The Journey and Process in Life and Painting

I paint because I’m in love with my subject and I am delighted by the process of applying colour to a blank surface.

In the book Art and Fear the writers suggest that the observers who admire the finished piece of work have no interest in the artist’s process:

MAKING ART AND VIEWING ART ARE DIFFERENT AT THEIR CORE. To all reviewers but yourself, what matters is the product: the finished artwork…In fact there’s generally no good reason why others should care about most of any one artist’s work. The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars.  One of the basic and difficult lessons every artist must learn is that even the failed pieces are essential.

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Acrylic Painting Tutorial – Iris

Right now, I’m headed outside to paint iris and lupins. Here is a repost of a blog I made in 2010 about painting at this time of year. I will try today to express the emotional connection I feel for iris as I did in this painting.

irispainting2010There were gorgeous, large bearded irises in my grandmother’s garden over 50 years ago. My mother transplanted some to her garden and eventually I had them in my garden. They moved ½ way across the continent with us when we came to Nova Scotia and are blooming like never before.

Bearded Iris from my grandmother.

I know my mom and my grandmother would have loved the yellow variety that I’ve added to the ancestral iris. And I know they would have loved the wild purple, pink and white lupins that grow like weeds here and especially at our place.

Lupins ring our land and the colour is often deep purple.

I want to show you how I painted and drew these flowers using fluid acrylics over a base of wet matt medium and I’ve made a tutorial for you about this. Enjoy!

I paint from life and in early June, the lupins and iris are in bloom here in Nova Scotia. I brought some into the studio and placed them in wine bottles so that I could have good close-up examples of the lupin in the distance.  Although I prefer to paint on location, at this time of year the black flies are biting, so I paint inside.

There are lupins growing in the distance.

I started this painting applying watered-down acrylic on a primed canvas. I wanted to achieve a soft, wet in wet watercolour effect.

When that dried, I applied a thick coating of matt medium over the entire canvas and then painted into it with my fluid acrylic paints. I keep them in sealed plastic containers in a muffin tin. That way they are always ready to use.

I try to limit my palette to five colours or fewer because it creates a better colour harmony in the painting. I paint with nylon brushes and I also use a rubber-tipped scraper to draw shapes into the painting.

I dip the scraper into my paint and draw with it much like dipping a pen into ink. I like the calligraphy effects that I can get by pushing the paint away and creating a line and a texture.

If the medium gets too tacky, I moisten it with a spray of water. The water also makes the paint run which adds an interesting softening effect to the work.

Golden fluid acrylics are transparent and have a high level of pigment.

As long as the medium is moist, the painting can be worked on and the scraping will reveal the colours underneath.

I love iris and I deliberately choose purple and yellow because they are complementary colours and they make the painting vibrate.

Although I have an easel, I painted this on the floor because otherwise the entire painting would drip and run if I placed it upright. That’s because I have a coating of wet matt medium on the canvas and that is the tip or secret that I am sharing with you.

Painting on the floor.

I came across this quite by accident and now I almost always paint with acrylic this way. For one, it delays the drying period, which I like; but the biggest advantage is that I can create all kinds of textures and linear marks in the painting by pushing away the colour with a scraping tool and revealing the layer of colour or canvas underneath.

I bought a gorgeous yellow iris at a plant sale this spring and I wanted to make it the focal point in this painting. Unfortunately, by the time I painted this, it had finished blooming, but I used my huge purple bearded iris as reference. That’s the beauty of being the painter. You can change the colours of anything in your painting to suit your mood!

Airing out the painting. (sold)

Check list for this painting:

Golden fluid acrylics

Rubber tipped scraper

Matt medium

Spray water bottle

Ancestral flowers

Painting detail. The purple bearded Ontario iris transforms into a yellow Nova Scotian flower.

Show of Paintings – Jan / Feb 2013

Hi there!  I’m thrilled to tell you that I’m having a showing of my paintings in Bear River at the end of January.  This will be an opportunity for me to show large paintings from the last couple of years in one space.

I will work on a painting onsite during the show.

Saturday, January 26 – February 3: A BRUSH WITH LIFE: paintings by Flora Doehler

the Rebekah
 downstairs location (1890 Clementsvale Rd.) in Bear River.

Gallery opening with refreshments on Sat Jan 26, 1 – 4 pm.
I will be at the gallery from 1 pm to 4 pm (or by appointment) on the following days:
• Sat. Jan. 26, Sun. Jan. 27
• Thur. Jan. 31, Fri. Feb. 1, Sat. Feb. 2, Sun. Feb. 3
I’ll be painting starting on Thur. Jan. 31. All welcome.

For more information, please email me at flora.doehler@gmail.com

Summer on Brier Island, by Flora Doehler, c. 2012.
Summer on Brier Island, by Flora Doehler, c. 2012.

Here is one of a series of short videos to show you some of the paintings that will be on display.

Painting with Slow Drying Mediums

This summer we’ve had very hot weather which made painting difficult. Acrylic paintings I worked on dried faster than I wanted them to. So, I’ve been using gel mediums that are formulated to slow down the drying time of acrylic paint. This allows me a longer time to apply the paint and to draw into my work revealing the canvas underneath.

