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For a description of steps 1 - 9 see my previous entries.

 

Step 10:

To complete the top right hand side of the parlor I built the values of burnt sienna, magenta, and blue in the same manner as the previous step. Again, I added additional lines to suggest the brick pattern and lifted some color to suggest grout.

 

Step 11:

Moving down to the bottom half of the parlor and street, my first goal was to save the light. I masked the tables, chairs, and people to save their whites and then applied light washes of yellow where light flooded from windows, doors, and lamps. I also applied light bright washes of color on the awning under the neon sign (yellow, blue and pink). I began layering light values of color on the children and statue.

 

Step 12:

I continued strengthening the values on the bottom portion of the parlor, street, statue and children. I applied layers of yellow, blue, and magenta to the glass doors. Time to suggest a bit more brick detail on the lower parlor portion in the same manner already used. I used a toothbrush to spatter dark blue on the lower left section of street, creating a bit of texture. Pleased with the values achieved, I lifted the masking fluid.

 

Step 13:

Finally, I painted the tables, chairs, and people being sure to save plenty of flooded light. For my last step I sprayed a light layer of blue across the bottom portion of the painting. This redirects the strongest light into the painting and adds a bit more depth.

 

As always, I thank you for the opportunity to share the development of this painting! ~Jean

For a description of steps 1 - 6 see my previous entries.

 

Step 7:

Time to begin developing the parlor itself. Again, since this is a large piece, I chose to paint the 2nd story of the parlor first. I applied the lightest and brightest colors in dilute washes to capture the colored light flooding from the neon sign onto the parlor. Colors used here; new gamboge, opera, scarlet lake, and peacock blue. I also painted the portion of the neon sign that reflects as a mirror image on the upstairs window. These colors were the same as those used in painting the sign itself but I stayed a bit lighter since the sign, and not it's reflection, is the focal point. I applied light washes of new gamboge, magenta, and cobalt blue in the far right window staying light in value to suggest indoor lighting.

 

Step 8:

Once dry I followed by applying additional layers of burnt sienna, cobalt, and magenta to the parlor brick. These layers helped define the recessed and raised brick work and further defined the glow from the sign.  I developed the Geo. E. Pew Company building signage using a mixture of burnt sienna and cobalt blue.

 

Step 9:

I continued to increase the values of burnt sienna, magenta, and cobalt on the top left side of the parlor. Once the values were strong enough I added the suggestion of brick by painting proper perspective lines in appropriate colors (yellow, orange, red, purple) and then carefully lifted some of the burnt sienna brick base color to suggest grout.

 

Close up:

In this close up you can see the brick detail which is really just a suggestion and not overpowering or too heavy handed!

 

Now, on to the top right to continue building values and suggesting brick detail. Stay tuned for additional photos and descriptions as I continue developing this painting.

Thanks once again for looking! ~Jean

For a description of Steps 1 -4 see my previous entry.

 

Step 5:
Since this is a full sheet painting (30” x 22”) I decided to continue making progress developing the background elements. For larger pieces I like to paint from the top down and from the background to the foreground. To save a few more whites I masked the left hand side of the parlor below the neon sign, the outer margin of the sundae sculpture (including the children), the street lamp and banner, and a few branches in the trees. I used a sponge to paint the trees choosing the progression of light to dark colors; green gold, sap green, hooker’s green and royal blue. Next I used a negative space painting technique to add the brick portion of the buildings behind the trees, being careful to carve out and save the lightest portions of tree foliage. I mixed puddles of new gamboge, burnt sienna, permanent magenta, and royal blue to do this and alternated washes of color for interest, emphasizing light across the building top near the street light. I painted the First National Bank sign, being sure to keep the values softer than the parlor sign since this is secondary in the composition.

 

Close up:
In this close up photo you can see the masking fluid edges used to save the white of the paper for future development.

Step 6:
I removed the masking fluid and painted the street lamp and banner. I softened the hard edges around the lamp and added more yellow for glow. I painted the banner using colors you’d see during daylight but then washed over the entire banner with royal blue. I developed the branches in the trees being sure to save light on the right that would be flooding from the parlor windows. Just for fun I painted very light layers of color to define the ice cream flavors in the sundae sculpture. Anticipation!

