Cay Denise

I love this book and recommend it highly!   Between an online course and the beginning chapters of this book, my art took a dramatic turn into explosive color emanating from a mosaic-type imagery design -- such a departure from what I was doing beforehand. The change was not a difference in quality.  Rather, it has been a shift in voice and expression of joy. Some of the things I like about this book include: The female artist profiles of women I've not heard of before The exercises The sisters' (who are the co-authors) art works and their differences of approach and experiences The quality of the image production throughout the book  The incorporation of themes of Brene Brown and other art instructors I've studied with The clarify of the authors' instructions when suggesting ways of doing thingsThe book was published in England and is only available from sellers in that country, at least at this time.   I purchased my hard-bound copy of the book from Blackwell's, a

Instead of working at 8.5" x 11" or smaller (Sharpies on cardstock), I've just created a much larger piece...2' x 4' BIG (with acrylics on foam core)!!    Because of the size change, the process and tools had to be modified.  As a result of doing some things differently, I've learned about more process changes needed to work big the next time.   What I learned this time is that:  I can do big! I can draw images bigger, maintaining a likeness, than I imagined! In this larger effort, I like the mix of colors including the pops of it (based on adjacent contrasting colors) throughout.  This piece was work as well as a success.  The success, for me, is learning that working bigger and using a range of intense colors can be visually stunning and impactful, and they can play well together. 

Today's effort is based on a classical painting by Jacques Louis David of the Empress Josephine (at The Coronation of Napoleon) sometime between 1748 and 1825. The sketch was done with mechanical pencil (HB core), and it has been painted with Japanese watercolors.  Other embellishments were added with black Pentel PointLiner (0.3mm), and silver and gold Sakura Pen Touch markers. I like how the pose and crown came out.  The hardest part, though, were the praying hands.  I'm pleased with how they came out too--finally.

For yesterday's effort the source was a landscape/location instead of a face.  Plus, it is based on a watercolor I did a while ago of a bike rider on a City street at sunset.   This piece was a complicated drawing with the additional lines--to figure out how to color in.  What is very interesting is that I left a portion of the central tower in black and white to lead the eye to the biker next to it.  Without that, the biker wouldn't have been as noticeable.  This was also a test of whether I had enough colors to create the gradations of color needed for the various areas.  What I learned is that the 72 colors in my set are not enough.   I'm still having fun and have figured out a way to work bigger with this approach to subject and color -- that I'll be starting this weekend.  Though somewhat different in materials and substrate, I'm hoping it yields similar intense color fun!  

I was challenged by an artist friend to use one of the classical images I have and/or have worked on and create it in this new-to-me dot/line/color technique.  Challenge accepted! This, by far, took more effort and experimentation than on the other pieces I've done.  Part of that is because this was a profile view, and I was trying to convey classical elements (crown, hairstyle, modelled pose, etc.).   Overall, this came out well.  I'm pleased that the hair draws the focus to her face (you see the hair first, then the face).  I like the fact that one can connect the face with the body once the neck is seen, and that the impression of the neckline and dress can also be figured out.  I especially like how a grey (the last color added) works to finish the piece -- at the top left.  The only thing I might have done differently is to add length to her nose.  But the pen turned another direction that didn't allow for an alteration.     As a footnote, in using a classically-painte

It's the wonderful world of color!  Not Walt Disney's network series by that name (The Wonderful World of Color that ran from 1961 through 1969), but an exploration of a new-to-me technique that I've had such fun with and that has resulted in so many bright, dramatic, funky and whimsical images. This is the second installment.  Six were finished yesterday (using an 11" x 17" piece of cardstock) plus two just finished late last night -- both are larger than the others.  Again, these have been fun to work on as I develop new ideas and experiment, experiment, experiment!

I've been reading a book titled 'Start Painting Now' co-authored by sisters Emily Powell and Sarah Moore and have liked it.  One of the exercises that I adapted for my own play has been so much fun!!  Can you tell? These are funky mini works no larger than 5"x7" and many are smaller--but they are so colorful and dramatic!  They take a while a do, but I'm finding the fun is in the doing -- with the results like the icing on a delicious cake!

Using a palette of Turquoise, Yellow, Titan Buff and Flesh tone, I created these quick abstractions of Ionic columns that could be seen at the Acropolis in Athens -- visited many years ago.  I used Florescent Pink and a darker pink as pops of additional color.  Also, the colors used vary in type from acrylic paint to water soluble crayon, Posca Pen and Tempura Paint Stick. After completing the piece, it was clear the subdividing didn't work.  But that absence presents the viewer an opportunity to construct the 'look' of the connection in his/her mind's eye.  There are actually things from each one that I like.  From left to right (1 through 4): 1.  The subtlety of the pop of color on the columns, the capital shape, and the plumper blobs under the capital. 2.  The intensity of the pop of color on the right side of the column and the yellow behind the capital that makes it stand out. 3.  The plant-like ornamentation falling from the capital, and the interesting translucen

Saturday's effort was based on a photograph. The sketch was done with mechanical pencil (HB core) and painted with Japanese watercolors.  A black Pentel PointLiner (0.3mm) and white Uni-Ball Signo pen were used for detailing the eyes. I'm satisfied with this work especially the eyes.

