Vineyard on Buck Mountain Road in Virginia

Vineyard Along Buck Mountain Road, Earlysville. Virginia

Driving along Buck Mountain Road as the sun was starting to head down, I suddenly pulled off the road when I saw this sight. The most stunning view of the day - the vineyard, the vines, the farrows, the mist in the Blue Ridge mountain valley's, the way the sun blasted the foliage. 

No wonder I love this place - this landscape view is about five minutes from my house and has brought me great peace and happiness.

This original oil is going to be available at my upcoming show Twomey One Person Show Earlysville.

Would love to meet and talk!!

"You Have A Gorgeous Mug"

You Have A Gorgeous Mug

"You Have A Gorgeous Mug" was inspired by Suzanne Crane's lovely ceramics. 

I bought a group of these mugs and have given them away as gifts, so I thought: "You love it -Paint it!".  There's something magical about the colors and precision that Suzanne uses to produce her work. It is an honor to be featured at her store and to be given this opportunity to collaborate.

This 4 X 4" framed oil painting will be available at my upcoming One Person Show at Mud Dauber Pottery, 4225 Earlysville Road in Earlysville, VA.

This work is in a beautiful and unusual frame called a "floater frame". It allows the painting to wrap around the canvas sides and still be visible. It also helps a small painting like this make a big impact. The show will run from Oct. 13 thru Jan. 1, 2013.

Wickers The Warmblood Finished & Framed

Finally finished up the portrait of the lovely Wickers the Warmblood. Wicker's owner is very pleased with how the portrait turned out, which makes it all worthwhile. I've included the very early wash-in phase of the painting on the right. The basic elements of light and dark followed through to the finish.

It would have been very easy to take the detail too far. I primarily wanted to capture her beautiful, soft eye in the sun.

Power Back UP!

• We have power!!! It's been out since Friday night, making for a very long, hot, basically incommunicado four days. Lots of time spent at Starbucks & Panera. We really got hit by the derecho (straight line) storm, and so did lots of people, trees, homes and power lines. There are still over one million people without electricity, and it's 95 today.
• The best thing I could do with time on my hands was finish the SPCA hound dog for the "Dogs and Cats Around Town" event, so I did! There is Chance the Hound above. On Friday afternoon we're taking him to the Downtown Mall in Charlottesville, where there's going to be a big kick-off for all 18 dog and cat statues at 5:00 pm at the Freedom Wall. Everyone's invited so come on down!
• Hope everyone else is well and staying cool. It's great to be back!

Wicker's Portrait: Building Volume

Here's a link to the previous stages of the oil painting. The next steps are above.

These are still relatively thin oil layers. I'm trying to work all over the canvas so I don't get too bogged down in one place. The image on the left is made up of mixed flat colors, whereas on the right they've been blended together. Too much.

Painting is a very strange process, especially if you're in The Zone. Right now I'm in The Zone, but I'm not at all happy with the portrait (right). I do, however, have enough experience to know that if I just keep going and don't panic, there will suddenly be a lightbulb moment and I'll know I'm on to something good.

So as I keep working away, often I step BACK away from the painting or leave the room for a break. The new perspective really helps to see what areas need more work. For example, I wasn't happy with how warm the lower background was (left), and how it was competing with the portrait. On the right you can see it's been cooled down with blues, whites, greens, etc. However, doing that has also made the face appear too cool and too flat. That too will be adjusted.

Every painter has their own approach and habits. One of mine that I constantly fight against is over-smoothing edges. I'm pretty sure that habit comes from years of using an airbrush!

I'm over smoothing/blending now in the right image. I'm about to start getting pretty thick with the consistency of the paint, so I know I can go back and adjust. Since the sunlight on Wicker's face is bright, I can leave some of the edges hard, keep the strong color and still keep the volume.

One final thing: I'm going to have to play around more with color and depth to get the right side of Wicker's face to really stand out from the background. Oh, and I hate the hard edges in the trees at the top. They're next on the agenda!

