Cloud technique

I've signed up to participate in the Cape Cod Art Center's juried artists' show, "Points of View" (it will run from June 16 - July 11). My reference photo, a landscape with a distinctive cloudy sky, was chosen from a collection of images provided by juried photographers at CCAC. The goal is to present my own watercolor interpretation of the image (rather than an exact copy). It's a great challenge and a lot of fun to mess around with various techniques. Since I have several months to complete the painting, I'm giving myself free reign, and madly practicing how to paint clouds. Stormy skies, sunny skies, rainy skies, winter and summer skies -- all are fair game. I can't wait to see how this challenge turns out. In the meantime, here are three quick studies, two completed earlier this week, and another that's a work-in-progress.

Late Winter Sky, study

Late Winter, study

Winter Clouds, study (step 1)

News from my studio

Vacation travels and other commitments have left me less time to spend in my studio. Fortunately, my schedule has opened up and I'm starting several new pieces. 

My watercolor painting, "Bright Morning Mist," was one of twelve winners in the Rhode Island Watercolor Society's annual calendar contest. I am grateful to the many followers on Facebook who voted for me. Thanks very much!

A newer painting, "The Skipper" has been on exhibit in "Primary Colors," an Open Juried Show at the Rhode Island Watercolor Society, throughout August. It shows my son on his sailboat on a long-ago afternoon on the water off Cataumet, on Cape Cod. 

A few weeks ago I spent an enjoyable afternoon with one of my granddaughters, setting ourselves up in my studio with the goal of completing a watercolor sketch in just fifteen minutes. We used a photo of some cows that I had taken several years ago as our reference. It was fun sharing creative space together, and I was thrilled to see my granddaughter's imaginatively colorful cows! 

Finally, I was pleased that an oil painting I completed in 2023 -- "Sturbridge Farm" -- was  displayed in the "Twelfth Annual One" show at ArtsWorcester, 44 Portland St., Worcester MA.

 

  

Solo exhibit of my watercolors

Williamstown MA

While recovering from cataract surgery, I worked on a larger version of a 10" x 7" watercolor sketch that I completed last month: a view of the pond at Field Farm (a Trustees of Reservations site in Williamstown, MA). This painting is twice the size –– 14" x 10" –– and shows a bit more of the reflected sky in the foreground.  

Some changes...

I've moved my art gallery to a new website hosted HERE. This new site, hosted by at Fine Art Studios Online, shows my largest works, many of them framed and ready to hang. Eventually, I will add a section showing smaller, unframed paintings and sketches. Everything at the new online gallery is set up for easy purchases via PayPal (you don't need a PayPal account to buy a painting -- just a credit or debit card). I'm closing out my Daily Paintworks site, and am very grateful to David Marine and his staff for the opportunities provided to me for the past ten years. If you have any questions, please message me either in the comment section of this post (below) or by contacting me via my Facebook page HERE.  The address of the new site is judithfreemanclark.com

Averie and Ellie...

Several years ago one of my granddaughters visited New York City with a friend, and sent back a few photographs. I was intrigued by the idea of doing a quick (well, semi-quick) watercolor sketch of the two teenagers in sunglasses. After I used my MacBook's photo app to crop out the surroundings, I simply enlarged the image and concentrated on capturing their sunlit smiles. 

Step 1

I sketched in a few details in pencil, but mostly wanted to rely on my eye and a limited palette of transparent colors to build the shapes and emphasize light and shadow. I tried to remember to stop every now and then to capture the progress of my painting –– always a challenge for me once I get started! For the first two steps, I worked exclusively with my favorite #12 Cosmo-Top Spin round brush, as it holds a good point. Colors used in the first two steps: Holbein's Burnt Sienna and Mineral Violet; and Winsor & Newton's French Ultramarine, Burnt Umber, and Sepia. By step 3, and in the final version, I added a few other colors, to help develop shading, add details to the sunglasses, and add the jackets and the background. I also switched to a smaller brush –– a Robert Simmons #4 white sable (synthetic). Colors added in these final steps: Winsor & Newton's Permanent Rose, Cobalt Blue, Raw Umber, Green Gold, and Winsor Blue GS; also Holbein's Verditer Blue. 

Step 2

Step 3

Here is the original photo, taken in Washington Park in Manhattan, and a cropped view that I brought up on my laptop screen to refer to while painting.

Back at the easel...

After way too much time away from painting, I hauled out my oils and easel yesterday so I could start a small (very small) panel. I knew if I chose anything larger than 5" x 7" I would probably step away and leave it unfinished. 

Hence a little study of a barn, based on a photo I took several years ago in western Massachusetts. I sold a watercolor rendering of this barn, but although I'd already done it once, this seemed like the perfect image to be done in oils, and also for getting my creative engines revved up. 

Once the panel dries, I'll add a few final details -- perhaps a fence in the foreground, etc. But for now, this is it. Stay tuned for new images later this week.

Rural Barn, step 1

Rural Barn, step 2