"What I Learned In My Daily Painting" by Valerie Berkely

Fruit and Veggie Art

2011-12-05T12:34:00.001-06:00

Several of my fruit and veggie paintings are now on display at Basil Restaurant in Weston. Available for purchase at a sale price of $100 each no matter the size. Many acrylic on canvas panels framed in rustic handcrafted vintage maple resembling sturdy crates. Color Cucina....perfect for kitchen decor.
PS - Basil has great food!

Daily Painting is On Pause due to my new job.

2011-03-23T18:33:00.000-05:00

Enjoy this view of my favorite place on earth: the shores of Lake Superior....while I am settling into my new job as Curriculum Director at the Center for the Visual Arts in downtown Wausau WI. Stay tuned...

Today I Learned: Building greens through glazes.

2010-09-27T09:00:00.001-05:00

"Granny Tiny", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

The last of my tiny apple series, this framed painting is for sale at the Paint Box Gallery in Ephraim, Door County WI.

I enjoyed, again, the challenge of painting large to small. But I especially liked getting to know my greens through many layers of transparent paint. I found the abstract shapes and reflections in the green apple provided a good lesson in "trust" ... meaning: build the colors through glazes and weird abstract shapes. In the end: an apple!

Stay tuned...

Today I Learned: Painting translations - large to small.

2010-09-26T09:00:00.001-05:00

"Golden Tiny", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

This miniature painting is available (delightfully framed) at the Paint Box Gallery, Ephraim, Door County, WI.

Why are these apples tiny? Because I originally painted them larger at a 12"x12" scale. (Yum and on display at "Where We Live.") Then the call came from Door County for miniatures sized at 5"x5" maximum. It is a challenge to take a favorite painting and repaint it at a smaller (or larger!) scale. So many details change the second time around; each painting (no matter what the size) is truly unique.

Lessons learned: A good painting deserves another "translation." Brushes should be somewhat scaled to the size of your canvas. For miniatures I use size 00 to size 4 filberts and rounds. For larger paintings, I still tend to favor a smaller brush size; my favorite is a number 6 round or filbert. Sometimes a very large brush makes me feel like a house-painter! Stay tuned...

Today I Learned: An apple a day keeps the blues at bay.

2010-09-25T09:00:00.002-05:00

"Delicious Tiny", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

I love to eat several different flavors of apples (Gala, Honey Crisp, Jazz, on and on). But the Red Delicious is one of my favorite apples to pose for still life. I think it's the square-ish shape and the deepness of color that attracts my eye. The Delicious also has strong shoulders and sturdy feet....admirable qualities all.

This miniature painting is for sale at the Paint Box Gallery, Ephraim, Door County WI....lovingly framed by their experts. Stop in and take a bite. Stay tuned...

Today I Learned: Art makes a house a home.

2010-09-24T09:00:00.001-05:00

After a marathon two day installation session, "Where We Live" opens today, September 24. The combined efforts of three local Wausau WI artists (Valerie Berkely, Nancy Laliberte, and Chris Mosse) cummulate in over 100 affordably priced pieces of colorful artwork to grace your home. From the garden to the kitchen or from the kid's room to the office, don't forget the dining room too! We have turned the main gallery space at the Center for the Visual Arts into our house ... where we live and create art ... sharing the idea of home so you can make it your very own. Welcome! And Stay Tuned...

Today I Learned: This cherry is never red.

2010-09-23T09:00:00.001-05:00

"Door County Cherry - Lavender/Purple", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

For a different color palette choice, I'm tasting a very sweet golden yellow cherry that begs for purples and lavenders to contrast nicely. This finely framed miniature painting is for sale at the Paint Box Gallery in Ephraim, Door County Wisconsin. Stay tuned...

Today I Learned: Background inversion.

2010-09-22T09:16:00.000-05:00

"Door County Cherry - Pink/Green", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Again while I am busy preparing for my exhibit "Where We Live" (which opens to the public this Friday, September 24th at the CVA)... I will keep up with the cherry theme by posting previous work from the Door County Cherry Series. For those of you making a trip to beautiful Door County (oh boy the fall colors!), please stop by the Paint Box Gallery to see all my miniatures. The folks at Paint Box do an amazing job of framing my little gems, yet still so affordable!

Here in my color choices, I decided to take that lovely contrasting green of a background and place it on the table, so to speak. I enjoy doing "portraits" of fruits and veggies as opposed to traditional still life. Stay tuned...

Today I Learned: The more cherrier the merrier!

2010-09-21T00:11:00.000-05:00

"Door County Cherry - Green/Rust", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Again, while I am busy, I am posting work from the Door County Cherry Series. These miniature paintings are available for sale at the Paint Box Gallery in Ephraim Door County Wisconsin. They do a wonderful job at framing little gems!

Again, practicing glazing techniques to achieve the cherry color, this one with more highlights. I also enjoyed balancing all the warm colors with the cooler green background. Stay tuned...

Today I Learned: Glazed cherries are not red.

2010-09-20T13:32:00.000-05:00

"Door County Cherry - Blue/Tan", 5"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

While I am Way Too Busy finalizing details for my upcoming exhibit "Where We Live" at the Center for the Visual Arts in downtown Wausau, I will post previous artwork daily to keep up on the learning curve.

The Door County Cherry Series are all miniature paintings (5"x5") on display and available for sale at the Paint Box Gallery, Ephraim, Door County Wisconsin. http://www.noahrosenthal.com/paintbox/find.html

In this particular painting, using a small brush (and a light touch), I focused my glazing techniques on the subject cherry itself. First layers of alizarin crimson and ultramarine blue made the scruffy violet shapes. Next, alizarin crimson and cadmium orange light softly filled in. Using white with these colors let me add some lavender and pink for highlights. And Payne's Grey in a very small amount deepened some areas. Remember, all my Tri-Art paint choices are already transparent colors. When layered, the cherry is not simply "red", it is a burnished glowing cherry color! Stay tuned...

Today I Learned: Purple underpainting.

2010-09-19T14:31:00.000-05:00

"Shore Line #20 - Purple Haze", 10"x8", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

This painting started out as a rough underpainting in purple with white to establish a basic map indicating the darks and the lights. So many of my lake paintings use a lot of blue, cobalt and ultramarine, because of all the water and sky as subjects. So this was a fun challenge. I knew that purple works well under greens. Usually, to balance a predominantly blue color scheme, I would underpaint in warmer colors such as sienna or orange. So I was pleased to find that purple works well under blues to depict a cooler temperature.

As the day nears for the opening of my exhibit "Where We Live", I will upload a series of previous miniature paintings to keep you posted, entertained, and learning. Stay tuned...

Today I Learned: Composition and color balancing act.

2010-09-18T14:59:00.000-05:00

"Quatros Chilies", 18"x10.5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

To top off my recent hot pepper extravagenza, welcome to the chili party!

Lessons learned:

Subject - even though all lined up, subtle tilts of the chilies, spacing, and their placement in the picture plane offer variety.

Composition - classic 1/3 - 2/3 balancing rule. Hold a piece of paper over the far left green chili. Next hold the paper over the three right chilies. Now take two pieces of paper and cover just the green chilies. Each example visually creates a new - yet balanced painting. (More on cropping paintings later!)

