Showing posts with label Orchid. Show all posts
Showing posts with label Orchid. Show all posts

Sunday, November 20, 2016

Night's Glory


Summer Glory,
 Watercolor on Arches #140 Cold Press Paper, 6"h x 7"w, 2016 #18

Bid in My DPW Auction (Starting Bid $65)

Coming back from farmer's market with some fresh pots of blooming orchids, whose translucent petals just glow under the light on my painting table. I took tons of reference photos and cropped some very close-up and dramatic views... Orchids definitely have​ a very seductive atmosphere around them, which resonates with the night's air... The deep, saturated red center makes me think of old Hollywood movie posts on which the heroine's lips are always to invitingly blushing red and moist... In a way every flower is both an invitation and a seduction. Looking at them, I cannot help but think evolution has peaked in this culmination of both functionality and aesthetics. Orchid is the glory of hot, steamy tropic nights...


Wednesday, January 9, 2013

Last One Standing (30 Paintings in 30 Days Challenge: Day 8)


Last One Standing,
  Watercolor on Richeson Stephen Quiller 140# Rough Paper, 5"h x 7"w, 2013 #10

Bid at My DPW Auction (Starting Bid $25)

I took the reference photo for this painting on my road trip from San Francisco along the pacific coast up to Seattle. Passing the northern tip of Oregon, entering Washington state, suddenly there are lots and lots of drift wood washed up on the coast. I took my lunch break on one of the little beaches with such washed-ashore driftwood scattered everywhere, and there also happened to be this dead tree still standing, among the bleached driftwood, with its giant roots half exposed, seemingly going to tip at the first blow of strong winter storm. It was a grey day, chilly and cloudy. I stood there, looking at the giant tree, wondering when it was still a seedling, what it had seen upon this beach -- that would be... 300 years ago? 1000 years ago? When was that? It was still Tang Dynasty in China... And in North America, it was long before the first European explorers have landed. Only deer and native Indians were occasional visitors of this quiet beach, perhaps...

I stood there dreaming about what it was like being a tree, standing in the same place, for hundreds of years, then one day, tipping in a storm into the waves, drifting thousands of miles across strange lands.

Then I painted this image -- more from my imagination than literally from the photo. I couldn't say it has quite captured the spirit of the land or the tree, but at least, it is my homage to them.

I am also working on two 10" x 10" commission pieces -- a larger version of my paintings "Purple Hibiscus" and "Green Orchids". It has been a challenge to try to keep up with a painting a day, and work on these in the same time. But I am hanging on there...



Purple Hibiscus II,
  Watercolor on Richeson Stephen Quiller 140# Cold Press Paper, 10"h x 10"w, WIP 1



Green Orchids II
  Watercolor on Richeson Zoltan Szabo 300# Cold Press Paper, 10"h x 10"w, WIP 1

You can purchase my 2013 wall and desk calendars here:


Monday, December 31, 2012

A Look Back at Year 2012...

As the clock ticking close to midnight, I am turning my eyes to the year passed and all that has happened in my art journey along the way. As I mentioned in my last blog post, it has been an amazing ride, thanks to all of you, my dear friends and collectors! When I set off at the beginning of the year, I did set some modest goals for myself: creating some artwork every week, posting them online for sale, documenting the process in this blog, and trying to enter some juried shows. In the end, I have accomplished so much more, -- something that would not be possible without your kind encouragements and support along the way!

In this year, I have managed to finish a total of 54 paintings -- including studies and plein air work. This may be a modest number for many, but to me it is a real accomplishment, as I am a very slow painter and the work I have managed to actually finish in all the years before do not even add up to this number. I would definitely like to do at least as much in the coming year, but I will leave goal-setting to my post tomorrow. ;-) Now is the time to enjoy the bubbly drinks and pat myself on the back! 

I've managed to overcome my fear of losing control of what happened on paper and tackled some unfamiliar surfaces, the most difficult of which being Ampersand Aquabord, and with the kind encouragements of Kara and Crystal, got some success in the end. I would love to keep at this effort in the coming year -- and maybe try some portraits on it too!

This year I have also tried a few different sales venues -- both online and offline, some more successful than others. I've set up my Daily Paintworks Gallery, where I auction off my smaller original works; I've stocked my Etsy Shop, where I sell both originals and Giclee prints, as well as products such as calendars and note cards; I've uploaded my work to the print-on-demand site, Fine Art America, so that anyone can purchase Giclee prints of my paintings to the size and surface they desire, as well as my works as note cards. I've kept up on this blog (although updating regularly did remain a challenge when school work got busy) and maintained regular update of my facebook page, through both of which I have met many wonderful friends! I've attempted my hands at three local art fairs and managed to break even at all of them, and received several leads which resulted in sales afterwards from these events. I've also become a member of the wonderful Main Gallery in Redwood City -- the amazing talent and creativity of the artists I've met there made me very proud to be one of them!

