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