Bonne Nuit Beach, Jersey, UK

This is for July 2011, Virtual Paintout, Jersey UK challenge. It's oil on 11x14 canvas panel.

Since I've never been to this part of Europe, I just randomly checked out the north shore of the island of Jersey off the coast of France, and dropped the yellow man in google maps, and viola, I saw this nice bay scene. (ref photo) The sky, the ocean, the beach, and mountain, makes this scene beautiful landscape material. In addition, this scene also reminded me one of Ray Ellis' paintings. The colors I used included cobalt blue, cerulean blue, sap green, van dyke brown, cadmium yellow, cadmium yellow deep, yellow orchre, ultramarine violet and white. I also kept the strokes relatively large and loose. In addition, I took out shrubs from the originaly photo so to see more of the beach.

Edgartown Lighthouse and Sailboat

We have been on Martha's Vineyard almost every summer. This year I finally decided to do a painting on the famous lighthouse in Edgartown. This is oil on 18x24 stretched canvas.

We visited the Edgartown lighthouse in mid afternoon, so the sun was starting to cast a side shadow. The summer beach roses were in full bloom. I took a few pictures, and the pictures reminded so much of a painting of Edgartown Lighthouse by the great Ray Ellis, who lives on Martha's Vineyard. The color and composition for this painting was inspired by an Ellis painting.

We were fortunately enough to have met Ray this summer at a gallery on Water Street in Edgartown. He was even nice enough to tell me the palette he typically used. Of course I had to get his autograph, took a picture with him and bought a few of his books, which I'm going to study some more in detail!

Three Sisters

This is a commissioned work of three sisters, Rena, Mary and Susie. It's oil on 18x24 stretched canvas.

The original photo was taken earlier this year at a family wedding in London. As the three sisters had been living in different parts of the world (Australia and Asia), it was truely a joyous occasion when all three of them were photographed together, relaxed and happy. After looking at some of my previous paintings, Rena asked me to try to capture the essence of that moment.

It took me a while looking at the photograph trying visualize in my head what the end painting might look like. (I have the habit of needing to visualize the end product in my head before I can pick up the brushes.) There were a number of technical difficulties associated with working from a candid photograph.

First of all, because of the flash light, all of the skins in the photo were a bit over exposed and too white and flat. So when I was painting, I had to deepen the shadows, and also make the skin color warmer than those in the photo while keeping the general brightness.

Also, I had to decide how much of the bodies to include. The original photo included almost the full bodies. I had to work backward to determine the amount of body to include on canvas. I wanted to place the heads above the middle line of the canvas and the faces to be big enough to be the main focus of the painting. So as I was sketching it out, the upper torsos were all I could include. Futhermore, I had to squeeze the sisters closer together due to the limited canvas width.

The original background was the banquet hall, with the wedding guests standing around, purplish lighting and round paper lanterns hanging from the ceiling. At first I thought I would just make it simple and keep the background black. However, I thought it would be too serious of a portrait background, especially with the big smiles and relatively relaxed postures. So I decided to keep the party feel, using a toned down purple and faint suggestions of round laterns with fuzzy edges so that the background would not overwhelm the portraits.

To begin painting, I first prepared the canvas with an acrylic black, including the four edges of the canvas. Once dried, I sketched in the rough outline of each person, and I painted the faces first using black and white underpainting. This is the Flemish technique I had also used before (see the Magdalena painting). I thought doing a black and white underpainting for the faces would give me a chance to fix any facial feature inaccuracies in my sketch, and also would enhance the brightness of the faces for the final product.

Getting the facial features right for one person was already hard enough, I had to make sure all three of them were accurate in terms of features and relative porportions of all three sisters. Moreover, I had to make sure also there were enough similarities among the three to convince people these were sisters. This definitely was not easy.

Once the black and white underpainting was done, I put in colors. The skin colors included Rowney flesh tint, viridian, naples yellow, violet grey, permanent rose, madder, and white. Hair included cadmium yellow, yellow orchre, ultramaine blue and violet, burnt sienna, and white. Dresses included colors such as alizarin, verimillion, ultramarine violet, viridian, compose blue, permanent green light, and magenta.