Color - The two cooler green chilies balance the central pair, like brackets. The two warmer colors for the central chilies balance each other, while still keeping a contrast to each other.

Glazing - my preferred technique for building luminous gem-like color. While scrubbing in the background layers, I kept the chili shapes on the canvas white for later glazes of pure transparent colors... my key to achieving that "pop" off the page. Stay tuned...

Today I Learned: Glazing and highlights.

2010-09-17T13:04:00.001-05:00

"Tre Melanze" (Three Eggplants), $200 framed, 12"x7", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

For still life painting, my style choice is in a portrait format, forgoing typical table settings such as bowls, cloths, baskets, etc. (Hmmm... maybe more on that in the future!) I tend to choose vegetables with shiny surfaces and deep colors. Chilies are often posed; so are eggplants. Decisions are not so much about the food (yet!). My choices lead to lessons...

Lessons:
Composition - Subjects all in a row, fairly formal and static except for the hint of leaning within a 1/3 - 2/3 picture plane division. (Holding up a piece of paper to cover the two eggplants on the left will showcase the eggplant on the right and vice versa.)
Underpainting: I toned the background only with violets, reds and sienna. Later as I built the background textures to feel warm, I left the eggplant shapes bare white. This ensured that later glazes would help the subjects "pop" off the background.
Color: Since the eggplants are such a deep cool purple, I made sure to keep the background warmer with sienna.
Glazing: this entire painting is built on many glazing layers of transparent paint (my favorite Tri-Art brand colors are inherently transparent plus the semi-gloss polymer medium adds extra sheen). Building layers achieves a glow while allowing subtle changes in color. Case in point: the final background evolved through many layers until it felt right... the beauty of acrylics is the flexibility to make changes.
Highlights: Dark eggplants have very big white highlights that seem intrusive at first. The trick is to not just stroke on white paint which is too stark. I began the highlight shapes with transparent blue, then lavendar, then white. No highlight colors should ever be opaque. I also made sure that the bottom of the eggplants reflected some of the sienna "table" colors.

Wow. Lots of lessons. To see this painting and many many more... Stay tuned...

Today I Learned: A balancing act.

2010-09-16T13:22:00.000-05:00

"Chili Suite # 7 - Lean On Me", $50, 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Life - especially the painting life - is a balancing act. As I prepare for a major exhibit (up to 55 new works, most from 2010), the need for balance is greater than ever. True balance is supported by my husband, my family, my friends, my gallery. To acknowledge that support, I created "Lean On Me".

Lessons:

Composition: Straight-on solid composition, simple subjects, but neither is dead center, the picture plane is essentially divided into thirds.

Color: Warm palette of reds, yellows, browns. Very inviting color palette, yummy. The red chili pepper is smaller because the color is stronger. Yet the yellow chili pepper is bigger to provide balance and support.

These two chilies seem to care for each other...even as they are destined for dinner. Stay tuned...

Today I Learned: Chilly weather brings hot chilies.

2010-09-15T11:26:00.000-05:00

"Chili Suite #5 - Yellow on Purple", $100, 8"x10", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Well, I've been cooking great big pots of hot chili because the weather is turning chilly too. As I prepare for my upcoming exhibit at the Center for the Visual Arts which opens to the public on September 24, I can see that I have several chili paintings for display and sale. You can have your pick! Ooooo, so many color combinations. This yellow on purple is a good lesson in color complementary balance. As a warm color, the orangey yellow reads hot. The opposing purple brings a cool depth with hints of red to echo the warmth.

Lesson: Color is never really just ONE color. Use lively hints of complementaries within the basic hue to let you dance through the colors. Have a warm color? Hints of cool. Have a cool color? Hints of warm. Keep a color wheel handy and you will always know which colors "go." Stay tuned...

Today I Learned: Composition rules!

2010-09-14T00:41:00.001-05:00

"Tree Line #13 - Pines", $100, 10"x8", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

First, an underpainting in cobalt blue, because I like building warmer greens on top of cool blue. The composition initially had the trees evenly lined up like soldiers. Boring. And egads, there was a tree smack dab in the center of the picture plane. Thank goodness for acrylics, because it is easy to correct mistakes.

So composition lessons: vary the heights and placement of the trees. Keep the idea of 1/3 vs 2/3 composition rule. Don't have a big subject in the center. Vary the horizon line; it can slant, it does not have to be dead-on straight. Make sure far away trees on the horizon are paler and greyer. Lavender is very good at greying down greens.

I'm crazy busy finishing final paintings for my upcoming exhibit "Where We Live" which opens on September 24 and runs through November 7 at the Center for the Visual Arts in downtown Wausau. Stay tuned...

Today I Learned: Abstracting the lake again.

2010-09-13T11:22:00.000-05:00

"Ripple Effect #2", $50, 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Trying an abstracted yet intimate view of the lake again. This time, I applied paint in a faster more free spirit, so as not to be too realistic. My canvas panel support is rather new for me too. The brand Ampersand (http://www.dickblick.com/products/ampersand-gessobord/) makes hard board panels with a smoothly prepared white surface which has very little "tooth"; doesn't feel much like canvas. Not sure if I LOVE this product, but I do LOVE learning. This surface feels rather slick which does not work so well for my scrubby brushwork. However, the surface does allow for instant texture ... look closely at some of the blue rock shapes to see almost a fossil shell texture happening accidently where I plopped my brush. Cool! A future challenge will be to try this technique on a larger scale. Stay tuned...

Today I Learned: Abstracting the lake.

2010-09-12T17:19:00.000-05:00

"Ripple Effect #1" - $50, 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

For summer swimming, it takes me a LONG time to get all the way into the water at Lake Superior. So I spend a long time looking down at the rocks while trying to keep my footing. The glimmer of color refracted through the gentle ripples of water inspired me to abstract the imagery in a painting by memory.

With transparent acrylic, I dabbed colors randomly using a medium size filbert brush. I let the brush shape dictate the rock shapes, allowing texture to happen accidently. When dry, I next used a small pointed brush with transparent payne's grey to outline some of the rocks to indicate depth. When that was dry, I used transparent white and lavender as a glaze to squiggle the ripples.

Now you can understand why I love the fast-drying transparent acrylic paints! I'm tempted to try this technique again. So stay tuned...

Today I Learned: Water is not always blue.

2010-09-11T09:43:00.000-05:00

"Shore Line #19 Little Girl's Point - Brown Waves", 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Another day at the beach! And every day, Lake Superior looks different. This scene at Little Girl's Point (see the "dino"?) has a decidely muddy look. I overheard tourists new to the lake commenting on how polluted the water looked. Well, when the wind creates choppy waves, reddish iron ore silt is churned up from the lake bed along this shore line. This gave me the chance to vary my usual lake paint colors to include much more sienna with more opacity. I've been enjoying my studies of "water colors"! Stay tuned...

Today I Learned: One good painting deserves another!

