The Painting Spectrum - Why Art Is Important

   This is an unusual blog post - usually I'll focus on a painting, or a creative process, or another aspect of my art that I'm currently working on. However, this post is sort of a stop-gap. I am working on a new series of paintings - ocean sunrises and sunsets. I have painted over 20 works over the past two weeks. The creative muse hit hard and I responded to it. The result has been oil paintings ranging in size from 11" x 14" all the way to a 26" x  28" canvas. At this juncture, I'm waiting for the paintings to dry, so my husband can photograph them.

   Numerous people have seen some of the finished works in my studio. They seem to strike a chord, a memory, or something inside themselves. Some have gravitated towards one particular painting, others appreciate the entire series. The question remains - will they sell?

   In our western world culture, art in general, on the surface it appears, is "supported" by the public and the communities we live in, mine included. However, when reality sets in, art as well as artists are often considered to be pretty far down on the totem-pole of importance when it comes to what we add for value to society. Art, Music, and Drama are some of the first things cut from school budgets. Business loans are few and far between for artists and studios. Why? Because we don't sell just a product - we mostly sell emotion. Adding insult to injury is the that we live in a total monetizing, fear and lack-based society. When all this is added up, it's no wonder most people feel that art is self-indulgent and a luxury for those who have the time and can afford it.

   Nothing could be farther from the truth. I believe that by understanding and honoring our natural need for the arts, we would see less suffering, unhappiness, and violence in the world - and an increase in happiness, health, fulfillment, and well-being. History has shown that people and societies have risked their lives to save art works during times of war and upheaval. They answer, again and again, the age-long question, "What are we fighting for if we lose the beauty and history of humanity in the process?"

Art is important - it's as natural as you and me. We have an emotional need for it. We have to ask ourselves - how much beauty have we allowed to come into my life today?

Until next time,
The Happy Painter,
Jill

The Painting Spectrum - Circling Seagulls

     Some days are just more profound than others. Today is one of them - I put the finishing touches on a one-shot seascape / bird painting (which means I won't be painting this genre on a regular basis). This is also the first time in two months I've been able to blog. Between painting, doing a commissioned mural, a painting class, and a local display of my works, the last six weeks have been hectic. Good - but hectic.

     Another profound day was last week while out on my daily walk with a friend. She noticed seagulls circling over a large fishing vessel. She mentioned, "I love when they do that... as long as I'm not directly underneath them!" We continued walking along the local boardwalk and rested on a bench near the South End beach. After about ten minutes or so, the flock of seagulls flew over to near where we were and once again began their circling dance. We counted approximately 25 birds flying in synchronicity - diving, swooping, swirling back up, then circling again.

     I pondered as we watched - it always amazes me these birds never hit each other. It's so beautiful; like a rehearsed ballet. Another five minutes passed, the seagulls moved on to another locale. "Wow! That was spectacular!" I finally said. "Are you going to paint it?" my friend asked. "I've seen a painting with the harbor below the birds. However you paint it, I'd like to see it when it's done."

     It was about four days later when I began the process of recreating what I saw onto canvas. I thought about what my friend had said about a setting for this painting. I finally decided that sky and birds would be enough. I mixed Ultramarine Blue and White until I achieved the shade I wanted for the sky. I had to wait until that paint dried before attempting the birds. That way they would "stay" without smudging. When that time finally came, I tried patting in a shade of grey, but found that my brushes were too big. The strokes just made big blobs of paint hanging in the air, so I had to wipe them off and begin again.

     I waited a few more days. In the meantime, I dug through my art supply closet and found some smaller brushes that I haven't used in a quite a while. At first I was disappointed - while the brushes were in good shape, they still had a little brightly colored paint on them. I had read in a trade magazine that using Murphy's Oil Soap was just the trick to remove old paint & bring the brushes back to life. Going for broke (like I usually do), I poured a bunch of M.O.S. into a large Mason jar and put 20 some odd brushes in it to soak overnight. Low and behold, the next day I rinsed them all off, and they were clean & looked like new!

     With small brush in hand, I went at the canvas again with the medium grey paint to resemble birds in flight. This time I was satisfied with the results and called it good. So did my friend - she now has a mated print hanging on her wall.

Until next time,
The Happy Painter,
Jill

The Painting Spectrum - Thinking Pink

    I wonder if insects think this, especially bees; think pink. As the title of this post implies, the featured work is a group of flowers that are a bright, hot shade of pink, with a shade of red towards the middle and bright yellow pistons sticking out. This process of attracting bees must work in nature's grand scheme - as I was attempting to photograph this group, insects were flying all around them. I actually had to shoot my subject from a distance and use the zoom lens, so as not to disturb the balance of daily work for the bees and me getting stung!

   I used a fan brush to glaze on some white paint in order to highlight the fine ridges of each petal. I added a touch of violet for shadow on some of the petals. I was a little nervous taking some of these artistic liberties, but in the end, I liked the effect.

   This particular work has now been framed and will be featured in my latest art showing coming up in October. I'm using a gold frame purchased at a yard sale. Numerous readers ask me frequently what frames (or type) should they use. In my humble opinion - it's your art work. Frame it as you like it best! Experiment - see what you like! Because in the end, if you don't like it, that thought process will be conveyed to others - verbally or not.

Until next time,
The Happy Painter,
Jill

The Painting Spectrum - New Paintings, New Directions

     It's hard to believe it's been almost a month since my last blog post. As we near mid-September, I can look back with fondness at this past summer. Weather wise as a whole, it has been stellar since last May. I've painted more in the past four months than I have in quite a while. I've painted everything from barns, to flowers, to seascapes, to abstracts, with sizes ranging from 8x10 to 24x30. I spent an astronomical amount of time outdoors, painting, and reading.

     I've shared this before - I'm not a technological person. As a result, I realize that my Internet and social media presence has been somewhat minimal at best. Perhaps when the winter weather settles in again by December, that I'll be posting more blogs. As a result of my unpredictability, I've changed the name of my blog yet again. I feel the title of "The Painting Spectrum" is more accurate than ever now that I've thrown the time-frame portion out the window.

     The work I'm highlighting today was influenced by a book I read about Shakespeare's gardens. The geranium flowers that are in the gardens are exquisitely beautiful. It took several layers for not only the flower, but also the background to get things just right.

