I Blog about an Artist's Life, journaling and sketching, creating Fine Art, using Colored Pencils and also Oil Paints. Working in the studio as well as "En Plein Air", (In the Open Air). Come in and join the fun!
My colored pencil work requires 20-25 layers of artist quality pencils. Trying to foster respect for artists who choose a nonstandard media is challenging. I hope this blog will show Colored Pencil deserves the respect from collectors and galleries as a fine art medium.
50th Anniversary Commission: 10" X 8" Colored Pencil on Ampersand Pastelboard SOLD,
Church of the Immaculate Conception, Jenkintown, PA
Working on a commission is always an exciting experience for an artist. Especially when the family of an artist friend is the commissioner. Which was the case for this commissioned painting. The children of a dear friend asked that I create a commission painting of the church their parents were married in 50 years ago. And they needed it F-A-S-T (4 days before varnishing!) Current photos would not have been appropriate to use since the church had undergone renovations during those 50 years. So the photo they provided me to use was needless to say small dpi and a bit grainy. (I've attached it below.)
I changed the composition a bit instead of just drawing straight from the photo. Leveling out the camera distortion a bit for the church, and playing up the spring blooming tree to the left. I felt by making the tree more important it would soften the hard edges of the architecture as well as help to settle the building into the scene. Down playing the street presence. Although the reference photo provided to me was old and a little desaturated from time I wanted to make this a bit more colorful.
Knowing this would eventually end up in the hands of another wonderful artist and friend, was a bit unnerving. We all want to do our best for any commissioner. Although I'm comfortable with perspective drawing, and love other artists city scenes, architecture is not my favorite thing to do usually. (I enjoy more organic subjects as a rule.)
Size suggestions were obvious, they wanted smaller but 6 X 8 would have been a little too small to develop a likeness, in my opinion. So we settled on 8 X 10 in a vertical format (10 X 8).
So there you go, a short show and tell about my latest commission. Happy Golden Anniversary Suzzie and Frank! Many many more to come! Oh and their daughter reported "Mom cried when she saw it" made me feel like I did a pretty good job for them. Although I never strive to make someone cry as a rule. LOL
Now back to my current project which has seen way too many distractions!
"Andre's Garden" a Plein Air Study, 5" X 7" Colored Pencil on Ampersand Pastelboard
The delays that life brings to an artist's schedule have kept me from posting new work and updates on my Blog. I hate to just post a picture and not let you know about the process, inspiration and possible difficulties in the completing of artwork. Rest assured that my absence has not been due to inactivity but on the contrary. I have been working on a colored pencil piece which I will reveal soon, along with photos in progress, as my entry into the 2016 International CPSA (Colored Pencil Society of America) show. Stay tuned.
The small plein air works in this post were started on a previous plein air outing season and set aside since they needed a few last minute tweaks and touches before I could call them complete. They can be seen or purchased, currently at Crossroads Art Center in my exhibit space. The first, "Andre's Garden" above, is the home of popular nurseryman and national call in talk radio personality Andre Viette, a local icon known for his gardening expertise, in Fishersville, VA. My intrepid Plein Air partner in crime Kathy, and I ventured there while out on a painting weekend and we found the gardens to be a pleasure. Finding it hard to position ourselves in one spot as there were so many to choose from. We eventually were rained out that day, thus the delay in finishing. Andre Viette's Garden.
"Lazare Pond" a Plein Air Study, 8 X 6" Colored Pencil on Ampersand Pastelboard
The above small plein air works were started on a previous plein air outing season and set aside since they needed a few last minute tweaks and touches before I could call them complete. The first, "Andre's Garden" was at a popular home of nurseryman and national call in radio persise in Fishersville, VA. My intrepid Plein Air partner in crime Kathy, and I ventured there while on a painting weekend and we found the gardens to be a pleasure. Finding it hard to position ourselves in one spot as there were so many to choose from. We eventually were rained out that day, thus the delay in finishing. Andre Viette's Garden
The second piece, "Lazare Pond" was from a great Plein Air paint out with several Moscow School of Painting masters who schooled us in Russian oil painting techniques when working in the fresh air. Located and hosted by Lazare Gallery in Charles City, VA. If you haven't enjoyed the works of Russian contemporary painter's you really must look them up. You can find their website here: http://www.lazaregallery.com/gallery/welcome.html
Kathy and John Wurdeman's gallery and home are on the scenic banks of the James River and do not disappoint. Lazare Gallery is beautifully decorated and the wonderful collection of Russian painter's they represent here are a must see if your in VA. Their son Jonathan is one of the Russian painter's who demonstrated his style and technique that day, and he acted as translator for us for the others Russian artists. Experiencing the gorgeous lighting in the paintings of these Russian master's at the gallery brought warmth to the cold November Day we were painting in.
