Monday, October 7, 2013

Home Again

Home Again ...


 

Even as I boarded the plane in San Francisco to return to New Jersey I missed the landscape, the steep rolling hills spotted with live oaks.  I am already counting the days until air drenched with the scent of bay trees and eucalyptus will fill my lungs. In an attempt to adjust to my New Jersey routine, I started the morning with fountain pen and paint playing The Color Scheme Game.
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Paint Brushes in Ceramic Mug



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Over the next couple of weeks I will post more of the plein air paintings from Mount Diablo, Mountain View and Tomales Bay.  Spending several days alone, camping near the summit of Mount Diablo allowed me time to reflect on priorities and precautions.  It is clear to me that I want to spend more time exploring the hills and mountains with pen and paint.  It is also clear, after my experience with the wild pig, that I need a tracking device so that my family doesn't worry about my solo adventures.  Already I am planning to spend two weeks camping in Yosemite.  For those of you who also enjoy the outdoors with brush in hand, I plan to offer multiple day workshops in State and National Parks beginning next year.  Stay tuned!  I hope you will join me either at a workshop or just for a day of painting en plein air together.
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Rock City, Mount Diablo, CA

Rock City, Mount Diablo, CA - En Plein Air - Watercolor



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Images:  Paintbrushes in Ceramic Mug - Still Life - Ink and Watercolor ..... Rock City, Mount Diablo, CA - En Plein Air Landscape - Watercolor

 
Home Again

Monday, August 5, 2013

New Tools, New junk, New possibilities

My love affair with the mouth atomizer continues unrelentlessly.  The possibilities for creating textures, subtle transitions, moods, motion and mystery prove to be limitless.  This amazing little tool justifies weekly trips to the local flea market to acquire lace, old tools and odd kitchen junk, anything with great shapes or open spaces.


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While hunting for a few low cost, poster size frames I found a few new tools that have proven themselves useful when combined with the atomizing.  Thank you, Martha Stewart!  (The vacuum nozzle, straws and doily are not Martha Stewart.... they are Route 46 flea market.)
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New tools and templates

New tools and templates



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Here are two of the most recent Orb paintings using my new junk and tools:
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Orbs No. 22, watercolor, 22" x 30"

Orbs No. 22, watercolor, 22" x 30"



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Orbs No. 23, Net to Catch the Wind

Orbs No. 23, Net to Catch the Wind, Watercolor, 19" x 48"



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As much as I'm looking forward to camping and painting en plein air in Vermont for the next week, I feel reluctant to leave the studio.  For the last month and a half since I've been working on the orb paintings, time in the studio stands still.  Fourteen hours can fly by and I hardly notice it.  Amazing what tapping into the energy of the Universe can do!  In addition, a long-time math friend has provided helpful nudges and insights.  While sleeping under the stars in Vermont I'll soak up all I can of celestial inspiration.

 

 

 
New Tools, New junk, New possibilities

Tuesday, July 9, 2013

Workshop - September 28 & 29, 2013, Santa Rosa, CA

Watercolor Techniques and Abstract Design Painting Workshop, September 28 & 29, 2013, rileystreet art supply, 103 Maxwell Court, Santa Rosa, CA (707) 526-2416


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Loosen up and enjoy the playful nature of watercolor!


Saturday, Sept. 28, 2013, 10 am - 4 pm ... Sunday, Sept 29, 2013, 11:30 am - 4:30 pm


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Experiment with a variety of techniques to enhance your unique creativity and style.  Explore wet in wet, glazing, splattering, mouth atomizer, pushing the puddle and homemade tools for special effects.  Enjoy two days of painting fearlessly with watercolor!
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Materials list will be emailed upon registration.
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Cancellations before August 28th will receive a full refund. No refunds after August 28th unless space can be filled.
Workshop - September 28 & 29, 2013, Santa Rosa, CA

Workshop - September 26th and 27th, 2013, Santa Rosa, CA

Color Scheme Game / Color Value Workshop, rileystreet art supply, 103 Maxwell Court, Santa Rosa, CA 707-526-2416


