The art of living :: L’art de vivre

“The art of living… is neither careless drifting on the one hand nor fearful clinging to the past on the other. It consists in being sensitive to each moment, in regarding it as utterly new and unique, in having the mind open and wholly receptive.”
Alan W. Watts

One of my long ago students posted a video “Using space to find oneself” of Alan Watts today and I listened to it while I was painting these poinsettias. Once I had painted the flowers, I took my fountain pen to go over the lines…. which is unusual in itself as I habitually draw first and paint afterwards… as I decided to try it the other way around today. It makes the lines really pop and almost seem caricatural.

Un de mes élèves que j’ai enseigné il y a bien longtemps a posté un vidéo de Alan Watts intitulé “Using space to find oneself” et je l’ai écouté pendant que je peignais ces poinsettias. Habituellement je dessine avec ma plume fontaine avant de peindre mais aujourd’hui j’ai décidé de faire le contraire… dessiner les lignes après d’avoir peint. Ça donne un effet caricatural.

Paper: Pentalic Sketchbook
Colours: Rose Madder Genuine, New Gambodge, French Ultramarine
Fountain Pen: Pilot Prera EF
Ink: Noodlers’ Lexington Grey
Location: Rigaud, Québec, Canada

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Boy oh Boy

“Art washes away from the soul the dust of everyday life.” 
― Pablo Picasso

Boy oh Boy was finishing this painting difficult… I painted it three times, without much success. This got me thinking… why is it that this painting’s mystery could not be solved? Well, I do have a few answers. First, the building was backlit and hardly had any shadows, so the lighting was not very good (first important lesson). Second, I started a new sketchbook and the paper is fine (even though I am not used to it) and the paper dimensions are throwing me off. It is 5.5″ x 8.5″ and I rarely paint in this ratio. Anyway, this painting is either too wide in landscape mode and too thin portrait mode. Excuses, excuses, I know!

Sapristi que j’ai eu de la misère à finir cette peinture. Je l’ai repeinte trois fois, et je suis toujours insatisfaite. Ceci m’a fait penser… pourquoi est-ce que j’ai eu tant de misère? Bien j’ai une couple de réponses. Premièrement, cet édifice faisait dos au soleil, donc tout à l’ombre qui est la première règle à éviter. Deuxièmement, je viens de commencer un nouveau cahier à croquis (le papier est bien) mais les dimensions me rendent mal à l’aise. La dimension est trop étroite mode portrait et trop large sur la largeur. Je sais, excuses, excuses!

Paper: Stillman & Birn Beta
Colours: Aureolin Yellow, Rose Madder, Cobalt Blue
Fountain Pen: Pilot Penmanship EF
Ink: Noodlers’ Lexington Grey
Location: Maison Smith, Parc of Mount Royal, Montreal, Québec, Canada

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Bois de Liesse

If you desire to draw, that you may represent something you care for, you will advance switfly and safely. If you desire to draw, that you make a beautiful drawing, you will never make one.
— John Ruskin, Artist & Observer by Christopher Newall

We are quite lucky here in Montreal as there are many activities that are out there for artists to join, free of charge. Today was the first time that I joined Linda Drewry (I hope that I have spelled her family name correctly…) who is the person that organizes plein air days during the summer months in the Montreal area. She has been organizing these for the past 20 years! Here is a link to her blog and if ever you feel like joining us in these endeavours, you are most welcome -) We went to the Bois de Liesse today in Pierrefonds (my father used to call Pierrefonds “RockBottom” -) and Chi Mai, Linda Denis and myself painted houses that are privately owned which are on the grounds of this estate. Quite charming place.

Les artistes sont chanceux à Montréal car il y a beaucoup d’activités qui sont gratuits et intéressants. Aujourd’hui je me suis joint à Linda Drewry qui organise depuis 20 ans des journées plein air tout au long de l’été où plusieurs artistes peignent ensemble avec toutes sortes de médium différents. Aujourd’hui nous nous sommes retrouvés au Bois de Liesse à Pierrefonds et Chi Mai, Linda Denis et moi-même avons peint une des maisons qui ont des propriétaires privées mais qui sont situées sur les terrains de ce bois. Un bel endroit à découvrir…

Paper: Stillman & Birn Beta
Colours: Aureolin Yellow, Burnt Sienna, Cobalt Blue
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey
Location: 9432 Gouin West, Pierrefonds, Québec, Canada

