There was a tussle in the studio this week. Between me and my painting of a lovely red cyclamen plant. No matter what I did the painting just wouldn't come out right. Even after I made pencil studies of the tricky parts and then tried again. And again. It was a good fight but finally I'd had enough. Win some lose some. So why am I telling you this? Because if you're following my blog there's a good chance you're interested in the life of a painter. And let me tell you, there are humbling moments to spare. But they're nothing to get excited or discouraged about. No, I just do my best and move on to the next, and try to learn from the experience. Each and every painting is another step toward mastery. Even if it's a turkey.

But that left me without a new painting to post. Fortunately I found three sketches in my Pandemic Summer of 2020 Stash that had somehow never made it onto the blog. And why was that? Because I was trying to grow as an artist and had been exploring new techniques. And my experiments didn't turn out exactly as I had hoped for and imagined. But really, what does it matter? So what if they've got a few flaws, they're still mementos of an extraordinary summer of my life. My life that just whizzes by.

As you might expect during an epidemic, I didn't wander far from home for these sketches. The first two were within a few blocks of my NYC apartment. The third was on a hot, sunny afternoon in Central Park's Conservancy Garden. I didn't get to paint outdoors as much as I do most summers, but I didn't spend the entire season indoors either. Here's the proof.

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Our Thanksgiving turkey was browning in the oven, and the guests were getting hungry. So I placed an appetizer on the table, and my sister said "Wow, that's beautiful, you should paint that!" 

She was right, of course. So when I got the chance I created a similar set up in my studio. I love the sweet/salty aromas and tastes that the subject evokes. And all the gorgeous colors and textures, and the beautiful cast shadow under the plate. It really was a delicious composition to paint!

This was a complicated subject and frankly I was a little intimidated by it. Since I'm relatively new to watercolor, I wondered how I could possibly preserve the tiny white flowers in the planter and the skinny little sprays of water in the fountain ... when there was a whole forest of trees standing right behind them. Well, the answer is: I didn't.

Actually I take that back, I did, a little. With negative painting. That is, instead of painting the sprays of water directly I painted everything around them and left the paper white where the sprays went. After everything dried I used a wee bit of white gouache* on top for extra oomph. However, I didn't have the patience to paint around every single itty-bitty white flower in the planter. So first I painted the foliage and let it dry. Then I laid in the flowers with gouache right on top. I even used gouache to lighten up some of the foliage in front. Hey, Homer and Sargent did this all the time. So I guess it's all right!

*(Gouache is an opaque water-based paint, so it can be used to paint light colors over dark. Unlike watercolor, which is transparent.)

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If you follow my blog you may already know that during my art school days I studied the figure, still life and landscape using oil paints. But I like to challenge myself and learn new things. So lately I've been reading up on watercolor techniques and trying them out.

Many old school watercolor books I've found are written by purists who use transparent watercolors only, and look down their noses on any use of opaque media. I get why they love the fresh, luminous look of transparent paint. But coming from oil painting makes staying in the transparent zone easier said than done. I'm used to the option of painting light over dark. And you can't do that using transparent paint. Light colors just won't show up over dark.

Nevertheless I persist. I continue practicing transparent techniques to get better. But sometimes, after I've already tried and failed, it's time to save my work ... by any means necessary! And why not. It's kind of liberating, actually. Besides, after a recent trip to the Metropolitan Museum I couldn't help noticing that many of the modern and old masters made drawings and paintings in mixed media. Watercolor with charcoal, watercolor with pastel, watercolor with opaque white, watercolor with ... you get the idea. I'm by no means a watercolor historian so I'm not sure when the cool kids got so pure. But I'll look into it and get back to you. 

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​< Yellow Carnations          All Posts          Hudson River Park >

​All right, all right. I haven't been posting much lately. But I haven't been lounging at the pool sipping mojitos, either. Because it's SUMMER! And that means it's time to sketch outdoors whenever humanly possible. Sometimes even when it threatens rain. 

I especially love going out with the Urban Sketchers. They're an international sketching club with many local chapters. What a wonderful group! It's completely free of charge, and people of all skill levels meet up to sketch together at great locations. I love the camaraderie and the generous sharing of work, methods, and materials. It's a nice change from working in solitude. (Although that's fun too.) Take a look, you may find a chapter in your city. Or if you can't, then go ahead and start one!

On recent sketching trips with the "Sketchers" I've been using gouache and/or watercolor pencils, trying to figure out their qualities and get the hang of them. What I'm learning is that they require quite a different mindset from outdoor oil painting. I'll write more about that mindset in a future post. In the meantime, here are three samples of my latest sketches. I really love these materials and hope to keep practicing and improving my skills with them.

And now I'm gonna quit writing, get my gear together and go outside ... before it gets dark! 

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Here in New York City we had a strangely balmy February, with temperatures occasionally rising into the 70s. So it's a good bet that March will bring an early spring ... along with the official ending of the 2017 Mallomar Season. 

Mallomars are only sold from October to March, primarily in the New York State region. So you may not know about these beloved, gooey, s'more-like cookies. They've got a marshmallow center, a graham cracker crust, and a crispy dark chocolate coating. Way back in 1913, when Nabisco first began making them in New Jersey, they were delivered without benefit of refrigeration. So during the warmer months the chocolate would turn into a melted mess.

But nowadays don't they keep their trucks adequately chilled? Why do devoted fans have to yearn for their return in October? Who knows. It certainly adds to their mystique. Perhaps Mallomars just like to play hard to get. 

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​Greetings, art lovers! Here's wishing you a Merry Christmas, Happy Hanukkah, Joyous Kwanzaa, and a wonderful holiday season, whatever you're celebrating. May the universe bring us all generous helpings of peace and love and things to smile about. And perhaps one or two small luxuries. And throw in a little comic relief once in a while. It couldn't hurt.

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Okay. So it's not The Godfather or Lord of the Rings. And it's only a minute and a half. But ta-da! It's my directorial debut, lol. Anyway, I'm so pleased that I finally figured out how to make a video slideshow of my latest gouache still life paintings. And ... it's uploaded onto my Youtube channel. For all the world to see. 

I do hope you'll visit Youtube and click the thumbs up button ... you'll find it below the video on the right. It'll be a hu-u-uge help for an artist, and you'll be doing your good deed for the day. Enjoy!

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Okay, so maybe they're not the sexiest vegetables on the dinner plate. But fresh raw turnips sure are pretty, with their lavenders and pinks, and their delicate, serpentine roots. So when I saw them at the Union Square Farmer's Market I decided they were coming home with me. Along with a ginormous bunch of eucalyptus leaves that perfumed the air as I set up my still life. 

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Jean Kessler, my mother, has been painting with watercolors for as long as I can remember. Recently she introduced me to Cartiera Magnani Portofino, a high-quality watercolor paper. It's hot press, and all that means is that the paper's surface is smooth. (Cartiera Magnani Aquarello is cold press, and that's the bumpy kind.) 

Verdict: I absolutely love it. This paper greeted my gouache paint like a dear old friend. It wasn't too absorbent for washes, which went on nice and smooth. And I didn't mangle the surface while making the inevitable corrections and changes. Fantastic!  Cartiera Magnani has been making paper in Tuscany since 1404, so by now they must know a thing or two. The only downside is that I couldn't find their paper at my local art supply store, so I had to buy it online. But that seems to be the new world order.

​So, what about you? Have you tried the Cartiera Magnani Portofino? Do you have a favorite watercolor paper? Do tell all about it in the comments. 

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