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Presenting a uniquely enjoyable, two day journey into the world of color schemes and color value to develop skills that can be applied to any medium, not just watercolor.  Learn to create a strong foundation of color value and shapes by playing The Color Scheme Game.  Create a full spectrum palette with only three tubes of paint.
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Thursday, September 26th: 1 pm - 4 pm ..... Friday, September 27th: 1 pm -4 pm
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Materials list will be emailed upon registration.
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Cancellations before August 28th will receive a full refund.  No refunds after August 28th unless space can be filled.
Workshop - September 26th and 27th, 2013, Santa Rosa, CA

Workshop - October 11, 12 & 13, 2013

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Salisbury, Maryland,Art Institute and Gallery, 212 West main Street #101, Salisbury, MD 21801


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Contact at the Art Institute and Gallery is Diane Heron - Education Director (410) 546-4748


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Color Schemes, Color Values and Expressive Watercolor Techniques


....  Presenting a uniquely enjoyable, two and a half day journey into the world of color, value and expressive watercolor techniques to develop skills that can be applied to any medium, not just watercolor.  Whether abstract or representational, a painting is only as strong as its foundation.  This workshop fine-tunes your ability to create a strong foundation of color, value and shapes while nurturing your personal style of expression

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Friday, October 11, 2013: 5 - 7 pm - Introduction to The Color Scheme Game and Color Value
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Saturday, October 12, 2013: 9 am - 3 pm - Building a foundation/Watercolor Techniques
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Sunday, October 13, 2013: 9am - 3pm - Developing a painting/Watercolor Techniques
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Money to be refunded in full only if cancelled thirty days prior to the workshop.  After that, no refunds are issued, only credit toward another workshop taught by Chris Carter (unless your space can be filled).
Workshop - October 11, 12 & 13, 2013

Saturday, July 6, 2013

Seashells No. 1 - Westmoreland State Park, VA


Seashells, Westmoreland State Park, VA

Seashells, Westmoreland State Park, VA




 

Seashells No 1. - Westmoreland State Park, VA


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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Collected from the beach after a storm.

VIEW CART


Seashells No. 1 - Westmoreland State Park, VA

Seashells No. 2, Westmoreland State Park, VA


Seashells No.1, Westmoreland State Park, VA

Seashells, Westmoreland State Park, VA




 

Seashells No 2. - Westmoreland State Park, VA


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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Collected from the beach after a storm.

VIEW CART


Seashells No. 2, Westmoreland State Park, VA

Seashells No. 5 - Myrtle Beach


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Seashells No. 5 - Myrtle Beach, SC





Seashells No 5. - Myrtle Beach, SC


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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Collected from the beach after a storm.

VIEW CART


Seashells No. 5 - Myrtle Beach

Fish Vertebrae - Artist Trading Card


Fish Vertebrae - Artist Trading Card

Fish Vertebrae - Artist Trading Card




 

Fish Vertebrae - Myrtle Beach, SC


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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Collected from the beach after a storm.

VIEW CART


Fish Vertebrae - Artist Trading Card

Waiting For Breakfast - Artist Trading Card


Waiting For Breakfast

Waiting For Breakfast




 

Waiting For Breakfast


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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While traveling on the road, I have many opportunities to draw creamers.

VIEW CART


 
Waiting For Breakfast - Artist Trading Card

Seashells No. 3 - Myrtle Beach, SC

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Seashells No 3. - Myrtle Beach, SC


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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Collected from the beach after a storm.

VIEW CART


Seashells No. 3 - Myrtle Beach, SC

Seashells No. 4 - Myrtle Beach, SC

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Seashells No 4. - Myrtle Beach, SC


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Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"). Rives BFK Paper. Shipped unmatted, unframed.
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Collected from the beach after a storm.

VIEW CART


 

 
Seashells No. 4 - Myrtle Beach, SC

Eucalyptus - Artist Trading Card

web-size-ACEO-Eucalyptus-Leaves-ink-watercolor-artist-trading-cards-chris-carter-artist-020113

Eucalyptus - Artist Trading Card


Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page (approximately 3" x 5"), Rives BFK Paper. Shipped unmatted, unframed.
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Gathered from beneath a tree at Ed Levin Park, Milpitas, California.