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Pine King :: Le roi des pins

The master is the piece of paper, the watercolour you are working on at the moment, listen to it; watercolor is the boss.
— Josef Zbukvik (further quotes by Josef are found at the bottom of this post)

This is my third version of the same majestic tree. Speaking with other artists, they have told me that they often need to paint the same subject three or four times in order to get it right. Well… after three times, I would say that the “lone pine” has turned into the “Pine King” or should I say “KingPine”? As you will notice, all three trees have different personalities and that is due to artistic license, where the artist is accorded leeway (take out or add) in his/her interpretation of what is observed. This is what is tremendously liberating when painting a subject as opposed to taking a picture of it.

Voici ma troisième version du majestueux pin. En parlant avec d’autres artistes, ils me disent qu’ils doivent refaire la même peinture jusqu’à trois fois pour être satisfait. Eh bien, après trois fois, je dois dire que je suis satisfaite et que mon “pin solitaire” est devenu le “roi des pins”. 

Paper: Handbook Travelogue Series
Colours: Aureolin Yellow, Alizarin Crimson, French Ultramarine
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey
Location: St. Georges Road, Rigaud, Québec, Canada

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1. Painting precise locations is irrelevant; simply capture the character
2. Connecting shapes is most important, after that come tonal values. Color is last
3.  Analyze your subject; see the foreground, background, balance, shapes and tones
4.  The master is the piece of paper, the watercolour you are working on at the moment, listen to it; Watercolor is the boss
5. People are seldom still or rigid; they are off-balance in movement and animated.
6. Tone is the king; color is a mere assistant.
7. Watercolor will paint itself; if you let it.
8. Look at the subject; reduce it to a visual language.
9. Look at the values; where is the white, where is the light? How does it relate to the dark background?
10. Indicate, don’t state
11. Let the energy of the original line remain; don’t kill it with paint.
— Josef Zbukvik

Old shed is gone… :: Vieille grange n’est plus…

Even though it was a rainy and foggy day today, I knew where I was heading when I jumped into my car with my painting materials. I was going to paint the old shed with the Calvaire mountain in the background. When I got there, I just saw a lump of earth and my heart sank… my beautiful old shed had been demolished. So here is the view, without that shed. I had already painted that shed last year, so here is the post.  While I was happily painting, a police car drove up and a very young cop came up to my window. He told me that I could not paint there as I did not have my hazard lights on, and that is was a zone of 70 km/h… therefore not allowed. So he told me to drive up a bit and park in the lane for tractors going into the field… I obliged, wondering where in my countryside I could find a lower speed limit… not much chance of that.

Même si aujourd’hui était une journée pluvieuse et brumeuse, je savais où je m’en allais quand j’ai sauté dans mon automobile avec ma sacoche et mes peintures… je m’en allais peindre la petite shed avec la vue incroyable du Mont Calvaire. Mais quand je suis arrivée, ma petite shed était disparue… elle avait été démolie! Donc voici la vue et vous pouvez voir ma petite shed comme je l’ai peint l’année passée ici. Pendant que j’étais en train de peindre, je vois une police s’arrêtée en arrière de mon auto et se diriger vers ma fenêtre. Elle m’a expliquée que je n’avais pas le droit de stationner sans mettre mes hasards car j’étais dans une zone de 70 km/h… elle m’a aussi indiquée de me diriger un peu plus loin où il y avait un passage pour les tracteurs pour se rendre dans les champs. Je me suis dirigée vers cet endroit en me demandant si dans mon patelin des zones de 70km/h existaient réellement… et je ne crois pas -(

Paper: Handbook Travelogue Sketchbook
Colours: Raw Sienna, Raw Umber, Serpentine, Cobalt Blue, Vivianite
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey
Location: Chemin Harwood in Vaudreuil-Dorion facing Mont Calvaire

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Numbered Memories :: Mémoires chiffrés

Créer, c’est vivre deux fois
— Albert Camus

Today is a memorable day for my husband and I. Thirty-two years of going out together, 30 years of living together and 16 years of marriage. Ten years of living in Rigaud, 323 painting posts, with an army of black flies waiting for us, just outside our door… life is good!

Aujourd’hui est une journée mémorable pour mon conjoint et moi. Il y a trente-deux ans nous avons commencé à sortir ensemble, 30 ans de vie commune et 16 ans de mariage. Dix ans de vie sur la belle montagne de Rigaud, 323 peintures publiés sur mon blogue et une armée de mouches noires qui nous attendent à notre porte… la vie est belle!

