Skip to content

Posts tagged ‘painter’

Today’s the Day

16513 Sketched Around 2 acryl ink and wc on paper 8x10 coso.jpg

Opening reception tonight May 19th,  5:30-7:30 at Copley Society of Art, Newbury Street, Boston, MA. Meet and visit with six recent Copley Fellows who completed month-long residencies in either Cape Ann or Provincetown, MA. Stop in or visit the gallery, show is up through June. copleysociety.org

This piece in the show titled, “Sketched Around” 8×10 ink and watercolor, has a little history but nothing a redraw can’t fix. This is about a view from my studio that disappears in summer with the solidness of fully leafed out trees, and then appears again as the leaves fall in autumn. The tree structures stay while the colors change. This ink and stick sketch/drawing tries to give my impression the this movement of the seasons. If you look closely you’ll see a building/structure through the branches. It brings a bit of geometric contrast to the scratchy branching lines.

Lesson 1: Finished Before Starting

P1180258

Changing my mind early on before I go too far

Sketchbook work is the foundation for almost all of my paintings. I depend on small scale sketches to discover the design foundation of each piece before I proceed to finish–or at least that is my plan. But sometimes just a few lines on a canvas derails even the most promising sketch. Here is a good example. The black lines–done first just didn’t make as strong a design as I hoped when I scaled up from a thumbnail to this 18×18. I first sketched on the grey gessoed canvas surface with soft charcoal, then added fluid black acrylic to further solidify my design.

Then I sat back in my comfy yellow stuffed swivel chair given to me by a painter friend, the wonderful watercolor painter, Judy S. McLean. These few black lines on the canvas quickly voiced their opinion that I was NOT to proceed any further. Think again they said. Try another sketch today. Don’t you just hate pushy sketchbook voices? So, I  went back to my sketchbook, flipped a page or two and out jumped a much better idea to pursue.

I then flipped the black line painted painting upside down and grabbed my white fluid acrylic paint bottle and drew the white lines right on top. This was a better start and I felt able to continue with the process toward the finish line. You can still see some of the white lines in final piece below.

15459 Coming Through acryl canv 18x18 sm

Coming Through, 18×18, acrylic on canvas

Lesson learned through this particular painting process was to be decisive when I feel something is amiss. Being honest with yourself as an artist and letting your intuition guide your moves will improve your chances of finishing strong.

How do you solve your painting design issues? I’d love to hear from you.

About That Red

14327 Time to Move On 36x18, acryl canv sm

It is never a simple thing, painting. It is always a matter of selection–from color and medium, size and proportion, orientation and surface, brushes or knives, scruffy or smooth, thick or thin, garrish or quiet, thoughtful or bold, clean or complicated. This image of a small red dory is seemingly simple but has so many paint overs it weighs more than you think! It was a challenge to make a surface complex enough to be interesting yet simple enough to have the little dory (that sits in Provincetown, MA harbor) still be the star of the show. The actual red-orange color is a good amount brighter in real life but I think you get the idea here. A huge amount of blues balance the hot spot of red at the lower part of this painting. And that’s all this one was really about. But you are always welcome to have your own idea of what you see and feel in a painting. 18×36, acrylic on canvas. This is part of the 30 paintings/30 days challenge presented by Leslie Saeta on her blog,http://www.lesliesaeta.blogspot.com

Copley Society Artist Residency at Fine Arts Work Center in Provincetown, MA

Using golden Open acrylics--longer time to dry that traditional acrylics. Work quite well.

Plein air painting as the tide gets closer to my feet.

As I catch up with my necessary duties as an artist (marketing, organizing, packing, shipping, emailing, inventorying, etc.), I am itching to get back in the studio to explore and play with the exciting new approaches to my art I discovered during my month-long residency at FAWC in Provincetown on Cape Cod. From toying with more abstract thinking to working without references, from meeting new faces to meeting famous faces–Paul Resika, Berta Walker, Constantine Manos–I have so much to internalize about my experience. Good thing the winter hibernation season is coming soon. Not that I hibernate of course. But those nice quiet snowfalls will be perfect backdrop as I dig deep into my thoughts.