VIEW CART


 
Eucalyptus - Artist Trading Card

Sweet Potato Vine - Artist Trading Card


Sweet Potato Vine

Sweet Potato Vine



Sweet Potato Vine - Artist Trading Card


Image is Artist Trading Card Size: 2.5" wide x 3.5" High on a slightly larger sketchbook page. Rives BFK Paper. Shipped unmatted, unframed.
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I was able to dig up the root, save it over the winter and replant it this spring.

VIEW CART


 
Sweet Potato Vine - Artist Trading Card

Tuesday, July 2, 2013

Exercise: Altering Value Shapes

I tossed one of my old, incomplete sketchbooks into my bag before leaving to catch the train into New York City this morning.  My focus would be on simplifying the streets of the city into a minimum of shapes and only three values.  My inspiration came from Powerful Watercolor Landscapes: 37 tools for painting with impact by Catherine Gill, an excellent art book filled with great suggestions to put your tools and skills to good use as well as challenges to strengthen your skills.  The day, due to rain, didn't turn out as I had planned.  Most of my drawings were done while waiting for trains.  Even so, I consider it to have been an excellent day of learning.

 

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Gladstone-train-station-NJ-web

 

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Having missed a train out of Gladstone by only five minutes, I had an hour to draw the view from the platform bench.

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Gladstone Train Station

Gladstone Train Station




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I determined the percentages of dark, middle, and light value shapes and created several variations of the drawing by altering the shapes and the percentage of values, keeping in mind the Papa, Mama, Baby principle of having one value dominant (Papa), one value in a lesser percentage (Mama) and one value as only accent shapes (Baby).

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A narrow variation

A narrow variation




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Later, I hung out at Penn Station, out of the rain, drawing people, keeping in mind value dominance and shape/size variations.

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Penn Station, NYC

Penn Station, NYC





A Serious Discussion

A Serious Discussion





Checking Departure Gates

Checking Departure Gates




 

 

 

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Creating variations of thumbnail sketches is something I don't often do as part of my painting process.  I'm too impatient.  Today's exercise convinced me that my plein air paintings will improve in leaps and bounds if I do this before dipping brush into paint. I generally do one or two, but stop when I come up with an acceptable composition of value/shapes. Now I will not stop at the acceptable .... I will experiment with several more sketches, altering the reality just to see what impact it might have and if it can become stronger by moving another building, eliminating two more trees and changing the black car into a white car.
Exercise: Altering Value Shapes

Friday, June 28, 2013

Taking a Break

Studio painting and blogging don't work well together for me.  It's easy to post when I am painting en plein air, playing my color scheme game and most of the time when I'm traveling.  With the solo exhibit of "Healing Art" approaching in November, I have retreated to the studio.  It's just as well. The heat and humidity in New Jersey makes painting in the cool basement a pleasant alternative in spite of my frustration over painting in artificial light.


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'Glimpse' - 17.5" x 17.5" watercolor

'Glimpse' - 17.5" x 17.5" watercolor



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I'll post a few more of the paintings from last week's trip to Maine in the monthly newsletter that is going out on July 1st.  Here is one of my favorites from the trip.....
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Scarborough Marsh, Maine

Scarborough Marsh, Maine



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Charlie Brown on keyboard

Charlie Brown on keyboard




The live music at the Summer Solstice party was fantastic.  I did a few small paintings of Charlie Brown's band and Marc Chillemi's band.
Taking a Break

Tuesday, June 18, 2013

Two Red Anjou Pears - Artist Trading Card


Two-Red-Anjou-Pears-Fruit-ink-watercolor-artist-trading-card-ACEOchris-carter-artist-011713-szTwo Red Anjou Pears


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Artist Trading Card, Original ink and watercolor.One of several studies of anjou pears presented in a variety of techniques.
Drawn in handmade sketchbook.  Image is the standard Artist Trading Card size.  I send the full sketchbook page measuring approximately 3.5" x 5.25" for easier matting and framing.