Paper: Travelogue Handbook Sketchbook
Colours: Raw Sienna, Burnt Sienna, Mayan Blue and Burnt Umbar
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey
Location: Besner Clock on Victoria Street in Valleyfield

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Service is love :: Le service est l’amour

In my experience, you will truly serve only what you love, because, as the prophet says, service is love made visible.
If you love friends, you will serve your friends.
If you love community, you will serve your community.
If you love money, you will serve your money.
And if you love only yourself, you will serve only yourself. And you will have only yourself.
So no more winning. Instead, try to love others and serve others, and hopefully find those who love and serve you in return.
— Stephen Colbert addressed the 2011 graduating class of Northwestern University. (credit: suntimes.com)

One of the blogs that I follow is “All about work” and this week a memorable citation was posted… so I am sharing it with you. Stephen Colbert will be replacing David Letterman on the Tonight Show!

My intense period of correcting and prepping for my classes is now over as I have marked everything that I needed to mark, and students know where they are going… so I now have two days in front of me to paint–so I embrace it with all of the love that I have for this activity, even though I am quite rusty from not having painted in awhile…

La citation ci-haut vient de Stephen Colbert qui va remplacer David Letterman dans le Tonight Show l’année prochaine.

Ma période intense de corrections et de préparation pour mes cours se termine et j’ai un peu plus de temps pour peindre… et je vais en profiter au maximum. Peindre me rend tellement heureuse et me donne un sentiment d’accomplissement incroyable… comme aucune autre activité. Je ne sais pas pourquoi…

Paper: Handbook Travelogue Series
Colours: New Gambodge, Mayan Violet, Serpentine Genuine, Indigo
Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey
Location: Rigaud, Québec, Canada

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Shadows :: Ombres

As the snow is melting everywhere, there are many remnants in my backyard… we still have at least 2 feet of snow on the Mountain of Rigaud and I am grappling with the idea that I want spring to arrive, fast! and wishing that these beautiful shadows that are cast on the snow could last. The quandary of the artist… these shadows I will miss… so I am painting them… and painting them… and painting them.

Shadows change hues as the temperatures change. In the deep of winter with frigid temperatures the shadows are a blue metallic — when the sun starts coming out, and the temperatures go up a bit, the shadows turn to a deep blue-violet and now, as spring is almost around the corner, the shadows have turned to a grey-lavender.

Comme la neige fond vite, il y a toujours des restes sur mon terrain… au moins 2 pieds de neige sur la montagne de Rigaud. Je suis super contente que le printemps arrive à grands pas, au plus vite possible, et le fait que mes ombres qui sont si belles sur la neige vont disparaître. Le dilemme de l’artiste… ces ombres vont me manquer, donc je les peins, et je les peins, et je les peins…

Paper: Handbook Travelogue Sketchbook
Colours: Q. Gold, Burnt Sienna, Burnt Umber, Cobalt Blue
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Gray
Location: My backyard in Rigaud, Québec, Canada

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Intertwined :: Entrecroisés

These two trees seem to have lived for a very long time, side by side, looking over the beautiful Lake St. Francis (now thawing) and perhaps having at one moment in time, only the wind, birds and a few human beings passing by them. Now there is a booming sailboat club right next to them, an asphalt road and many passersby. Times change but these type of friendships last. The snow is receding at a very good rate and we can start seeing water appearing on the still frozen lakes — finally!

Ces deux arbres semblent avoir vécu depuis bien longtemps, un à côté de l’autre, regardant le très beau lac St-François (qui est toujours gelé). Dans leur passé, ils étaient tout probablement accompagnés du vent, de la pluie, du soleil et quelques humains qui passaient. De nos jours, ils côtoient le club de voile de Valleyfield, avec une route en asphalte passant devant et beaucoup de personnes en balade. Les temps changent mais les amitiés, des fois, restent. Finalement la neige descend, oohhhh que lentement et sûrement, et l’eau commence à apparaître sur les lacs toujours glacés.