Spirit of Grit / In the City

Spirit of Grit, In the City

Final painting revised months after I thought it was complete.

As a Copley Artist member I have an opportunity to submit artwork to planned exhibitions. Most recently a call for entries arrived called “GRIT-the urban landscape”. I almost dismissed the idea of entering as my work usually is nature-based with simple structures–certainly not gritty and city-based. The more I thought about it the more I was intrigued by the idea of taking this theme and interpreting it my own way.

version 1

First effort: 48″x24″ Black, grays and touches of warm tones as taillights or street lines.

version 2 48"x24"

Second effort on top of first effort.

My first attempt to sort out my approach is shown here a the left. Bold structure-like forms with window shapes and reflections interconnecting and overlapping in a similar way to how my brain feels when I go into any city especially for the first time. I may a well have jumped into the middle of a weaving loom full of threads and been asked to organize the colors and lines to find my way. Complete overload. Here was one way of visualizing that sensation. I stared at it for a while, overnight too. But it wasn’t speaking loudly enough to me.

In effort 2, I began the process of somehow enriching the experience in a way that made it more complex. Adding lines and areas of color that created a sense of evening, introduces a curved-dome suggesting a church, introduced an intense color area at the bottom suggesting the street level where most of the color happens. And of course added a suggeston of the Zachem bridge in the background.

Another day and night goes by as I evaluate it’s chances of seeing the light of a gallery wall. It could have been a keeper, but I was not satisfied yet. Out came the scrub brush. (I have heard many friends say you wiped that out? I love  that one! How could you? Ughh. It is after all my sense of what is right…right?)  After hours of work it is always a tough decision to either keep it, rework it, or completely smudge and smear til it gets to a point where I feel I have a base to move ahead again.

After the scrub

Third effort: Boldly applied acrylic now creates repeat pattern and underlying structure or foundation for me to play. You’ll notice the final painting is rotated 180 degrees from this version.

And so away it went. Scrubbed into a neutral blue gray gritty-looking background of texture and color. Now that was a surface I could work with. What did I want to say about the city? I am always impressed by the color as it contrasts with the stone grays of building materials found all over any city. Granite, limestone, pavement, cement, dust, dirt, smoke, hazy skies, misty air. Then there are the signs–retail, traffic, business, sandwich boards, all vying for attention while creating a cacophony of noise and distraction and confusion. That’s what I’ll paint about. And while I’m at it I’ll rotate the painting canvas to a bold horizontal where the expanse sideways will be as powerful as the vertical thrusts of the building/street lines. Now we’re talking. Me and my canvas.

detail of Spirit of Grit

Detail of process pic of Spirit of Grit.

I selected complementary colors of oranges and reds to contrast with the blues of the background hoping to heighten the busyness effect of the concept. A night and day notion–where there doesn’t seem to be much difference when living in the city–is represented by the dominant white building/street/subway-like line through the middle linking foreground and background imagery. Curves of a sky area reflects into a waterway representing moonlight blue evening sky. Traffic signal light at lower left adds a playful bit of color suggesting stopping, slowing and going are all part of the city life.

Hope you’ve enjoyed this glimpse into my process no matter where you thought I should have stopped. Now I must go…

Painting on top of a painting. Almost final...

Painting on top of a painting. Almost final…

Edit October 2014: After looking at this piece, I decided it needed more work. The top image of this post reflects the new final piece.

 

Barnboard and Rhodies

Barnboard and Rhodies

Overcast spring day provided some glimpses of sunshine that lit up the magenta rhodendrons on the back side of an historic barn in Goffstown, NH known as the Captain Carr House. Sun stayed out long enough to capture the beautiful neutrals of the greys and spotlight some grass in the background. I could have done without the bugs and falling leaves but all in all a good day to paint. I enjoyed trying to keep focus on the flowers while balancing the design with the soft greys of the barn. I didn’t have a bright pink color in my plein air palette so I added the flowers with quinacridone magenta when I got home. Acrylic on canvas, 8×16. Applied with palette knife. Hope you enjoy this piece. Contact me if interested in purchasing. To see more of my work please go to http://www.anntrainordomingue.com