I've tried my hands on a couple of local, regional and national juried shows this year, and was fortunate enough to be juried in 20 of them, getting a couple of awards and selling some of my larger works through these shows. I am extremely honored to enlist among the wonderful artists -- many of whom are my teachers through their books and instructional dvds -- in these shows, and consider the juries decisions a gentle nudge of encouragement for an artist at her starting point like me. For all the ones that I did not get in, I can only say I will definitely try harder the coming year!

What I did not manage to do, in the year past, is to keep a sketchbook and draw freehand everyday, to go outdoors more often and do more plein air studies, and to keep finishing two small paintings a week. With four days a week in the Golden Gate Atelier learning classical drawing methods, it has proven quite a challenge to keep at these goals. But I will not give them up in the new year, -- I've just signed up for an impossible crazy task today, which I will reveal in tomorrow's post. So stay tuned...

Ok, before I bore you with more self-bragging, I just want to share with you my seven favorite paintings that I have created this year. Some of them are award winners and already happily settled in their new homes, others I love not because of the final results, but also the challenges I have taken and difficulties overcome during their creation...


High Summer Dreams II, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, Sold

This one has won me a gold medal in Stockton Art League's National Juried Show at Haggin Musuem -- the first red-carpet moment in my art career! 


April's Passing,  Watercolor on Ampersand Aquaboard, 6"h x 6"w
Available through Randy Higbee Gallery ($300 with Frame)

My first successful attempt on Aquabord after much suffering. I feel that after this one, I started to have some understanding of how this difficult surface works, and I was also able to let go of a bit of control to accept what's happening on paper (or, in this case, on board ;-)


Petal Light #2,  Watercolor on Arches 140# Cold Press Paper, 7"h x 10"w
Available through Daily Paintworks Online Gallery ($125 with Mat)

I feel that I have truly captured the warmth and vivacity in this bird without fiddling too much. Love the wet-in-wet process from start to finish...


Beauty Queen, Watercolor on Arches 140# Cold Press Paper, 7"h x 5"w, Sold

I tried out the multi-colored glazing method of the amazing Jeannie Vodden and combined it with my own wet-in-wet approach in the background. I was very worried the flower and the background would look like completely separate entities, but somehow the painting feels coherent as a whole when finished. Yay! Sometimes risk-taking does pay off...


Edge of Summer, Watercolor on Arches 140# Cold Press Paper, 5"h x 7"w, Sold

I tried to paint from a black-and-white photo and just imagine the colors of this one, and lovedswhat became of it. An attempt to correct my tendency to paint colors too literally from reference materials and see them only as a starting point. 


Petal Light #1,  Watercolor on Arches 140# Cold Press Paper, 10"h x 8"w
Available through Daily Paintworks Online Gallery ($150 with Mat)

Starting from an under-exposed, uninspiring reference photo of large area of dead dark shadow shapes on the leaves, I let the wet-in-wet process lead me and created interesting dark shapes. I felt a real sense of freedom after pulling this one off!


Winter Light, Watercolor on Arches 140# Rough Paper, 5"h x 7"w, Sold

The first landscape painting I am proud of -- I feel this one did capture more with less. 

Thanks again my friends -- as I have mentioned, I could not have done this without your support! Happy New Year Everyone!!!

You can purchase my 2013 wall and desk calendars here:


Saturday, August 11, 2012

Green Orchids - Sold, and Some Good News from Juried Shows!

I have divided my time between this one and the Purple Hibiscus painting, which is also close to finish at this point. After doing several layers of glazes on the flower petals on this one, I realized that the value between my subject and the background is getting very close, therefore the flowers no longer stand out again the background. So -- up goes more darks! I mixed in Brown Madder Alizarin and Alizarin Crimson with Holbein's Undersea Green to create a very thick, creamy mixture and painted it over the left side background, varying the density and color dominations a little to create subtle value changes instead just a monotonous layer of black -- it's hard to see such subtle effects in photos because the value range of CCD cells on most digital cameras are far inferior than the human eye, but when viewed in person, the subtle variations are evident. I was happy with the results and decided not to finesse it any more. So here it is!