2010-09-10T13:33:00.000-05:00

"Shore Line #15 - Little Girl's Point Sandy Beach Larger" - $100, 10"x8", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Well, nothing can take away from the first little painting of this scene, but I wanted to try it a bit larger at 10"x8". This is a big lesson for me. I naturally paint easily on a small scale. Painting "bigger" is the real challenge; very intimidating. I just can't grab a big brush to attack a big canvas. Even though my hand and heart know what to do... my personal experience painting large is limited. So for baby steps, my lesson was to take a favorite scene at 7"x5" and paint it again only a little bit larger. With this success, I can now feel reassured to paint it AGAIN even larger. This is a very good way to build confidence in handling my materials on a larger scale, one step at a time. Stay tuned...

Today I Learned: Pale blue highlights for Gail's Birthday!

2010-09-09T11:42:00.000-05:00

"Shore Line #14, Little Girl's Point Sandy Beach" - SOLD, 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Happy Birthday to my sister Gail. Three-hour-long phone calls will have to do for now as we dream about the next trip "Up North". In the meantime ... can you see the dino?

For those not in the know... there is an ancient tall pine tree with a crooked top that peeks up over the shore line along Little Girl's Point beach in Michigan's Upper Pennisula. Fondly nicknamed "the dinosaur head" by tons of visitors over the years, this landmark is etched in memories forever. Starting from the point's park, the challenge is to hike all the way to the dino. Sand soon gives way to scattered rounded rocks leading to much larger outcroppings of shale with some dicey footing. Better bring along some boys!

The task at hand in painting this scene was to capture the feel of wet sand as the waves pulled back from the beach. Pale blue highlights picked up from the sky color contrasts nicely with the reddish iron ore color. When you need highlights, whether in landscapes or still lifes, look to the complementary color...in this case, blue vs. orange. Make your highlights very pale and transparent for a soft balance. Using plain white as a highlight is too stark.

Stay tuned...

Today I Learned: Lavender highlights

2010-09-08T18:32:00.000-05:00

"Shore Line #17 Little Girl's Point Wave" - SOLD, 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Life is a whole day at the beach! As the afternoon progressed, the light shifted, the breeze picked up, and the waves rolled in. As I studied the colors, I was surprised to see so much lavender ...pale purple and pink squiggles of color dancing in the roll of the wave and the lace of the foam. I must have really caught the lake's essence, because this painting sold right away! I have many lessons now to keep in mind for the next Great Lake painting. Stay tuned...

Today I Learned: My heart is a lake.

2010-09-07T12:03:00.001-05:00

"Shore Line #18 - Lake Superior Sky" - SOLD, 7"x5", acrylic on canvas mounted matted, c)2010 valerie@berkelydesign.com

A bit of light over a quiet lake day. This image is forever in my heart. I can sit on the shore absorbed in the view. Then paint it in my studio time and again.

For more new art ... Stay tuned....

Today I Learned: Looming deadlines can be comforting.

2010-09-06T16:57:00.000-05:00

Not like a I never have anything to do!

For the past several weeks, I have been busy working towards two separate BIG deadlines. As the calendar dates approach, here they are:

On September 11 and 12 at the Center for the Visual Arts in downtown Wausau, I will be doing a live demo of one of my Four Seasons paintings during the open-house of the newly renovated studio space at the CVA's School of Art. This kick-off event will showcase the commitment of many volunteer hours that went into a complete rejuvenation of the educational component at the CVA. Make sure to take time during the whole Artrageous Weekend to stop in for info about my upcoming painting classes scheduled for Thursdays starting October 14.

On September 24 at the CVA: opening day of "Where We Live" ... an exhibit featuring my art and that of my two good friends, Nancy Laliberte and Chris Mosse. We turn the gallery into our living space, complete with furniture in a comfy and creative setting where we each depict how we live with the art of COLOR. Join us for the gala "house warming" party on Friday, October 1st, 5-7pm. The exhibit runs through November 7.

And for a sneak peek at my new paintings.... Stay tuned...

Today I Learned: to refocus my time

2010-09-05T23:48:00.000-05:00

"The Four Seasons Suite" - each 18"x24", acrylic on stretched canvas, c) 2010 valerie@berkelyesign.com

Hello! Hope you recall my previous posts about the Four Seasons where I showed small 5"x7" studies ....

Here are the Four Seasons as underpaintings, each in a monochrome that sets the stage for the final glazes of color. From left to right are: Spring (cobalt), Summer (violet), Autumn (sienna), and Winter (grey).

Painting this big (for me) is a challenge! And I have been crazy busy painting a lot for my upcoming exhibit "Where We Live" at the Center for the Visual Arts in downtown Wausau which opens on September 24. Did I say crazy busy? So for my sanity, I will refocus on posting daily in this blog. Stay tuned...

Today I learned: It's Good To Be Back!

2010-08-16T21:49:00.000-05:00

"Cliff View" - On Exhibit, 6"x8", acrylic on paper, c) 2010 valerie@berkelydesign.com

Announcing (!)
My painting "Cliff View" has been accepted into the Neville Public Museum 66th Art Annual Juried Exhibition which opens on September 11th and runs through November 7th, 2010. This painting is for sale during the exhibit through the musuem. http://www.nevillepublicmuseum.org/calendar/events/2010/09/11/exhibit-opens-66-art-annual
Neville Public Museum is located at 210 Museum Place, Green Bay WI 54303 920-448-7840.

As one of my favorite small lake paintings, "Cliff View" has a strong exhibit record -- meaning small paintings mean GOOD things! I love the abstract qualities achieved in the colorful textures of rocks, trees, and water ... all while I'm standing at the very edge of the cliff overlooking Lake Superior. Because I did NOT want to slip down the ravine, I did click numerous photo references to work from. I recommend that you keep a treasure trove of photo references of your own .. especially if you love a particular place .. THAT's the feeling that is sure to come through in the artwork.

So the long summer weeks at my Lake Effect Art Studio are winding down. I can now refocus on sharing what I learned through my daily painting. And oh boy, do I have a lot to share. So Stay Tuned ...

While I'm busy at my Lake Effect Art Studio, you can shop for prints of my blog art!

2010-06-24T02:17:00.000-05:00

Today I Learned: Painting the same scene with variety.

2010-06-22T13:12:00.000-05:00

"Studies for the Four Seasons" - NFS, each 5"x7", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Happy One Month Anniversary of this Blog!

Here are all four of the studies for my Big Plan: Painting the Four Seasons based on the scene at my cabin. I am now ready to lay out this same composition on four 18"x24" canvases that are already prepared with a soft warm tone. I'm ready to go!

I've learned many lessons throughout this process:

-- A favorite composition is worth painting again and again because it will change as your skills grow.

-- Four temperature settings allow for four very different moods expressed through color choices.

-- Underpaintings in the appropropriate color monochrome help to set those temperatures.

-- Cobalt Blue for Spring, Purple for Summer, Burnt Sienna for Autumn, and Payne's Gray for Winter.

-- Completing studies is a safe way to learn the lessons before a big painting commitment.

-- Working in series is challenging but fun ... like a puzzle ... and they look wonderful hanging together.

