Swan Lake Rehearsal

12x16 oil on paper

Another sketch from the ballet. Can't get a good photo because the paper is white wants to curve and the paint is reflective (dries with a nice gloss!)

Rehearsal - Triptych

16 x 28 oil on three panels

I am so excited about this painting. I've wanted to do a multi panel painting for a long time, but didn't know what subject. The dancers just seemed so right. The only trouble I see now is that the woman's hand on the left panel lines up with the window frame in the center panel. That might be acceptable once its framed and less noticeable. It might even be good. The framing is the tricky part.

I am talking with Deborah Paris at Mountains Edge Frames about framing it. They have some beautiful mouldings and hopefully they can build me something.

As a note to those in Fort Wayne, Indiana area, Castle Gallery is hosting its Holiday Show with a reception featuring several of the galleries artists. I regret I could not be there, because they have really nice parties and its such a lovely gallery. Go and check it out tonight from 5-10 pm.

Harmony In Green

12x12 oil on panel

After a couple of warm up paint sketches, I did this pair of dancers, the Snow King and Queen at rehearsal. I'm really pleased with the color harmony, but the photo does not do justice to the brushwork, especially the gesture of her hands. (I'll try to get a better shot later.)

As you know, I have been setting my timer and doing many 30 minute studies. I can't tell you how invaluable this practice is. I am able to turn off my left brain entirely and just let the paint flow. I don't stop and check details or all will be lost. The first thing I do is make some marks with my brush indicating the forms, measure quickly and then I am off. I mass things in, start varying color for light/shadow changes and let the brush do its own thing. There is harmony on the palette too painting this way because I frequently just pick up and blend what is there so I am not fussing with color. I refer to my source material but don't focus on contour or outlines, just shapes of color. There is always time to fix the mistakes later, once I have the foundation down.

Frequently I stop when my digital kitchen timer goes off. Today, I started my painting this way, and when the timer went off, I stepped back and was able to return to finish with those details and background I skipped. There wasn't much to do because I had painted so passionately from the start and I wanted to retain that spontaneity. I lost track of time then, but it was delicious work.

This is the painting at the 30 minute break.



This panel has a coat of gray acrylic house paint on it ala Ken Auster and Miro Sinovic. Both like this surface a lot and I see why. The paint lays on it nicely. Its very smooth and doesn't absorb the paint at all, like gesso tends to. I believe I will use it some more.