Sunday, December 16, 2007
Thursday, December 13, 2007
Left: Harriet Chipley in front of my painting.
Sunday, December 9, 2007
My painting is 22 x 22 on cold pressed Arches paper matted to 30 x 30 with a wood frame. It is based on one of my Tuscany stays in San Gimingnano looking out my hotel window. For you watercolorists out there, I created the textures in the tiles using salt and letting it crystalize.
The exhibit is in the Raymond James & Associates main office, 537 Market Street, Chattanooga, Tennessee and will open on Tuesday, December 11 with a reception. It will be available for viewing during office hours: 8:00 - 5:00 daily. The works are for sale. I hope if you are downtown, you will stop by and see the show! I got a preview when I took my painting in and it is very diverse in technques and sizes. If you need directions or have other questions, email me or call them: 423-756-2371.
Monday, November 19, 2007
Sunday, November 11, 2007
I have to confess, I am bias towards watercolor and oils. I don't mind having green fingers and smudges on my clothes from the oils. There is something I like about blending the edges of distant treelines and smoothing the clouds in the sky. I like the spontaneity of painting with watercolor on paper because you can be so portable with it. I tend to draw more for the watercolors and sometimes that can be a problem if you are pressed for time.
I have tried acrylics outdoors and just can't seem to adjust to their quick drying time. I also find that the colors dry darker, which is a problem painting outside with any media, except watercolors, that tend to dry lighter, I think. Pastels are the purest pigments so their color is the truest. It just seems that you need a good many colors with you. If you don't know what you are doing, you can create a lot of "muddy" colors by overpainting too much. They are dusty and you have to be careful how you transport them.
So I think the best solution is to match your personality to the media. If you are used to sitting down in your studio, then plan to take a chair and an adjustable easel. Otherwise, invest in a sturdy easel that will hold the size canvas or board you prefer. Try working outside in your own backyard first or a nearby park where there is shade and flat terrain. Once you get accustomed to packing your supplies, the rest is just painting!
Sunday, November 4, 2007
The Mountain Mirror Gallery is next door to the Lookout Mountain Mirror office on N. Watauga Lane. The easiest way to get there is to stay on Scenic Highway to the business district. The Mirror is directly behind the Post Office, Twigs, and the Mountain Day Spa. Turn at the Mountain Cafe and it is the second building on the right. There is parking on the street and a lot right beside the gallery.
Thanks to Billy Parker, owner of the Mirror, for allowing us to use this space for our studio classes and gallery. We hope that he will have works in the gallery that night too.
I am so honored to work with these lovely and talented ladies: Evelle Dana, Sarah Fowler, Anne Platt, Jeanne Rudisill, Charlotte Wardlaw, Lisa Whittle, Ann Currey, L. J. Huffaker, Jan Michaels, Betty Moses, Barbara Murray, Wendy Williams, Margaret Sexton, Rita Bickerstaff, and Estelle Skoretz.
We are expecting a crowd, so come early for the best selection! If you need further directions or have questions, email me: Durinda@Durinda.com.
Saturday, November 3, 2007
Monday, October 29, 2007
I remember my painting mentor, Wayne Wu from Taiwan, telling us that in China and Taiwan they had factories where workers would paint. Each had a specialty: skies, trees, grass, etc and they passed the canvas around until it was done. Someone was in charge of signing it. So I tried to notice the signatures. They were very similar like A.Benton or A.Harris. So, my question is, who is starving? The workers in the factories are employed, the printers have a job, the canvas stretchers, the loaders and shippers, the wholesalers, the retailers?? Even the frame makers in Mexico are employed. The good news is: people are buying art, albeit giclees, to decorate their homes. There is still hope for the non-starving artists in the world!!
Sunday, October 14, 2007
Tuesday, October 9, 2007
Last week in oil class, Charlotte brought a painting that she wanted to rework. The painting had not been touched for a couple of years. It is a lovely study of a Monet landscape. I suggested she use a retouch varnish before applying paint.
The procedure to apply retouch varnish is the same as applying varnish on a dry painting as a finishing coat. Retouch will give the paints a better surface to accept new paint. It brings out the color which has dulled since the oil in the paint has dried and leaves the paint less glossy.
Always clean or dust the surface with a lint free rag, like an old diaper, or a clean flat brush. If the painting looks dirty, you can wash it gently with a mild soap (I like Ivory) making sure to dry it thoroughly.
Apply the varnish with a flat brush. We poured the varnish into a shallow bowl and used a brush made for varnish because it has softer bristles. Paint broad strokes, don't go back over and over in the same spots, you want an even coat. Allow it to dry.
There are different brands of retouch and picture varnish. They are pretty much the same. Some artists prefer the glossy and some the satin. I have sometimes mixed the two. Lately I have been using a product called Soluvar for the final varnish. It is glossy. Damar varnish has a reputation for yellowing after a while, especially over the lights and whites. It is still the most used final varnish.
If you have an older painting that has a coat of final varnish that you would like to "bring back to life" you can take the varnish off with a light rub of turpentine or mineral spirits.
I have never done this before, and I probably would recommend taking the painting to a restorer or experienced frame shop.
If you have any questions, the manufacturers of the products are usually available. I would check their websites.