Paper: Handbook Travelogue Sketchbook
Colours: Raw Sienna, Burnt Sienna & Cobalt Blue
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey
Location: Parc Marcil in Salaberry-de-Valleyfield, Québec, Canada

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Air of spring :: Air printanier

“Don’t walk behind me; I may not lead. Don’t walk in front of me; I may not follow. Just walk beside me and be my friend.” 
― Albert Camus

This morning when I woke up there was a mini snowstorm going on and as the day wore on, the temperatures went up… a bit. It felt balmy at 3ºC and it was raining by 10:00 am — a sure sign that spring is in the air. This painting was done this week for a commission that I had… one painting is on its way to Colorado  as a reminder of a dream that once was while this one is staying here…

Quand je me suis réveillée ce matin, il y avait une mini-tempête de neige… ensuite elle s’est calmée, et il a commencé à pleuvoir vers 10h00, un signe certain que le printemps s’en vient. Ooooh! Que j’ai hâte. Cette peinture a été complétée cette semaine pour une commission… l’autre est sur son chemin pour le Colorado rejoindre quelqu’un avec un rêve qui a été…

Paper: Saunders Waterford CP 8″ x 8″
Colours: Raw Sienna, Burnt Sienna & French Ultramarine
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Bulletproof Lexington Grey

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Shadows :: Ombres

“Art actually happens somewhere in the space between clarity and ambiguity, concept and intuition, thought and feeling.” 
― Bert Dodson, Keys to Drawing

I have been pondering on the quality of shadows and how to paint them and one of my Belgian WordPress friends came to the rescue. She did a bit of research and found that to have an acceptable colour for the shadows, in principle we mix three colours: the darkest shadow tone of the object with its complementary and some blue. I tried it today and she is right! Yeah! I am very happy as I have been struggling with my shadow colours. Merci Christine! This apartment building stands on the rue Champlain in front of Jamunik in Valleyfield and it was a beautiful spring day today — finally starting to get warmer.

Ça fait des lunes que j’ai de la misère à trouver la bonne couleur pour mes ombres et une de mes amies WordPress de la Belgique est venue à mon secours. Pour obtenir une couleur correcte de l’ombre on mélange en principe 3 couleurs : la tonalité la plus sombre de l’objet, sa complémentaire et du bleu. Et ça l’a fonctionné Christine — merci -) Ce bloc appartements est situé sur la rue Champlain, just en face de la Librairie Jamunik à Valleyfield. C’était une superbe journée de printemps aujourd’hui — finalement le temps se réchauffe -)

Paper: Handbook Travelogue Sketchbook
Colours: Q. Gold, Q. Deep Gold, Alizarin Crimson & Cobalt Blue
Fountain Pen: Pilot Prera F
Ink: Noodlers Lexington Grey

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Take 1, 2 & 3 :: Prise 1, 2 & 3

My mother gave fancy teacups to my little sister, who in turn has handed them over to me — so this is my chance to paint these dainty teacups. They look easy to paint, but I struggled. I struggled with my shadows — I always do — so after being unsatisfied with my first attempt, I ended up doing three. Let me know which one that you prefer? And is there anyone out there that has a recipe for shadows? I know that they should be a complementary colour, but phew! Not enough water or too much water on top of that. All in all I am happy with my teacups as when I paint, I am happy -)

Ma mère a donné de belles tasses à thé à ma soeur, qui à son tour me les a données. Donc voici ma chance de peindre ces beaux objets qui ont de l’air si facile à peindre… mais vraiment pas! Donc insatisfaite de ma première tasse de thé, j’en ai repaint deux autres, pour faire un trio. Dites-moi celle que vous préférez le plus? Et quelqu’un d’entre vous avez-vous une recette pour les ombrages? Moi ce que je fais est plutôt de prendre la couleur complémentaire, mais si vous avez une autre solution, j’aimerais bien la savoir. J’ai finalement eu le temps de peindre ce soir, et quand je peins, je suis heureuse )

Paper: Travelogue Handbook Sketchbook
Colours: Q. Gold, Q. Deep Gold, Q. Rose, Q. Violet and Schminke Cerulean Blue
Fountain Pen: Pilot Prera F
Ink: Noodlers’ Lexington Grey

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Commission

Commission: an order for something, especially a work of art, to be produced specially. I wanted to explain the steps that I go through when I receive a commission from a client. For this example I am working from a reference photograph. I also wanted to mention that I never post a client’s final painting as that painting does not belong to me anymore… it is theirs -)))

