CROP AND BURN

This painting is from several years ago. It recently returned home from the gallery and challenged me to rework it. Since it was done with both watercolor and gouache, the challenge sounded like a good possibility. First the garish cool yellows were calmed down. That helped a little but not enough to suit me. Next shapes were quieted somewhat to what you see here.

Finally, after a lot of deliberation, cropping became an option, because the painting had no holding power as it was. The overall pattern of lights and darks was just too weak to keep my attention.

Often when a painting is shrunk down to a one inch size, the pattern of the lights and darks of the painting becomes very easy to read, since all the detail is too small to see. If there is an effective pattern of light and dark shapes, the painting will hold together at any size, which helps to keep the viewer's attention longer. You can see the difference of the major light and dark shapes here of the original painting and the cropped version.

Below is the final cropped painting. Slicing off the busy shapes, even though I really liked them, helped the overall success of the painting. The new and narrower painting now 'lives' in southern Michigan. It found a happy owner on its first debut out the door. HURRAY!

NORTHERN EXPOSURE (previously called POLAR EXTREMES) Watercolor, Gouache, and Fluid Acrylics on 140# Fabriano 30 x 13" Collected

THE REAL SNOW BIRDS

The antics of a group (or flock?) of penguins can keep me captivated for a long time. They are hilarious. Many aquarium facilities feature penguin style living up close just like where these fellows now live in their own psuedo South Pole country (near the Ohio River.)

Using a technique taught by northern Indiana artist, Steve Blackburn, I literally poured trails of miskit onto the watercolor board, spritzing it with water to create avenues for it to crawl into and produce a unique pattern that I would never be able to paint. After the miskit dried, I poured color over the board, using several separate colors. Using a sprayer, I made some areas lighter than others, but the whole board was covered with paint. When it was dry, I removed the miskit to reveal the curious patterns and textures of pure white paper.

At that point, I drew in the penguin shapes and details and began to paint behind the lightest shapes to make them show up. It's really cool to see a form emerge as you paint the negative shapes behind it. Almost magic, but careful planning is involved.

The wings, bodies, heads, feet, and beaks of the foreground penquins were added as positive shapes. The lightest areas of the painting are from the original pours, and I like how the miskit shapes peak through the darks in the painting, almost resembling a frosted morning. This photo shows most of the paintng, but somehow I cut off the left hand side of the painting, so about one and a half penquins are missing. (And after goggling what a group of penguins are called, I found a multiple choice answer --- a huddle, a rookery, a parcel, a crèche' or a colony... take your pick!)

"PENGUIN PARADE" Transparent Watercolor on Hot Pressed Crescent Watercolor Board 30 x 12" Collected (Giglee' prints available)