Stay tuned for additional photos and descriptions as I continue to develop this painting.

Thanks again for looking! ~Jean

This September 2011, my watercolor works will be on exhibit at the Le Mars Arts Council. Le Mars, IA, home to Wells, Blue Bunny, is known as the ice cream capital of the world. The company recently moved their beloved ice cream parlor and museum to the historic George E. Pew building (circa 1875) on Central Avenue in the downtown district. The new parlor opened in June during the town’s annual ice cream day’s festivities and to say this new downtown jewel has been a buzz ever since is an understatement. I decided I would try my hand at developing a watercolor of the new parlor. If I can do it justice, I will exhibit it at the Arts Council next month.

I began by taking several photographs of the parlor. The bright neon sign spoke to be a focal point and convinced me the painting should be a night scene. As luck would have it, I was able to capture two children exuberantly climbing upon the outdoor sundae sculpture. Now the painting would come alive!

Step 1:
I sketched a perspective drawing of the parlor, including the sundae sculpture, children, and their parents seated at one of the outdoor tables. I included the suggestion of the parlor’s business neighbor, First National Bank, further establishing the new downtown site.

Step 2:
I repeated to myself several times, “perspective drawing is not the boss of me.” Luckily, my dear daughter Annemarie, a graphic design student at Creighton University, shared a tip she learned at school for checking perspective lines. String! I used this tip to confirm my lines converged correctly at the vanishing point off the page.

Step 3:
I masked the building roof lines to save the white paper on these structures. I mixed creamy puddles of cobalt blue, royal blue, alizarin crimson, and burnt sienna to achieve a night sky. I painted the night sky using a wet into wet (wet the paper first) wash technique.

 

 

Step 4:
After drying thoroughly, I removed the masking fluid and painted the neon sign. Since this is a focal point, the use of bright colors, bright whites, strong darks, and detail will all aid in drawing the viewer’s eye. I chose permanent yellow, opera, scarlet lake, and peacock blue to paint the bright colors of the sign.

 

 

Close up:
The lettering was slow going but the end result was well worth the persistence.

Stay tuned for additional photos and descriptions as I continue to develop this painting over the next couple weeks.

Thanks for looking! ~Jean

Recently I was asked by the Le Mars, IA Chamber of Commerce if I would paint a 3D sculpted 6' tall ice cream cone. Le Mars is considered the ice cream capital of the world and 30 some of these cones were being produced to adorn the town. Area artists were being asked to participate in the project. Local businesses were stepping up to sponsor cones. I was "scooped up" as the artist for JRE Properties Pros.

 

I met with Lisa Wagner and Jim Gergeni at JRE and we discussed an initial design. Since they are in the business of real estate we agreed upon a design that would feature notable properties around town. When Lisa saw all the texture on the surface of the molded cone she opted for a brightly colored fantasy cone instead. I gave my enthusiatic, "yes!"

 

Immediately I thought of the popular 60's artist, Peter Max, and his wildly colorful works I admired during my high school years. Being a 2D watercolor artist, thinking in 3D was new to me. I began by photographing 90 degrees of the cone at a time. This gave me 4 unique design surfaces.

 

I visualized a brightly colored sun and rays for the first 90 degrees.

 

Extensions of these rays seemed natural for the second 90 degrees. While I was perched on a step stool painting the rays across the top of the scoop a female Ruby Throated Hummingbird hovered into our garage to have a look. I was convinced the colors were indeed bright and immediately set my brushes down to mix up nectar for this first guest.

 

The third 90 degrees rolled to a night sky complete with a whimsical moon. The moon is accompanied by stars and planets.

 

The fourth and final 90 degrees feature a cloudy sky and brightly colored rainbow.

 

Next up, I'll be painting the actual cone. The design is approved and I am smiling. Stay tuned... ~Jean

I LOVE the beauty of autumn in the midwest! Once again, in keeping with the season, here is my latest original watercolor and the step-by-step process. 