Now at the time I had not started painting in water miscible oils, so I was working in "crayons de couleur" (the French term for CP), which is what they used when referring to my media. All of the Russian masters looked and commented with a nodding head as they reviewed my in-progress work, not speaking very much English. And I had to wonder what their impression was of my working in colored pencil..
You see at the Moscow school of painting, children to teens work for 4 or more years copying and drawing only, not painting when they enter the school. First mastering their rendering skills. So I think they thought I was a newbie and student. Not realizing I use this as my final media when working Plein Air. They also seemed interested in the fact I was using my trimmed off bristle brushes to blend and fill the sanded surface of my Ampersand Pastelboard. Well they we partly right as aren't we all life long students LOL ;))
It was a cold windy day so blending the wax of my Prismacolors was not easy. Usually in warmer weather the wax blends easily and with little effort. Which is one of the perks of doing Plein air work in colored pencils in my southern state of Virginia. Use this link above to see Lazare's website and read about the fabulous work of the Moscow School of Painting as well as to see beautiful examples of their work.
I hoping to post a little more frequently as life permit's, check back in for views of my current piece on the drawing board.
Workshops and Motivation To Do What We Love - Paint!
OR
In other words: Conquering doubt and the pains of stretching in your skill set.
"Late Summer - Plein Air Study" - Oil on Gessoed Hardboard 9" X 12"
The above oil painting is from my most recent plein air outing at Powhatan State Park along the James River this week. All but the clouds were done on site since they seemed to be everywhere except over the field I was painting. And my goal was for this to be a sky painting! I haven't done many with the Cobra water miscible paints but I'm happy with this one.
But I digress from the reason for this post. Note this is a long blog post sorry;((
It’s funny how ending one large time consuming project in your life - leads to self examination and sometimes an inability to get back to the art you love. If your like me, you channel yourself in household chores that we may have left for “the project”. Or you keep yourself busy with the "office to do’s" in an artists life. Computer work, website updates and getting caught up on the accounting of your business, can provide necessary distraction..... Errr Umm procrastinations..... All the while dabbling in but not really completing any of the works you have on your easel.
Knowing this about myself I had signed up for a wonderful workshop from an artist who’s use of color is inspiring, clean and just plain makes you happy. And HAPPY is what I needed to get much more of lately. Her name is Dreama Tolle Perry and you can find herjoyful paintings and workshop info HERE.
Dreama'a 3 Day Workshop in Paris KY, is in oil and for me this was the first workshop I’ve actually done in oil. Even though I have studied with other wonderful accomplished oil painters - Charlotte Wharton, (who’s plein air insightful workshop I did in pastel) and Barbara Nuss (who’s plein air workshop I did in my usual colored pencil). (Click on their names for links)
Out of my comfort zone and into the fire was how I felt. After all I had only completed one oil plein air sketch to date before I went on this adventure. Dreama’s lovely loose brushwork is much different than the tight style I’m known for. Her easy going start to her casual paintings is completely opposite from my controlled composition and exacting line drawing whether “en Plein Air” or in the studio. Oh and did I say her expressive brushwork is just short of gobsmacking!
All of this coupled by her enthusiastic “joyful” demeanor was contagious. So on Day One - I laid out her translucent color palette in my water miscible oils, picked up a brush too big for my comfort zone and started on this lovely image provided by Dreama. I was thinking, learning to use her format of working thru a painting "alla prima” (fresh - wet on wet) shouldn’t be hard, since I had only tried 2 other paintings in the oils before. After all I had no bad habits to unlearn, and Dreama made it look so easy. However day one provided a big challenge for this detail oriented mind. But I love her joyful use of color and I was determined to “Get” this new media.
Day Two - Da Dun Dahhhhhh (Cue: doom and gloom sound effects) Let’s just say day two enabled me to have a refresher course on what it was like to start a new media, no matter how experienced you are in other media.