After working on it for about a month and a half, I was at a good stopping point to give the painting to Rena, especially given both of our travel schedules. I was very glad that she was very pleased with the painting. Also, in lieu of paying me anything, Rena is making a generous donation to the UNICEF. This painting is by far one of the most difficult paintings I've done to date, and I'm very glad to have been given the opportunity to do so.

Mountains and Clouds

This painting was done based on a photograph at Anastasia Art House. It's oil on 20x24 stretched canvas.

The original photograph looked a lot like Chinese brush painting, which is an ink and water based technique. I thought it would be interesting trying to use oil paint to achieve a different feel.

First, I started with the mountains, using oil paint diluted with two different mediums: turpentine and varnish. Diluted with turpentine, oil paint became thin and runny, and the runny paint created vertical edges and lines for the mountains. In fact, many of the runniness went all the way down to the bottom of the canvas. Diluted with varnish, oil paint was still runny, but less so than turpentine. So oil paint diluted with varnish was used on top of the turpentine layer, in order to give the mountains more definition, especially to deepen the edges along the top and some of the subtle valleys and rocks. The oil paint I used included sepia, olive green, viridian and cerulean blue.

After the initial mountain layer was dried, clouds were added. The clouds in the sky were warmer in color, using white plus cadmium yellow and coral. The clouds surrounding the mountains were colder and greyer, using white plus blue grey, violet grey, green grey, and grey on grey. Originally I painted the clouds using paint brushes, but I couldn't get the softness I wanted. So I used my fingers to smudge out the paint, giving it a lighter feel.

Moncks Bay Rider - New Zealand

This is for June 2011 Virtual Paintout, New Zealand Challenge. It's oil on 10x12 canvas board.

This month I was again running out of time because of the commission portrait work I was doing, also getting ready to go onto our 15 hour flight. While going through Google Map, I was drawn to yet another bicycle scene: a rider around Moncks Bay near Christ Church. (ref photo) I thought it was interesting because of the sunset light on the bike rider and its Z shape composition, and nice light and dark contrast.

The main color included compost blue, prussian blue, Paynes grey, yellow orchre, viridian, ultramarine violet, burnt umber, flesh tint, burnt sienna, orange, and cadmium yellow.

Forbidden City

This painting was done at Anastasia Art House. It's oil on 24x36 stretched canvas.

The picture is based a picture we took when we visited the Forbidden City in Beijing, China last fall. The photo was originally from the prospective of us, the tourist, looking up at these awesome buildings. In this painting, to make it less boring, I changed the perspective as being from a bird's point of view, flying towards one of the buildings. The angles of the perspectives are also skewed and a little more severe.

As the roofs took up the majority of the canvas, I created extra interest for the roofs with texture paste. Using a plastic fork, I created grooves on the paste. Texture paste was also used for some of the columns to give them a raised feel as well as some of the windows. That was a painstaking process, and took a few sessions at the Arthouse just on the texture.

Once the texture paste was dried, I painted with oil with the main color being Chinese red, vermilion, cadmium orange, chrome yellow, red brown, ultramarine violet and marine, raw and burnt umber, prussian blue, viridian and compose blue. At the end I added many details into the painting, including these little statues at the corner of the roof unique to ancient Chinese architecture, symbols on the exterior wall just under the roofs (those took a long time), as well as the gold color pattern at the top of the center building using pure gold color in acrylic.

This painting took a total of 4 months worth of sessions at Anastasia Art House. I finally had it framed, and it is hung now in my husband's office at work.

Sunflowers

This is for May 2011 Studio Atelier challenge, Sunflowers. It's oil on 20x24 stretched canvas.

I had always wanted a painting of sunflowers. So when I saw this challenge at Studio Atelier (ref), I thought I had to do the challenge. The single flower against a field of sunflowers with nice bright sunshine and blue sky makes a very nice painting. The yellow-orange colored flower is also a nice contrast to the blue sky.

I first prepared my canvas with a yellow orchre acrylic ground. The main colors included cadmium yellow, chrome yellow, cadmium orange, alizarin, madder, lemon yellow, viridian, sap green, ultramarine violet, burnt umber, yellow orchre, and compose blue for the sky. I also used sharper edges for the foreground flower, while fuzzier edges were used for the background flowers.