Until next time,
The Happy Painter,
Jill

The Weekly Spectrum - Two Pink Roses

   I'm unsure as to why this still comes as a surprise to me; the summer is flying by! I have been spending a great deal of time outdoors, dealing with some personal issues, painting, photographing inspirations to paint, visited the the beach once or twice, and painted even more! My painting lately has been mostly for escape purposes, more than anything. I'm not a technological person - people who know me, realize that. If one thing regarding my art that will fall by the wayside, it is the technology aspect of blogging, website updates, and social media. It has been a gorgeous summer here in Maine and it seems the only thing I do while inside is paint! So my apologies for the Weekly Spectrum being not so weekly yet again...

   I've said before, "...inspiration is where you find it." These beauties were given to me by my oldest daughter Meg - freshly cut right out of her flower beds in full bloom. At that time, (back in early July), they were healing balm for a sorrowful heart. A very dear friend of mine had been fighting brain cancer for 10 years and unfortunately, she lost the battle.

   I visited her in the hospital just over a month ago when her doctors told her and her husband she only had a week to live. Well, one week turned into two, which turned into approximately five weeks. She was able to leave the hospital, go home, and be with family and friends until she passed peacefully. She was a strong soul, but felt at peace in her final weeks.

   At this point, it doesn't truly matter how I painted this particular work. The process, the colors, any frustrations I went through - don't even register on the scale when compared to my dear friend. She passed way too young, but lived a full life. These roses remind me of this woman's beautiful soul - never to be harmed again. Peace be with you, my dear friend.

Until next time,
Jill

The Weekly Spectrum - The Passion Continues!

   Sometimes I feel we live in a world of hybrids - from automobiles to produce to plastics. Flowers are no exception and can produce some fairly stunning results. This week's blog focuses on the Lady Margaret passion flower. It's official classification is Passiflora 'Lady Margaret'. Apparently, deep blood red is a rare color among these types tropical vines which sport some of the most exotic flower architecture in the world. The Lady Margaret, is a hybrid between two South American species, the red Passiflora coccinea and the deciduous native of the American southeast, Passiflora incarnata.

   Confused yet? Join the club! Sometimes we can wrapped up in all the technical details and miss one important and simple factor that's right in front of us - it's a beautiful flower. One that begs to be painted. Using the mantra, keep it simple, I used basic colors for this work - primarily Alizeron Crimson and Phthalo Green mixed with a little bit of yellow. 

   Anyone who knows me, knows I love flowers. If anyone wants to know what to get me for Christmas this year - here you go! Nudge, nudge, wink, wink...

Until next time,
The Happy Painter,
Jill

The Weekly Spectrum - Violet Passion Flower

   The inspiration for this painting came from a photograph in a magazine - while the representation was fantastic, almost no photo can do the beauty of this flower justice. These South American tropical flowers can be cultivated and thrive as patio plants. They grow on vines and will grow intertwined in pots. As long as they are in a brightly lit sun-drenched area, have decent soil, and plenty of water, they've been known to have zero problems indoors during winter months in the snow belt. In fact, with light fertilization, the Passion Flower has been known to provide vigorous growth.

   Sometimes I'm amazed at how resilient flowers and plants can be. When given the proper environment, nourishment, patience, care and love, they can basically thrive almost anywhere. The same can be said for us. Granted, while we're not destined to live a life indoors all the time, we can thrive, grow vigorously, and bear good fruit when we realize that our needs our met. Unfortunately, at numerous times, it can be the unhealthy wants that's in our minds that block us from that balance.

   With this mindset, I kept this particular work a little more simple. There isn't as much fine detail, the edges are a bit rough, and the textured background is a bit more obvious. Without going into phenomenal detail, I tried capturing the spirit of this wild beauty.

Until next time,
The Happy Painter,
Jill

The Weekly Spectrum - Beach Rose

   I was out for a walk about a week or two ago with a friend, when she plucked a prime specimen of a North Atlantic Beach Rose. She handed it to me saying, "Honey - you gotta paint what you're passionate about!"

   And so it goes and things change - blog posts as well as painting inspirations. After about two months, I'm satisfied with, and have run my course, with Maine barns and farms. I feel in my heart that my painting will now enter yet another chapter.


   A rose by any other name would not be so fair, nor smell so heavenly. And yes, here I am at it again painting flowers. However, with this new series, I am trying something different (at least for now). While I've painted every type of floral from bouquets, to small arrangements in vases, to abstracts, I've never focused on one single flower.




   Mixing and remixing paint to achieve the correct lavender shade. Layer upon layer, fold among fold. The petal ere so sweet shan't be trampled by mans feet. High upon the thorny branch, the delicate rose perchest. Plucked in the light of day - until its life spirit flitters away...


Until next time,
The Happy Painter,
Jill

The Weekly Spectrum - Apple Tree and Barn

   This painting began innocently enough way back on May 29th, but was finished about 10 days ago. I can remember taking a picture of this farm - it was one of those rare occasions where I wasn't initially drawn to it by a rustic barn. It was the huge apple tree in front that captured my attention! To say that the barn was dwarfed in size by the tree would be an understatement. Upon closer inspection, however, I noticed that the house was vacant and the barn was literally falling apart on the inside. The tree represented the only sign of life. The irony of man verses nature came to mind - long after we humans as well as our structures are gone, nature will persevere. It is a humbling thought that the Earth really doesn't need our help, unlike the way we depend and rely on her to keep functioning.

   I began with a sketch, painted the sky and grass. I roughed in the leaves of the apple tree, then the roofs of the house and barn. After a few hours, however, I noticed that I put quite a bit of detail into the apple tree - so much so, I had to wait several days before the paint would even remotely be somewhat drier.

   Unfortunately, the painting would sit forlorn on my easel like an abandoned child for at least another two weeks. By the time the paint was once again workable, I had to go in for a long-overdue surgical procedure. Then came the recuperating process. By the time I was ready to paint again, 16 days had passed. It was more difficult than I thought it would be to get back into the habit of painting. My leg was still sore and it was awkward to stand. I struggled for another day trying to recapture the ideas and concepts I had for the work. Frustrated, I called it quits after only two hours.

   After a good nights sleep as well as returned enthusiasm and determination, the painting came alive again. I balanced out the house and barn so the tree wouldn't overpower it. When I finished adding shadows to the painting, I called it done.

Until next time,
The Happy Painter,
Jill

The Weekly Spectrum - New Hampshire Farm & Stone Walls

   Everything is still the same, only the title has changed. I thought I had read that somewhere once before, but couldn't remember from where. Be that as it may, the change in the blog title makes sense: "The Weekly Spectrum." Since ending the gallery wall talks series, I've been focusing strictly on using oils again as a primary medium. As just about everyone knows, oil paints take much longer to dry than say, watercolors or acrylics. I have to wait until the paint dries at least somewhat in order for my husband to photograph them without getting a glaring shine. As such, my blogging has been less frequent. Other factors such as schedule changes in our professional lives (we are much busier in the summer), as well as an overdue surgery, all contributed as to why I haven't posted anything in over a week and a half. These scenarios also made me take stock in how realistic my expectations were, and what they are now becoming. Now that we have that out of the way, onward to today's painting!