VIEW CART


 
Two Red Anjou Pears - Artist Trading Card

Monday, June 17, 2013

Wall Frog

Wall-Frog-artist-trading-cards-ink-waterbrush-chris-carter-artist-020513-sz

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This crazy, rubber frog hangs out on the wall above my son's kitchen window.  I couldn't resist drawing him.  I drew in ink first with my a fountain pen, applied water with a waterbrush and finished up with an ink brush.
Wall Frog

Altered Reality

Another thought on focal points...


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When critiquing several artists' work last week I asked "What is your focal point?".  The artist responded that it was the front door of the house.  Honestly, I hadn't noticed the front door.  It was the smallest shape, the most neutral hue and had soft, blurred edges.  The windows to the far right and far left of the front door had the lightest light and the darkest dark as well as the sharpest edges in the painting.  My eyes bounced back and forth between windows from one edge of the painting to the other.
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Dolls in Washstand - altered reality

Dolls in Washstand - altered reality




"Why not make the door larger?" I asked.  "Then the whole house wouldn't fit in the painting," she replied. "Do you need the whole house in the painting?" I asked.  "Don't I?" she asked in return. "If what you're interested in is the front door, I don't think you need the whole house," I answered. "I hadn't thought of that," she responded. "What if you increased the intensity of the color on the door and neutralized the color on the windows?" I asked.  "But that's not how it was....  the door was in shadow and the sun was striking the windows." ..... "I don't know that though, do I? The photograph isn't hanging beside the painting. Isn't it more important to capture my attention with your painting than to tell the truth about where the sun was on the day you snapped the photo?"
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The artist's eyes lit up.  A smile crossed her face as she appeared to be liberated from a heavy burden.  "You mean I don't have to stick to reality?"  I returned her smile.... "Absolutely not!"
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Sketchbook drawings: drawn first in ink with fountain pen, followed by watercolor.
Altered Reality

Friday, June 14, 2013

Online Personal Lessons: Series of Four $70

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Online Personal Lessons:  Series of Four for $70


After previewing images of your work (minimum three images, maximum eight images) I will assign four lessons specific to your needs, based on the images, your choice of focus as well as the questionnaire. Upon receipt of order you will receive the questionnaire and instructions for sending images. Please make sure that you add my email address to your contacts so that you will receive my emails.  You may work in any medium.  Lessons will be assigned one at a time and each new lesson will be based on the results of the previous lesson.
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Either choose a focus that you would like to work on (for all four lessons) or leave it to me: Drawing, Color, Grayscale Value, color Value, Edges, Color Schemes, Line, Shapes, Textures
Online Personal Lessons: Series of Four $70

Online Personal Lessons: $20

online-art-painting-drawing-lessons-critiques-chris-carter-artist-2013-web-f


Online Personal Lessons: $20 each (See Series of Four for $70)


After previewing images of your work (minimum three images, maximum eight images) I will assign a lesson specific to your needs, based on the images, your choice of focus as well as the questionnaire. Upon receipt of order you will receive the questionnaire and instructions for sending images. Please make sure that you add my email address to your contacts so that you will receive my emails.  You may work in any medium.
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Either choose a focus that you would like to work on or leave it to me: Drawing, Color, Grayscale Value, color Value, Edges, Color Schemes, Line, Shapes, Textures
Online Personal Lessons: $20

Online Critique and Video $60

online-art-painting-drawing-lessons-critiques-chris-carter-artist-2013-web-d


Online Evaluation and Video Critique of Three Paintings


Using the same evaluation system I use for my own paintings, I will critique three of your paintings.  You will receive an emailed copy of the evaluation sheets as well as a link to your personal video critique.  Upon receipt of order you will receive instructions for sending images. Please make sure that you add my email address to your contacts so that you will receive my emails.
Online Critique and Video $60

Online Critique $35

Online-art-painting-drawing-lessons-critiques-chris-carter-artist-2013-web-b


Online Evaluation and Written Critique


Using the same evaluation system I use for my own paintings, I will critique three of your paintings.  You will receive an emailed copy of the evaluation sheets as well as a one page written critique for each painting.  Upon receipt of order you will receive instructions for sending images. Please make sure that you add my email address to your contacts so that you will receive my emails.
Online Critique $35