Humbled and grappling with how to control my brush and this new oil media left me frustrated and feeling defeated. I was trying to channel Dreama’s style and failing big time! I looked around and saw 17 other artists enjoying the day and their paintings and wondered what was wrong with me? Even my supportive friend Kathy Scott, oil painter and roommate for this trip, was having a great time. Day Two's painting was a complete “wiper”. Or at least one that will never see the light of day! I went back to the hotel whipped and feeling defeated. It took more than one glass of wine Kathy so wonderfully provided before I felt better.
That night I had to dig deep and think about the “why” and the “how” I was going to recover from Day 2, and get thru Day 3. We had some really good artists in the group from all over the US and one from Israel! And they could do it. Then it dawned on me……Cue: Light bulb symbol…... What I realized was that all of the other artists were working with Dreama’s palette but in a style they were comfortable with, their own. I was not. This was no failing with Dreama’s teaching, it was I believe, a result of the inner conflict I’ve been having with where my art is going. After all I was new to oil, I didn’t have “a style” in this media yet.
So Day Three - Paint from our own reference. I needed a new outlook. And Dreama’s words of wisdom on that very Day, helped me realize "I needed to fill myself with the joy to create and work in my own style and however that developed would be just right for me”. (Paraphrasing here but she said something like that).
Sometimes what we need to hear, comes at just the right time to be heeded in all areas of your life. And for me this was truly one of those times. (Cue: angelic singing)
"Fleurs" Oil on gessoed hardboard 5" X 7"
My piece for Day 3 came out much better than I had thought it could have on Day 2. More importantly I learned how using transparent colors keep your colors clean and bright. Dreama's approach is truly a great start to my oil painting future, from her palate to her infectious optimism. I may bring forth more detail because that’s what I love, and it’s OK, but I will heed her words as I find my future in my art.
If you can't see it below, Here’s a link to Dreama’s video of our workshop. HERE
Thank you Dreama Tolle Perry for being an inspiring teacher, artist and the voice of "what I needed to hear when I was ready to hear it" at your very special workshop. Oh and for exposing me to Paris, KY! ;)))
I promised you more Plein Air pieces and here they are:
"Pier 22 Annapolis Docks" a 8 X 6" Colored Pencil on Ampersand Pastelboard completed during a weekend workshop on location at the docks. My BFF and fellow plein air junkie, Kathy Scott also worked at this view in her native oil paints.
In Sept. we attended a plein air workshop from Oil Painter - Barbara Nuss who's book on Composition we both own and hold in high regard. Which can be purchased from her at her website HERE or at a Barnes and Nobles.
Now again most workshops I attend in plein air are for other media, not colored pencil. But I always feel you can learn from other artists in their approach and palette. I just translate in my head the colors they mix or demonstrate into my well known Prismacolor shades. Black Grape, Moss green etc.
To the right is Kathy's 10 X 8" piece done in Oil "Dockside Bar" Her piece was also finished in the studio afterwards. To view more of Kathy's work her website can be viewed HERE You can see the differences two artists observe in the same view. It is the artist's prerogative to add or remove elements they find distracting to their subject.
The view across from the main dock area was in constant motion. The large sail boat Woodwind II from my piece, came and went in the 4 hours we painted in the sun. A large bay charter boat came and went from slip 22 every hour and a half. Blocking our view and making us move our set up spot initially. But such are the perils of working in the fresh air!
The above shown pieces were from our second day of the workshop, Sunday. On the prior day, Saturday we watched a demo Barbara completed from the window of the Quiet Waters State Park in Annapolis, MD, while we waited for the rain to clear. Then it was out to the South River view to take it on for ourselves.
So my "South River View" an 8 X 8" Colored Pencil on Ampersand Pastelboard came to be. Now again, my colored pencil works are usually near 75% complete on location, with the build up of layers and saturation of color added afterward.
We concluded our trip to Maryland with a detour thru Chads Ford, PA to see the homes and studios of N. C. Wyeth and his son Andrew. What a treat!
I do have a few more works yet to see the finishing touches from other 2014 plein air adventures in CP.
Finally after a very busy Fall I am getting back to blogging. My apologies for letting things slide here on the blog. But on the positive note I have been creating out in the Open (Plein) Air. Which was one of my goals for 2014. The piece to the left is one started on site in June at a location in the Bellevue area of Richmond, as part of the VA Plein Air Painters group of which I am a member. It is currently on exhibit at "Stir Crazy" the local Bellevue area coffee shop, as part of our group exhibit. The lovely home at 1622 Pope St. is featured only in part here because this was not intended to be a home portrait. But it was to be a study in the dappled light falling on the lawn and seen thru the trees between the lots.