   This painting was worked on between May 25th through the 31st. In typical fashion, it began with a Burnt Umber sketch and a first layer of color added to the sky and fields (wherever the under-painting would not blend in). Then I let that paint dry. The sky got a touch of crimson to it to represent the evening sun. The trees, cows, barn, and house were then painted in. The stone wall was also done in layers in varying shades of grey. I used a fan brush to paint the foreground grass. At that point, I was satisfied and called it done.

   As I was typing this, my husband asked me where exactly in New Hampshire was this farm. To my best recollection, the farm was located just over the Maine / New Hampshire line in the East-Central part of the state, possibly near Rte. 25, but I'm not sure. We always take the less traveled state routes and back roads to get to most of our destinations. Many times, I will see something like this farm (or whatever else tickles my fancy) and have him stop the car so I can photograph the subject for future reference. The challenge with this farm, was that I photographed it over 15 years ago! So, at this point, your guess is as good as mine!

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - South Thomaston Horse Farm

   Today's painting contains several lessons. I wanted to branch out and do something a little different with this particular work and include certain aspects besides a barn. I started this painting around the 3rd week of May - it was on a Monday. It was the last painting I worked on that day and I was getting tired, so I rushed it. Multiple lessons here;
 - Don't rush,
 - Don't paint when you're tired,
 - Who says you have to complete more than one painting a day in order to "accomplish" something?
The end result was a quick sketch of the under-painting in brown, the sky went darker than I wanted it to, and the barn looked horrible.

   The next day, (and over the next several days), I almost started from square one. I reapplied the sky, reworked the grass as well as the dirt, and painted the "character" I wanted the barn to have. Yes, this barn is rather old. It does lean a little due to age, but has good bones - sounds like me sometimes.

   The details I added took longer than I expected, but were well worth it. The trees, two horses, the fence, and the shadows had me flustered at times, but those details made me stop, process the challenge artistically instead of technically, and then move forward. I was thinking for a bit if I should add something to the background in the grass, but my instincts told me that I had plenty of focal points as it is. I touched up a few minor details like the foreground grass and called this painting done... at last!

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Hope Barn With Red Silo

   I began this painting about two weeks ago, back on May 13th, 2015. I started with the usual sketch and I was actually pleased with it the first time around. I then started painting the sky and added a base color of green for the foreground grass. The barn, house, and walkways were then painted in on the next day as the green was taking a little longer to dry than I had anticipated. The fence was left white when I originally painted the grass.

   Two days after that on Saturday the 16th, I worked on the entire painting again. I felt certain aspects seemed "off" or were missing. I got a little creative and added sheep in the field and a flower garden up front. I hit the silo with a deeper red, and shadows were added to the house, barn, and silo as well. I then added in another top layer of grass and touched up the fence. By the following Monday the 18th, the work was finally completed.

   I get asked quite a bit about two aspects of this painting, which is not even three weeks old - why is the house two different colors & why did I name it Hope Barn?
 - Answering the 1st question is a little in depth; this farm expanded over time like many farms did in Maine and throughout New England. The original portion of the house was brick. An addition was added, most likely when the family grew. That section of the house is actually shingled. The small portion of the farmhouse between the shingled addition and the barn was a second lighter shade of shingles, but I blended them more with the ones that are on the main house, and the barn is gray. So, yes - if you look at my original photo I took of the farm, it truly is four different colors!
 - The answer to the 2nd question isn't as complicated. I didn't name the barn or farm at all. It just happens to be in the town of Hope Maine. Mystery solved!

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Second South Addison Farm

   A few days ago, I posted a blog and a painting about a farm with red poppies which is located in South Addison Maine along the Down East coast past Bar Harbor. Believe it or not, today's painting actually began as that particular painting with the poppies almost two weeks ago, but the concept didn't feel right, especially considering where I had placed the barn.

   Perspective, especially on buildings, had been a challenge that week. For example, the house and its dormers were not one of my strong points. I spent an entire morning focused on the redraw of that particular aspect. I will admit - I am persnickety when it comes to certain details. I want to get it as close to "right" as I am able. But this also has to blend with how I want to the finished work to look.

   It's not easy for me or other artists to admit that we are not perfect, nor do we sometimes intend to have a certain art work "look" perfect. If I wanted a piece to look the same as a photo, I would just paint over an enlarged photograph. I also have to digest the fact that this series of paintings is primarily being done for myself only. I'm not out to prove anything and this is sort of an experiment. I like barns - I love the mystery that sometimes surrounds them. I love the history and the tales they can possibly tell. I enjoy the feeling of driving along and coming upon one, especially if it has a great deal of character, around a bend in the road. It's like a surprise... sort of like finding a hidden treasure or that unexpected rare item at a steal of a price at a yard sale.

   After being reasonably happy with the results last week, I let the painting dry for a few days. I then went back and glazed a layer of green on the grass before calling it finished.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - South Addeison Farm With Poppies

   My first order of business is to say thanks to all those who have read my blogs and have embraced my new series on barns. I'm glad you like them! This entire series is being done in oils - which is also my response to an email I received the other day. A particular art & barn aficionado asked why I was only publishing about two blog posts a week, (she was bumming they aren't daily at this juncture), when my blog is entitled, "The Daily Spectrum". The simple answer is, I have to wait for the paint to dry for at least a few days before they can be photographed, otherwise the glare from any lights brings out an unwanted shine and tweaks the colors something awful. So - my apologies in advance for the delays.

   Week number two of the barn series begins with a photo that I liked from a book that was on my work table. The composition is of poppies with the barn and farmhouse in the background. I was taken in by the write up about this flower symbolizing the eternal and everlasting quality of the perennial always returning.

   However, I'm not sure if this farmhouse and barn are lived in and utilized now. Will this barn be repaired and kept up? From the photo, the place seemed abandoned. The grass looked overgrown and there are no tire tracks or path to the barn. Perhaps this piece of real estate is up for sale and will have new owners breath life back into it.