Now I must take my leave for several weeks of a summer tradition: I will be at my cabin Lake Effect Art Studio painting my beloved lakescapes and woodlands of Lake Superior. I may pop in to upload a post or two so ... Stay tuned ...

Today I Learned: Payne's Grey underpainting for Winter.

2010-06-21T10:41:00.000-05:00

"Study for Winter" - NFS, 5"x7" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Here is the last study in the four seasons series using Payne's Grey for the underpainting. (See my previous post of June 6).

Brrrrrr. The original underpainting barely needed any touches of additional paint. The cold lack of color feels like winter. Yet the warm ochre pre-tone of the canvas peeks through. I emphasized the orange at the horizon to further suggest that the sun had set. I kept the rest of the sky very white so that the scruffy branches stood out. A few glazes with ultramarine blue with white added a touch of purple shadows. This also helped to solidify the foreground snow.

Winter snow scenes present interesting challenges: less color is usually the way to go with white snow, but aha ... snow is never really just white. I need to practice a variety of colors in snow because of all the reflected light potential. Something more to learn in the future. Stay tuned ...

Today I Learned: Burnt sienna underpainting for landscapes.

2010-06-20T23:12:00.000-05:00

"Study for Autumn" - NFS, 5"x7" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

I have not forgotten my Big Plan to paint the four seasons based on a view of my cabin's front yard. See my previous posts of June 12 and 13 to see the studies for Spring (in cobalt) and Summer (in purple).

Yesterday, I was at the cabin setting up artwork for the upcoming Artists at Work Studio Tour (see sidebar for more info). Even though the weather says June, I focused to complete these final two studies with a feeling of cool days to come.

The Autumn underpainting was done in burnt sienna monochromes. (See my previous post of June 6) Since the birch trees tend to go golden yellow while the maples burn orange red, the sienna undertones ensure an overall warm glow (even the bright blue sky glows). I think I will use sienna more often for landscape underpaintings because it easily builds a variety of softer greens. I've read where the color "transparent iron oxide" does the trick too. Guess that color will be on my art supply wish list. Stay tuned ...

Today I Learned: A stormy mood.

2010-06-18T12:21:00.000-05:00

"Little Girl's Point Pumphouse" - $50 w/free shipping, 7"x5" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

No, no, no ... the stormy mood is not me! I'm in a good mood while painting to depict a stormy day. For the next two weeks, I will be posting artwork inspired by a very specific locale on Lake Superior's south shore in Michigan's Upper Pennisula. This image depicts a view of the long beach at Little Girl's Point Park outside Ironwood, MI. Way off in the distance is the approaching storm that chased us off the beach. (No more plein air painting that day with Nancy!)

Also, for those not "in the know," the box shape in the water is the historic cement pumphouse (or what's left of it). It actually has an opening doorway facing the beach. It used to house pump equipment, I think maybe for the campground up the cliff, a long long long time ago. Depending on the lake's water level in any given year, this structure is closer in or not, always partially submerged. Generations of kids (myself and all my kin included) have grown up playing on the pumphouse, crawling in, lolling on top, and jumping off. The pumphouse and the memories are permanent; the storm will pass. Ok, enough of a history lesson!

My painting lesson with this very dark stormy sky led me back to using the Tri-Art brand of acrylics so that I could rely on their inherent transparency. With such a subdued "low key" color scheme, I needed the blue hues to carry the weight, instead of a thick application of paint feeling heavy. On an orangey toned canvas, for the sky, I used cobalt blue, payne's grey, some white with a touch of alizarin crimson. For the water, I switched to ultramarine blue with plenty of white. Under storm clouds, the surface of the lake will most likely be lighter in value which really helps showcase how dark a summer sky can suddenly become.

Like I said, we were chased off the beach. Stay tuned ...

Today I Learned: Cropping - one good painting contains several more.

2010-06-17T13:23:00.000-05:00

"Serenity Piece" - $50 w/free shipping, 5"x7" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

In preparation for the Artists At Work Studio Tour coming up over the 4th of July holiday (see sidebar for info), I am busy in my studio creating several small Lake Superior landscapes for summer visitors. Consider "pocket painting" as a way to take home a piece of the lake!

I have been in love with the big lake all my life. I find endless inspiration in this region. (See my official website http://www.berkelydesign.com/ for more lake art.) Last summer, I was fortunate to land a commission for a large lake painting entitled "Serenity at Rosecliff"... the client's personal view overlooking the rocky beach on a calm summer day (shown below).

I enjoyed working on a large composition. Now, I have learned that creative cropping of a previous design can produce new paintings. The example shown (albeit tiny on this screen) is the original painting sized at 34"x22". To play with cropping, you can use various pre-cut matboard "windows" placed at random on the painting to discover new compositions. OR, crop easily in photo-editing on the computer. A strong composition in the original painting will most likely produce several smaller compositions equally as strong. Hence my new painting is a "piece" of Serenity.

"Think Big, Paint Small" works just as well as "Paint Big, Think Small".

I easily see more cropping in store. Stay tuned ...

Today I Learned: Painting for fun is simply fun!

2010-06-16T16:46:00.001-05:00

"Rose for Sharon" - NFS, 7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

I've been overwhelmed in my studio lately. So with a humble bow to my textile-artist friend, Sharon Rotz, I present my lil' bit of a painting based off her postcard which I display below.

I love Sharon's quilted art; please click on her link in the sidebar to see more. She has a terrific sense of color and design ... in fabric instead of paint! Using her color scheme for this fanciful rose allowed me to play with a smooshy "fat over lean" paint application, trying to emulate a more oil-painterly effect. Basically, after drawing the design, I blocked in the color map in scrubby rather thin "lean" paint. When that dried, I smooshed away with very wet "fat" layers of mid-tone colors. Finally, a small brush was used for the lightest details.

Thank you Sharon for the inspiration ... this lil' bit of art is just for you. I'm happy to show others that "when in doubt, look about" when facing the blank canvas in the studio. Simply the act of playing with paint is enough feel better after all. Stay tuned ...

Today I Learned: It's OK to only paint a lil' bit.

2010-06-15T23:10:00.001-05:00

"Flower Box 9" - 6"x6" acrylic on gallery wrapped canvas, c)2009 valerie@berkelydesign.com

Not feeling too well today. So I will take this opportunity to post an older painting in a very different floral style.

This painting has SOLD through the Center for the Visual Arts gift shop in downtown Wausau. Click on the link in my sidebar for more information on the CVA.

Last year, just for FUN, I painted several small "boxes" -- gallery wrapped canvases that can stand on a table top or hang on the wall. The concept of loose and fast imaginary florals allowed me to simply play with my paintbox. I set aside worries over design, composition or realism. I forgot about sales, deadlines, expectations. I ignored nagging doubts about what to paint next. I didn't try to find a lesson. I simply focused on the fun.

With these reassurances in mind, I did manage to paint a lil' bit today. I placed a pre-toned 7x5 canvas panel along with a floral reference on my easel. Having pre-toned canvases ready at hand in the studio can save the day. Of course, I then had to pick up a brush. The next thing I knew, 45 pleasant minutes had transpired. I was feeling better. And now there will be a new lil' bit of a painting to post tomorrow. Stay tuned ...