Wickers Gets Oiled: The Final Thinner Layers

 

These are the final thin layers of oil before I get into the serious thicker paint. I've added more colors and deepened some areas of contrast. I'm not happy with the colors; they're not exactly what I wanted yet and they're too separate from each other. That, however, can be fixed in subsequent layers.

I'm going to need to go in and concentrate more on the area of focus - Wicker's eyes and face. Now, however, I have a decent foundation upon which to build. Note: there is some glare from the flash especially in the neck area, but that will be eliminated as more layers go on.

Expanding Palette! & Background Wash

Expanding my initial palette, adding Ultramarine Blue, Cerulean Blue, Alizarin Crimson and Viridian Green. Might not use all of them, but like to have them ready in case I decide to. 

Generally I start with thinner large puddle washes and add color to them as I move to other hues. This helps the colors relate to each other, as did the overall Burnt Sienna wash as a base layer. 


Below, using a large brush to add a thin layer of background color. This is mostly Cerulean Blue, with a touch of Cad Yellow Light.


FYI: I use the M. Graham oil paints. They do not pay me to do their advertising! I've just been very happy with the fact I can use walnut oil to thin the paint and clean my brushes.

Using a Value Comp to Mass Values

That is NOT an alien in the upper left. Just my thumb. It's hard to hold all this stuff and shoot the camera too!

This is a tool called a Value Comp (found at art stores online) that can be used to find the "lightest lights" and the "darkest darks" plus all the grays in between in order to plan the painting. If you follow the green lines from the left squares to the arrowheads, you'll see the grayscale values for various parts of the reference image. This is one method that helps you understand what value belongs where in order to give a subject volume and mass. It also helps to think in terms of areas of blacks, whites and grays, without getting distracted by the all the color and details.

Rarely is there a pure pure white in a subject, for example. The blaze on Miss Wickers is very close to white, but I would paint it using Titanium White and probably a touch of Payne's Gray or Burnt Umber/Burnt Sienna. If anything, I'm going to want to "push back" (decrease the value of and attention to) the white blaze and bring the viewer's focus to a highly contrasting area around her eye. Doing this makes me in charge of how the painting is viewed.

A Decent Introduction

Well, I leapt right into this blog, which at the moment is teaching how I paint an oil painting. However, I provided no introduction, background, or any kind of reasoning as to why I can or want to write this!


That's typical of me (hyperenergetic and jumping right into it), but confusing. Everything needs context. I don't believe in wordy blog posts (please let me know if that happens), so I'll just provide a bit at a time to establish credibility and offer a philosophy about painting, art, horses, and life.

I'm a fine artist and Board Certified Medical Illustrator. Since I was a kid I knew I'd be an artist, and that's what I've aimed for since grade school. Bragging rights: I've worked very, very hard and I've won lots of national and international awards for my artwork (http://www.catherinetwomey.com/awardsexhibitions/). I'm also a published author (articles & journals) which means I have no excuse for bad writing or editing. Mea culpa.

Regarding my past life (in this body) as a medical illustrator, I'm posting a piece that recently won the opportunity to be exhibited at the medical division of TED (http://www.ted.com/pages/registration), TEDMED. It was a great honor to be selected:

As you can see, my medical work is extremely realistic and detailed - along with accurate. I'm a Fellow of the Association of Medical Illustrators and consider it a noble and rewarding career (http://www.ami.org/)

Of late, however, because I want to and can, I've been focusing on my lifetime love of the fine arts. The goal is to loosen up from the medical illustration style, do wonderful paintings and/or sculptures, give back  a lifetime's worth of knowledge via teaching, and finally, to sell some of my work. 

What I'd like is to continue teaching, but invite you to freely ask any questions you may have about my process or anything else art related. Your input is greatly welcomed and important.

I hope to offer critiques in the future. One step at a time - I'm still trying to figure out what tags are vs. labels...

For a detailed resume, please follow this link to my website:

http://www.catherinetwomey.com/bioresumecv/

And thanks for your attention.

CT