Thus the title: Dappled Light - 1622 Bellevue SOLD
The scan of this piece is reading a little red and with a slight cast of acid yellow which does not appear on the original piece. But I gave up trying to tweak it in Photoshop. If it does not sell at the show I will photograph the piece again to get a better image truer to the original's color.
10 X 8 Colored Pencil on Ampersand Pastelboard. I would say 70 percent of the image was done on site with the final saturation of color completed in the studio. We worked about 4 and 1/2 hours on site that day.
Prior to putting the finishing touches on this work I had started several pieces in plein air this season and am in the process of putting finishing touches on the rest. Our Plein Air group considers works done en Plein Air, works that where 85% of the image is finished on site. (No matter the media) So this one is noted as Plein Air and Studio for that reason in the show. Accomplishing 85% in one working period out of doors is a feat I have only accomplished a few times in CP and the results are smaller works generally. Unless I can use a toned board, but that effects the overall colors in the works due to the translucent nature of CP.
Look forward to the next installment on my 2014 Plein Air Season and my new addition!
Sunday Park Plein Air 6" X 12"
Colored Pencil on Ampersand Pastelboard
Summer 2014 started with working "En Plein Air" (in the open air) with colored pencil and it's still going strong. So while my posts have been a little farther apart I have been working on getting my speed up and working in new and various sizes. 2013 and prior I mostly worked in 5 X 7 sized pieces and one 8 X 10 but I had vowed to work a little bigger in plein air this year. Many other media painters work their plein air just as small but they may get 2 pieces done in the time I work on one. No matter, it's all in the doing as far as I'm concerned. The above piece was at a local park here in July at Brandermill's Sunday Park. A small park in Chesterfield County, VA. Quiet during the week and just a perfect spot for working on my speed. I liked the long format of this board and had previously only worked on my backlit fruit series on it. See here or here for a sampling of that series. One of which I don't think I ever placed on the blog is:
Backlit Citrus 2 6" X 12" Colored Pencil on Ampersand Pastelboard SOLD
While I liked the long format for the still lives mentioned, I'm finding I also really like this long format for a larger vista. So I will be sure to do more plein air pieces on these boards.
The largest piece plein air I have tried was 9" X 12" on a 5 hour session plein air and a few hours at home. Virginia is blessed with at least one lavender farm in the Blue ridge mountains east of Harrisonburg. My favorite plein air pal and side kick, Kathy and I ventured out for an overnight in the area on the hunt for plein air sites. White Oak Lavender Farm was our first stop, day one of the trip. As a gardener, woman and foodie it's a little distracting at a place like this because you just want to buy up their plants, scented lotions, lavender balsamic vinegar and lavender blueberry jam. Yes, you heard right lavender balsamic vinegar! But I digress.....
Although it's a great place in a quaint Shenandoah setting, it's not the quantity of lavender you see in Provence. But since I was bummed my friends were in France and I was not this would do nicely. Our hard winter was hard on the lavender and so a little imaginary enhancements were added in the following piece to even out the farm's replacement plantings in some areas.
Lavender Fields 9" X 12"
Colored Pencil on Ampersand Pastelboard
While I think capturing the distant Blue Ridge mountains and more distant rolling fields of the farm went well, most of the work on the foreground field of lavender was completed at home. Lavender is very hard to capture well, but I did my best.
Did I tell you that working outdoors in a field of lavender is dreamy! No other word for it d-r-e-a-m-y! As the breeze on this overcast day blew by, the scent was ethereal, not over powering just light on the wind. Kind of like the approaching rain heading our way. It held off until just the end of our session when we could not wait any longer to make our purchases in the farm's gift shop.
I'll add some more plein air work in another post but for now you can see some of what I've been up to.
A week ago Richmond had it's second Plein Air Event sponsored by Brazier's Gallery
on West Main Street. Nationally known artists from around the country and locally competed in an week of plein air painting with the beneficiary our local Richmond Symphony. Having participated in a past Richmond Symphony fundraiser and as an ex flute and piccolo player, it's a great group to support. Two of my friends and I went down for the Fast and Fresh painting on Sat. morning where artists where set up on Monument Ave. in various locations to paint from 9am to 11am, with a judging and sale afterwards. I have to tell you I met some plein air painters I had only read about in Plein Air Magazine, I was a groupie for sure. Oil, watercolor, pastel and acrylic all media represented except my beloved CP. But what this morning out had accomplished was just what I had hoped it to, inspire and motivate my two friends to try plein air working for the first time. Resulting our plan to do so this last Thursday.