1. Composition Sketch: the first step that I take is to figure out the composition… I think and sketch about the various elements for the painting and where to place them… will I add a tree there or keep the houses in the background? Usually I create three of these.
2. Tonal Value Sketch: I then pick the best composition, and figure out the main highlights and tonal values of the sketch and pick one colour (usually Payne’s grey) and apply three values to a rough sketch. The one colour is applied at difference intensity levels (75%, 40% and 15%). This is the sketch that I am showing you today. I must add that I will do the compositional sketch right after this, as I have not yet figured out if I will leave the houses as they are in the photograph or put trees instead…
3. Small sketch in colour: In a sketchbook, in a much smaller size than the real size, I then “try out” a rough coloured version of the painting and see where that brings me. I might have to do two of these. This is where I choose my triads.
4. Real size sketch in pencil: Once that I am satisfied with my small sketch, I move on to a very high quality paper and draw everything at the client’s required size with a #7B pencil (quite soft lead so that it does not scratch the watercolour paper as this may create gutters and lines in the watercolour).
5. Real size sketch in ink: Then I go over the pencil lines with ink (if necessary or required).
6. Final version of the painting. Voilà! In the hopes that it is to my liking, as I am “the” most difficult person to please -)
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Pour ce blogue je voulais expliquer les étapes que je fais quand je reçois une commande d’un client. Pour cet exemple, je travaille d’une photographie de référence que la cliente m’a envoyée.

1. Croquis de composition: la première chose que je dessine sont des “thumbnails” ou des tout petits croquis de composition. Est-ce que je vais garder les maisons à l’arrière ou est-ce que je vais les enlever et mettre des arbres au lieu? Est-ce que je vais mettre l’horizon au centre ou plus haut ou plus bas?
2. Valeurs de tons: Ensuite je fais une étude de valeurs de tons. J’utilise pour ceci qu’une couleur avec trois intensités différentes (à peu près 15%, 40% et 75) pour démontrer les tons clairs, sombres et moyens.
3. Sketchbook: Je fais un croquis dans un “sketchbook” en couleurs et c’est là que je choisis mon triade de couleurs… des fois je peux en faire 2 ou 3 de ces croquis.
4. Grandeur réelle: papier aquarelle d’une très grande qualité (Saunders Waterford 140 lbs CP) et je la coupe à la grandeure désirée, dans ce cas, 11″x14″, et je dessine au crayon #7B (un crayon gras pour ne pas abimer le papier).
5. Encre: Après je retrace avec une plume fontaine remplie d’encre (si nécessaire ou désiré).
6. Peinture finale: peindre la peinture finale en espérant qu’elle soit à mon goût car je suis la personne la plus “critique” de mes peintures. Des fois je dois refaire 2 fois…

Paper: Larolan Sketchbook #10 – 5″ x 8″
Ink: Noodlers’ Lexington Grey
Pen: Twisbi Classic EF
Colour: W&N Payne’s Grey

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Gouin West :: Gouin ouest

“A life spent making mistakes is not only more honorable, but more useful than a life spent doing nothing.”
― George Bernard Shaw

As I was in Pierrefonds yesterday morning, I decided to paint this pack of small houses. I used Cerulean Blue which made my greens too weak mixed with some Aureolin Yellow (which in itself is not a strong yellow) and for the shadows I added a tad of Cobalt Blue with some Q. Scarlet. The shadows came out well.

Comme j’étais à Pierrefonds hier matin, j’ai peint cette maison en vitesse. Mon bleu de base était le Céruléen, qui est un bleu trop pâle pour avoir une présence dans les verts… donc ceci est une peinture qui est un peu trop fade. Par contre, mes ombres, faits avec le bleu cobalt et du Q. Scarlet sont biens.

Paper: Larolan Sketchbook
Colours: Cerulean, Aureolin Yellow, Q. Scarlet and a tad of Cobalt Blue
Pen: Pilot Flexi Grip EF
Ink: Noodlers’ Lexington Grey

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Things from the past :: Ces choses du passé

I would never have guessed that painting would have shown me what I truly love… I had not realized that I love old barns as much as I do. I think that in general I like old stuff as my house is filled with miscellaneous items that go way back in the past, in remembrance of those who have passed or because of their historical or genealogical significance… sometimes simply because of their beauty. Nowadays I find that old barns, and old houses are disappearing at an alarming rate and being replaced by clapboard. Yikes!

