Adding an object into an already blocked in painting.

Adding an object into an already blocked in painting. 10/19/2009

On Saturday evening, at dusk, following a rain shower I picked a couple of lovely, just opened Golden Bunny roses, popped them in a crystal vase and painted them into the early hours of the morning.

On Sunday evening, at the same time, I decided I wanted to add an image of a small bear, Faith, the one I had used as a competition prize, into this painting to give it more variety as the rose was all one colour and I felt that faith would give the art work a story line. I cut a piece of cloth from an old T shirt and I wiped out the paint from the area I intended to paint in Faith the bear. I did not apply any thinners, (turpentine), to the cloth as i work safely, and turps, thinners or any solvents or harmful chemicals are never used in my studio,

With the canvas wiped as clean as I could get it, using elbow grease and the texture of the wipe out cloth, I began to paint the bear while continuing to develop the painting of the rose and background, working over the entire painting, not just focusing on completing any one area.

By mid night on Sunday night I had the block in of Faith the bear and the golden Bunny rose, complete and much of the refinement of the work, done.

Third night at this painting and I followed, my 'more look than put rule and I didn't begin the painting until late in the evening, when i was sure of 'what it NEEDED'.

At this stage I worked with a fine signature brush and I mixed a dark violet with dark orange and I increased the darks within the rose. I mixed Titanium white and lemon yellow increasing the lights on the outer edges of the rose petals, I also dragged the paint on the brush over the the face of the bear to try to give the impression of some fabric texture, an indication that this was a calico bear. similar dry brush work was used to try to indicate a suggestion of a knitted top on the bear..

I know I could easily work on the painting for another week, adding detail, but would it be better or just stiffer and more perfect? When I asked the painting, 'What more does it need, (see the previous post), rather than asking, 'what more can I do', I didn't hear it tell me anything.

With nothing more to do to the work other than observe it for several days in the studio, the 'more look than put', technique, waiting to see if it 'talks to me and tells me anything it needs', I put it on a bench that I will pass several times a day and I’ll wipe my brushes clean of excess paint and add them to the pile of Saturday and Sunday night's paint brushes, all soaking in a container of canola oil. cleaning brushes is the only use I have for canola oil, known as rape seed oil in some countries. I rarely interrupt the flow of the painting to clean brushes before it is finished.

The painting does not photograph well due to the reflection of flash on wet paint. it will be a couple of weeks before I can take a good photograph of the work.

I will reproduce this painting with a motivational quote as a small business card size fridge magnet for sale at A$4.00, including postage within Australia.

If you have any suggestions for a quote that you think would suit this image (not too wordy), I would love to hear it.
Cheers, and happy creating,

Private & Semi-Private Lessons

Kathy