   On Wednesday of last week, I had to redraw the composition as my point of view (or perspective) was off, even though it made for an interesting piece. However, I desired that the painting be readable to the viewer and not abstract or confusing. At first, my main concern was for the poppies. I appreciate what they symbolize. Plus, I enjoy the drama of the bright red against the natural carpet of green. Lastly, I wanted to use the flowers to give a sense of distance between them and the buildings.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Deer Hill Farm

   This working farm in this painting is across North Pond (the body of water in the center) in Union Maine. While this particular farm is not as industrious as it once was, it still boasts four large barns and a farmhouse. Despite the name, it was primarily a cattle farm in its heyday.

   Believe it or not, the people who own this 185 acre farm won the lottery and purchased the property for approximately $4 million dollars about 15 years ago when the real estate market was at its zenith here in Maine. This story was relayed to me when I used to work in the local school system. The new owners were a sister-in-law to one of the teachers I worked with. Getting back to the farm, I do believe there are still a few cows remaining, but not as many.

   This past Monday, I sketched in the house in the foreground, the hillside, trees, bushes, and buildings. Then I painted the sky, the background a dark purple, the house was brown and tan, and finally the grass by the farm was a spring green - popping out that area. My eye was drawn to the center, but the overall perspective wasn't pleasing to me.

   I also painted in the green evergreen to the right of the foreground tree, but I found that aspect to "crowd in" too close to the farm - and wasn't happy with that either. The more I looked at it, the more I thought this painting was producing a great deal of struggles.

   Two days later, I altered the hillside color, toned down the grass, added other greens to the foreground grass, changed the house to a reddish color, and finished the foreground tree. I then added a brown glaze to the white dirt road and called the painting done.

   Working a farm is not easy - sometimes painting one can be just as challenging!

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - A New Beginning

   I paint because for me there is nothing else like it. Painting is a unique experience with every canvas begun. A "new beginning", for me, is rarely a single spontaneous action. It usually involves several other actions that fall into place and spawn a bigger idea, which then I see if it will develop into a concept.

   This past Monday, I worked on three canvases rendering barn scenes from around the mid-coast area of Maine. In my travels, I have noticed these sometimes large structures and wondered about them as well as the life they have or had. Some barns are still used for livestock, some have been converted into large chicken coops, some were horse liveries, and some are being used for storage of boats, cars, and even planes.

   Barns represent a time in history that for the most part has passed. While many are still in use and in good condition, just as many have fallen into disrepair or collapsed. In dealing with the latter, it is because the farm is no longer active or abandoned. In other cases, the funds were not available for upkeep and/or insurance companies do not want to pay out the costly funds to rebuild.

   When I traveled back north from Georgia to Maine in the spring of 2014, I noticed that farms with substantial acreage were going by the wayside. Some were for sale, others were selling off portions of land. Some of the ones still operating have added income by becoming a bed & breakfast with the barn being used for entertainment purposes. I must admit - people are innovative. I still see the good 'ole Yankee Spirit in action.

   This barn in Rockland Maine came together rather easily for me. I sketched the barn with burnt umber then laid in the sky, grass, barn, background, trees, bushes, red sticks in front, and finished with the scraggly tree (as a friend who viewed the painting put it). Two days later, I approached the painting again and added all the shadows giving the barn and bushes depth.

   This is the first in a series of barn paintings I started working on this week. I have officially ended the Gallery Wall Talk series and would like to thank all those who viewed my works, liked them on Facebook, and commented about them! Please continue to do so with this new series!

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #46

   Success - noun. The favorable or prosperous termination of attempts or endeavors; the accomplishment of one's goals.In other words, you accomplish what you set out to do. Today's painting has a looser feel to it as the background wash blended easily. Being able to pull off this particular aspect in a watercolor, was another success.

   The vase was easily constructed with a few simple lines - a break from some of the paintings I had done earlier where the vase was solid. The flowers feel playful and full of life. I wanted to make the colors more than vibrant - I wanted to make them wild.

   Being able to experiment while still working in the same medium genre and subject matter should be important to an artist of any skill level. It keeps us from becoming complacent.

Until next time,
The Happy Pinter,
Jill

The Daily Spectrum - Gallery Wall Talks #45

   The end of a month and the end of a year. Excuse me? It just happens to be the last day in April 2015. The painting I'm featuring today was created after a year of practicing in watercolors. This work actually encompasses a number of features - not only the paint, but also a technical pencil.

   I was also finally getting the hang of a background wash where the colors (and shadows) blend together better and they aren't as jarring. The vase, even with the details of the swans and related shadows, blended smoother. The flowers show a variety of light and dark spaces and are well thought out in arrangement. Is it perfect? No, it's not meant to be. But, with any art medium, it is progress not perfection.

   In the end, I was pleased in how the painting turned out. That is also key - you, as an artist, like your work. In that respect, you can be more passionate about it. And even if another professional artist offers constructive criticism (at your request) regarding your work, you can use it to possibly see things you hadn't noticed, or did better than you thought you did. Or, you can even throw the advise away. Why? Because it's your work - your art.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #44

   If you've ever seen a certain now-famous children's movie, there is one line that defines the main character - "We have layers... like an onion." In other words, there is more to the main character than what he seems or what is visible at first glance.

   This painting progressed from a very light under painting with darker paint being added on to it in layers. Once again, I had to allow for drying time in between the layers so I wouldn't muddy the color blends. I also couldn't use too much paint, as it would bury the original or base color.

   Here the interchange of violets among the flowers and the greens in the vase lend itself to an overall exciting painting. The vase actually had its colors blended like what is in the painting - almost like large individual brush strokes.

Until next time,
The Happy Painter
Jill

The Daily Spectrum - Gallery Wall Talks #43

  
   I just realized something as I hit the "new post" button on my blogging dashboard - this marks my 101st post. While this may seem to be yawn city to some, for me it's quite an accomplishment. And I'd like to thank you for being part of it.

   I've had the following mantra on several of my business cards over the years - "Dedicated to Beauty". To me, beauty is the essence of many things, especially flowers. This is one of the main reason why I have painted so many floral works over the years. I must admit, however, that beauty is the most difficult aspect to relay in a painting. One flower may be at its peak bloom, another past its prime, and yet another has yet to open.

   This peculiarity of nature has never phased me. I realize if I wait until the "perfect moment" to paint a flower, I probably will never get the chance to paint it at all. Each flower is beautiful no matter what phase of life it is currently in.

   In today's painting, even though the majority of the flowers are in full bloom, the dropped flower (in the lower right) is beautiful as well. It still adds character to the composition.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #42

  
   Sometimes art can contain some confusing concepts. While looking at a particular still-life painting, which is the category that a floral technically falls under, many people can identify with color and light. But did you know there was also movement? Excuse me - Movement in a still life?