Today I Learned: It's OK to NOT paint for one day.

2010-06-14T23:47:00.003-05:00

"Narcissus Blossom" - 11"x17" acrylic on canvas panel, framed in rustic handcrafted maple hardwood, c)2010 valerie@berkelydesign.com

Today was a roadtrip to the Appleton WI area to deliver this painting for the Richeson75 Still Life/Floral 2010 exhibition. Soon the entire exhibit will have an on-line presence, so click later on the link in my sidebar. All the artwork will be posted along with awards. The exhibit opens on June 30 and runs through August 23rd.

I am honored to once again have my work accepted into the Richeson75. (I was the first place winner in the floral category in the 2009 Small Works exhibit, juried by Stephen Quiller!) Please visit http://www.berkelydesign.com/ to find "Golden Bouquet" in my SOLD gallery.

Little known fact: "Narcissus Blossom" has two siblings! Originally designed as a trio of paintings with a bud and a bloom to flank this blossom.

Thank you for allowing me a chance to boast! I enjoy botanical inspirations; I hope to create more paintings in this genre in the future. Stay tuned ...

Today I Learned: Glazing over purple for Summer

2010-06-13T16:15:00.000-05:00

"Study for Summer" - NFS, 5"x7" acrylic on canvas panel, c) 2010 valerie@berkelydesign.com

Here is the small Study for Summer landscape in my four seasons series. Refer back to my post of June 4th to see the underpainting done in rather strong purple (ultramarine blue mixed with alizarin crimson). Use purple to make green?! Purple is very good under deep greens.

Now the painting is glazed with a variety of mixed greens (some Hookers Green too from a tube). I also used cobalt blue mixed with white to suggest the heat of a noon sky. Cobalt is somethimes known as "sky blue." There are also touches of sienna, but all the purples as darks are from the underpainting. Again, as in the Study for Spring, the painting seems tight. Yet, I hope I have conveyed some depth and stillness to this summer scene.

Makes me want to go swimming. Stay tuned...

Today I Learned: Glazing over cobalt for Spring

2010-06-12T22:39:00.000-05:00

"Study for Spring" - NFS, 5"x7" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Referring back to my post dated June 3rd, I discussed doing an underpainting in cobalt blue for a spring landscape. Here is the Study for Spring painted in color glazes directly over that bright blue cobalt "map."

A few notes:
1. Amazing to see that the vivid cobalt underpainting is in reality covered with several other layers of paint, yet the blue resonates clearly throughout. Even if you think the underpainted colors are not that important, choose wisely because they DO make themselves known.
2. I did not use ANY green paint from a tube. With cobalt blue to build on, it is very easy to make a variety of greens. Using the transparent Tri-Art brand, my glazing choices included white, cadmium yellow, naples yellow, purple made from ultramarine blue and alizarin crimson, plus a touch of sienna.
3. Since this is a study, I am studying it! My plan is to paint this again on a much larger scale (18"x24"). Right now at this small scale, I feel the painting is too tight. It seems the composition is just too crowded. I'm hopeful that at a larger scale, it will be all about the trees ... the foreground, middle and background. And with a larger canvas, the brushwork will loosen up.

These studies are planned for a series of four larger canvases ... my own "four seasons." Well. I will be brave. Stay tuned ...

Today I Learned: A new slant on a new paint brand

2010-06-11T01:15:00.000-05:00

"Warm Slant" - $50 w/free shipping,

7"x5", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Like a kid in a candy store, I love exploring new goodies. This time, I am trying another (!) new brand of acrylic paint. Well, the brand is not new; it's well known especially for oils and pastels. Sennelier http://www.dickblick.com/products/sennelier-extra-fine-acrylique-paints/ now has their Extra Fine Acrylique line of superbly pigmented paints. Gorgeous colors! (Make sure you read the customer reviews at Dick Blick!)

Gosh ... I feel like a real painter ... in Paris wearing my beret standing at my French easel using acryliques.

Let me explain: I grew up studying watercolor, arguably one of the most demanding (and popular) of art mediums. Moving into oils, my studies faltered due to allergic reactions to the solvents required. Oh, I tried the water-miscable oils to avoid the solvents, but I wasn't happy with the sticky feel of the paint. (It was a long time ago; maybe they are better now?) And don't get me started on pastels ... LOVE the final artwork, HATE getting my hands that dirty. So relying on acrylics is the best solution for me.

Sennelier has really come close to an authentic oil paint feel with their acryliques. To curb my enthusiasm (and budget), I chose the three primary colors of red, yellow, and cyan (blue) plus white, payne's grey, naples yellow, and alizarin crimson to round out a basic starter palette. Later, I will add burnt sienna and ultramarine blue. In keeping my palette rather simple, I can rely on building my own colors (especially the greens). Sennelier really has a Long List of color choices, all enticing, somewhat overwhelming. Honestly, I find less is more in the paint box. Mixing my own colors from the basics in my studio is fascinating, fun, and well, um, akin to being the sous chef in my own kitchen. Oh, there I go again, being so French.

I hope my painting "Warm Slant" looks like an oil painting because it sure felt like one. One day, I will try out some direct comparisons using the same composition with several different mediums. Fun! Stay tuned ...

Today I Learned: How to gently fix a painting

2010-06-10T00:21:00.002-05:00

"The Path" - $50 w/free shipping, 6"x4" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

If you review my previous archived posts, you will come across this painting originally posted on June 1.
At that time, I was unhappy with the muddy colors. Sigh. My big plan had failed, I had set the painting aside, lesson learned. Aha: another lesson ... could I salvage the piece? What did it need? And how NOT to do TOO much more? So I gently added some transparent hooker's green (Tri-Art brand) to the middle ground fields. I think I fixed it! I'm happier now with the softer greens. What do you think? Critiques and comments are always welcome. Stay tuned ...

Today I Learned: Rich warm analogous color

2010-06-09T14:04:00.000-05:00

"Chili Rich Warm" - $50 w/free shipping, 5"x7", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Funny title for this painting, but so true. In continuation of color theory lessons, here is a Chili in an analogous color scheme. The warm yellow oranges of the subject are supported by a deeply toned background in the same color "family"... analogous colors are next to each other on the color wheel; very much the siblings. Analogous colors are often found in nature, harmonize easily, and are pleasing visually; a reliably good choice.

Orange as the key color on the color wheel is flanked by red-orange and yellow-orange. Using tints, tones, and shades of these three colors allows for a variety of values and contrasts. The brightness of the pure color in the Chili really pops in contrast to the deep dark tones in the background.

Taditionally choose your key color, then keep in mind:
Tint = Color + white.
Tone = Color + gray
Shade = Color + black

However, I find gray and black too harsh as pigments so I build my tones and shades with touches of corresponding complimentary color. Examples: a bit of blue added to orange easily becomes the gray to tone down the orange. To get fresh orange to go deeper, use purpley-red to take the orange down to a rich brown shade.

If all of this sounds like too much info: Just Play with Your Paint. You may make mud, but you will have fun along the way. Get a color wheel. Choose your favorite color (and its siblings)! Practice tints, tones and shades. Your color sense will become intuitive over time. Stay tuned ...

