning on the Columbia River (paper) Painting by Jenny Armitage

Foggy Morning on the Columbia (watercolor on paper 12 x 16) $175.00

These are two paintings I did at the gallery in late September in preparation for a workshop with Karen Vernon. Karen, best known for her huge floral paintings on clayboard. My primary goal for the workshop was to learn to paint on clayboard. So the week prior to the workshop I painted the same scene twice, once on cold pressed paper and once on Ampersand’s Aquabord.

The first painting I did conventionally painting from light to dark and reserving the whites without masking. Some of the fog is lifted, some of it is reserved. I used a very restricted pallet of burnt sienna, cobalt blue, phthalo blue and new gamgee.

Foggy Morning on the Columbia a painting by Jenny Armitage

Foggy Morning on the Columbia (watercolor on aquabord 8 x 10) $60.00

For the second painting I added dioxon purple to my palette. I proceeded once more from light to dark getting to know the new surface. The first thing I discovered is that the surface has to be bone dry to accept an over glaze. The second thing I discovered is that it’s very hard to lay down an even wash on the clay surface. On the other hand lifting is very easy. Rather than reserved the whites, I lifted them after the painting was almost completed. The result is softer than the watercolor painted version.

In class I learned that the trick to even washes on clayboard is to saturate the surface and let the water soak all the way through the clay part of the board before beginning. Over glazes require that the board be thoroughly dry. A hair dryer is an absolute must for working with clayboard.

The workshop turned out to be a fantastic experience.  I will be detailing so of the lessons learned in the coming blog entries as well as posting the paintings I started in class.

The clayboard version of the painting is protected with a clear satin polymer varnish and may be framed with or without glass.

These paintings are currently for sale on line at my Etsy shop.

SociBook del.icio.us Digg Facebook Google Yahoo Buzz StumbleUpon

The Painting That Sold Before I Finished It

3 comments
Below Lodge Trail Ridge

The Ranch Below Fetterman's Masacure (watercolor) 9 x 16 SOLD

 

I began painting it at the Oregon State Fair this summer. When the light got bad in the evening I switched to clay and propped the painting up behind me. It caught the attention of a lovely woman and her teenage daughter. It reminds them of a ranch they know. After much discussion she bought another two big sky paintings and asked to purchase this one on completion. Last week she saw the completed painting for the first time and bought it. I’ve never been quite so pleased with a sale.Visiting the mountain west this summer, my husband and I toured two American Indian War Battle sites.  The first was that of the Fetterman Massacre which happened about ten years before Custer’s Last Stand.  The view is from but not of the site of the Fetterman Massacre in Northern Wyoming near Fort Kearney.

Fort Phil Kearney was set up in the northern Rockies to guard the Bozeman Trail. The Bozeman Trail (northwest from the Oregon Trail), passed through Wyoming, and on to the gold diggings in Virginia City, Montana. Unfortunately the trail crossed traditional Sioux hunting grounds. Sioux war chief,  Red Cloud, vowed to defend the territory. Washington, however, ordered the trail kept open at all costs.

In 1866, Colonel Henry Carrington, in command of the 18th Infantry Regiment, was sent to build and garrison a series of posts along the trail. Captain William Fetterman joined the regiment.

The Sioux harassed the fort and posts, particularly parties detailed to work outside the fort and those traveling between the forts.  Red Cloud and Roman Nose of the Cheyenne assembled several thousand warriors to remove the U.S. Army from the trail. Red Cloud’s plan was to send small parties of warriors to attack the wood trains and lure the soldiers off to meet the main band of warriors.

On December 6th, a wood train was attacked by a large party of warriors. When Carrington came out to retaliate he was met by an imposing force of Cheyenne warriors including Red Cloud and Roman Nose. He retreated to the fort, leaving too dead and five wounded. Carrington forbade any of his men to pursue fleeing Indians in the future.

Two weeks later, Red Cloud staged another strike on the wood train. But this time, Carrington was not sucked in. There was just one day of wood cutting left for the winter. Carrington prepared to send out a Captain Powell to reinforce the wood train, but Fetterman demanded the right to lead the rescue. Carrington yielded. Fettreman rounded up 79 men and – with the exact number he had bragged that he could wipe out the whole Sioux nation – set off to meet the foe. Carrington’s orders to him were, “Relieve the wood train. Under no circumstances pursue the enemy beyond Lodge Trail Ridge!”

As Fetterman’s men approached the the wood train, the warriors began to break off from the assault and flee from Fetterman’s approach. The soldiers chased them up the side of Lodge Trail Ridge. As they reached the crest of the ridge a second party of warriors, swung around on Fetterman’s rear. Fetternan and his men were surrounded by nearly 2000 men.

Fetterman attempted to ascend the ridge he had just come over and hide behind the cover of some rocks. But Indians were massing up that side of the ridge too. Within minutes all 80 of Fetterman’s men were dead.

Lodge Trail Ridge is now Wyoming State Historical Site.  (More information about the massacre, Fort Kearny, and the Bozeman Trail can be found at the official site for The Fort Kearny State Historical Site.)  A hiking trail leads along the ridge, and despite the markers and other information about the massacre remains beautiful. This is the view west from the lower end of the ridge.

 

SociBook del.icio.us Digg Facebook Google Yahoo Buzz StumbleUpon