Shade
Print on Archival Photo Paper
[Frames and matts not included]
Interested in the original? Click Here
At the time I painted my first rendering of “Shade,” it was on a small farm belonging to a friend. A country lane in front of her home, cows in the pasture, a fishing pond, an old car barn, and a late evening setting looking over the pasture all became watercolor paintings. These scenes, with their interplay of light, first drew my attention and inspired my work.
These surroundings provided depth for the eye to follow. I painted numerous times on this farm. This time, I was particularly attracted to a scene featuring a birdbath beside a row of potted plants, with a backlit field and shade overhead.
When painting en plein air, I spend reflective time choosing my subject before setting up to paint. Because of the continuous changes in light outside, I take several photos with my cell phone to use later in the studio while completing the painting. I render the subject with watercolors on paper about halfway while on site, then finish it in my studio using the photos I took earlier as reference. At times, I completely repaint the scene after examining the initial piece, but nothing is lost; each step teaches me something.
Print on Archival Photo Paper
[Frames and matts not included]
Interested in the original? Click Here
At the time I painted my first rendering of “Shade,” it was on a small farm belonging to a friend. A country lane in front of her home, cows in the pasture, a fishing pond, an old car barn, and a late evening setting looking over the pasture all became watercolor paintings. These scenes, with their interplay of light, first drew my attention and inspired my work.
These surroundings provided depth for the eye to follow. I painted numerous times on this farm. This time, I was particularly attracted to a scene featuring a birdbath beside a row of potted plants, with a backlit field and shade overhead.
When painting en plein air, I spend reflective time choosing my subject before setting up to paint. Because of the continuous changes in light outside, I take several photos with my cell phone to use later in the studio while completing the painting. I render the subject with watercolors on paper about halfway while on site, then finish it in my studio using the photos I took earlier as reference. At times, I completely repaint the scene after examining the initial piece, but nothing is lost; each step teaches me something.
Print on Archival Photo Paper
[Frames and matts not included]
Interested in the original? Click Here
At the time I painted my first rendering of “Shade,” it was on a small farm belonging to a friend. A country lane in front of her home, cows in the pasture, a fishing pond, an old car barn, and a late evening setting looking over the pasture all became watercolor paintings. These scenes, with their interplay of light, first drew my attention and inspired my work.
These surroundings provided depth for the eye to follow. I painted numerous times on this farm. This time, I was particularly attracted to a scene featuring a birdbath beside a row of potted plants, with a backlit field and shade overhead.
When painting en plein air, I spend reflective time choosing my subject before setting up to paint. Because of the continuous changes in light outside, I take several photos with my cell phone to use later in the studio while completing the painting. I render the subject with watercolors on paper about halfway while on site, then finish it in my studio using the photos I took earlier as reference. At times, I completely repaint the scene after examining the initial piece, but nothing is lost; each step teaches me something.
