Woman in Scarf

Woman in Scarf | Sketch

Welcome, friends and fellow artists. It's nice to back back — posting on my [this] blog. The image above is the result of my exploring various media on Strathmore sketch paper. I decided it's time to get back into and move out of my comfort zone.

Back into because I like drawing and painting people more than any other subject. Out of because I'm moving away from tools and materials that have become second nature to me and trying others

Woman in Scarf was inspired by a photo (ad) in Vogue Magazine. I pulled out the 18" x 24" sketch pad, picked up a pencil and did a light line drawing [of what I saw]. I traded my pencil for a round brush and painted light to mid-light blue lines — lost and found, thick and thin. I applied a loose, wet wash of Cadmium Yellow Light and hit the wash with Cad Red Light and light green (barely mixed on my palette). I applied wax crayon here and there, then added a little more color.

I appraised it for a day.

As I walked into my studio the following morning, I thought: charcoal. I haven't used charcoal for a long time. Simply feeling it in my hand released a sense of adventure. Using charcoal, I added more line, tone, texture. After that, I picked up a lovely pink crayon and added a little "warm" here and there.

Now I'm on to the next exploration and can't wait to see what happens.

Some may have noticed I took a (rather lengthy) hiatus from posting images on this blog. I explored other options such as creating a Facebook Artist Page (which worked well for awhile); I added a blog component on my website (I didn't use it much). I didn't stop drawing and painting; I just stopped posting. But I'm back.

Thanks for visiting my blog.

Leonardo da Vinci's "Virgin of the Rocks"

Leonardo da Vinci's Virgin of the Rocks

From Leonard on Painting: "Of the ten function of the eye, all appertaining to painting

• Painting embraces all the ten functions of the eye; that is to say, darkness, light, body and colour, shape and location, distance and closeness, motions and rest. My little work will comprise an inter-weaving of these functions, reminding the painter of the rules and methods by which he may imitate with his art all these things — the works by which nature adorns the world."

Facebook faux pas

For those of you who follow my blog, you'll notice an absence of the Facebook icon which linked new postings to my former Facebook Artist-Instructor wall. Yesterday, a Facebook bug disabled sites/walls/pages of thousands of Facebook users. My Artist-Instructor page was one of those sites/walls/pages.

Will it be reinstated?

If you click on the enclosure link, you can read an article about the Facebook glitch on CNN.com.

Ink & Wash

Ink and wash painting. I like to do several color sketches before tackling larger work. I'm excited to work on a half sheet (approximately 15 x 22 inches in size). One friend who had seen this said she sensed an Oriental influence. I think all of us are inspired by the beautiful calligraphy of, and ink and wash paintings done by classic and contemporary Asian artists.

Ink and Wash Demo Paintings

Lundin Demo No. 4 — Three colors plus ink, wax resist, on Arches 140 lb. rough paper

Lundin Demo No. 2 — Painted wet-on-wet, three colors, 

calligraphic marks for trees and leaves

Yesterday marked the last of four classes I taught at the Range Art Center in Hibbing, MN, employing ink and wash/line and wash. The two images above include Demo Paintings No. 4 (yesterday) and No. 2 (second class). Students did amazing things during the class and it will be great fun to see how they use ink and wash, line and wash, calligraphy, in their upcoming paintings.

Girl No. 2

Girl No. 2 — collage, acrylic, and gouache.

While leafing through an old magazine I found — in my collage box, which features a myriad of "stuff" — a photo of a woman who intrigued me. She seemed like a thinker so I gave her a direct gaze; the wind was blowing outside (still is); my fireplace came on (only happens on cold, cold days). It felt like winter to me.

Early this morning, I did a quick sketch of the parts I liked, then worked on value studies (several) and selected and used the one I liked best.

I sifted through paintings that were/are not my favorite and tore off pieces featuring the colors I liked and needed and glued them in place.

My second collage. I'm loving the process and am learning a lot.

Collage a day keeps comfort at bay

Every so often, I like to bump myself out of my comfort zone. This week, my aim is to do one collage (small) each day.

"She" (above) does not yet have a title. It would be fun to hear from blog followers and art lovers.

My beginning and process: On Sunday, I dug out old, failed paintings, which I covered with coats of white gesso (acrylic), then set to dry. My studio floor was covered with gesso-coated paper and boards (yes, I have plenty of non-successful paintings; this was a mere toe dip into the mass).

Yesterday morning, I sorted through other failed paintings and drawings, tore and cut them into pieces, and sorted by value. After I tied on my painting apron, I found a photo of a face that intrigued me, drew a design plan and set to work, placing and gluing papers.

This morning, I placed one more piece of paper on her cheek, and took her photo.

Here she is: my first collage.