Amazing 3D Postcard Painting #AmazingCastingProducts #AmazingClearCast #3DResinPainting

I’ve really been into the 3D resin painting lately, and I decided to try it for a more traditional landscape painting for my latest Amazing Casting Products project.

For more information, see my post at the Amazing Casting Products blog.


Amazing Custom Watercolor Travel Palette #AmazingCastingResin #Watercolor #TravelPalette

For quite a while now, I’ve wanted a wheel palette for my watercolor paints so I could match the colors into complementary sets.  But, I’ve got lots of palettes and just couldn’t see spending the money for one.

Then I got to looking at the empty paint pans I’ve collected over the years, and the tins I had and … Voilà … add a l;ittle Alumite White (Amazing Casting Resin and I’ve got my own custom palette.

The how-to can be found at the Amazing Mold Putty blog!

Practice, practice, practice.  More truth than poetry #Zentangle #Zendoodle #ZentangleInspiredArt

Wow.  I can’t believe how quickly I’ve lost the sense of flow between hand and brain and pen or paint.  I suppose it does me good to feel this once in a while, because it reminds me how frustrating it can be for someone new to drawing or painting.

It isn’t a matter of how good the finished piece is.  It’s that meditative flow where you aren’t so conscious of how your using your tools.  The movement and technique often just seem to flow without much thought and there’s a feedback– you put something down and it inspires what you do next.  When you don’t do this kind of thing almost daily though, you lose it.

But, if I get back into my daily routine, the flow will come back quickly enough.

Ohto Graphic Liner Needle Point Drawing Pen in a Rhodia Landscape Webnotebook.


Watercolor Koi on Yupo #Yarka #Yupo #Watercolor

In last Wednesday’s class we painted Koi, with an emphasis on learning how to paint moving water.  The teacher, Kathy Delumpa Allegri, gave me some Yupo paper to try out.

Very challenging stuff!  Yupo is actually an industrial plastic and it’s very smooth.  The watercolor never entirely soaks in, so at any time you can wet it thoroughly, and wipe off every bit of the paint using a paper towel.

It is also sensitive to the oils in your hand, so if you aren’t careful, you get spots where the paint will bead up.  This happened to me, so I wiped off the paint twice, and re-drew my fish until I got it just right so that the area that beaded up looked like ripples in the water (the area around the head of the koi on the right).

I’ve got another piece of this paper.  Now to decide what I want to paint on it!

Jumping Off Cliffs #Watercolor #Arches #KDAllegri

In my watercolor class, we are working toward painting one of Oregon’s most famous tourist spots, Crown Point.  From the Vista House, seated on Crown Point, you have a magnificent view of the Columbia Gorge–miles and miles of rolling river, and scenic Oregon and Washington.

As practice for the painting, the teacher had us paint cliffs, showing us the colors to mix and how to get the sweep of the rock with broad brush strokes.

I may have finished the painting by the time this is posted, so hopefully you’ll see it soon.


Wild and Splattered Flowers #Watercolor #Strathmore #KDAllegri

In last week’s watercolor class, we did an exercise using masking fluid to preserve white areas of the paper.  Once the masking fluid dried we splattered paint on the page, with an emphasis on using analogous colors in the same temperature range, making one color dominant, and touching three sides of the paper with the dominant color.

My analogous colors were Azo Yellow, Gamboge and Napthol Red.  Once the painting dried, it was time to add colors that were NOT analogous (next to each other on the color wheel).  All my colors are in the warm temperature range (reds that tend to orange, yellows and orange that hint toward red not toward green), except Azo, so I did most of my color lifting in the Azo areas, making it more transparent and soft.

After I peeled off the masking fluid, I added Blue Cobalt for the sky, with light washes of the same color to hint at shadows under the flowers and leaves and grass.  That also tied the painting together by having some blue in all areas.

I had a bit of an epiphany with this painting. The teacher, Kathy, keeps her paintings very simple with bright, vibrant colors using broad strokes and she’s finished within minutes. Her work is gorgeous and I’d like to emulate it, but…

…but, I always find myself noodling away with my painting. Adding little details.  Looking for shapes and forms and shading, and lifting color to add depth and increase my value range.  Sometimes, I make the painting better, and sometimes, I make it worse.  In this case, I really like the results I got, but it isn’t what I exactly what I started out to do.

So, when I watch Kathy, and know I want to be able to get the results she does, why do I keep fiddling?  I’ve pondered this before, and today, I realized…because I enjoy it.  I like seeing what happens if I do this and if I do that.

Frankly, it’s my style.

I think it’s a matter of what I want more.  Do I really want to work towards emulating Kathy, not necessarily all the time, but learning how to do what she does or do I just want to enjoy myself.  Lol!