Today I Learned: Not a simple color scheme

2010-06-08T12:22:00.001-05:00

"Portrait of a Chili on Green"- $50 w/free shipping, 5"x7" acrylic on canvas panel, c) 2010 valerie@berkelydesign.com

Here is the final Chili from the previous posted work-in-progress. The colors on screen are not as vivid as the painting in real life, so if you love chilies, you will be delighted with your purchase.

As a recap: I painted directly on the white canvas instead of a pre-toned color so that the final background and subject would retain a strong contrast. This chili pops! And I enjoyed mixing my own greens for variety.

My choice of orange for the subject is not arbitrary. With such a strong green background, I did not want to rely on a simple complementary color scheme based directly on green/reds (this time)! Basic complementaries on the color wheel are good to know, yet moving into the triadic or split-complemenatry schemes will result in a more sophisticated use of color. This green/orange color scheme is triadic ... three colors equally spaced from each other on the color wheel ... green contrasted with orange and some purple. Subtle, yet balanced: a good color exercise.

Color, as the eye sees it, is subjective and intuitive. Everyone sees color somewhat differently. (My father was color-blind only to the green/browns!) Every computer monitor is different. (My studio graphics screen has been calibrated for color; my bitsy laptop is mediocre.) So I encourage you to experiment with color: in your paint choices straight from the tube, mixed on your palette, or mixed on the canvas. Get a color wheel. Try tints, tones, shades. Try a variety of color schemes. Play with your colors ... it's the best way to really know your supplies. You will develop your own intuitive color sensabilities and preferences over time. (My beloved Payne's Grey vs my irksome Phthalos!)

My favorite color wheel tool is from The Color Wheel Company.
http://colorwheelco.com/mm5/merchant.mvc?Screen=CTGY&Store_Code=TCWC&Category_Code=CW

Since I am addicted to color, there will be many more future posts focusing on Color Theory. Stay tuned ...

Today I Learned: Green does not come from a tube

2010-06-07T15:24:00.000-05:00

If you haven't noticed by now: I'm one spicey gal!

As an artist, I often rely on the chili pepper as a favorite subject for still life. Many, many artists (currently and historically) have used the genre of still life as an end to the means (pears are popluar). Simply put: a bowl of fruit on display in the studio will provide a handy subject ... so you can put the paint on the canvas. The subject matter is not always so important. But the process of painting ... and learning ... is key!

Think Cezanne (http://en.wikipedia.org/wiki/C%C3%A9zanne)

Today, I post a "before" image of a 5"x7" canvas panel. Hmm. Let's entitled it "Portrait of a Chili on Green". Although I like all kinds of fruits and veggies, the chili comes in many varieties with seemingly endless opportunities to explore color and shape. (Yet I somehow seem to favor the "C" shape curve; oh well.)

My lesson for this painting is to explore the color green ... without using green at all! Note that I did NOT pre-tone this canvas; working with the white gessoed surface will ensure a bright contrast in the finished subject colors ... this chili will pop! On my palette I placed cadmium yellow medium and light, ultramarine and phthalo blue, a bit of white, and a touch of alizarin crimson. I purposely left out my beloved Payne's Grey so that these greens would stay vivid (as opposed to soft landscape greens; a future topic).

Note: there is a blue and a green color with the name "phthalo" ... a TINY bit of these two colors will go a long way, so use sparingly. I begrudingly have these colors in my paint box, because their intensity can get in the way. Therefore, this Chili painting happily allowed me to explore some of my lesser-used supplies. Stay tuned ...

Today I Learned: Underpainting an understudy for Winter

2010-06-06T14:36:00.000-05:00

Here it is: the fourth (and final) 5"x7" study for Winter. On a canvas panel prepped with ochre, I did this underpainting in a monochrome of Payne's Grey and white. Wow! It really feels like a cold winter day (here in June)! This example barely needs any more paint; perhaps a touch more orange on the low horizon to indicate winter's sunset.

Payne's Grey: a color I love. As a versatile tube in my paintbox, this color could simply be made on your palette by mixing ultramine blue and ivory black. For simplicity (and because I find ivory black rather flat), I prefer a tube of Payne's Grey ... easy to grab, easy to use, easy transparency, easy mixer. (Try Payne's Grey with yellows to achieve a wide variety of greens!)

Whew. Now that all four small understudies are complete, it is time to actually paint! I will build my colors up on these underpaintings; each season will be influenced by the initial underpainting color. As I complete each study, I will post the work side by side to show the before and after. Since that will keep me busy in the studio, I will post other small lessons over the next week to keep YOU busy. Stay tuned ...

Today I Learned: Underpainting an understudy for Autumn

2010-06-05T13:16:00.000-05:00

Here is the third set up for "Autumn"; a 5"x7" canvas panel prepped with a monochromatic sienna and white underpainting. It already feels very seasonal; I'm looking forward to painting with lots of warm oranges and reds which will contrast nicely with a bright blue sky. A crisp autumn day!

"But aren't you bored yet with the same composition?" ...

Not at all! Try it, you'll like it. Having the same design mapped out several times leads to more creativity, not less. Like reading a good book, you can't wait to see what comes next. Sequential work (I love working in small series) promotes several learning lessons as you progress. Without having to worry about exactly what to paint next, you can concentrate on the actual painting job. Brushstroke mileage counts! So the experiences gained in "what comes next" invariably improves each painting along the way.

Ooooo: And it's really fun to line up all the paintings toghether! Stay tuned ...

Today I Learned: Underpainting an understudy for Summer

2010-06-04T18:09:00.001-05:00

This second 5"x7" canvas panel for "Summer" has been prepped with a purple and white monochromatic underpainting on a previously prepared warm ochre tone. Since I don't have a "tube of purple" paint, I usually mix ultramarine blue with alizarin crimson. This mix will be a cool purple; very useful under deep summer greens.
It is Immensely Helpful to tone and prep all the canvases you plan to paint on, whether or not you work in a series. It saves time and provides a studio full of productive inspiration. It feels good to have a variety of works-in-progress. And it gives you permission to stop working on one (especially if you feel lost!) to pick up on another. Very soon, the studio is filled with finished artworks.

So I will set aside this purple study for "Summer" as I move on to prepping the next season. Stay tuned ...

Today I Learned: Underpainting an understudy for Spring

2010-06-03T22:16:00.001-05:00

This 5"x7" canvas panel is a composition study based on a favorite view from my kitchen window .... the front yard at my cabin/studio across the road from the shore of Lake Superior. I spend a lot of time, either doing dishes or painting at the easel, with this forest scene. So I am inspired to create a Really Big Plan ... four separate paintings of this view from each of the four seasons.

After toning the canvas with a quick warm wash of ochre, I composed a light pencil sketch. Note: I did this FOUR separate times so I had four mostly identical small canvases ready to work on my Really Big Plan.

This first study, therefore, will be for Spring. I chose cobalt blue (and white) for the monochromatic underpainting. Cobalt will ensure some nice fresh light greens later on. I have mapped out my darks and lights, ready for the next step.

