"Elephant Love" (watercolor on paper; 8" x 8") sold

sold

The mother and baby African elephants snuggle with each other. What a loving image!

"Summer Reading" (mixed media on paper; 10" x 14") sold

sold

Summer is the time to take a vacation, sunbathe on the beach, and catch up on reading. Not for me, unfortunately.  This is the second year without a summer vacation, thanks to my daughter's busy camp schedule.  I am in a way taking a break from my everyday painting routine by photoshopping many images of my artwork, updating my website and blog, and mulling about how to keep growing as an artist.

During my "break" last week, I found the above image among my portfolio.  It's an old painting that I did after a family vacation to Maui many years ago. A couple in swimsuits lean back comfortably in beach chairs, probably reading something light.  The sunlight coming down in rays of warm-toned dots envelope the figures.

What kinds of mixed media did I use?  The toned ground and figures were painted in watercolor; the dots were created with Prismacolor colored pencil.  Without the pointillist effect of dots, the painting would have been unremarkable.  With the dots, it pulsates with brilliant sunlight, which brings on the associated feelings of warmth, idleness, relaxation, and happiness.

A successful painting makes the viewer linger and feel something profound.  It may be longing, nostalgia, joy, passion, sorrow, inspiration, etc.  I endeavor to create that kind of art--emotional, powerful, and unforgettable.

After Vermeer's "Girl with a Pearl Earring" (colored pencil; 8" x 6")

After Vermeer's" Girl with a Pearl Earring"

Vermeer by Pierre Cabanne; Prismacolor pencils; and my Canson Mi-teintes sketchbook

After Vermeer's "The Milkmaid" (detail)

After Vermeer's "Girl with a Red Hat"

After Vermeer's "Girl with a Flute"

I can't sleep on the airplanes.  Unable to settle into a comfortable position, I keep shifting my body.  My neck, shoulders, and lower back become all knotted up and achy.  I get myself caffeined up to compensate the increasing fatigue.  Both flights for my recent trip to Kauai were long and tedious.  I usually bring a book or two to read.  For this trip, I had something better to while away the time as a captive in a tight space on a noisy plane.

In Lisa Semerad's portrait class last summer, I learned a time-honored technique of using black drawing tools with a white chalk on a toned ground for figure drawing.  Many great masters, such as Da Vinci, Rubens, Watteau, and Degas, had used it in their studies for paintings.  I learn at their feet with reverence, and had spent many hours copying their drawings in the past. 

My teacher for the trip was the Dutch painter Johannes Vermeer, whose exquisite, domestic interior scenes of the 17th-century-middle-class Delft have captivated art lovers for centuries.  I love his exceptional sense of light and quietude.  A small book by Pierre Cabanne with lots of reproductions of his paintings was the first item I packed for my art survival kit.  I made a small sketchbook with Canson Mi-teintes paper and also equipped myself with several Prismacolor pencils (white, three shades of grays, black and burnt ochre).  These colored pencils are waxy, dust-free, and don't smear. 

Although one can never have loads of fun during an air travel, I still managed to spend several enjoyable hours until I couldn't see anymore with my watery eyes.

"Evening Walk in Dublin" (mixed media on paper, 14" x 10") sold

sold

The scene is Dublin in sunset.  The mood is dreamy.  The technique--definitely pointillist.  The painting won the Best in Show in The Art League monthly show in 1996.  When I heard the news, I almost fell off the chair, because I had never been accepted in a juried show, not alone won an award.  The beginner's luck!

This piece is the first decent painting I have ever created.  When I started painting, I chose colored pencil, because it felt least intimidating.  In Pat Barron's class at the Art League School in Alexandria, VA , there were some students who were working on the paper first painted in watercolor.  So I emulated them.  Pat complemented me on the palette I had chosen--orange, green, and violet, saying that it was a classic triad of secondary colors. 

At that time, I didn't know a darned thing about colors.  Now I look at the body of my work, I see a great deal of these three colors, as if I was born color-coded with oranges, greens, and violets.  Interesting.  Pat no longer teaches; she has retired and moved.  I hear her health is failing.  She was one of my first art teachers and I am grateful to her.  The painting is dedicated to Pat Barron.