When Did You Last Buy Yourself a Rose?

"Red Rose"

Acrylic on Masonite, 4-1/2x8," c. Catherine Vines

   

To paint naturally. 

I was completely intimidated by the Daily Paintworks Challenge rose painting challenge, so I bought a silk flower to paint. If this seems like cheating to you, I have read that Manet, among others, would paint from artificial flowers. 

Manet's flower paintings, especially those completed in the final years of his life, are the ultimate to me.

An Interruption for Snow

It's Time for Spring"

Acrylic on Board, 15x30", c. Catherine Vines

Even in our old home, daffodils in the snow were a rarity. In fact, snow itself was pretty rare. I miss the daffodils way more than the snow.  They always seemed the epitome of spring. Growing up one of my neighbors had a hillside full of these wonderful flowers.

This painting was done entirely with a palette knife.

What Comes First?

"Orange Magnolia"
Acrylic on Masonite, 20"x16" c. Catherine Vines

Finally!  I have the answer.  Or Alyson B. Stanfield does: HxWxD. She even has an artist's mnemonic to remember which comes first. Her speciality is "art biz coach" and her advice invaluable. This latest in the Magnolia Series also uses the tar gel I blogged about previously, this time tinted with black. It gives an interesting raised surface to the flower. I even like the irregularity for a more spontaneous look.

Have You Ever Experimented with Tar?

"Yellow Magnolias"

Acrylic on Masonite, 16" x 20," c. Catherine Vines

Tar Gel, that is. The ultramarine blue outlining the magnolia petals is Golden's "Clean Tar Gel," tinted with acrylic paint.  It is a stringy, colorless (without the paint) gel that dries to glossy finish and allows you to drip paint in a more-or-less controlled fashion. Fun, especially if you like to experiment. I think it will accept any color of acrylic paint, but you should check with the manufacturer for specifics. For some reason this magnolia reminds me of a cactus, but that's me. A fun cactus, mind you.

Tired of Magnolias Yet?

"Pink Magnolias"

Acrylic on Masonite, 16" x 20," c. Catherine Vines

Because there are still more! I think this painting especially shows how I am cropping my photos to select an extreme close-up view. This gives me the abstract look I am going for without removing all references to my flower.  I prefer to paint from black-and-white photos; I find my color choices are more imaginative. By the way, there is no black in this painting.

Metallic Paints

"Magnolia Metallica"

Acrylic on Masonite, 16" x 20," c. Catherine Vines

The copper color in this paint is actually metallic paint and in person has a lovely sheen. It's an opaque paint, so it completely covers the colors below, sometimes a disadvantage.  I use a palette knife because I love the way it lets me develop layers of colors.  Working that way can be misleading though if I don't frequently get back from my canvas and look at my painting.  Too many ridges of color can add up to a brown mess because of the way they blend from a distance. I prefer larger areas of overall color complemented with juicy details.

What as I Thinking?

"Blue Magnolia"

Acrylic on Masonite, 16" x 20," c. Catherine Vines

I'm sure there's a reason I included so much red in this painting.  It must have seemed a good choice at the time! In person, the blues I used are stronger and balance the reds somewhat better. I am learning that it gives me another perspective on my paintings when I see them posted, not always a pleasant experience. Looking back at my photos of the magnolias makes me think about an all-white painting - now that would be a challenge.

What if Your Painting Wanted to be Bigger?

Magnolia Triptych

Acrylic on Masonite, 34" x 20," c. Catherine Vines

Then you would have to paint a triptych, especially since I have already done the hard work and learned how to spell "triptych." This painting has the clear, bright colors I love. And the palette knife is such a great tool for building broken color patches. Each time I paint a Magnolia in this Series, I can picture something else I want to try, the perfect definition of a series. If there ever was a case of a painting saying it wanted to be bigger, just try and imagine this one with only the center panel. Can you even picture it?

Purple and Yellow Make....

Acrylic on Masonite, 16" x 20," c. Catherine Vines

A complementary color scheme. This is another in the Magnolia Series, again done with a palette knife. The texture of this painting is a luscious element in its own right.  Claudia, a friend from Seattle, got me started on the palette knife when she talked about her mother using it as a painting tool. It turned out to be a wonderful suggestion. I am currently finishing up a small portrait using the same color scheme but as neutrals.

What's Wrong with Pretty?

Acrylic on Masonite, 16" x 20," c. Catherine Vines

When I look at a pretty painting like this  latest in the Magnolia Series, I wonder what it is that makes me want something different. Two answers come to mind, both weaknesses when it comes to my color choices.  1. I typically use one of two color schemes: analogous (side-by-side on the color wheel) or complementary (opposite on the color wheel).  2. I don't take advantage of neutrals to accentuate my colors. Both of which explain my current emphasis on color relationships. Still, pretty has its place, and this is even better in person.