Green Orchids, Watercolor on Arches 140# Cold Press Paper, 6"h x 6"w, 2012 #43

Bid at My DPW Auction (Starting Bid $40)

I've also received some more exciting news from juried shows -- my painting, "High Summer Dream", was accepted into Kentucky Watercolor Society's Aqueous USA 2012 National Juried Exhibition! The Jury this year is Ted Nuttall, an artist I greatly admire. It's a great honor to be selected into a national competition, and it's even more exciting that someone whose art you have looked up to actually awarded you such honor. I am really thrilled...


High Summer Dream, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, 2012 #1

Sold!

Friday, August 10, 2012

Work in Progress: Orchids and Hibiscus

Despite of my best intentions, painting in thin layers of glazes is a process that cannot be hurried, and I am still not very dexterous with painting wet on dry using brush strokes instead of washes. Therefore, contrary to the promise I made on my facebook page, these two little 6" x 6" pieces are still not finished, although promisingly close...


Purple Hibiscus, Watercolor on Arches 140# Cold Press Paper, 6"h x 6"w, WIP 2


Green Orchids, Watercolor on Arches 140# Cold Press Paper, 6"h x 6"w, WIP 2

Sunday, July 8, 2012

Work in Progress: Greetings of May, and more Sanchez 50-50

Ok, ok, I admit -- after painting a grouping of 6" x 6" sizes I did feel a little constrained in terms of composition, and took a break from them by working on this piece I started in May. I worked multiple layers of very wet washes of mingled colors in the attempt to created the airy, light-filled space behind the flower, which reminded me of the feeling of early summer when I took this reference photo. I love the effects I have obtained so far -- the soft-focused ring effects and the delicious granulation of pigments, but the painting surface overall is looking a little too busy right now, so I think I will darken some area and lose some of the "light rings" to provide resting area for the eye, and emphasize the light-colored flower a bit more. The Lanaquarelle Cold Press paper I am working on is very lovely -- easy enough to lift but still allows glazing provided a light touch is used. I will be very careful not to saturate the surface of the paper before the designed value range is reached...


Greetings of May, Watercolor on Lanaquarelle 140# Cold Press Paper, 11"h x 7"w, WIP 2

But, I did not slack off on the 50-50 project! I worked on this group of green(! yes, it is the actual color of the flower...) orchids. Contrary to the Blue Delphiniums, the subject of this painting -- the group of several orchid flowers -- is itself complicated enough, so instead of trying to add more soft-focused foliage in the background and make it way too busy, I opted for a soft, smoothly gradated background, mostly dark to contrast with the light flowers, hoping it would provide a "quiet area" for the viewer's eyes to breathe. Unfortunately, this is not an easy task, give I don't want to use masking and the background shapes around the flowers are complicated with interlocking edges. I also had to glaze multiple times to obtain the smooth gradation, leaving some lighter yellow-green areas to hint more flowers in the background space. I still have lots of work to to on the flowers in the foreground -- it's going to be a long night again... :-P


Green Orchids, Watercolor on Arches 140# Cold Press Paper, 6"h x 6"w, WIP 1

... And, I am really really excited that I finally finished the preliminary work required to open my Etsy Shop! All that shipping policy, story of the shop, greeting message -- everything takes careful drafting and a whole lot of typing! But it's finally there, and I've uploaded the first item, optimized the title and tags for it to be easily reached via the all mighty search engines! (A lot of reading of FAQs and Forum Postings on Etsy, and thanks to the great introduction by the wonderful Crystal Cook -- you really rock!) I know it takes time to build a potential clientele, so I will be patient. But this is a new chapter for me and I am really excited...

Tuesday, June 5, 2012

Edge of Summer II (Finished!)

Quite a few more hours' work later... Here's the finished quarter sheet version of "Edge of Summer"! I'm really happy with the different level of emphasis I was able to give the center flower and the left flower behind it, and I'm happy with how the background integrated with the upper right corner flower. Working on a smaller study definitely helps to work out the process and the procedures when tackling larger paintings like this for me! 


Edge of Summer II, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, 2012 #32


Monday, June 4, 2012

Work in Progress: Edge of Summer II (Inching Forward...), and More Good News from the Shows!

I spend the better half of yesterday and most of this morning working on the background, wetting each area and floating in dark, staining pigments -- Alizarin Crimson, Prussian Blue, Quinacridone Burnt Orange and Winsor Green, letting each pigment dominating one section of the background, but making the influence of other colors in this group visible as well. The goal is to use semi-abstract shapes to hint more flowers and foliage in the background without really painting them one by one...