"Pumpkin Patch"
Original Watercolor
5" x 7"
Arches 140 lb. Cold Pressed Paper

Colors: New Gamboge, Scarlet Lake, Alizaron Crimson, Green Gold, Perm. Green No. 1, Sap Green, Hooker's Green, Burnt Sienna, Cobalt Blue and Royal Blue.

Step 1. Sketch. Mask the barn and pumpkins to protect whites. Paint the background sky using a wet-into-wet wash technique. I used Cobalt Blue mixed with a small bit of Burnt Sienna and stayed very light, wanting the sky to be a soft "neutral" that would set the autumn colors off! 


Step 2. Paint the distant tree line. I wet an area in the skyline and charged in soft fall foliage colors. Once dry, I added light branch detail and darkened the horizon line in the valley. Add a first wash of green gold on the rolling hills. Notice I saved light within the green gold near the barn. This will draw the viewer's eye.


Step 3. Add a bit of Perm. Green No. 1 on the rolling hills for punch! Lay down the first washes of color in the foreground field (Sap Green and Burnt Sienna). Once again, save some light in the center of the field to draw the viewer's eye. Lightly paint a few tree trunks and branches in line with the barn. These will serve as your guides to build autumn tree foliage. 


Step 4. Paint the autumn foliage! I am not working full strength here because this is the first layer for the trees. Add darks to the left and right of the barn. Paint a few diagonal shadows on the distant hill to emphasize lighting. 


Step 5. Intensify the colors in the treeline. Remember the light is coming from the left so build your darker colors low and to the right within the trees. Add shadows under the pumpkins (Burnt Sienna and purples).


Step 6. Paint yellow on the lit side of the barn and pumpkins. Paint purple on the shaded side of the barn and pumpkins. Doing this will give these elements more depth and dimension.


Step 7. Paint the barn red. I used Scarlet Lake on the lit side and a mix of scarlet with crimson on the shaded side. Paint the pumpkins orange, saving some of the yellow light. Build deeper oranges on the lower right portion of the pumpkins to give them more dimension. Add stems to a few. Add the foreground branches on the lower left, running into the composition at diagonals. These help draw the viewer's eye to the barn!


As always, I thank you for this opportunity to share my recent work with you. I welcome your comments and suggestions.

Like what you see? Make it yours! Here is the eBay listing:
"Pumpkin Patch"

Blessings,
Jean

Happy Fall! In keeping with the season, here is my latest original watercolor and the step-by-step process. 

"Chickadee and Apples"
Original Watercolor
7" x 5"
Arches 140 lb. Cold Pressed Paper

Colors: New Gamboge, Scarlet Lake, Alizaron Crimson, Green Gold, Sap Green, Hooker's Green, Burnt Sienna, Peacock Blue and Royal Blue.

Step 1. Sketch and mask the entire foreground to protect whites. Paint the background using a wet-into-wet wash technique. I used New Gamboge, Scarlet Lake, and Hooker's Green mixed with Royal Blue and Burnt Sienna. As the shine just begins to leave the paper add the suggestion of a few darker leaves.


Step 2. Once completely dry, remove the mask. Begin applying light layers of color to the entire foreground. Be careful to save whites (indicating the light is coming from the top and left). I painted washes of yellow (New Gamboge) and purple (Alizarin and Royal Blue) to the apples so they will look more 3 dimensional once they receive their reds! I used Green Gold for the first layers on the leaves. Paint a bit of Peacock Blue on the top of the Chickadee's head. Mix Burnt Sienna and Royal to make black for the bird but stay light at this point.


Step 3. Intensify the colors by adding more layers. Leaves that had only one layer of Green Gold now have a second layer of Sap Green. Apples get their first layer of red. The chickadee becomes more defined here too. Do not work full strength yet! Save some of the initial layers and highlights.


Step 4. Finish at full strength now. Increase values to create depth and form. Add small finishing touches like fluff on the bird using gouche. Cut a circle out of the center of a paper towel that is the size of an apple. Mix up a dark reddish/purple puddle of paint and use an old toothbrush to spatter the apples (using the paper towel to protect the remainder of your painting from stray spatters).


Thank you for this opportunity to share my recent work with you. I welcome your comments and suggestions.