Monday, October 1, 2007
The pure white goes on the top center of my palette. I squeeze out more of it than other colors. On the opposite end, goes my black, if I am using it, and a row of earth colors: raw sienna, burnt sienna, burnt umber and raw umber. I always look at my subject: what do I need? The earth colors are useful for mixing. I can make greys and nice greens by adding them. Next I do a row of the warm colors down the side beginning with the lightest: Lemon yellow, cadium yellow medium, yellow ochre, cadium red light, alizarin crimson. Permanent rose is one I may add if I am working with violets or lots of shadows. The cool colors are together on the last side starting with the lightest blue: cerulean blue, cobalt blue, ultramarine blue, then the greens (again, what am I painting that I need greens I can't mix?): permanent green light, sap green, and viridian or hooker's green. For a landscape palette, that is all I will need to mix lots of greens, shadows, and sky.
What makes it a double primary palette? There are two values of each primary here: a lighter or cooler value such as lemon yellow and a deeper or warmer value: cadium yellow medium. Same with the reds: lighter cadium red light and deeper alizarin crimson. Blues: cerulean blue and ultramarine blue. You could use just the lighter colors and mix the darker or you could use just the darker and mix them lighter. It is just a matter of convenience that we have so many colors to choose.
I am working in my studio today to finish a few of the Tuscany paintings for the October show at the Hollis Gallery. I will shoot my palette (before it gets used) and post. After my head clears of hilltops, vineyards, and cypress trees, I will explain the colors and how to mix them without creating "mud".
Friday, September 21, 2007
Durinda, Evelle Dana and Anne Platt. This week, Charlotte Wardlaw joined us. We started a still life of sunflowers that Sarah brought us. When painting from life, I begin with "massing or blocking in" the local color or mid-tone color that you see. Then mix the color darker, usually with its complementary color where you see shading and then finally mix the color lighter. This seems to go faster than building on the darks. Everyone had a very good start. I also recommend working more on the live objects since they will be different or even gone in a few days. We will finish the paintings next week, using the pitcher and other flowers plus our photos.
Sunday, September 16, 2007
Have a wonderful week and enjoy the cooler weather!
The art classes on Lookout started Wednesday, September 12. This is the afternoon watercolor group. We are glad to have Barbara Murray join us this year. Here is the gang: Betty Moses, seated; LJ Huffaker, Ann Currey, Jan Michaels, Barbara Murray, and Wendy Williams. They are such wonderful ladies and artists. I will post a photo of the morning oil class when I can get it uploaded! Anne Platt, Sarah Fowler, and Evelle Dana started Wednesday. We have a couple of spaces in the morning class and a wait list for the afternoon class. If you or someone you know are interested in joining either one, let me know! Watch for an article on the classes in the October Mountain Mirror and an open house later in November in the studio/gallery space.
Sunday, September 9, 2007
Here are Sandi Abney and her brother Carl in Hollis Gallery. The Gallery Hop was a big success. I was in the gallery that afternoon and we had a steady stream of people visit. I am sure the crowds got larger after we left. Bill and I had dinner at St. John's closeby and then "hopped" around ourselves. I enjoyed seeing other artists and their works. Especially exciting was seeing Sandi's son Keith's new gallery on River Street in Coolidge Park. Everything looked great! Chattanooga is a great place to see all types of original art by local, regional and national artists.
Thursday, September 6, 2007
I will be the featured artist in October with scenes from my Tuscany trip this summer.
This is AuBree Elaine Cheek, our newest GrandGirl born September 5th in Chattanooga, Tennessee to my son, Kevin and Stephanie. AuBree weighed 8 lbs 9 oz. We are very thankful that she and mom are very healthy. She even has curly hair (like Dee Dee's) ha.
It's hard to explain how you feel to someone who hasn't experienced grandchildren yet, but they are truly a blessing in your life. Bill and I are very thankful for our other two princesses, Caylea and Camryn, from daughter Caron.
Sorry this post doesn't have anything to do with art or travel, but family does affect your feelings and well-being. Now, back to painting!
Wednesday, August 29, 2007
Will post their websites later for you to see their works. If I hear from the other artists in the group, I will post theirs as well.
Friday, August 24, 2007
She doesn't live far from the "new" studio/gallery space on the mountain where I will be teaching so I hope to see her more often this next week.
Sunday, August 19, 2007
I have two new workshops to share with you. I hope that you can join me in my Artist's Travels this year!
Spring workshop: Sketching Callaway, April 4 & 5, in beautiful Callaway Gardens, Pine Mountain, Ga. We will create a journal of sketches, watercolor paintings and notes about the garden with the help of the staff horticulturalists. The azaleas should be in full bloom! Registration will be with Callaway Gardens at a later date.
Summer workshop: Durinda and Friends in France. Two weeks at a lovely country house, all expenses included (except airfare) to paint, sketch, relax, shop and sight see. Instruction for plein air painting in the French countryside will be in watercolor and/or oil painting. Registration will be with La Bonne Etoile. More information will be posted later.
Tuesday, August 14, 2007
My new working studio is located in the historic town of Ft Oglethorpe, Georgia in the foothills of the Appalachian Mountains. It is a beautiful area of valleys, lakes, ridges, and the Tennessee River. I will be offering painting workshops this fall locally. I love to paint en plein air (on location). Many times I use these studies to paint larger works in the studio. I have so many now that will make wonderful paintings, scenes from Paris, Venice, Tuscany, as well as New York City, Florida, and other areas of the southeast.
I hope that you will stay in touch. I will have news of upcoming shows and classes, paintouts, and other events.
Back to Painting!