Edge of Summer II, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, WIP 3

After all of the sections dried, I reassessed the image and decided that most of the sections needs at least one more pass of even darker colors. This is a bit scary since wetting areas with already quick thick pigments is a truly risky business. The colors that are laid down thickly tend to move with the slightest addition of water... I used squirrel hair brush with very light touch to do this. The contrast looks much better with this additional passage of dark color mixtures. Now I can start to add definition to the flower centers, which are to be the center of focus.They are the only warm-colored areas in a predominantly cool image with the most amount of detail, I hope this would help them to stand out...


Edge of Summer II, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, WIP 4

Aside from painting, I've received more good news from juried shows... Today in the mail I've got my acceptance letter from Haggin Museum -- "High Summer Dream" has been accepted into Stockton Art League's Annual National Juried Exhibition to be held at the museum! This year's Juror of Selection is Mr. Craig Nelson, director of the fine art, drawing and painting program at San Francisco Academy of Art. I am really honored to be included in this high quality show...


High Summer Dream, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, 2012 #1

Even more excitingly, I've also got acceptance letter from San Diego Watercolor Society that "Hide and Seek II" has been juried into their 32nd Annual International Exhibition by Nicolas Simmons! I am excited beyond any words now... Since I'm such a big fan of Mr. Simmons' work! To be selected by an artist you admire is very encouraging. When I opened the acceptance letter, it feels as if the whole day's tiredness has been washed away by it...


Hide and Seek II, 
Watercolor on Jack Richeson Zoltan Szabo140# Cold Press Paper, 10"h x 14"w, 2012 #28

Friday, June 1, 2012

Edge of Summer II (Larger Version), Peppermint Rose (Still in Progress... It's Taking Forever!), and Some Exciting News from Juried Shows...

As my first trimester's study in the Golden Gate Atelier is drawing close to a finish, things start to get more hectic here, with me spending most of weekday evenings in studio trying to finish my current master copy drawing project, and working on the backgrounds of my figure drawing (I will post those at the end of the semester with a detailed summary of the valuable information I have learned from the classes, I promise). This means, sadly, a little less time to work on my watercolor paintings, which is really really really hard for me since the summer gardens here in the city is booming with inspirations! Also, I really need to work on some quarter sheets paintings in preparation for submissions to various juried shows. Here's my attempt for a larger version of the orchid painting, "Edge of Summer". I have washed in the first passage of layers on the flowers, starting from the lightest areas, using only Permanent Rose and Antwerp Blue -- I have to admit I am more and more taken by the harmonious results that can be achieved by using a limited palette...


Edge of Summer II, Watercolor on Arches 140# Cold Press Paper, 10"h x 14"w, WIP 1

I am also trying to put finishing touches and make adjustments on some paintings that has lingered in the studio for much too long! "Peppermint Rose" is so close to finish now, with most of the backgrounds being darkened wet-in-wet, and only a few shadow areas on some petals to be put in. I think the upper right corner shapes are too much like a Chinese 'Yin-Yang" sign and start to be distracting. It may need to be downplayed or even eliminated. I will look at it for a day or two before making the final decision...


Peppermint Rose, 
Watercolor on Fabriano Artistico 140# Cold Press Paper, 8"h x 8"w, WIP 7

Finally, some exciting news! "Hide and Seek II" has won an honorable mention in Illinois Watercolor Society's 28th National Exhibition! When I saw all the quality of work of the award winners shown on their webpage, I feel extremely honored to be chosen for this award. It has certainly made my day! 



Hide and Seek II, 
Watercolor on Jack Richeson Zoltan Szabo140# Cold Press Paper, 10"h x 14"w, 2012 #28


Wednesday, March 14, 2012

Edge of Summer (Finished!)

Finished this small study today... It's a good experiment with a painting method that was new to me. I have learned a great deal and had a whole new level of appreciation of the working methods of Ann Pember -- it's really hard to work this way!!! I did cheat a little and did not finish every section in one wet-in-wet session -- some background sections are rewet and repainted completely, the center of both the front and left orchids are glazed several times to achieve the right value transitions. Comparing to the last stage, I felt that the freshness of applying painting in one go has somewhat lost in these reworked sessions, but I do like the painting as a whole better after the reworking -- the values relates to the form of the flowers better, and the orange area in the top left section of the background was distracting to the eye -- therefore has to go. Now that I have worked out the colors and tried out a couple of things on this small study, I will repaint it in 10"h x 14"w format to submit to Red River Watercolor Society (RRWS)'s 19th National Exhibition. Time to be back to the painting table!...


Edge of Summer, Watercolor on Arches 140# Cold Press Paper, 5"h x 7"w, 2012 #24

Sold!