So I’ll keep trying to do what Kathy does because I know it will enrich my own style.  But if I’m just not happy with the painting until I noodle, I’ll noodle.  And not beat myself up, because I did.  For better or worse, I had fun!



Down by the Seashore #Watercolor #WatercolorForTheFirstTime

In the two weeks between watercolor classes, I did some exercises from a book I picked up at the library “Watercolor for the First Time’ by Kory Fluckiger.  The book was a little more basic than I really needed but made for good practice.

When I do these exercises, I always try to change things compositionally, often changing some elements, such as colors or objects in the painting.  This lesson was about painting seashells, but I looked some pictures from the morguefile, and chose different shells, and placed them in different parts of the composition.

I did this painting in 5.5 x 8.5 Gamma Stillman & Birn.  The Gamma paper is a little smooth, more like a hot-press, but still accepts light washes.  I worked it to it’s limit, but it held up well.

Journal52 2015 Week 12: Inspiration Board #Journal52 #ArtJournal #GelliPlate

I’m not sure what the problem is, but I’m having trouble getting inspired by the Journal52 prompts.  Possibly, it’s because I’m taking watercolor classes, and my focus is on watercolor.  I do that–get mono-mania-minded on one thing to the point where everything becomes difficult.

So with the prompt ‘Inspiration Board’, I was feeling no inspiration.  However, I had a couple of backgrounds in my journal, that I’d created with a Gelli Arts monoprinting plate, and one of my fallbacks is to simply use words, so I pulled out my Sakura gellyrolls and used a variety of words and doodles to ‘inspire’ it up.

I’ve written a bit about my process below.

If you are unfamiliar with the Gelli Arts gel printing plate, it’s block of a thickened jello-like substance–more solid than jello, but it looks and feels like it.  You can put almost any non-alcohol medium on this plate, make patterns in the medium, and then press paper to it, and you get a print on your paper.  This leads to all sorts of fun.

You can make temporary versions of these plates using actual jello with glycerin and a few other things.  Just google ‘DIY monoprinting plate’ or something similar and you’ll find lots of tutorials.  If you like printing with it, then I recommend buying one of the permanent plates.

So I smeared areas of Primary Red, Primary Blue, and Primary Yellow acrylic paint on my plate.  This was a mistake, and I should have known better.  If you mix the three primary colors together you get mud.  You can mix two of them together and get beautiful hues, but add in that third and yuck.

I had visions of carefully mixing two colors on one side of the plate and the other two on the far side.  But-ha ha–me and carefully?

It didn’t go too bad.  I did get a couple areas of yuck, especially with the yellow.

I made patterns in the paint by running a comb through it, from side to side.  Then I ran the comb between the line in some areas.

I had disks I made from Amazing Casting Resin, and I pressed those into the paint to get little designs.

This was my finished background.  As I said–there was some yuck colors, and it came out a bit dark.  The dark isn’t necessarily bad, but it does require more planning to work on.

The yuck was the worst in the upper left, so I put some rubbing alcohol on a paper towel and scrubbed a bit. This has the result of making the yuck color even yuckier, but it also makes it lighter, and therefore a little easier to work on.

The rest was just writing and drawing.  I used my J. Herbin Brush Pen (I’m giving away 4 of these this week-go here to enter.  Giveaway ends 4/12 at 11:59 PDT) and Sakura’s Gellyroll pens, namely metallic gold and silver and Moonlight florescent yellow.

Five minute paintings #Watercolor #KDAllegri #LifeImitatesDoodles

In the last session of K D Allegri’s Spring Session class we played around with timed paintings, and wet-in-wet. I didn’t use any reference photos for mine. These ranged in size from 3 x 3 to 5 x 7, and were mostly done in five minutes.  Fun stuff!

I used my Yarka St. Petersburg pan sets, both original and sequel on Strathmore Series 400 cards.  Most of these were done with a Black Velvet Series 3000 Silver brush size 16.



Ziggurat Tangle Pattern #Zentangle #ZentangleInspiredArt #TanglePattern

You know, I almost hate to post step-outs to tangle patterns anymore, because the chances are so high that it’s already been done somewhere.  But I felt this one could look so different, depending on who does it, that I decided to go with it.

The lightning-like zig zags can go in any direction, but at least some of them should overlap.  The shading is what really makes it work. When you draw the ‘auras’ on the inside of the shapes, the twists and turns caused by the zig zags create facets.  Shade one facet, and you get a sense of depth.  Shade another facet, making it lighter or darker than the first and you get even more depth.  Make the centers solid darks, and you get even more depth.  I like adding dark irregular shaped boarders around them to set it all off.

Play around with the shadings to see what kind of results you get.  I think the result looks vaguely architectural, like some crazy Escher building.