   The "movement" part does not refer to the subject moving. It is the movement or flow of the painting itself. Does the painting capture your attention at the main focal point, then does it "lead" your viewing in a certain direction to see other details?
In the case of today's painting, the first place you look at is the big lily in the center. Then your eyes may follow left and right, following a line axis to the other lilies. Next, you follow the lines downward on the vase to the brown table, where the left and right shading leads you to the blue wall, where the shading is now upwards. This leads you back to the center lily again.

   Capturing the light, color, and movement was the easier part in the creation of this work. The glass vase reflections proved to be the challenge as did using watercolor paint as a medium. Regardless of the challenge, and whether I pulled things together or not, beauty needs a voice.

Until next time,
The Happy Painter,
Jill

  

The Daily Spectrum - Gallery Wall Talks #41

   Remember yesterday's blog where I mentioned about finding inspiration and how sometimes it can right in front of you or right (or left) around the corner? In today's post, the inspiration for the flowers in this art work were mid-summer "picks" from my garden.

   Learning how to create texture while still creating a resemblance of beauty that was in front of me posed a challenge, especially using watercolors. Believe it or not, I find working in this medium to be a refreshing break from oil painting. I have to utilize a different skill set to render each one and at times the problem solving can be mind bending.

   However, if you've been itching to do some painting in watercolors, don't let what I just wrote stop you - even if you are a beginner. Everyone, and I mean everyone, has to start somewhere. No one throughout history woke up one day and said, "Hey... I think I'll try painting today", and churned out a masterpiece. Art, regardless of medium is a practicing hobby or profession. Always remember - progress not perfection.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #40

   Everyone has heard of writers block. Did you know that artists / painters can suffer from the same thing? Except in our profession it's called inspiration block. Like writers or musicians, when the creative muse hits, you have to go with it - other times it just won't be there.

   There are times when inspiration can be delayed because I'm stuck in my own head. I think too hard, or try to imagine this painting or scene in some grandeur fashion as if this "one" will be my magnum opus. All I end up doing is sitting and spinning. Sometimes you just have to create something because the inspiration is right in front of you.

   This watercolor was the result of seeing a beautiful sight and rendering it. I just happen to take a left turn off a main road and... there it was. No need to think, or ponder, or wonder. It's not going to get any better than this - no excuses.

   The one thing I did learn from this work was I needed smaller brushes in order to do smaller paintings. This work was done on watercolor paper and is only 8"x10" in size. It was still a great "seize the moment" exercise!

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #39

   When I was teaching watercolor painting classes a few years back, I followed a series of paintings that allowed for learning in a methodical order. My students were a little confused, as the primary purpose of the paintings was not to create something that was "stunning" or "beautiful" - although in my opinion, any art work contains these elements on their own.

   One color painting taught them how to get the different values of light to dark. Two color painting taught temperature; where is the light coming from and it's cooler in shady areas. Three color painting taught blending. Each painting built on the lessons learned from the previous art work. These paintings also taught students that inspiration can come from anywhere. The inspiration for these exercises came from:
 - A picture from a magazine,
 - A picture I took off of Waterman's Beach in South Thomaston,
 - My imagination.

   The painting with the fishing vessel "Bounty" was the summation of all the lessons. Students were now capable of putting a basic painting together, and with practice, the tools became easier to apply. My classes usually consisted of meeting once a week for eight weeks. The first four weeks covered basic color wheel concepts, materials, values, as well as the techniques described above. The last four weeks were used to teach brush strokes, knife techniques, and how to "fix mistakes", depending on the artists perspective.

Until next time,
The Happy Painter,
Jill

  

The Daily Spectrum - Gallery Wall Talks #38

   Experimentation is the spice of life. While others may call it "artistic license", I prefer to use the term "freedom to explore" - especially when it involves my own work. I can try new ideas or concepts; I can make mistakes; or I can come to different conclusions.

   The painting I'm focusing on today I like to call Purple Beach. I tried painting an unusual take on a typical ocean scene. First, I used watercolors, not oils. I also wanted to incorporate contrasting colors, hence the reason for using purple (violet) and orange.

   I find watercolor paints interesting while challenging to work with. I find they require quite a bit of patience for drying time. If a section isn't totally dry and I attempt to add more detail to that section, I may end up with a colorful bloom or a puddle of muddy colors.

   For an "experiment"... I was quite pleased with the outcome.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #37

   We're going to take a massive detour on today's work - unlike all the other Gallery Wall Talk blogs to date, this piece is not a painting. This sunflower print was carved out of a block of wood. The creation was part of an art class I was teaching while at the old A.D. Gray Middle School in Waldoboro Maine.

   The kids in the class were free to design anything they wished. I, being the forever lover of beauty as well as sunflowers, chose to proceed in that direction. The procedure was to draw out the design before we were allowed to cut the design, as there were only enough blocks for one attempt at this.

   I began carving from the center and worked my way out toward the edges. I discovered that I have a gentle hand when it comes to carving as I didn't make really deep grooves. I wish I could say the same for when I tried pottery...

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #36

   A few years ago when I lived in Thomaston Maine, I had a conversation with a friend of mine who purchased a large Victorian house on Main Street. Thomaston is still mostly a bedroom community with all its commercial properties on the east end of town. The original, historic downtown section still has a select number of businesses, all housed in brick buildings that were constructed and preserved from the 1800's.

   My friend relocated from California. In the general conversation, I asked what brought her and her family to Maine. She said she loved New England and coastal Maine in particular. She loved the old houses, whether sea captains houses or old farm homesteads. She loved the sense of history.

   Unfortunately, there aren't many actual working farms left in the midcoast Maine area. Primarily due to the expense of running such an operation, from animal and property upkeep to taxes, as well as other state and federal laws, make farming a venture not for the faint of heart.

   Today's painting is of a sheep farm that used to be in neighboring Cushing Maine. I captured the workings of it in its last year of operation. Like many farms before it, the owners were retiring, wanted to live closer to town, and no one wanted to take over the operation. All the livestock were sold, then the farmhouse was rented out. Approximately two years later, the property was sold. The house and out-buildings still stand, but much of the acreage has been sold off with the plan to build more plain-jane housing.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #35

   Many of you know that I reside in coastal Maine. Most of the time, the weather can be pretty temporal, considering the state is part of northern New England, thanks to the help of the ocean that's just over a quarter-mile away from my home. Normally, the winters are less harsh, cold, and snowy than other parts of New England or even the Midwest, as well as cooler in the summer. This past winter was quite the test of character with a way-above average snowfall amount within a short span of time. As I write this, however, the snow is gone save for the snowbanks. Some people are saying they can't wait for summer, while others are predicting we will be complaining in two months about how hot it will be.

