Good at This 7.5 x 10 Watercolor on paper
This is Scout, one of my studio assistants. He and Lucy (bottom photo in this post) do a comprehensive job of fur distribution on everything I own. When they aren’t slacking off and napping, they purr a lot as an accompaniment to the music I listen to when I’m painting. With a mew & a head butt to my ankle, they let me know it’s time to put the brush down, step away from the easel and squint at the art during Cat Massage Breaks. They also model for me a lot. They’re mighty fine company. 🙂
The watercolor of Scout was started at the Valencia Fine Art Festival last weekend; he’s on the easel in the late afternoon Saturday sunlight below (photo courtesy of my friend Susan).
When I came home & unpacked from the festival Sunday night, I sank into the couch like a bag of apples, and reflected on the last two months of exhibits & festivals. So many wonderful friends and family have come to these events. In eight weeks, I’ve hugged and laughed and talked with people I haven’t seen in years. My voice was hoarse all day Monday – from meeting tons of art enthusiasts, catching up with my peeps, and talking with other artists about methods, materials and art events.
There’s one more event on my schedule this Spring: the Thousand Oaks Artwalk is June 4 & 5th, so if you’re in the area, come out for some kettle corn, music and art.
Art Festivals and Exhibits are the opposite end of the spectrum from the quiet time of painting in the studio for weeks. They’re a lot of work, but I’m *so* fortunate to have these venues for the feedback on my work, the camaraderie with other artists, and the opportunity to meet new friends who love art. I get to visit with good people in a little window of time in Spring when everything is blooming and full with the anticipation of summer. Thanks to everyone who came out to say hello last weekend. I really appreciate it.
My friends Dan & Marty stopped by to say hello and went home with a little graphite drawing.
The first thing John Edwin Noble does when painting a watercolor is to run a wash all over the paper so as to arrive at once at the general tone and colour effect of the subject; and then he goes straight ahead without ever allowing the work to get quite dry, adding blots of pure color here and there as may be necessary, and gradually bringing the whole scheme properly together. He hardly ever paints up to full pitch at once, but reaches it, not y successive washes, but rather by adding more and more color to the first wash while it remains wet. As the picture progresses he allows it to become less wet, and he reserves the final details to the very last; and sometimes these details are afterwards partially wiped off with a brush so as to give a sufficient suggestion of small work without any interference with the general breadth of the painting. With a brush too, the lights are lifted out where necessary. FInally the work is allowed to dry and the edges are cleaned up and any loss of drawing is corrected; but even then it may be put under a tap or in a bath and have more color added to it if the artist does not feel that he has reached the full effect that he desired. ~A.L. Baldry The Practic of water-colour Painting, 1911