Oh, the Really Big Plan? After all four of these small seasonal studies are satisfactorily completed, I will transfer the whole design process AGAIN on 18"x24" stretched canvas. So stay tuned ...

Today I Learned: All about a new canvas type

2010-06-02T11:17:00.000-05:00

"Little Girl's Point Beach" - $50 w/free shipping, 7"x5", acrylic on canvas mounted in mat, c)2010 valerie@berkelydesign.com

Memorial Day Weekend was spent Up North in Michigan's Upper Pennisula. My cabin/studio is located near Little Girl's Point park on Lake Superior's south shore. The visual imagery from this region endlessly fuels my inspiration to paint.

Even though I have painted this scene many times, I always enjoy the process of learning something new. This time, I am trying out a new canvas type... Fredrix Archival Watercolor Canvas which comes in pads, boards, stretched, and rolls (http://www.dickblick.com/products/fredrix-archival-watercolor-canvas-pads/). I am using the canvas sheets that come in a pad, (affordable and portable) so the finished painting needs to be glue mounted flat in a mat for traditional framing. I will try the boards and stretched canvas too in the future. (Dick Blick has reviews!)

So let's get excited about a new product. Fredrix has developed this canvas with the watercolorist in mind (or any water media). The surface is very refined, smooth, and somewhat soft; feels like a favorite linen sheet. Windsor Newton Acrylics were easy to "smoosh"; to dry very stable with a nice satin sheen. The special gesso allows for watercolor to be lifted off (!) .... which is a future lesson for sure. I'm really liking this canvas. Oh my gosh, I need to dig my watercolor supplies out of storage! Stay tuned...

Today I Learned: Third step can lead to mud!

2010-06-01T23:12:00.002-05:00

"The Path" - WIP, 6"x4" acrylic on canvas panel, c) 2010 valerie@berkelydesign.com

Ok. So now you know. Even long-time painters can make mud on a tiny little canvas. And I had such high hopes! The first and second steps showed such promise! I had such plans! Yet that "lost" feeling prevailed even with my best efforts. I finally had to just set it aside.

BUT:

This is a good lesson and sample to keep for my class. So many mini-lessons are contained in just a very few inches. I learned that, gee, maybe I need to work bigger. I learned that good reference material should be GREAT reference material to make it my own. I learned that switching brands of paint in the middle of a painting session is not a bad practice, only my earlier transparent paint "mess" ... which I did not scan ... gave way to opaque mud. I learned that receding planes need to step back in color and value....meaning, remove yellow as you go back to the horizon.

I may breathe life yet into this Path. Maybe I will pretend that clouds are casting shadows across the foreground fields. Maybe I will save this for later. Maybe my BIG lesson in a SMALL painting is: keep painting! Stay tuned:

Today I Learned: Second step, mapping the darks and lights

2010-05-28T13:36:00.000-05:00

Based on yesterday's tone and sketch, I quickly mapped in the darks, some midtones, and the sky. The composition leads my eye along this path back towards the grove of trees. In using cooler colors in transparent washes on top of a warm tone; this step will help me plan the rest of the painting. I did not have a strong directional sense of light in my reference photo, only a sense of mid-day sun -- which is NOT the best time of day to take reference photos! Early morning or late afternoon or evening provides much better light directionals (something I need to work on in the future). So I am a little lost at the moment.

What do you do when you feel lost in a painting -- and Not In A Good Way? Set aside the canvas to examine and analyize: the composition, the values, the temperature, the path the eye takes, the feeling you want to convey.

So: My composition tells me to wander back along that path to that grove of trees. The deep values I find there tells me to go back through the cooler trees. The warm underlying temperature tells me that this journey is inviting. The path my eye takes is not too difficult - it meanders right back to the center of interest. The feeling that is conveyed is one of warmth and peace on a lovely day.

And as if this were not enough in a lesson, I set myself up one more challenge: I am only going to use the three primary colors (blue, red, yellow) plus white. I will start with transparent layers. After the Memorial Day Weekend, Stay tuned...

Today I Learned: First step prep, tone and sketch

2010-05-27T11:41:00.000-05:00

In my class, I often have a set of "first steps" previously prepared on small canvas panels to pass around. Up close is a great way to really see what is going on. The first step of toning a white canvas takes away that blank stare in a student's eyes while providing an immediate sense of accomplishment with brush in hand.

This WIP (work-in-progress) shows a very quick toned ground with an even quicker pencil sketch for a landscape (6"x4"). Using a bristle brush, I applied a watery blend of cadmium orange and sienna to scumble a warm tone. This dries very quickly. Next, with ordinary pencil, I sketched my landscape composition. I love "tree lines" ... and maybe that will be a road or creek that leads the eye back to the horizon. At this point, the WIP is ready to paint. Sometimes, I will spray-fix the pencil lines so that they won't dirty up the first paint layer (especially on a larger canvas). Sometimes, I just use a coordinating thin paint (in this case, cadmium orange or sienna) with a small brush ... I lightly "draw" with paint right over the pencil lines to help "set" the graphite to minimize smudging. Hey, it will all disappear anyway with the first full layer of paint.

Notes on toning: Plan the overall temperature of your final painting, warm or cool. Even after several layers of later paint, the finished piece will resonate some of that warm or cool. It's fun to try different versions too. Think in opposites; a warm tone works well under a very cool sky or water painting. Or a cool tone supports the hot colors under a chili pepper! Or push the warm on warm, the cool on cool. These experiments will teach you so much about your paint. (I mark my tubes with a "W" for warm or a "C" for cool; more on color choices later.)

Now that the first step is set, I have a loose "map" ready for painting. Stay tuned...

Today I Learned: Payne's Grey Underpainting

2010-05-26T16:29:00.000-05:00

"Dusk" - $50 w/free shipping, 5"x7", acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Some of my student's will recognize this painting from a class demo. I used Tri-Art True Color acrylics. I do not have a "before" image so I will describe: Using only Payne's Grey and white, with a stiff bristle brush, I scrubbed in a grisaille (gri'zai) underpainting very quickly. I wanted my class to see that it is OK to have a messy scrubby underpainting just to establish the composition and the basic darks and lights. This provides a map for later glazing.

Don't have Payne's Grey on your palette? Mix Ultramarine Blue and Black to achieve the same thing.

Grisaille (http://en.wikipedia.org/wiki/Grisaille) is a time-honored method of painting an entire work in monochrome first before layering glazes of local color. Very renaissance and very detailed.
Since I'm much sloppier, I'm happier, because this method can work well quickly. As I glazed, the image started to feel moody (not muddy) dark and a tad foreboding. (In the future, I will add much more white for a different tone. ) So, I added warm cadmium orange at the sky's lower edge and kept the foreground in cool hues. Suddenly, the small painting "popped". I was standing in a shaded meadow at dusk. Stay tuned...