Like what you see? Make it yours! Here is the eBay listing:
Chickadee and Apples

Blessings,
Jean

What's the saying? "The eyes are the window to the soul"? Maybe I spend too much time getting them right in my paintings but when done well, the subject comes alive! When that happens, I am spurred on to finish the painting. Here are the steps I use when painting eyes:

Step 1. Paint the iris color (burnt sienna in this example) being careful to save a highlight.


Step 2. Paint the dark pupil (payne's gray and burnt sienna) and outline the iris. Continue to save the highlight.


Step 3. Darken the iris at the top. The upper lid usually casts a shadow so this makes the eye more realistic.


Step 4. Define the area immediately outside the eye.


Step 5. Soften the outside right edge of highlight by lifting color with a stiff damp brush. Lift additional color within the pupil out onto the iris just below this highlight. Drop in a bit of soft blue on the outside right edges of the highlight. Now the eye looks wet and glass-like!  


The eyes have it!

Thanks for looking!! Jean :)

Here is my latest original watercolor and the step-by-step process. 

"Midwest Summer"
Original Watercolor
5" x 7"
Arches 300 lb. Cold Pressed Paper

Step 1. Sketch and mask (barn roof line, top of wind mill, distant fence posts, left of foreground fence posts, foreground grasses and Queen Ann's Lace) to protect whites. Paint the soft blue sky using a wet-into-wet background wash technique. As the shine just begins to leave the paper gently blot with a paper towel to create cloud formations.

Step 2. Paint the grassy areas, again using a wet-into wet wash technique. Keep the distant hill/horizon line lighter to help create a sense of depth. Keep the areas under the barn lighter too, to direct the viewer's eye. 


Step 3. Add the trees. I used a small natural sponge to add the hardwood trees next to and behind the barn. Intensify the value at the barn's roofline, again creating a sense of depth.  


Step 4. Add the foreground grasses, once again increasing the value to create depth.


Step 5. Remove the mask from the barn. Add the first layers of color on the barn. Here I choose purple if the area will be shaded and yellow if the area will be bright.  I used a soft blue on the roof.


Step 6. Layer red over the barn once the previous washes have dried. Add a bit more value on the roof too. Now the barn is starting to take shape! 


Step 7. Add the detail to the barn (windows, door, & missing siding). Remove the rest of the mask.


Step 8. Paint the fence posts, grasses, and Queen Ann's Lace in the foreground. Add the finishing touches such as the old weathered wind mill and distant fence line.

Thank you for this opportunity to share my recent work with you. I welcome your comments and suggestions.

Like what you see? Make it yours! Here is the eBay listing:

Midwest Summer

Blessings,
Jean

Here is my latest original watercolor and the step-by-step process. 

"Bluebird Sentry"
Original Watercolor
7" x 5"
Arches 300 lb. Cold Pressed Paper

Step 1. Sketch and mask to protect foreground whites. 


Step 2. Paint the background using a wet-into-wet wash method (wet paper first, then apply paint). I used Green Gold and a mixture of Hooker's Green with Royal Blue. Use a rigger brush to add soft background grasses just as the shine begins to leave the paper.


Step 3. At this point the green gold base looked too yellow and distracting to me. I re-wet the paper with a soft spray bottle and gently applied a bit of burnt sienna at the base to calm the yellow down. Remove the mask to expose the white paper for the foreground.
  

Step 4. Begin developing the foreground subjects by applying light layers of color. Notice the soft yellows and blues on the bird. Although his final colors will be deeper these foundation layers give him more depth and a pleasing finish. I remain careful to save and emphasize light. In this painting I choose to show light coming from the top and left.


Step 5. Continue layering more intense color on the bluebird. Here I actually "sketch" with my paint brush as I paint, laying in feathers and saving light. 


Step 6. Spatter the fence post to add texture. Add the finishing detail work. I decided to spray the base of the painting with Cobalt Blue so that the light around the bird would be emphasized.


Thank you for this opportunity to share my recent work with you. I welcome your comments and suggestions.

Like what you see? Make it yours! Here is the eBay listing:

Bluebird Sentry

Blessings,
Jean