I have been using alot of Aureolin Yellow lately as I find that this is about the only yellow that I have that does not muddy my greens… New Gambodge has a red undertone, and muddies my greens… and the other yellow that I have is Cadmium Yellow Light, which is opaque, and have not played with it enough for me to comment. Is there another yellow that you would recommend?

Je ne savais pas que la peinture était pour me montrer que j’aime les vieilles granges… de toutes sortes. Heu! Je pourrais dire qu’en général j’aime les veilles choses, pour le souvenir qu’ils me rapportent pour ceux que j’ai aimés ou bien pour leur valeur historique ou généalogique ou simplement à cause de leur beauté. Pour mes dernières peintures, j’ai utilisé le Aureolin Yellow car il fait de très beaux verts… à comparer du New Gambodge qui a des sous-tons de rouge qui brouillent les verts, et aussi le Cadmium Yellow Light, mais étant donné qu’il est opaque, et que j’aime la transparence dans mes peintures, je ne l’utilise pas. Avez-vous une couleur jaune que vous utilisez fréquemment que vous aimez?

Paper: Moleskine Watercolour Sketchbook
Ink: Noodlers Lexington Grey
Fountain Pen: Pilot FlexiGrip EF
Colours: Burnt Sienna, Indigo and Aureolin Yellow

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To mix? Or not to mix? That is the question…

My husband bought me some beautiful tiger lilies that smell like heaven. So I decided to paint them… I have been painting flowers for the past two weeks and have not posted them as they were just too awful to post :) The first painting that I did I decided NOT to mix any colours and use all of the colours that I saw. New Gambodge, Rose Madder Genuine, Serpentine Green, Sap Green, Vivianite and French Ultramarine. This represents a cacophony of colours and even though the painting is interesting, there is nothing that is holding it together–linking it.

Voici la première peinture que j’ai peint avec beaucoup de couleurs différentes… en fait, j’ai utilisé 6 couleurs. New Gambodge, Rose Madder Genuine, Serpentine Green, Sap Green Vivianite et French Ultramarine.

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However, when you look at my second painting I only used three colours… Rose Madder Genuine, French Ultramarine and New Gambodge. I created the greens mixing the FU and NG together, I created the oranges with NG and RMG and the grey was made with all three colours. The painting has a sense of softness and of being held together because the colours are linked to each other.

 Par contre, cette 2e peinture je n’ai utilisé que trois couleurs primaires (jaune, rouge et bleu). Les voici… New Gambodge, French Ultramarine et Rose Madder Genuine. Avec ces 3 couleurs primaires, j’ai mélangé pour créer les verts, gris, mauves, etc. Ne trouvez-vous pas que ces couleurs lient la peinture ensemble? Qu’elles appartiennent et unissent la peinture ensemble?

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Which one do you prefer?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pen: Pilot FlexiGrip, EF
Ink: Noodlers Lexington Gray
Paper: The Colours of Water Sketchbook from the Montreal Museum of Fine Arts

Rusty Old Wood Fence :: Clôture de perche toute rouillée

The sun was shining today and we can actually see the grass after our never-ending winter. It felt so good to be out in the car sketching with the sun out (even though the outside temperature was only 5C). I bought a new sketchbook from the Musée des Beaux-Arts in Montreal and it was my first sketch in it today. The paper seems so dry and I had to add tons of water… and when you add water you then have to add pigment or else the colours are all washed out. So I struggled with my colours and the paper  today… but it was pure joy to paint. From the rusty painter painting a rusty fence.

Après la dernière pluie de la semaine passée, la neige est disparue dans les champs (pas chez moi, en tout cas). Quand je peins dans mon automobile, avec les vitres baissées et le soleil est au rendez-vous, la vie est tellement belle. Aujourd’hui j’ai commencé à peindre dans un nouveau livret à aquarelles que j’ai acheté au Musée des Beaux-Arts de Montréal. Je ne sais pas si je l’aime encore car le papier semble très sec, donc j’ai dû ajouter beaucoup d’eau… et quand on ajoute beaucoup d’eau on doit ajouter beaucoup de pigments, sinon la peinture devient lavée, fade. Voici ma clôture de perche toute rouillée de la peintre qui est toute rouillée.

Colours: Cobalt Blue, Raw Sienna, Burnt Umber and Burnt Sienna
Pen: Pilot FlexiGrip, EF
Ink: Noodlers Lexington Gray
Paper: Musée des Beaux-Arts Watercolour Sketchbook 25$

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