Raindrops Reflections

Raindrops Reflections

Here’s what happens when hoping for a perfect day turns into hoping for a somewhat not rainy day. And that’s what I got. No sunburn, no bugs, no heatstroke. Instead of whining about the weather, I made the most of the light mist by letting it help me create the inexact lines as I drew with my whittled stick dipped in ink. This approach kept me from being too cautious as I drew the Christian Science Center building and reflecting pool –designed by I. M. Pei–world famous architect. Awestruck. Good thing I didn’t know this before I started. I did a quick pencil sketch in my sketchbook to assess the overall design of my painting. (Each participating artist was working on a square 14×14 format in their choice of medium.) Because the weather was so poor and threatening to downpour at any moment, I got right to work and drew directly with onto my Arches cold press watercolor paper for approximately two hours. A few ducks checked out my progress as I worked next to the beautifully reflecting pond with white caps at times. It appeared the sky would hold off so I added the subtle tones of neutral colors suggesting the stone surfaces and highlighted some of the reflections in the water at the bottom of this drawing. I flicked my brush a couple of times to add the raindrips as a memory of the day. Hope you enjoy my messy, uncommon, friendly view. Art is available at Copley Society of Art in Boston. http://www.copleysociety.org

Details Inspire Large Work

High key colors in body ofwater with small sailboat imagery

Playing with heavy textures in my customary coastal theme.

Last summer I did a painting titled, Raking Light, a 36×36 that described a late afternoon low tide at a sandy beach in Provincetown. One small area of the painting approx. 5×5  inspired this enlargement at 24×24. I loved how the coarseness of the under-texture allowed the acrylic paint to sit up on top of the raised areas. And adding other color layers allowed those underneath to still peek through. Having fun creating new works this endless winter using this idea. No title as of yet. Ideas?

Detail that inspired new work

Detail that inspired new work

Struggling to Find It

Before and After the Struggle sm

Here is a quick look at what happens when I am not happy with the progress of a painting. I start scrubbing out areas and mashing others together looking for something that unifies the separate pieces that are not working well together. And the version on the right is the result. What for me is a resolved image and one that is a keeper. This sunsplashed scene is inspired by a snapshot of a building on the grounds of Strawbery Banke in Portsmouth, NH.

Story Island begins in Maine

Preliminary sketch on canvas of segmented/chapters of 36x36 painting.

Preliminary sketch on canvas of segments/chapters

Determining color scheme along the way, not pre-thought.

Determining color scheme along the way, not pre-thought.

Final look at the painting process 36x36, acrylic on canvas.

Final look at the painting process 36×36, acrylic on canvas.

In this painting there are 8 segments, each could be a small painting on its own but I have opted to build all these into one large 36×36 to see if I could unify all pieces together on one panel. I have done small paintings of the segments in the past using other color schemes and slightly different designs. But putting them all together in a block-like fashion and hoping to retain a sense of order–not in a chronological or book style– but in a way that allows the viewer to make up their own idea of what this piece is saying to them. See more of my art at www.anntrainordomingue.com or sign up to stay informed on my FB Art Page at www.Facebook/anntrainordomingueart  Ann Trainor Domingue, messy, uncommon, friendly contemporary art inspired by but not beholden to the New England landscape.

JoP Research Journal

2017 -> Visual Research Journal with spelling mistakes and links to image sources

clarkridgefarmdotorg.wordpress.com/

A family farm in Goffstown NH

Art Licensing Info

Messy, uncommon, friendly contemporary landscape paintings inspired by the New England landscape

Yuba Gold

Art and creativity with a touch of nature

Clear Blue Design

Thinking about design every day

Comments on: Welcome

Messy, uncommon, friendly contemporary landscape paintings inspired by the New England landscape

Art Matters

An Online Art Magazine from San Francisco

ILLUSTRATION AGE

THE ULTIMATE RESOURCE FOR ILLUSTRATORS

%d bloggers like this: