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Sneakers I: More Pouring

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Sneakers I (11 x 17) $125

Sneakers I (11 x 17) $100

This is my youngest daughter in a characteristic pose. I love the way she has clasped her hands in tight but spread her legs out with her feet pidgin toed.

I poured all of this painting except for her hands and feet and an under painting of the carpet. I painted her hands and feet first, and then masked them to protect them from the pour. I left the under-painting of the carpet pattern unmasked.

face and hand

face and hand

carpet underpainting

carpet underpainting

I masked and poured three times. When the mask came off: I adjusted the values, added shadows and shoe details; and touched up her face.

first pour

first pour

second pour

second pour

mask removed

mask off

I used Winsor red, alizarin crimson, and cadmium yellow for her face and hands. I used hansa yellow medium, burnt sienna and phthalo blue for the first pour. I substituted raw sienna for hansa yellow in the second and third pours. I direct painted with the pouring palette.

What would I do differently? Well I like this painting a lot as is. I would mask the hands and face before painting them and paint them after the pour next time. I think I would also leave the sunshine streaks across the carpet out.

I like the painting enough that I’m going to do it again without pouring.


Or purchase a reproduction of this painting at Fine Art America.com.

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The First Quilt

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The First Quilt (11 x 14) $125

The First Quilt (11 x 14) $125

This is my daughter busily piecing her first quilt–so busy she let me walk around a taking photographs without bothering to complain. I liked the light coming in from window seat hidden off to our right and the look of intense concentration on her face.

I began this painting at the gallery yesterday, but I came home unhappy with where it was going. The basic shapes were right, but the fabric had stolen the center of interest.

Since the fabric moves the eye in into the picture from the left and her face hands and arms form a circular path, recomposing the picture was mostly a matter of toning down and removing everything else. I simplified the quilt fabric, which was brighter and patterned and removed an embroidered medallion from her shirt. I also removed the book shelves from behind her. I toned down the bright white of the sewing machine which had threatened to steal attention from her face and hands.

When I was finished, too much of the painting appeared to be of medium value; so I darkened up her hair to provide contrast for her face. That made all the difference.

Pigment Notes: I used cadmium yellow, alizarin crimson, and burnt sienna for her face and hands. An under-painting of phthalo blue defines the darks in her hair. I washed burn sienna over it. The table is also phthalo blue and burnt sienna. Her shirt is burn sienna and cobalt blue plus a little alizarin crimson. The lilac quilt squares are the same combination, but with more alizarin crimson. I used phthalo blue, burnt sienna and touch of cadmium yellow for the green squares. French ultramarine washes define the sewing machine. I used French ultramarine and burnt sienna for her jeans. The walls are burn sienna with a touch of phthalo blue.

This painting is currently on display at Art in the Valley, Corvallis, Oregon but may still be purchased by mail on inquiry.
Or purchase a reproduction here.

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