Online Critique $15

Online-art-painting-drawing-Lessons-critiques-chris-carter-artist-2013-a


Online Evaluation and Written Critique


Using the same evaluation system I use for my own paintings, I will critique one of your paintings.  You will receive an emailed copy of the evaluation sheet as well as a one page written critique.  Upon receipt of order you will receive instructions for sending image. Please make sure that you add my email address to your contacts so that you will receive my emails.
Online Critique $15

Focusing on Focal Points

Focal Points and Edges


A recent experience of judging an exhibit of watercolor paintings brought my attention to focal points and edges.  The questions I have to ask myself is "What do I want viewers to look at and why do I want them to look at it?  What makes the scene, the object, the patterns exciting and/or worthy of me spending time translating it into a painting?"  If I simply want to enjoy pushing paint around, I don't need to answer those questions.  If I want to snag someone's attention and keep their attention for at least thirty seconds, I need to use the right bait.
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Dolls in Washstand

Dolls in Washstand



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The answers can be simple.... "I like the pattern of the tree trunks as the light is hitting them. I like the shape of the teapot. The colors of flowers excite me."
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If it's the pattern of the tree trunks then I want to make sure they are the main actors and the foliage, sky and ground are not as detailed, not as sharp-edged, or as contrasty as the tree trunks.  If it's the shape of the teapot, I want to make sure that the tea cup, spoon, flowers in the flower vase, pattern of the tablecloth and the slice of cake don't compete for attention.  If it's the colors of the flowers, I want to make sure that I make them sing loudly by contrasting them against more neutralized hues.
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Sketchbook Drawing:  Dolls in Washstand - drawn first in ink with a fountain pen, followed by watercolor washes.  What do I want the viewer to look at in this little sketch?

 

 

 
Focusing on Focal Points

Tuesday, June 4, 2013

Drawing Death - Fallen From Nest

My day has not gone the way I expected....


A cool breeze tempted me out onto the front porch with my cup of coffee, a perfect way to start the day.  Beside a pot of Oxalis a seventeen year cicada lay on its back, the first I have seen on our property this year.  I was expecting them today or, at the latest, tomorrow.  The sound of their mating call was distant yesterday morning and grew louder as the day passed.  This morning it filled my ears like surround sound in a movie theater with the volume set on high.
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17 year cicada

17 year cicada



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Naturally, I picked up pen and sketchbook. I couldn’t ask for a more cooperative model.  As I began to draw, I realized that the cicada still lived, but I knew, not for long.  The creature had lived in the ground for seventeen years, a long wait for a six week mating binge followed by death.  The one I drew was silent and spent.  I hope it had been worth it for the noisy little winged creature.
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Fallen from its nest