With dots and connecting lines, today's play was another abstract -- this time with a funky face.  The color was added with Sharpies, and that's all it involved aside from time. This one is loud and just plain fun!    

Last night's effort is based on a photograph of Ringo Starr (wearing colored glasses).  It has been sketched with mechanical pencil (HB core), colors added with Japanese watercolors, and black embellishments (pupils, glass frames) added with Pentel PointLiner (0.3mm). Overall, I'm satisfied with the result -- though the resemblance could be stronger.  In my rendering, the forehead could be narrowed and the top lip thickness reduced.  I'm, however, calling this one done.  

Using a thicker white paper, I've done a second play piece using assorted Sharpies for color plus a Pentel PointLiner (0.3mm) for black embellishments.  The paper used is Accent Opaque White Digital Printer Paper, 8.5” x 11” ( 40lb Bond/100lb Text Copy Paper, 148 gsm). My experie nce in working with this type of mark-making exercise is a quieting one.  I wasn't trying to produce something recognizable or pretty, or work quickly.  So it took the time it took, and there was no plan involved (color, pattern or otherwise). In looking at the finished page, we'll all see different things.  What do you see?   To me, it comically looks a bit like a Parson's Chameleon holding on for dear life as it rides atop the crown/nape of a bird in flight.   That could make a funny story. Ultimately, this is one step in exploring abstraction as I read and work through 'Start Painting Now' book by Emily Powell and Sarah Moore, and I'm enjoying both. 

I've started reading a new book titled 'Start Painting Now' by Emily Powell and Sarah Moore.  They are sisters -- and visual artists.  It was recommended by one of my accountability group colleagues.  The book is very nice quality and has beautiful color images.  I'll review it more fully in a separate post, once it is completed. The first chapter (my stopping point for now) has a mark-making exercise that I just finished using a beige watercolor paper substrate.  the color was made using Sharpies while black embellishment was done with a Pentel PointLiner (0.3mm).  

REWORK POST (7/12/2022): I've modified yesterday's painted sketch to add to the perception that the time of day is sunset.  Specifically, the sky and foreground road colors have been darkened.  As a viewer, does it better convey to you that the sun is setting? ORIGINAL POST (7/11/2022): Today's practice effort is based on a photograph of an area in Florence.  I've sketched it with a black Pentel PointLiner (0.3 mm) on a watercolor paper substrate (95 lb.).  Japanese watercolors were used to paint it in. I'm really liking the result.  It's not meant to be perfect.  Rather, it's meant to capture a moment and feeling.  What I liked most was the freedom of moving the pen quickly and making boxes that were wonky instead of square, playing with vanishing lines, depiction of architectural details without being architectural, the bicycle wheel spokes and the lines making up the figure and that make it come to life.  This was actually fun to see develop and to try th

Today's effort is based on a photograph of Peter O'Toole...an early one from his acting career. The sketch has been done with mechanical pencil (HB core).  the eyes and background have been painted with Japanese watercolors, and some additional embellishment done with black Pentel PointLiner (0.3 mm). I'm satisfied with the effort and am pleased that it actually looks like him!

Today's practice is a second teacup.  This one has been sketched with a mechanical pencil (HB core) and painted with Japanese watercolors.  A gold acrylic paint was used for the edging.  Some additional embellishment was done with a black Pentel PointLiner pen (0.3 mm). I like how the cup comes across with dimension.  The saucer, though, didn't work out as well.   That said, overall I like how the background works well in focusing the viewer's attention on the the teacup and how the orange stripe pattern in it reinforces the yellow flower pattern in the china.  

Today's effort is based on a quick location sketch of an absolutely beautiful sunflower plant that is now going to seed after having been in superb bloom for about a week.  It stands all by itself in it's chosen location in a barren yard.   The sketch was done in pen (Pentel PointLiner 0.3mm).  That was intentional--so I would have to work with/around errors during the sketching process.  It was then painted with Japanese watercolors.  Embellishments to the center of the bloom were added with two colors of Posca markers.   The round face of the sunflower is much bigger actuality than what you see here.  (Remember, the sketch was with pen.). That said, I don't know if anyone else has seen or looked at this plant or ever will, aside from myself.  But this sketch-drawing is my memento of the moments having seen, looked and appreciated its gift of life!  

A Vogue magazine image of Queen Elizabeth II is the reference photo for today's effort.   The image was sketched with mechanical pencil (HB core) and color was added with Japanese watercolors.  Embellishments (for the pupil, crown, necklace, etc.) were made with a silver Sakura Pen Touch marker, a black Pentel PointLiner 0.3mm pen, and white Uni-Ball Signo pen. I love the outcome.  However to actually look like the Queen, the face should be longer.  The crown could be embellished more to mimic the photograph, but I'm satisfied with the simplicity of the way it looks in silver.  So, I'm calling this one done.

Last night's practice was exploring drawing a teacup...a first attempt.  It just seemed like it might be fun, though it is harder to do than it looks.  I drew the ellipses with light mechanical pencil, then painted it in with Japanese watercolors, and trimmed the edges with gold acrylic paint.   For a first effort, it came out pretty well.  The best parts are the shadow areas under the saucer, the sense of dimension between the bottom of the cup and the saucer plus the sense of curve in the saucer.  There are definitely things to work on when I do more...maybe while taking in a cup of real tea.