On June the 20th my two art friends and I, plein air painted at James River Park in Chesterfield County, VA. I of course worked in Colored Pencil while the other two worked in oil and acrylic. Working with other painters is not new to me as I am often the only one working in colored pencil. My usual goal when working outdoors with painters is to accomplish as much as possible in the same amount of time as they are willing to work onsite. My slower to develop media means I'm usually the last to leave with less accomplished. I accept that fact and by now I have learned to set a few goals for myself for each outing. This time the goals were to get as much done faster than I have ever done in the past and to get a good feeling of atmospheric perspective. I worked on an 8 X 10 hardboard that I had primed a while ago, a pale greyblue color with Colorfix's Blue Haze Primer, creating a sanded surface. It seemed the perfect color to work fast and fresh on my own (see reference to the plein air event above).
Above is the cropped view of my photo taken before I started.
After scouting out a location at the park with a view of the James (which was very muddy after some thunderstorms the night before). We set out to work, my friends for the first time ever working plein air. I thought to myself, "if it's their first time then I just may be able to accomplish a lot this time". I usually work on white Ampersand Pastelboard (my favorite because of the ability to get truly light - lights) colored pencil being a translucent media. This meaning the blue under-color of my primed board will show thru and change my hues and brightness. On this bright and relatively cool June day I would be able to work more quickly not starting with a white surface. Here is what I was able to
accomplished in a 3 hour period of time (above). Now this photo turned out a little more warm in tone than the second one to the right, not sure why. The right one is also a bit bluer than the original due to my great photography skills, not sure why either. ARGGG. After arriving home and a quick bite to eat a late lunch, I took the above photo and sat down to work less than 30 more minutes on tweaks and missing info like: the ripples in the water and deepening the tones a little. Really, I only worked a short time on this. You will notice I added a smaller version of a tree on the on site photo to the lower left foreground, to point your eye into the painting a bit more. Not sure if I like it but it's there to stay.
What I learned this outing:
#1 You cannot use watercolor pencils for an underpainting on the Colorfix primed surface, it will lay down well but when hit with water the color beads up on the surface and does not sink in like it does on the Ampersand Pastelboard I usually use. When I have worked on the pastelboard I work 5 X 7 but this blue primed sanded surface allowed me to work 8 X 10 and get a lot done. However it would have been faster if I could have underpainted with the WC CP's. With this subject matter the blue hue of the board did not impact the overall tone much.
#2 Working with inexperienced plein air friends allows me time to get more done, thanks Kathy and Suzanne for trying this with me. Next we are off to Suzanne's.
#3 There's nothing like getting out to see other professional artists plein air paint to get the inspiration juices flowing.
#4 I have great friends who will accompany me to paint plein air and to go out of their comfort zone and try new things.
So everyone get out there and do some sketching, painting, observing. Whether it's fast and fresh, or as slow as CP we all can benefit from working outdoors. First time or not we all have something to learn. I'm already contemplating my next plein air goal in colored pencil. Have a colorful day!
Provence Windowsill 12 X 16 Colored Pencil on Ampersand Pastelboard
The typical VA creeper we have in here seems to take on a much nicer appearance in France than in my our back yard. Not sure if it's the ambiance of Provence or the variety they grow there. The windowsill here from the beautiful town of Lourmarin in Provence was a striking image and the photo of my piece appears to be a bit washed out here. The original has much more depth of color, trust me. I may have to redo the photo. But needless to say the piece is finished and will be part of the UNOS Gallery show Nov. 2nd thru Dec. 29th (United Network of Organ Sharing) called A Splash of Provence. The group of 19 artists I traveled with to France this past summer will all be showing some of the work we produced as part of the exhibit. A portion of the proceeds of each sale go to UNOS.
www.unos.org/
United Network for Organ Sharing (UNOS) is the private, non-profit organization that manages the U.S. organ transplant system under contract with the federal ...