  

Sunday, March 4, 2012

Work in Progress: Edge of Summer (Almost Finished)

After finishing all the background sections (maybe?) it feels like the center flower appears a little washed out by comparison. I am thinking about darkening its center and right pedals, as well as giving more definition to the stamens... I think this painting is 80% finished, but requires being set aside for a little bit and careful consideration to avoid overworking...



Edge of Summer,  Watercolor on Arches 140# Cold Press Paper , 5"h x 7"w, WIP 3

  

Thursday, March 1, 2012

Work in Progress: Edge of Summer (Continued...)

A little more work on the orchid painting, "Edge of Summer" today, continuing to experiment with color mingling, this time using more transparent colors with a long value range: Alizarin Crimson, Winsor Blue, Winsor Green and Winsor Violet. It is hard to control the exact shape using this method, but wet, juicy dark colors do have a life of their own, and time and time again forming beautiful fluid shapes...



Edge of Summer,  Watercolor on Arches 140# Cold Press Paper , 5"h x 7"w, WIP 2

 

Tuesday, February 28, 2012

Work in Progress: Edge of Summer, & A Blush of Spring (Continued)

Every year San Francisco hosts a wonderful orchid show at Fort Mason Center, and it was last weekend for this year. I go there ritualistically, purchase some of the potted exotic beauty, take tons of reference photos, in the vain hope that I would be able to paint them all one day... Never once did the orchids I purchase survive, despite of the fact that the weather in San Francisco -- mild and humid with ample indirect, fog-filtered sunlight -- is extraordinarily suitable for orchids to grow, despite my effort in following the instructions sheets for how to care for the flowers, which came with the orchids for free. I have started to believe that I am one of those blessed with "black thumb". This year, I am taking a different approach -- I am acknowledging their inevitable death at some point in the near future, and to commemorate their eternal beauty and liveliness at this moment, I am painting them when they are still healthy and flowering on my window sill...


Edge of Summer,  Watercolor on Arches 140# Cold Press Paper , 5"h x 7"w, WIP 1

I am also trying out a painting technique that's different from my usual approach -- the one I learned by watching the fabulously informative dvd by the amazing master artist Ann Pember. In short, each shape in the painting is wet in advance and the colors are flooded in and mingled in the wet area. Each area is finished in one go with possible minor adjustments by glazing or wetting the area very carefully, and repaint wet-in-wet. There is no road map by underpainting, so it's a bid of a scary game for me, keeping me constantly on my toes. However, it's also greatly exciting... I'm also trying to see and exaggerate color from the most grey shadow shapes of the flower, imaging a harmonic color scheme out of a limited palette of Permanent Rose, New Gamboge and Antwerp Blue.

I also did a bit more work on the tulip painting, "A Blush of Spring", keeping on darkening the background areas and adding more colors wet in wet...


A Blush of Spring,  Watercolor on Arches 140# Rough Paper , 7"h x 5"w, WIP 2

Thursday, January 26, 2012

Spring Breeze II (Finished!), and the Start of a New Orchid Painting

Have you ever felt that the last 10% of a painting always takes forever to finish? I literally worked on "Spring Breeze II" for the whole day today! True, there is only the flower in the center of focus to be completed, but that has taken forever... I think the outer most pedal on the right may still needs some work, but I decided to call it finished for now -- waking up with a fresh eye is generally better for evaluation of whether there is anything left to be done on a painting, and not doing so have costed me dearly before. So, here it is:



Spring Breeze II,  Watercolor on Arches 140# Rough Paper , 7"h x 5"w, 2012 #9

Sold!

I found out that colors do not appear as brilliant on rough paper, which is a problem. On the other hand, I really like the velvety look of the tulip pedals -- which is characteristic of thickly layered passages on rough paper. Pros, cons, well, maybe I will give this paper another try...

Since I was only working on a small section of this painting, I had to wait for the paper to dry each time I add a color passage. So, in between drying time I started this little painting of an orchid. I tried out some granulating pigment combinations for the shadows on the pedal -- Cerulean Blue, Cobalt Violet and Aureolin Yellow. I loved the results. The veins of pedals were pure Cobalt Violet, and the patters on the inner pedals were a mixture of Permanent Rose, Opera Rose and Cobalt Violet.

For the background, I did not do my usual wet in wet song and dance. Instead, I decided to try out a method I recently learned from a book written by the fabulous artist, Thomas Aquinas Daly -- layering alternatively warm and cool colors and watch closely to control the hue, value and temperature of each area. The layered paints has formed some interesting subtle textures that I want to keep... We'll see.


Dancing Orchid,  Watercolor on Fabriano Artistico #140 Cold Press Paper , 6"h x 6"w, WIP 1

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