grapes-sm

Nuts for fruit and veg

I've been working on a series of fruit and veg for the last couple months and finished them up over the weekend. I was going for fun and funky, and certainly colorful.

These are the same technique I've used for florals in the past - a mix of monoprint, collage and watercolor that I learned from Karlyn Holman this spring. I love the element of the "happy accident" you get with the collage paper and the monoprinting process. You just never know what you're going to get!

I'm going to frame up a few of the originals as groups of two or four I think, for placement at the Galleria. And I just sent scans of all of them, and the little birdies, to get prints in time for the Sept 2 First Friday event at the Galleria. Which are your faves?

The fruits

[nggallery id=14]

The veg

[nggallery id=15]

Sunthroughtrees2-sm

Sun through trees series

I've been getting so many positive responses to my original "Sun through trees" based on a lesson by Karlyn Holman, that I decided to try another one. Kind of fun. The success is all in the vibrant color and the perspective of the shadows. Maybe next time I'll try it grand sized.

Pictured above, "Autumn shine", measures 11" x 15", framed original $400, framed print $150, matted print $50

Daffodilcollage-sm

Size counts

(Pictured above, "Roadside daffodils", watercolor painting, measures 22" x 30", framed original $800.)

For a long time I've been trying to "get big" with my paintings. If you're not familiar with watercolor paintings, it's kind of hard to work big.

First of all since the medium is watery, it makes it mostly impossible to work on an easel - the paint just runs right off. Ok, good for some effects but for the most part it's important to work flat. So, a big piece of paper can get unwieldy, not to mention it's difficult to keep your perspective on a large sheet lying flat in front of you. Best solution I've found so far is to start with a really good drawing which you complete upright on an easel and then when it's lying flat you just follow your drawing.

The second issue is that you have to work fast to make sure the color you put down doesn't dry before you get a chance to make sure you've had a chance to achieve the affect you planned. Trick here is to work big very wet, then put in the details in smaller manageable sections.

However - I love big paintings. The bigger the better. And I have the impression that gallery owners appreciate scale as well - the bigger the painting the higher the ticket price. All good. So - I keep trying to work bigger  - practice, practice, practice.

Following are two large scale paintings just finished this weekend.

Yellows

Title: "Yellows", watercolor painting, measures 22" x 30", framed original $800.

RO

Sign up for the mailing list.

©2024 Rochelle Weiner Carr Fine Art, All Rights Reserved