Fallen from its nest



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I spent far longer than anticipated drawing my lovely cicada.  I’m nowhere near finished re-organizing my studio and cleaning the house for guests.  Being somewhat sensible I put it aside after the drawing was complete, hoping to paint it this evening.  Rather proud of being so disciplined I headed to the studio, filled a garbage bag with trash and carried it to the dumpster.  Had I been looking up at the bittersweet instead of down at the weeds I need to pull, I would have missed seeing the newborn bird on the pavement.  Not only was a filled with sadness, I was filled with awe at the beauty of the colors of its featherless skin.  The shapes of its head, distended belly and jointed claws intrigued me.  All thoughts of cleaning my studio vanished.  I retrieved my low chair, pen and sketchbook and began to draw.  I had absolutely no intention of putting off painting it until this evening.  I knew the colors would change and the moment would be lost..No sooner had I put pen to paper when the tiny creature’s belly grew even larger as it took a gasping breath.  Well, there’s a dilemma.  Most of the animals I find and draw are dead already.  When I’m done drawing them I bury them in my secret garden in the back corner of the yard. I had never drawn a dying animal until this morning.  Now I found myself drawing the second of two dying animals.  What is the right thing to do?  go in the house so that I don’t have to watch it die? Put it out of its misery? And what is the kindest way to put it out of its misery? Once I trapped a mouse and found it still alive but with a broken back.  I might have let the mouse out of the trap in the field to allow nature to take its course, but I was attached to this little mouse.  I greeted me every morning in my studio.  When it began eating my drawings, I knew our friendship had to end.  I thought that the “put it out of its misery” was a kinder thing to do, so I buried it alive........   I have always regretted that choice.  So ..... what did I do with the newborn bird?  I spent the next two hours drawing and painting it.  The skin changed color and the ants started to crawl all over it.  The baby bird continued to take gasping breaths at odd intervals.  Queasy is not the right word for how I felt.  It was certainly not the first death I had witnessed nor the first time I had drawn death.  I just hadn’t drawn an animal dying.
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I felt uneasy, yet calm and compassionate.  The little bird was not dying alone.  I was being witness to its passing and I was honoring it by recognizing the beauty it brought into the world as brief as it was.  I am grateful to have been at the bedside of Tom’s mother and especially at the bedside of my own mother as well as my first (and second but not third) husband and father of my three children.  I am also grateful for the experience of being with and drawing an old friend from high school who lay in a comma, brain dead while the time and date for pulling the plug was being determined.  I like to believe that being in the presence of the dying allows for resolution of the experiences both the dying and the witness have had in life, no matter how long or short.  It is a gift, not to be rejected, but to be embraced.  I hope the little bird felt the same way as it gasped for breath until it finally surrendered and passed to the other side.
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Sketch: Fallen From Nest - drawn first in ink with fountain pen, followed by watercolor

 
Drawing Death - Fallen From Nest

Monday, June 3, 2013

Risk Free Experimenting - The Power of a Sketchbook

Trying Something New


When experiencing a sense of comfort and control with a particular tool or technique, I know it's time to try something different, something unfamiliar. Maybe a different brush, round rather than flat. Maybe different paper, pigment, pen, ink or pencil. Maybe a completely different style.  Maybe just a small change in the approach to a sketch or painting.

Seashells-5-myrtle-beach-sc-ink-watercolor-chris-carter-artist-052913-web
Opening

Though I do a pretty good job at pushing myself out of the comfort zone, I'm still a creature of habit. I haven't been experimental with the style of drawing I often use playing The Color Scheme Game.  The last day of my road trip with Tom, I decided to try incorporating the wet in wet color mixing technique I enjoyed at the Don Andrews Workshop.
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Seashells No. 4 Myrtle Beach, SC

Seashells No. 4 Myrtle Beach, SC





Seashells No. 3, Myrtle Beach, SC

Seashells No. 3, Myrtle Beach, SC



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Though the top sketch may not look too different from the other two, similar sketches of seashells, I felt completely different when painting it.  I tapped into something different, I'm not sure what.  I do know that I got rid of a few cobwebs and opened a door to something that will make my paintings stronger.
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Sketchbook drawing: Drawn first in ink with fountain pen, followed by wet in wet watercolor washes.

 

 
Risk Free Experimenting - The Power of a Sketchbook

Monday, May 20, 2013

Exercise - Twenty Steps to Sketching and Painting Anywhere and Everywhere

I hear so any excuses for not drawing, for not painting, for not being in the right place for inspiration.  Bah!  I plug my ears.  Everywhere and Anywhere provides more than enough information, though maybe not inspiration, to draw and paint.  No more excuses!  Put on a pair of baggy pants with room in the pockets for a small sketchbook, a pen (or pencil) a waterbrush and a mini Altoid Tin with three pans of watercolor or gouache paint. That's all you need!

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Walk out your back door.... take twenty steps.... and draw.  Take twenty more steps .... and draw. Take twenty more steps .... and draw (paint, too).  Just do it!

 
Exercise - Twenty Steps to Sketching and Painting Anywhere and Everywhere

Friday, May 17, 2013

Four Day Workshop with Don Andrews

Pushing to a new level in a four day workshop with Don Andrews....


