River Rocks

Over the years I've made a number of paintings with casein. Casein is actually an emulsion of milk protein and linseed oil as the vehicle wiith pigment added for the color. It dries like lightning and is relatively impervious to water or solvents afterward. (Remember how hard it is to get dried milk out of a cup.)

"River Rocks," casein on panel, 11x14

This casein is on a medium-size panel, done from various watercolor studies and a photo reference or two. The setting is the Raccoon River as it meanders through Waterworks Park here in the city. I laid it out as a rough drawing, then built up color and texture in layers. 

Except its rapid drying, casein handles remarkably well and often feels like oil paint as you apply it. Fast drying mean quicker application of layers, but you have to remember that it's more opaque than oils.  

 

Sunup

"Sunup," oil sketch on panel, 8x6

This oil is on a snall gesso panel. A few years back I did daily small studies to work on draftsmanship and color. This cup of coffee was one of my early morning subjects with the pink morning light streaming in. 

Never intended for sale, it's simply a little bit of mental exercise that started my day. I toned the panel with a wash of burnt sienna, which also served as a mid-tone, then painted lights and darks over it. 

Last Saturday

The sketch group went out in force last Saturday--the weather was lusciously warm and sunny. Alas a lot of autumn color had either faded or dulled and quite a few trees had shed most of the foliage. Regardless, there were still spots of color among the rusts and beiges. We went to Sherman Hill, the neighborhood of Victorian houses just west of downtown, each of us staking out a spot. 

"Sunny Day, Sherman Hill," wc/ink on paper, ~5x9

I found a place where the sun was full and surrounding trees were either bare or nearly. The multiple gables, varying windows and surrounding bareness were a challenge besides. I started with a fairly detailed graphic sketch, then laid on watercolors top to bottom. Since my intent was to study the house, I spent more time there and added significant inking for emphasis. The houses to the left were interesting too, but I didn't want to distract myself from the main subject. The dark red wall held an interesting shadow from the subject house, too. A bit more time would have improved the shadows below the porch roof and to the right of the house, which likely would make a more satisfying painting. Next time. 

Shoal

"Shoal," oil on panel, 16x20

This new oil painting is essentially finished but not yet signed. A river runs clear over smooth stones of various sizes--many very big--with a slow and sinuous current. Light streams across the water from the right side, giving the bottom a dappled look in the shallow foreground water and making the ripples bright.

Coffee Bar

Our sketch group was chased indoors last weekend by rain and snow. Luckily the temperatures melted the snow as fast as it fell. But it was cold, wet and grey outdoors so we went to a local architectural salvage concern that has a pleasant and uncrowded coffee bar. I sat at an antique table and drew some other customers as they queued for java. 

"West End Salvage," wc/ink on papeer

This particular sketch, like many I do, is in a 3.5x7 inch watercolor sketchbook. As always I drew a fairly comprehensive graphite rendering before laying in colors. After I was reasonably satisfied with color I went back and inked some spots for emphasis.  

More Autumn Color

"Fall Maple," wc on paper, about 5x11

This giant maple has suddenly caught fire. I pass this tree nearly every day while walking with my dogs. Until only a few days ago it was dark green, thriving in its wide open spot on a corner. But then, beginning at the edges and progressing almost like slow fire, the leaves went orange-to-red in a couple of days. It's not really possible to capture the actual colors we see (the science is complicated) but I did the best I could in a small watercolor sketchbook a day or two back. 

I began as always with a graphite sketch. Although I sometimes make an ink sketch before beginning a watercolor, most times graphite works well if you're sparing with it. After that it's a matter of seeing the variety of shapes and colors in the tree. I started with sky and then worked top left to bottom right with a wide variety of yellow/red mixtures and a fine pointed synthetic watercolor brush. The fine point enables very thin lines and tiny dots of color.  

Saturday's Sketch

Real autumn is here at last in Iowa. Everywhere are incredible, bright, unusual colors. Last weekend our sketch group were so taken by the colors around our usual meeting place (a parking lot) that many of us elected to stay put despite raw conditions. Fortunately, there wasn't much wind. 

"Greenwood Park, Fall," wc/ink, about 3.5x9

I stood at the edge of the grass and sketched the sloping land in Greenwood Park and the woods beyond that reach down to the Raccoon River. Here and there in the woods bright orange foliage seemed like fires set in the trees. And on the grounds of the Art Center, certain specimen trees glowed with nerly incandescent color. Once I had a rough graphite sketch I took shelter in my car and rain sprinkled down, trying to hint at the incredible colors.