Yesterday’s quasi portrait is my pick of this week. It could be improved, for sure. But overall I am pleased–with the gesture, the drawing, the colors, the modeling. I wanted to leave the background unpainted, to show off the fact that I made no changes in the outside contour of the figure. But now I do need to make some changes, so I will try to match the color of the paper I was painting on to eliminate that dark edge atop her left arm, and to carve away at the neck and jaw on her left side. I would also like to point that I snuck in a tiny glimmer of teeth showing between her open lips. Even more so than hands and feet, teeth are the painter’s nemesis.
This brown card stock, which I have been using a lot lately, is called “carton board” and is made by Judson’s (Guerrilla Painter). It looks like stiffened brown Kraft paper but is sized to accept oil paints without absorbing them. It does kind of absorb the Gamsol, but dries out quickly. It leaves a spot. You can see a spot near her left jaw, where I was trying to carve away at it without deploying paint.
Other things I want to change about this piece: the eyes–too heavy with the dark line, I think; the transitions between colors in skin tones–too abrupt in certain places; the hair: too restrained–she has quite a mop, and showing that would add interest to the painting.
In my stories about the Circle of Six (or Seven), I showed you several examples of what my colleagues were doing with the same poses, but somehow I missed capturing this one by Steve:
Steven thinks this is his best drawing of Becky. For the blog that showed more takes on this pose, go here.
I have heart-warming news in abundance today. One of my little 6×6 paintings was selected by one of the sponsors for the Notecard project of the Women’s Caucus for Art. OK, that requires an awful lot of explanation. The WCA pulls together an annual exhibit to showcase members’ 6×6 pieces, which are sold for $66. Artists purchase the 6×6 blank panels from WCA and the money we raise from these sales of blank panels to artists goes into the scholarship fund. (We award a $1,000 each year to a NH woman attending art school in NH.) The sale of the finished panels generates revenue for the artists and the gallery, not the WCA. So this year, for the first time, our beloved leader (Suzanne Whittaker) developed the Notecard Project: ten sponsors donate a largish sum of money in exchange for the credit that goes with the publication of sets of ten note cards, each set containing reproductions of all ten 6x6s chosen by sponsors for such honor, to be sold throughout the year in various retail locations. The money raised from the sales of the notecards goes to the scholarship fund. The money raised from the sponsorships pays for the printing of the notecards, and a little bit goes back to the artists chosen to be in the notecard pack.
That takes so long to explain because there are so many interlocking elements. I was intending to show you my oown 6×6’s eventually, but had so much content on other subjects that I never got around to it. Here they are:
Barrington Editions, a business that creates giclee reproductions of artists’ paintings, is the sponsor who chose one of mine for the notecards. They chose the one I call A Walk in the Woods 1. To create these pieces, I cut up old watercolors to the correct size and mounted them onto the 6×6 panels. I enhanced them with black and brown ink, then I covered them with an acrylic gel, which protects the watercolor paper and adds a nice shine. Inspired by the shine, I decided to construct wires simulating windows. This turned out to be much more difficult than I had imagined, and I became worried that the wires were too fussy, especially for the first two, which seemed to stand well on their own. So in the end, I added the window wires only to the last two above, then forgot to photograph them in their little cages.
Other big news, which cannot wait: Nude Nite Tampa invited BOTH of my pieces. These two.
I’m not quite ready to part with Artists and Models, but now I have to. Am wondering if it will be any cheaper to ship two smaller pieces than the one large one that went down to Orlando last week, at a cost of $122. (I do hope it sells, but in case it doesn’t, the trip back home is already paid for.)
Aline Lotter is currently exhibiting:
at the Hatfield Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at her law offices at 41 Brook St in Manchester; and at her studio by appointment.
In February, you can also view (and purchase–of course!) some of my paintings and drawings at the McGowan Gallery in Concord, NH, (“Love, Lust and Desire” is the theme) and my 6×6’s at the Artstream Gallery in Rochester, NH.
If you happen to be near Orlando, Florida on February 14, 15 or 16, or Tampa, Florida on March 7, 8, and 9, you could (and should) catch Nude Nite, happening with music and other entertainment at these locations, respectively: 639 W. Church St. (blue freestanding warehouse just East of I-4) in Orlando; and 3606 E. 4th Ave., in Tampa. Hours are 6 pm to midnight. (Nude NITE, after all)
*I really have nothing to say to groundhogs, but am so grateful that Phil has ordained an early spring for us that I just had to call out.
Congratulations on the recognition for your 6×6 and the other two. Interesting to hear about all the interesting initiatives out there too.
Aline, this is all so very exciting! You certainly work hard and are so disciplined at painting! I’m happy for you and the Barrington connection. The watercolors on panels came out well, from what I see here. Can’t wait to see them in person! Congrats on ALL! Nude Nite Tampa too…woohoo!
Thanks to your advice re acrylic gels. I find they apply nicely to coat oil-painted panels as well. (Four unsold panels from prior years are also in the show.)
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