   Today's Wall Talk painting was actually an experiment performed in the heat of summer back in 2008 to elicit the "cool" feeling of winter. I remember working on it over the course of two days in early August when the temperatures soared into the upper 80's... and it was humid to boot. I kept the color scheme very simple as well as the design. Due to the humidity (and no air conditioning - we don't need it here in Maine), I didn't want the paint to take triple its normal drying time.

   This was another painting where the scene was mentally inspired - it didn't come from a picture I took the previous winter or from any other source. I painted the entire canvas blue, then added the white to represent snow. The only other colors were the green and brown for the tree.

   The finished piece measures 18"x24" on canvas and is in the procession of my oldest daughter. She too, liked the concept of a winter scene "cooling things off" during the heat of summer. This is despite the fact that my husband commented after the work was finished; "You know - we'll just be complaining how cold it will be four months from now..."

   Everybody's a comedian...

Until next time,
The Happy Painter,
Jill

 

The Daily Spectrum - Gallery Wall Talks #34

   This was one of those moments I wished I had my camera with me. Several years ago, I was on my way to work. The fog was lifting as the sun was rising as I drove down my usual route. Out of the corner of my eye, I caught a quick glimpse of a red maple as I passed by it. I had a few minutes to spare, so I turned around to get a better view of it. I parked my car and took in as many details as I could - the colors of the tree as well as the surroundings. The way the sun lit the maple. How the fog still danced and blocked some of the details.

   Once the painting was finished, it was one of my favorites for quite some time. One particular aspect about the piece was the beauty of that moment as I remembered it. To this day, I call that painting my "drive-by tree"!

   The painting measures 16"x20" and was done on Masonite board. I sold the work to a woman who shared my passion for color and beauty. It's hard to believe it was sold almost three summers ago to help finance our trip south.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #33

   Whomever came up with the expression, "Grace under pressure" should have their head examined. This is just my opinion, as I have close friends who absolutely revel in last minute deadlines or the occasional "pressure cooker" situation. I've never been one to frequently work in stress. However, the painting I'm blogging about today was created under pressure. I was teaching an oil painting class at an area high school and did a "live demonstration".

   I began with the sky, layering on colors until one-third of the canvas was covered. I then put in the reflection of the water. Next, I painted in the tree line as well as the shore. The rocks and outcropping followed with the egret being painted last.

   I will be honest - I do not like painting in front of people. So the fact that this painting came about in the first place means there is more to this story. My students came to this first class with whatever they had for supplies. The schools' secretary forgot to pass out the supply list when these people signed up. Mistakes happen - it was a slight oversight. "No big deal...", I thought. "I'll just do a demonstration. My students don't have the proper materials to work with and I don't have enough for everybody."

   As it turned out, it became a big deal. Multiple students dropped out and the class ended up getting cancelled. Did I intimidate people? Make things look too easy? What did I do wrong? When people were asked why they were not continuing the class, they pretty much all said, "I can't do this class. The instructor is great, but I can't paint like she did! She did an 18"x24" painting in under an hour! I'm not that good!"

Live and learn. I learned never to do another demonstration...

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #32

   The painting I'm writing about today is called... hold your breath... "Ocean". I hope I didn't keep you in suspense for too long! In all seriousness, when I painted this piece back in 2000, it was my first "large canvas" painting that was done 100% from my imagination. Many people who view the painting ask, "Where did you paint that?" I usually reply, "In my head... then in the studio."

   I did this painting in layers - I began with a dark blue sky, then filled in the moon, then added the swirls around the moon. The creative process was quite a bit like the movement of the ocean. The blue water went in horizontal wavy movements, same with the waves, as well as the moonlight.

   Ironically, this painting actually changes hues, especially the moon, depending on how the light hits it. It can even be the same type of light - be it natural or artificial. To this day, I'm unsure if it was the unique paint I used for a while during that year, or if it's just the way the painting "flows"...

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #31

  
   Remember in my last blog I touched briefly on something called "artist liberty"? In yesterday's post, I mentioned how I took liberty with the clouds in that painting to give the work, what I felt, was the right feel for the scene. Today's highlighted painting has quite a bit more of that liberty.

   I started with a snapshot of the Camden Hills that rise about 800 feet just west of the towns' harbor. I deleted all the buildings from the waterfront area. I was primarily after nature and all of her glory - including the wind in the sails of the boats.

   The original is in California with my dear friend Cindy. It was a going-away present several years ago as she was moving from mid-coast Maine to (at that time) the southern United States. Even though it was created 15 years ago, and I still see this same area frequently, the piece still has a soft place in my soul.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #30

   There is one aspect to painting that I truly enjoy - capturing a seemingly ordinary moment and then painting the beauty of that moment. I know I've accomplished my goal when someone looks at a particular piece of work and says, "Wow - that's beautiful! Where did you paint that?" When I relay the short story of how the painting came to be, and in particular where I painted or photographed it, (especially if it's local), people are amazed that they have driven by or looked at that same location, and didn't notice what's been there all the time. 

   The two boats in today's painting I'm highlighting were located on the Saint George River in South Thomaston Maine. They were moored along the shore and I snapped a photo as my husband and I drove along a back road. Summer is so beautiful along the waters' edge. I will admit, that the clouds were of my own liberty. I created what I felt was right for this scene. Using my own intuition on what colors to use to fit the mood, I am trying to capture what comes into play.

   When I begin painting, it is never the "one thing" I imagined when the creation began. I guess that's one aspect that really keeps me coming back to paint - I never know what to expect when I start. I must keep all false expectations at the door.

   Sometimes in the middle of a painting, I may add the wrong color - then I have to go over the entire painting again readjusting all the other colors in order to harmonize with the mistaken one. While this process sounds like the opposite of what should be done, numerous times the "mistake" is the best part, and the painting turns out far better than it was originally.

Until next time,
The Happy Painter,
Jill

  

The Daily Spectrum - Gallery Wall Talks #29

   Aside from sunflowers, roses are one of my favorite flowers for they represent not only beauty but love. My husband Dave has been the "one and only" love of my life since we first met over 30 years ago.

   One year, in 2003, to be exact, I challenged myself to paint roses. In all honesty, I challenged myself to paint BIG roses. I painted the work on a piece of Masonite board that measured 4x4 feet. Have you noticed as we traveled through this Gallery Wall Talk series that I challenge myself quite a bit? My husband says that "it's a good thing". Easy for him to say - he's not the one painting...

