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WorkshopSchedule and Inf.
PAGE’S GALLERY 2
adapted from the end of “Watercolor Right
from the Start”.
What I live by is this: "Only
paint what excites you. You are the boss!
And don’t let anyone tell you what you
should or should not paint. The more you paint
the better your paintings will be; and the better
your paintings become, the more you will want to
paint, and the sooner your individuality
will emerge in your paintings. So start painting
now! Your life will be enriched and you
will transmit this joy to all who cross your
path! If you're painting
you're free from worry. If you are
painting you're happy!"
I used a heart grid to emphazise the connection
between roses and love.
started the painting with a wet on wet wash- taking care to
leave the center of the composition unpainted. This is so I
can make the greatest contrast of light and dark paint where I
plan the center of interest.
I had laid in the initial wash I drew the hearts. The rule of
a grid painting is to change the value and color at each line.
22" X 30"
out location to local cotton gins near Houston Texas used to be an
August and September ritual for me. The conditions would be awful- very
hot, cotton flying everywhere and noisy- not to mention the smell of
insecticides. But it was exciting. Now most of the small gins have been
torn down because of development, Those left are totally mechanized and
not nearly so interesting to paint. I'm glad I endured the conditions.
My Cotton Gin series of painting brings back happy memories for me.
finished this particular painting when back at my studio- using blue casein on the sky
and the foreground shadows.
the Krenek's sold this gin they commissioned me to do another painting
for them. Now sold, the gin has fallen into disrepair. Maybe even torn
down by now.
Boat House, Devon UK
15" X 22"
Boat" house was done in my car with the painting balanced
on the steering wheel. The weather typical for an English summer was
cool, sunshine with intermittent showers. The
dramatic perspective commands attention.
I worked on the contrast effects back home
spent a morning painting on site in Conway, Wales while my husband was working
nearby and my son and friend were sight seeing. The high perspective and the
stark white building captivated me. I added the solitary figure as he
tottered towards the water and included the metal
railings to echo the shape of the figure. I
re-did the painting back home and painted
direct to match the boldness of on site
22" X 30"
The afternoon I did this painting
there was a cloudburst in Houston so only two of
us from our lab group, the totally dedicated (or crazy) came to paint, meaning that we both had
a very good positions regarding the model and the
beautiful violet color is Cobalt Violet PV49 made
by Daniel Smith Inc.
See also Tammy and Martha.
22" X 30"
At our Wednesday afternoon painting
group where I completed this painting, the model poses for
twenty minutes followed by a five minute break
over a two and a half hour period. After sketching the model in pencil I laid in the paint wet on
wet and then "negative painted"
(painted around the figure) until the figure
emerged. Finally I added the details. The key with
painting the figure is to get a good drawing at the
that only comes with practice, practice,
15" X 16"
This rapidly executed painting of my
daughter was done as a demonstration at one of my
Portrait and Figure workshops. I applied a wet on
wet wash over the pencil drawing and when this
was dry I added the hard edged medium values and
finally the darker details on the face. Overall
it has loose, painterly quality.
22" X 15"
This mysterious house nestled in the
green trees was our subject for a workshop I
taught in Kent, England. There was a howling gale and
driving rain much of the time, but participants
gamely donned raincoats and held
sat outside and sketched the scene though a
few prefered to work from their cars! We completed the paintings
back in the studio.
If you view this
painting while squinting, you can see that it is
constructed with two interlocking shapes- lighter
on the outside and darker on the inside. Strong
paintings are comprised of a few, simple
underlying abstract shapes.
I completed this painting using
just three paints: Winsor Lemon PY175, Quinacridone Magenta
PR122 and Winsor Blue RS PB15.1
brilliant red drew me to paint this beautiful
flower. Each morning I would set my potted Hibiscus in
the window to catch the Texas sunlight and then
paint direct from light to dark,
allowing each wash to dry before applying the
next. I had
time for one bloom a day before the light
changed. I unified the painting by adding the darker leaves and the suggestion
of a window- shape.
22" X 15"
amarylis was flowering, bold as brass, in my front yard. So I sat there
and painted it. Then I noticed my neighbor's flag fluttering behind the
tree. So I included it as a grid behing the tree. I used pearlescent
interference paint on the bark ot the tree to increase the shimmer,
flutering effect. Back in the house I negative painted green amarylises
in the background to give an unusual effect.