My sister is an adventurer, and
when she lived in Africa, she managed to snap this picture (without a telephoto lens) and still escape the charge of the beast. She said she did it for me, and I really appreciated her risking life and limb for a future painting.

YUPO was about the only surface I painted on four years ago when the top painting was done. When I did the lower 'close up' view this fall, I chose YUPO again.

For both paintings, I miskited the palm leaves before painting. Once the foliage and elephant were painted and the miskit removed, I spritzed some diluted yellow-green paint over those sharp leaf shapes to help soften the harshness of the miskit, then jiggled the piece of YUPO to try to loosen the edges of paint a little. The leaves could have been lifted out with a moist brush, but miskit helped create crisper edges.

Because of the unique YUPO 'slide-of-the-paint' on the elephant's trunk in the lower painting, I decided not to add too much detail to it. I was especially pleased with the intensity of that painting. It seems like he's just come out of the brush, and we can almost feel his breath. What do you think, Marilyn?

Upper Painting titled "CHARGER" SOLD
Lower Painting titled "CHARGE!"
Both done with Transparent Watercolor on YUPO about 26 x 20"



"PEARL OF GREAT PRICE" Transparent Watercolor, Gouache (Opaque Watercolor,) and Tube Acrylics on YUPO, 17 x 13"

I expected our visit to the memorial at Pearl Harbor in Hawaii to be a good history lesson, but I was taken off guard by my overwhelming emotional response. I'd always considered Pearl Harbor as part of my parents generation's history, too far removed to have much emotional impact in my life. The very strong reaction I had completely surprised me - - - feelings of pain, confusion, sorrow, anguish, compassion, hope, reverence, and awe washed through me while we were there. Painting this picture helped me express some of those powerful feelings.

This is the only painting on YUPO I've tried using other watermedia. The painting is five years old and still all in one piece, so I'm hoping all the watermedia stays on the surface. The flag effect was done using tube acrylics diluted with matte medium. After it dried, I thinned opaque gouache with water and painted over the acrylic to portray a watery blanket. The structures out of the water were created mostly with transparent watercolor. If you've been there, I hope this painting brings back some of the profound feelings you may have had. Someday there will be no more wars.



I love the first snow each winter, but as soon as it melts, I'm so very ready for spring. Maybe posting an earlier painting of spring roses will hurry the season here. Just wishful thinking...

Many, many decades ago, I used to grow and show roses at the state fair, but now it seems like the craziest thing to do. Painting them is a whole lot more challenging, and the results last much longer (if the painting's successful.) One warm day in late May, these Dainty Bess roses begged to have their picture taken, and, of course, later I knew had to paint them.

"DAINTY LADIES" Transparent Watercolor on Arches 140# CP, 44 x 33" SOLD



"AFTER WORK" Transparent Watercolor with Gouache (Opaque Watercolor) on Arches CP140# - 16x11"

A friend took a picture of two men in a bar in South Africa. The surroundings were fairly stark, and the patterns created by the bottles, the shirts, arms, heads and hat really caught my eye. Based on my impression of the scene, I began this painting.

I love mud cloth and want to try to make it sometime, but for now, I imitated some mud cloth patterns throughout the painting. Since giraffes are one of my two favorite animals, they had to be included. They live on the continent and have unique patterns. I like the tallest one between the two men. He seems to be their lookout.

... textures and patterns, shapes and colors, edges and lines ... such neat 'toys' to play with when expressing thoughts and emotions with paint!



Here's another YUPO painting, this time with less control of the paint in many areas. The joy of YUPO is letting the paint go where and how it wants. Amazing things happen when the more sedimentary colors charge under the staining colors and push them out of the way - see results of this in the foreground and background areas.

The colors on YUPO remain so vivid since they have no soft surface to sink into. This European peasant paused just long enough to get his picture taken. His mule dwarfed him, too, and gives a bit of a subtle message to the painting.

"LONG JOURNEY HOME" Transparent Watercolor on heavy weight YUPO 19 x 15"


What a wonderful opportunity artists have - to be able to express their feelings in a tangible way. This painting started out as an expression of misery and depression, but I think it resulted in a pleasing painting full of hope and peace, a strong contrast to how I felt when I began it. While working, I noticed that my focus turned to creativity and delight instead of the destructive thoughts I'd been entertaining. The angels in the painting were an unexpected joyful surprise, too. Thank you, God!

"ANGELS AMONG US" Transparent Watercolor with Conte Crayons on 80#HP Strathmore Aquarius, 15 x 11"



Done on watercolor paper, this painting includes both torn rice paper collage and tube acrylics, plus a lot of rubbing alcohol used to rub off some areas of pigment to reveal colors and textures underneath. The idea was to create a weight or tension between the top large shape and the bottom band of color.

Using rubbing alcohol to lift areas of dried ACRYLIC paint creates surprises and textures that I could not get any other way. It's like a treasure hunt to see what's been hidden away.

"FULL MOON" on Arches 140# CP 15 x 11"