   One the work was finished, I gave the painting to Dave as a birthday gift that year. We still have it in our possession, however as I write this, it is at a good friends house as we currently do not have the physical space in our apartment to house it here.

   The painting has been photographed in its current state, and has been made into different color patterns for material on our computer. In my ever changing process and mind, I'm on the fence about a vision as well as an electric saw in regards to this work. I feel the work would look just as good cut into four smaller paintings. Only time will tell the fate of this particular work.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #28

I can remember about 15 years ago, Rockland as well as the surrounding areas, started implementing ideas in an attempt to support the arts more. While certain local museums are part of that equation, this area has done better than most with that game plan. As a result, other local organizations started using art as a tool to attract business as well as to raise money.

About 10 years ago, Kelmscott Farm began holding outdoor painting events mostly during the month of June. Artists would attend these events, create a painting, and sell the work there with 10% of the proceeds going to the farm. I took several photographs a beautiful June day back in 2007 and then went to work creating m
y contribution. The little (8x10) painting I did sold for $75 dollars. I also met and networked with many wonderful artists and had fun watching the proceedings.

Kelmscott Farm had rare livestock and needed help with funding in order to keep operating. Unfortunately, the farm only survived two more years before the 200 acre establishment went up for sale. It is no longer an operating farm.

The second painting I created of Kelmscott Farm was also inspired from the photos I took that day. It is the only painting I've ever done where there is a main subject in the middle of the canvas, but also four small squares, one in each corner, that highlight a certain aspect of the farm. That painting is still in my possession.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #27

As I write this, the first day of spring for 2015 is less than 24 hours away. After I chose a painting to talk about today, I entered a thought process of "what it was like then, verses what it's like now". Tomorrow is March 20th - compared to a month ago, the days are longer sunlight wise, quite a bit of the snow we have in our area is gone, and there are even large areas of grass that can be seen in numerous areas.

Likewise, when I lived in Thomaston, there was a large field across the street from my apartment. Almost 15 years ago, it was the site of a state prison - that was then. Today, although I no longer live in Thomaston, the field is 16 acres of grass and field with a walkway around the perimeter - that is now.

My husband Dave & I lived across from that field for seven years. After a while, we started calling that field "ours". We used to walk around it (and sometimes through after it was mowed) even before the state laid down the walkway.

I watched it change through the seasons. I watched many a stunning sunrise over the field in the winter. There was a sea of dandelions in the late spring and light green leaves on the two white birch trees near the road. I've seen double rainbows as thunderstorms rolled through from northwest to southeast - the wet grass in the field was gleaming in the sunshine after the storm as black clouds and the bright rainbow provided a breathtaking backdrop. The yellow, orange, and red leaves on the trees along with the browning grass in the fall signified the field was preparing for a long winters nap.

Mother Nature... and our field... in all its glory.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #26

As I was going through some digital photographs of my past works, I came across a piece that was a little different than what I usually do. Yes, it's a floral, and while the size is a "smallish for me" 8"x10" on Masonite board, the fact that an oil done vertically makes it a stand-out in my smaller works.

A day or two ago, I was remembering when I painted this lily - it was done quickly in early summer. Then I got to thinking about warm summer days and everything else that goes along with that time of year. Then I thought, "Typical human nature - the past few blogs I've been touting about how marvelous it is that Spring is finally arriving, and I get to thinking about Summer..."

That also got me to thinking when I held outdoor art shows at my former residence in Thomaston during the summer months, which got me to thinking about supporting the arts. Now, before you email me stating that I think too much, let me share a story.

At a particular art show, I had the purple lily painting for sale, unframed, for $100 dollars. I knew it was worth more, but I was trying to clear some space out of my studio at the time. A woman walked under one of my tents, stopped, and looked at this painting as well as several others.
"You're only asking $100 for these?" she questioned. "These are beautiful!"
"Yes", I replied. "And thank you. Just trying to move some of my smaller works. Is there something in particular you're looking for? Are you partial to florals?"
"In Virginia they'd sell for $800." she responded
This is good, I thought. Because of my pricing, she will purchase more than one. She obviously liked what she saw.

After some what I thought was engaging conversation about she liked about the work, she left a few minutes later, and purchased nothing. This leads me to the next part of this blog - what it truly means to support the arts -
1). Actually buy art! We all have an entertainment budget regardless of our social class. We can plan for this. But do yourself and your fellow artisan a favor - don't argue about the price and don't put their work down in some fashion. The only person you're hurting is yourself.

2). Buy art you actually love! Don't buy stuff simply to support the arts. The novelty of that work you purchased just to "people please" will wear off quickly. Support artisan's whose work you enjoy and collect more it over the years.

3). Support the Indie-artist. The selling of art is moving away from the traditional gallery. Step out of your comfort zone - buy an independent artists' work. There is a great deal of amazing, original, and quality work out there. Plus, indie work may fit your budget more, because you're not dealing with a "middle man".

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #25

As I write this, it is 10 days until the first day of Spring. The "stubborn Arctic weather pattern" (as described by meteorologists on television eloquently put it) has finally shifted after six weeks, the temperatures are warming up, the snow is starting to melt, and I'm actually hearing more birds on the wing.

The painting I'm highlighting today is my "sign of Spring" painting. The two calves were approximately one month old when I visited a local farm in late April. It was an unusual warm Spring day - the kind of day that invites you to drive the back roads with the windows down. There is just something about Spring and the renewing of ones' soul. Life reawakens within as well as out. The Earth in all her glory blooming with new life.

I learned to paint what I saw and modeled the shapes to get a pretty fair resemblance, as I did not have my camera with me that day, nor a sketch pad. I visualize the painting surface in my head, and then remember details such as trees, the fence, the cows, etc., in their placement in front of me. Sometimes it's just a matter of writing the details down. I must admit, this work is one of my favorite paintings, though ironically, I really don't have a soft spot for cows. It's the essence of Spring that I love.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #24

If you've been following along with my Wall Talk series, even if only parts of it, you know by now I have an affinity for beauty as well as flowers. Time to let you in on another secret - I love the beach and the ocean! Ever since I was a child, I have reveled in the sights, sounds, and smells of the ocean and the sand beneath my feet. I live near Birch Point State Park in Owls Head Maine. To this day, it is still one of my favorite places to visit and meditate in the early mornings during the summer. I walk down to the beach and venture to my favorite perch over a massive driftwood log. I imagine the log was washed up during a hurricane years ago, as it has been on the beach for years.