Today I Learned: Glazing over underpainting

2010-05-25T11:07:00.000-05:00

"Cobalt Creek" -$50 w/free shipping, 7"x5" acrylic canvas on panel, c) 2010 valerie@berkelydesign.com

My favorite paint brand for glazing techniques is Tri-Art True Color or Tri-Art Liquid acrylics. (See previous post for link.) The polymer emulsion in Tri-Art has a nice semi-gloss satin sheen straight from the tube, dries fast, is transparent and workable (does not cloud over when brushed) with no color shift upon drying. I also find that Tri-Art's semi-gloss polymer varnish can be used as a glazing medium. Other glazing mediums tend to stay wet longer... a virtue of its own... but I'm inclined to work faster. I need my transparent layers to stay put once they are down instead of scrubbing off accidentally. A note: I find that all of the Tri-Art colors are transparent by nature, whether the tube is labeled T (transparent), O (opaque), or SO (semi-opaque). Even titanium white is fairly transparent as is. (Maybe due to pigment load in their formulation?) This aspect of the brand could be disconcerting (and frustrating!) for some painterly techniques. However, for glazing, this trait is a blessing!

Here in the finished "Cobalt Creek" you can compare it to the previous posted cobalt underpainting. The vibrant blue gives the painting a cool temperature, peaceful mood, and easy greens. With a blue underpainting, you never need green paint from a tube because transparent yellows, siennas, purples, greys, will build all the greens you need. (So Maxfield Parrish!) With transparent glazing, most "final" colors are not mixed on your palette, but built layer by layer on the canvas for a luminous glow.

My self-critique of "Cobalt Creek" -- I'd push the final contrasts more ... darker darks and lighter lights. (More on contrasts in the future). Squint your eyes. Stay tuned...

Today I Learned: Cobalt underpainting

2010-05-24T11:39:00.000-05:00

Just when you thought I was one Hot Tamale, I switch it up with a landscape!

I often do small fast landscapes as a way of using up paint on my palette. With a goodly amount of cobalt blue (Tri-Art Liquid Acrylics) http://www.dickblick.com/products/tri-art-finest-liquid-acrylics/ ... I quickly roughed in a value study on white canvas (not pre-toned). Starting from white will ensure crisp color. I had in mind an imaginary summer day winding down, hence the touches of cadmium orange on the horizon.

Color note: cobalt blue is often known as the "sky blue" ... very good hue for a high-key palette (meaning bright happy colors ... low key would use softer deeper subdued colors ... more on palettes in the future).

Underpainting note: http://en.wikipedia.org/wiki/Underpainting ... Maxfield Parrish http://en.wikipedia.org/wiki/Maxfield_Parrish ... often underpainted his canvas entirely in blue (historically known as the "Parrish Blue"), glazing over with transparent color, to achieve a sense of luminous light. What an inspiration! Now back to my humble scrubbiness. Stay tuned ...

Today I Learned: Monochromatics in a warm palette

2010-05-23T11:22:00.000-05:00

"Chili for Jane's Birthday" - NFS, 5"x7" acrylic on canvas panel, c)2010 valerie@berkelydesign.com

Still experimenting with the new line of professional acrylics by WN. (See yesterday's post for links.)

On screen, the colors do not do the paint justice. On canvas, I'm very happy with the rich color this line of paint provides. Not that I'm going to forgo other brands ... it's good to have a variety and to know what to expect from each. Never be a slave to any one brand because things are always changing in the art supply world. However, do try to afford yourself professional level quality brands. It's "ok" to start out your learning curve with inexpensive paint. But you will have an "aha!' moment when you upgrade to quality.

That being said, now I can admit: Hello there, my name is Valerie, and I am addicted to COLOR. (I also love the hot and spicy.)

This chili pepper is an interesting exploration into monochromatics. In art school, we are taught to paint with an eye towards value, contrast, balance, hue, temperature, mood, etc. I just wanted to play with a juicy alizarin crimson... and to convey a sense of HOT creatively. It is a rewarding challenge to set up a Lesson to Learn while I paint. Keeps things fun. Stay tuned ...

Today I Learned: All about a new brand of paint.

2010-05-22T15:26:00.000-05:00

"Chili for Rosie's Birthday" - NFS, 5"x7" acrylic on canvas panel c)2010 valerie@berkelydesign.com

Since today is MY birthday, what better goal than to start out this new blog where I can share what I've been learning while daily painting. (Hmm...more like nightly painting for this night owl.)

I am trying out Winsdor Newton's new line of professional acrylic paint which replaces their Finity line. Look up reviews on DickBlick (my favorite place to shop for art supplies). http://www.dickblick.com/products/winsor-and-newton-artists-acrylics/

I have been accustomed to using acrylics in thin transparent glazes (Tri-Art brand) which dry very fast, great for control and sharp detail. In the past, the WN Finity brand dried flat with a darker color shift. I now save the Finity tubes for scrubby underpaintings and toning. The new WN formulation has an improved polymer emulsion binder that dries SLOWER, has a nice soft sheen (which seems to break down with too much water), and a buttery feel with no perceptible color shift upon drying. (I have not tried it with a gel or glazing medium yet.) Points to keep in mind: straight from the tube, the color feels a bit sticky on the palette, but has nice blendability on the canvas. I have to watch out to not touch the canvas right away, because it will still feel tacky... important if I need underlying colors to stay put in their layers. Overall, the color is great, but my control of this paint for tight detail has given way to a somewhat softer technique....which is not a bad thing. Oh my gosh....I can now explore "oil painting" techniques (!) in acrylic. Stay tuned....

Stay Tuned!

2010-05-18T03:10:00.000-05:00

Stay tuned ... while I psych myself UP to produce and post to this dedicated blog. The relaunch is set to take place this Saturday, May 22 .... my birthday! Now That's a Good Goal.
ValB

Introducing the Rock Box Series of Little Paintings

2009-07-31T01:18:00.000-05:00

Summer vacation is not only fun time for rock hunting, it's fun time for painting! The Lake Effect Art Studio is my cabin on the south shore of Lake Superior. Friends and family often join me for painting workshops. Of course, everyone collects rocks! The studio table gets crowded with kids and paint and rocks and more rocks. I paint on canvas while ....

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My nieces, Violet and Lila, are hard at work having fun at the studio table painting ON the rocks they collect from the beach ...

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Soon joined by more nieces and cousins Taylor, Madison, and Sadie to form a factory ...

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I vote for Violet to be the foreman because her rock portrait is "rock on!"

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Lila inspired us all when she produced the "Flower Rocks by Lila" series ... a basket full of the prettiest rock daisies, some with magnets!

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Being the humble host as "Hey Val" (as well as a worker-bee in the factory), I jumped in with my own flower rocks to add to the basket.

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Now on to the serious, yet still fun, side to painting rocks: As a professional artist working in original acrylic landscapes and florals (see http://www.berkelydesign.com/), my inspiration for the Rock Box Series of little paintings happened easily. I dug through a box of rocks collected by the kids! So many pretty pairs to model from ...

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And little tiny canvases (2.5" x 3.5") soon met with little tiny driftwood easels (thanks hubby!)...

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Displayed during the Artists at Work Studio Tour and selling like hot rocks! ...

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So stay tuned to this blog where I will feature these little gem stones from my Rock Box Series. I love painting. I love rock hunting. And I love my nieces to pieces!

Valerie Berkely (a/k/a "Hey Val")