700 North 4th Street Richmond, VA 23219 (804) 782-4800
A very worthwhile cause to be sure and we are very proud to be showing there. Some of the pieces are the very plein aire paintings produced in France and there will be some studio pieces also. I will have both in my shown works at the gallery. We have artists of all media showing and I hope it is a great success.
View of Roussillion, France and it's Ocher pigment in the mountain.
Yesterday was our trip to the perched town of Roussillion, where the ocher pigments
My beginning for the view of Roussillion.
were mined, in all shades. Finding the
town which is only about 15 min. from Bonnieux was a little tedious as 2
of the roads were washed by mud slides. So the third option 25 minutes
later panned out. Climbing in switchbacks the whole way up "Bubba" our
new vehicle made the trip up smoothly. Such a change from the vehicle I
started out with. Thank you Hertz!
Lavender fields in many areas were out
(not as much as farther south) and proved good photo ops. As the driver
I had to stay in the vehicle so I'm waiting for the copies my car mates
ran out to get while I hung on to the edge of the road. Look for them
in follow up posts when I get back. Being the designated driver has
it's downfalls as I can't shoot so many of the quick shots of this
wonderful landscape while driving, like my car mates can.
As you can see my start for the view of
the town was slow to develop. The Mistral winds were at first a
thankful gift for this hot day but soon became.a force to be reckoned
with. As the ochre colored sand and dust blew across the parking lot
where I sat in the shade, I soon had more grit in my eyes and teeth than
I could stand. Here I'm working on a 5 X 7 piece of green ampersand
pastel-board. laid out initially with 10 % french grey. The drawing
needs corrected some but the various little buildings are at varied
angles which I observed first hand while in town. This is as far as I
got in about an hour and 15-20 minutes. It was difficult to not loose
your place while doing the sketch, while holding on to your supplies n
the wind. I hope to add some more to it from my photos. More to come.
This is a 16 x 12 Colored Pencil on Ampersand Pastelboard piece that was finished a few weeks ago. The reference for this was taken at Richmond's Maymont Estate a wonderful Victorian manor and local wildlife park. The sculpture of the 3 Graces is one of my very favorites and with a setting overlooking the James River here on this cold day in early spring was just magical.
Still working on my landscape skills with colored pencil on board and finding my way to my landscape style. Not sure this is it but when I started this blog I didn't want to show just my well done works but how the process of developing and growing as an artist goes. Stumbling along the way when you try new genre or techniques is all part of stretching as an artist. I have completed a several landscapes that I am happy with, and hope that I create many more. For me still life and botanical work comes much more easily, but easy doesn't lead to new discoveries.
As I remain committed to colored pencil work as a painterly media I must learn to embrace experimentation in order to achieve my goals as an artist. So here you go, one of my experiments.
Keep creating and stretching.
I finished this colored pencil painting just before my vacation last week and needed to settle on it a while, you know like we all do with newly finished work. Set it aside, look at it, put it in a frame to check it out, look at it some more and then leave it for a week to see - is it really done. Well, I guess so as I photographed it today, and here it is. Done except for the 6 - 8 final coats of UV Varnish which I'll do tomorrow. I like to shoot it after I spray it with matte fixative but before the varnish as I think the added coats make it harder to photograph. It's done on Ampersand Pastel Board. So it can hang without glass, protected by the UV Varnish.
The lighthouse in lower Nags Head, NC is a familiar site for vacationers to the outer banks. And is one of the reference shots from our Trip at the end of May. The view is from the marsh lands looking back to the light from the deck platform. Catching the reflection in the marsh water was a unique shot of this often photographed lighthouse. One of the many pieces I will be working on for a gallery in the outer banks. I hope you enjoy my take on it.
I've been working on this study for a few weeks off and on, trying to get the look of the ocean, it's color and action. This was an exercise for a larger piece coming next and my first try on Canson Edition paper. Not sure I like this paper as it doesn't take the layers my normal Stonehenge does or for that matter what my HP Watercolor paper does. But a Study is just that but I do see some uses for this paper in adding it to my artists journal as is is supposed to handle mixed media too! For this I used 100% colored pencil, no wc pencil under painting. But I will have to try that out when I add it to my artist journal.
After dealing with many on going internet issues (2 months with Verizon checking my lines, modems and such) I hope to get caught up on blogging and other communications. But today I'm planning on getting my newest water themed piece of and running. Line drawing, and transfer to board on the agenda. Will show you the progress in a few days.