Ironically, the idea to paint the beach scene came to me while I was shopping in a local art supply store. It was there I found a huge 42" x 60" inch canvas buried and hidden in a corner of the store and it was on sale. I was like a kid in a candy store, full of glee in finding this treasure. My husband, at the time, was not so enthusiastic, as the canvas barely fit into my van.

I worked on this painting from a photo I had taken. The ocean water had to be put on in glazes, which is the process of multiple layers of paint over time. I had to allow the time between each layer for the proper amount of dryness to set in or else run the risk of the glazes blending incorrectly together and looking like mud. There was also the possibility of letting a layer dry too much, and not being able to blend the next one and/or not adhering properly. I have found over the years that it isn't easy painting in oils - it takes creating numerous messes to learn the techniques that work for you.

In the end, when the painting was finished several weeks later, it looked very lifelike. So much so, that my mother, who came to visit, went up and touched it.
"Mom, what are you doing?" I asked.
"It looks so real." she replied.
"What are you doing?!" I asked again.

She just stared at me blankly. "You're touching the painting! Mom - you work at an art gallery as a guard. What is one of your primary jobs there? To keep people from touching the paintings and other works of art!!"
While she agreed with me as to her job duties, she had no idea as to why a person should never touch an oil painting. In a nutshell, the dirt and oils in your hands (even though you may think they are clean) actually break down the oil pigments and characteristics in the paint and will eventually corrode the art work.

I love my Mom, but after that incident, I needed another trip to my secluded spot on the beach...

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #23

After I completed the Chinese Symbols painting, I started to dabble with different markings and how they could look on a painting. The work I'm highlighting in today's blog is called "Lily Pond". This turned into a rather unique painting for several reasons.

First off, the finished work was done on a rather large piece of masonite board, which measured about 30"x30", which was unusual for me. About 95% of the time, I paint on canvas, paper, or boards that are of a horizontal or vertical rectangle. This piece was completely square. It was also quite heavy. A neighbor of mine purchased the finished work - and even though she loved it - she did confide in me that it was fairly difficult to hang...

Another different aspect about the painting is the fact it has the perspective of looking straight down on the flower, plants, and water. Most realism paintings (landscapes, seascapes, floral, and still life's) have some sort of horizon line. This work does not. The marks on the painting, especially in the water, are also exaggerated, where the flower and plants are not.

All these qualities contained in this work are just some of the reasons why I love to paint. I don't always have to follow a hard-set list of rules. For a number of years, I passed this concept along to numerous students who attended my classes and workshops. Be true to yourself & follow your own creative process.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #22

The story behind this painting is rather unique - never mind that it's one of the very few works I've done where the subject is an animal. My youngest daughter, Catherine, absolutely LOVES horses. The last part of that sentence may even be an understatement. She has been involved with them, in one way or another, since she first laid eyes on one as a young child of seven.

After moving to Maine in the mid-90's, we searched out local farms as well as 4-H groups / clubs in order to find opportunities for Catherine to continue riding and learning about horses. One such place was then-called Hidden River - a large farm and horse boarding facility that, ironically, was nowhere near a "hidden" river. The facility was actually in Warren right on Route 1, which is the major thoroughfare in Mid-coast Maine. A wonderful woman named Marcy was the owner and riding instructor.

In 2003, Marcy purchased a 17-hand high horse named Extabi (pronounced Ex-tobby - rhymes with "hobby). The horse, from what I understood, was larger than the average in the breed, as they usually stand 12 hands high. Being the first and only horse painting I have ever done, I needed Catherine's help in drawing the legs, as she knew (by that time) a horses anatomy by heart.

The finished work was almost as big as the horse, comparatively speaking to other sized paintings. It measured 48"x48" on masonite board. My husband had to photograph it on the floor of our farmhouse due to the size and weight. This painting was given to Marcy in 2004 and is still in her possession.

Until next time,
The Happy Painter,
Jill

The Daily Spectrum - Gallery Wall Talks #21

Throughout my Gallery Wall Talk series of blogs, I've mentioned several times that a major part of my art mission statement is the concept of beauty and capturing it on canvas or whichever material I happen to be painting on during any given day. Another love I've mused about is sunflowers. Certain aspects have always struck me about this particular plant. I love the colors, their boldness, and their uniqueness. Put the first two together and you can see why I love painting them!

Today's featured work is a watercolor on canvas, 11"x14" in size. Remember what I wrote about in regards to inspiration in yesterday's blog? That it can come from almost anywhere? This painting was no exception. I happen to me thumbing through a Woman's Day magazine (this was back in 2007) and came across a picture similar to my finished painting.

The bench in the painting was my personal one I had near one of my gardens. The watering cans were a combination of what was featured in the magazine as well as ones that a neighbor of mine had. I totally improvised in regards to the flowers.

I liked how the texture of the canvas could manipulate the run of the water below the red can onto the bench, then flowing onto the ground. Since the medium was watercolor, I had to be extremely careful not to use too much water for the effect, or the entire painting (or at least the bottom third) would have been ruined.

This pleasant, calming art work has a permanent place on my kitchen wall.

Until next time,
The Happy Artist,
Jill

The Daily Spectrum - Gallery Wall Talks #20

As I've written before, every painting - whether it be on canvas, paper, or masonite; watercolor, acrylic, or oil - is unique and different. Even if I produce a series of works, all created in the same medium on the same materials, no two are the same.

Some works highlight a subject that is readily identifiable, like a floral or seascape. Some not so much like my numerous abstracts. Some are a combination of both like my abstract "Hidden Words" series, some of which were featured in a gallery showing back in 2012.

The inspiration for these works can be a simple, basic concept - whether that inspiration is in front of me in real life or from a photograph. Others come from the deeper levels of my consciousness - in other words, I can explain the end result much better than the original thoughts. At times, there is no thinking process; the paint and brush just flow where they will.

The work featured today is called "Chinese Squares". The work is a watercolor on canvas, 11"x14" in size. I gave this painting as a gift to a co-worker and friend at a time when she was getting prepared to leave for China. She had been there before and had an opportunity to go back. She asked what my inspiration for this painting was. She then discussed parts of the Chinese language such as pictograms as well as simple and complex ideograms.

I told her the symbols in the painting represent all I wished for her to have in her life - hope, peace, love, and prosperity. I then told her I saw something similar in a magazine and was inspired by it. See what I mean? Plain and simple inspiration. No digging through history or complex choices. I saw something, I liked it, it inspired me - I painted it. She absolutely loved the painting and still has it to this day.

Until next time,
The Happy Painter,
Jill