Let me show you the steps I take.

Brilliant yellow golden globe flowers were one of the inspirations for this painting.

First I paint the medium on the entire canvas. I used a combination of a pouring medium from Golden Acrylics and a thicker one from Liquitex. For the background colour I dripped Liquitex inks into the medium.

Canvas with wet gel and ink.

Then I blended the ink into the gel with a brush. This will be the background and will help to unify the painting.

Canvas with wet gel and ink.

Next, I studied my reference materials…in this case flowers from my garden that have bravely weathered this summer’s drought!

Then, using broad strokes, I painted a suggestion of flowers onto the canvas.

Painting detail.

I try to lay in the colour with single strokes. This way, the gel allows every brushstroke to show. I like the freshness of painting this way.

Painting in broad strokes.

Sometimes I put two colours on the brush to add to the surprise and spontaneity of the brush stroke. I mostly paint with Golden Fluid Acrylics and I keep them in small plastic containers.

I use lots of brushes and rubber-tipped shapers.

Finally, I draw the scene using a rubber tipped shaper. This technique is called sgraffito.  I add a few more colours and at this point it is a push and pull effort. I try to keep the freshness of the colours as well as building up a contrast and creating a pattern of colour that goes through the entire painting.

painting by Flora Doehler
Acrylic painting by Flora Doehler. 2012. 16″ x 16″

I can only get this effect by using gels and the slower drying mediums/gels allow me to work for several hours on the painting.

I am happy with my result. It totally reflects the joy I felt in looking at my garden flowers on a hot day in August.

 

Evolution of a Painting

Painting in the studio.
Starting a painting.

I like to paint from life, which means painting on location or with the thing that’s being painted actually present.  Painting from photos just isn’t nearly as satisfying for me because I can’t get as close to my subject as I would like to. You see, not only do I like what happens when paint goes on a surface – the explosion of color and movement of the brush over the canvas or paper and the mixing of colors, I very much enjoy looking at my subject and really, meditating on it.

This Peony is stunning and so is the shadow. The scent is also out-of-this-world!
This Peony is stunning and so is the shadow. The scent is also out-of-this-world!

If I’m outside I can listen to the sounds around me of birds singing or the sound of the wind rustling leaves or grasses blowing in the wind.  I enjoy the smell of the air and the fragrances of the earth and plants.

These 12 tall hollyhocks were so inspiring and called out to be painted.
These 12′ tall hollyhocks were so inspiring and called out to be painted.

I like to watch shadows flit across a field when clouds move across the sun. I enjoy the many shades of green in the landscape. Painting becomes a truly sensual experience.

The painting is 3 feet high and was started on location and finished in the studio.
The painting is 3 feet high and was started on location and finished in the studio.

If I can’t go outside because of cold weather or rain, I can still set up a still life and paint indoors. In that case I am often examining flowers close-up and checking out the petals and the shapes of the blooms. When I lived in the city it was possible to buy fresh flowers, even in the winter, for a very low price.  Unfortunately, that is no longer the case for me here in Bear River.  Fresh flowers are very expensive and the choices are quite limited.

Last summer I had a flower subscription with Cheryl Stone of Bear River Blooms.  Every week Cheryl would deliver a fabulous bouquet to the studio complete with vase. Cheryl grows the flowers herself and will cut for you a totally custom-made bouquet.

Flowers by Bear River Blooms
Flowers by Bear River Blooms

Cheryl would call me in advance to find out what my colour choices were and ask what type of flower I preferred. Talk about being pampered! I wasn’t able to paint all the beautiful bouquets she delivered but I did take photos and now I am printing some of them out to use as inspiration for my new paintings.  It’s certainly not like working from the original bouquet but because I staged the photos in the first place with a painterly composition in mind, it’s the next best thing.

This photo of mine has inspired me to paint.
This was one of my favorite bouquets last summer.

 I love peonies, in part, because they remind me of my dear mother and my grandmother – two wonderful, clever and witty women who passed on their love of flowers and of gardening to me. What I also like about this photo are the colours. The contrast of the lime green in the lupines with the dark pink of the peony are very appealing. Red and green are complementary colors which I like to use in my paintings.  I decided to use that pale lime green as the ground or the background for the canvas.

Here is a video of my first approach to painting this bouquet. It morphed quite a bit until I felt OK with the results.

When I work on a new painting, I do so as long as it gives me pleasure.  If I start feeling like I don’t know where to go next or I feel a sense of frustration, I stop.  It is possible to look at the same piece of work on different days and feel different levels of satisfaction with it.  Sometimes the only way to know the next step with a painting is to put it away and to work on something else.

This week I returned to the painting and was so excited about working on it, that I thought of different ways to express “peony” and started 2 more paintings!

I’m very happy with the painting. I like the textures and the colours and the feel of it. However, the real thrill was in the making of it and now that it’s over, I can’t wait to move on to the next.

Last Summer. 30 x 36, acrylic.
Last Summer”. 30″ x 36″, acrylic (sold)

This painting, inspired by Cheryl’s flowers has inspired more paintings from me. And inspired is a wonderful state to be in.

Painting detail.
Painting detail.