One brush stroke

Can you see it?  Can you tell what is different in the second picture? Now I'm at a really fun stage of the painting.  I'm messing around adding details details details.  I've been away from the painting for a few weeks, so I am starting back in carefully.  I worked on the veining in the leaves and -- did you see it? -- I added the shaddow under the ladybug.  So now she's standing on the leaf, not hovering above it.  Later I might even add a suggestion of her legs! 

It is hard jumping back in after taking time away.  I have to reconnect with the picture and remember what my vision is.  I am proceeding cautiously to avoid making any blunders with too heavy a hand while I am still reaquainting myself with my subject.  I really don't like to stop work on a piece once I've begun it, but life has a way of throwing curveballs every now and then and we have to adapt. 

And this curveball was a big one.  My mother-in-law had been in declining health for a long time, and we were all prepared - or at least we thought we were - for her passing.  But even a natural, peaceful death after a long and happy life is a shocking and sad thing to those left behind.   I am not sad for her . . . I am sad for us, to have to march forward now without her star in our living family constellation.  I will miss her!  If you are interested, I am posting a tribute that I wrote shortly after she died.  It is in the 'Musings - on other stuff' section.  Onward!

Pausing for Jane

Hello friends. I just wanted to let you know why I'm taking a brief break from my blog. Last Thursday, Jane (my mother in law) passed away and we've had a week of family here preparing for the funeral today. It was beautiful, if such a sad occasion can be called beautiful. I have more to say about sweet Jane, which I'll post later. I feel like a wrung out sponge right now, however, so I'll sign off. Happier drawing and painting days ahead. Yay!

Tweaking the Color

I have been working on unifying the leaves in my painting.  That is to say, taking a step back and scrutinizing what color needs to be added where to make the leaves look like they are growing from the same stem.  At this stage, I am moving all over the painting, working with one color at a time over all the leaves, rather than focusing attention on one leaf and applying many colors.  This way, the painting builds cohesion.  The composition starts to assert itself.  I will eventually go back again to each leaf and work on minute details, but right now it is important to get the whole thing looking realistic and convincing.  I am working loosely (well, as loose as you can go with a size 0 brush!) and quickly, and often stopping and stepping back to see if it reads correctly.  Now, finally, I don't really mind if someone peers over my shoulder... I am starting to feel good about what's happening on the page. 

I have made a scan of a part of the painting up close, so you can see more of what is going on.  If the resolution were better, you'd be able to see my brush strokes.  They are always in the direction of growth.  This is a cardinal rule . . . What would happen if the phone rang, and I left a green streak across the leaf?  Zebra stripes, that's what!  Enjoy!



Quercus alba - stage three

Now I am at the third stage of painting my oak leaf branch.  It is called the Overlap Stage.  This is the time to make sure the leaf reads correctly in three dimensions.  Where one leaf overlaps another, I must make sure that the underlying leaf is darker.  I work all over the painting at this point, continuing to develop the color of the leaves and beginning to add definition, such as veining.  It might be hard to tell what has changed since my last post, but trust me, paint is going on the paper!  Enjoy!