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I have admired the paintings of Don Andrews for years.  His colors sing. He  creates strong design through his use of shapes and values.  I've spent many nights re-reading his book Interpreting the Figure in Watercolor.  Though he is articulate, nothing compares with watching him lay the paint on the paper!
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medicine-man-b2-chris-carter-artist-watercolor-051613-web.

This painting began as an exercise on the third day, experimenting with granulated washes using abstract shapes leaving a few strong shapes unpainted, exposing the white of the paper.  After applying several layers of granulated washes, the white shape began to suggest a figure.  In the studio, it often takes me hours of throwing, splattering, washing off and tilting before a figure will emerge.  Twenty minutes after applying the first strokes of vivid pigment to the paper, the Medicine Man appeared.  I suggested the eye and mouth before packing up my paints for the day.
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Detail of Medicine Man's head in two stages

Detail of Medicine Man's head in two stages



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During the first part of the fourth day I softened some edges and suggested more subtle form.
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Medicine Man - two stages

Medicine Man - two stages



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The differences between the second and last stage may not be obvious at first glance.  The last, careful touches made a world of difference through my eyes.  Of all the painting I did over the four days, this is my favorite.
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Painting:  Medicine Man - watercolor - 9" x 13" image

 

 
Four Day Workshop with Don Andrews

Sunday, May 12, 2013

Color Scheme Game Kit (Duplicate)

The Color Scheme Game Kit includes a laminated color wheel, two laminated templates to create your own color wheels, twelve laminated templates to play The Color Scheme Game, one mini game card, one twelve-sided die, one ten-step value scale and directions to play both The Color Scheme Game and the Extended Color Wheel Game. I have laminated the template sheets, but you must cut them out. To fix a template to the color wheel I use a push pin and a wine cork (not supplied in the kit) It is not necessary to fix the templates to the color wheel.

I developed the game to learn more about color, color mixing and color schemes. It forces me to use new combinations of colors in my paintings. I start each day with a throw of the die.
Color Scheme Game Kit (Duplicate)

Saturday, May 11, 2013

Exploring New Territory in the Bay Area of California

My recent trip to California was fabulous.  The Watercolor Techniques Workshop at Riley Street Art Supply in Santa Rosa was filled to capacity.  I'm proud of how hard they worked and how courageous they were with their paintings.  Excellent work ladies!  It's not easy to let loose and break through barriers of preconceived notions.


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Riley Street Watercolor Techniques Worlkshop Ladies.

Of course I had to begin my trip sketching Hangar One at Moffett Field.
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Hangar One at Moffett Field

Hangar One, Moffett Field, Mountain View, California




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Hangar One, Moffett Field

Hangar One, Moffett Field



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And a trip to the Academy of Sciences in San Francisco.....
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Philippine Coral Reef Aquarium

Philippine Coral Reef Aquarium



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As always, staying with Joanie Springer and her two lovely kitties in Santa Rosa was a treat.  Joanie introduced me to the work of John Lovett ...  I turned her into a plein air painter! (Maybe) .


Matanzas Creek Winery inspired by John Lovett

Matanzas Creek Winery inspired by the work of John Lovett



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I met up with Nancy Roberts at Mount Diablo where she shared her favorite plein air spots with me.
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Nancy Roberts and the beginning of her plein air painting

Nancy Roberts and the beginning of her plein air painting



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The next two days were spent wrangling and roping with my cousin Jacque and her wonderful hubbie, Herman.
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Herman's Roping Cowboy Boots, with and without spurs

Herman's Roping Cowboy Boots, with and without spurs



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I rented my car for an extra day and visited Lick Observatory, stopping at the pull-offs along the switchbacks to paint.
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Along the road to Lick Observatory

Along the road to Lick Observatory



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My only regret is that I didn't get to paraglide with Mike...... hopefully in September .....
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I'm reorganizing my blogs and simplifying my life so that I spend less time on the computer and more time with pen and brush in hand.  Please be patient with me as I sort it all out.  Thanks!

 

 

 

 

 

 

 

 

 
Exploring New Territory in the Bay Area of California