Keeping Me Going

Saw this white dahlia outside of a store under a canopy of soft light unfurling into a perfect bloom.  Not having a sunny spot in the garden to plant it, I settled for a picture.  Felt it was perfect for a small painting.  I enjoy painting white flowers, which was done first.  After putting in the dark background, the shadows certainly needed to be deepened.  I’m finding that doing these small 6” x 6” pieces keeps me going in between finding inspiration for larger paintings.

White Dahlia, 6” x 6” Watercolor, ©Johanna Cellucci

A New Inspiration

Recently, I was given farm-fresh eggs by a fellow watercolor society member.  In the dozen, were a few green eggs.  That amazed me as I had never seen green eggs, and it gave me the inspiration to use them for a painting.  Even though eggs are a common subject, I had never attempted them before.  So, this simple still life became a challenge, not only in the composition to which a salt shaker was added, but also in painting the smooth transitions of light and shadow on the eggs.  I also found the shadows to be interesting.  This image tends to separate the colors on the eggs and in the shadows more than appears on the painting itself.  It is painted on my usual 200 lb. CP Saunders Waterford paper, but now feel a smoother paper could have been used.  Colors consist of cool and warm yellows, thalo turquoise, ultramarine blue, with quinacridone gold and sienna, some permanent rose, quinacridone violet and Winsor violet.  I always try to get that elusive perfection but, am for the most part, satisfied with the results.

Green Eggs with Salt, 10” x 14” Watercolor, ©Johanna Cellucci

Whiter Than the Paper

This past Easter I bought a lily for the first time and took some pictures of it.  White is a challenge to paint.  After laying in the dark background, the flower appeared pure white even though the Saunders Waterford 200 lb. CP paper used is more of a natural white.  This is done in a small 6” x 6” square format, which I’ve come to like as it can be completed quicker than a larger painting.  I’m never sure if a painting will work out, but feel this small piece captures the essence of a white lily.

Easter Lily, 6” x 6” watercolor, ©Johanna Cellucci

Something Different

I had taken a picture of goldfish in a pond a few years ago and liked the colors and movement in it.  This is different subject matter for me, having never painted water and fish before.  As detailed as I am, it is impossible to get every nuance of the water and its reflections.  And, as is often said, working from a photo also has its limitations.

I used the sedimentary color of cerulean blue for the water at the bottom to give the effect of sediment at the bottom of the pond.  It is a heavy paint and sinks into the valleys of the paper.  To paint the reflections on the left side, I masked the water "holes,” wet that side and dropped in dark color from the top fish lightening it toward the bottom.

However, there was a problem removing the frisket, which had never happened before.  For some unknown reason, in some small areas and one larger area, it would not come off.  I tried scrubbers and a “magic eraser” to no avail.  The only way to remove it was to scrape it off with an X-Acto knife, which of course damages the paper’s surface.  That spot took the paint and somehow seems to blend in, but it bothers me because I know it is there.  I do not have the patience to do it over, but perhaps will try a similar composition.

Overall, the resulting painting is decent, but not good enough as an exhibition entry.  At least, I am painting and learning.

Golden Pond, Watercolor, 14” x 10”, ©Johanna Cellucci

Another Opaque Watercolor Attempt

This small piece was started almost a year ago in a workshop with Martha Mans (http://www.marthamans.com/MarthaMans/Home.html) using her palette of transparent and opaque watercolors.  With nothing else planned, why not play with it.  Again, not considering myself much of a landscapist, I try to get too detailed for this type of subject.  This was worked on Arches 300 lb. rough.  It is not the type of paper I’m used to working on and found it to be heavily sized as colors seemed to lift readily.  Another observation is that this paper does not lend itself to my preferred wet-in-wet technique, and the opaque paints do not flow readily.  My favorite part of this painting is the road leading in.  Mountains and sky weren’t too difficult to achieve, but trees and grasses have always been problematic.  I’m hesitant to post this, but why not.  It is all a learning experience!

Florissant Fall, 7 1/8” x 10” watercolor, ©Johanna Cellucci

Just to Get My Brushes Wet

Having not painted in a while, I decided to try this rose in a small 6” x 6” square format just to get my brushes wet again.  This was done on my usual Saunders Waterford 200 lb. paper working wet-in-wet with mostly the Quinacridone watercolors of Coral, Pink, Rose, Magenta, Violet and Gold.  It accomplished my goal, and I am pleased with the result.

Quinacridone Rose, 6” x 6” watercolor, ©Johanna Cellucci

Using Opaque Watercolor

Back in April, I took a landscape workshop with Martha Mans (http://www.marthamans.com/MarthaMans/Home.html) using her palette of both transparent and opaque (colors containing white) watercolors.  Finally, got back to finishing two 5”x7” pieces I had started.  Although I admire landscape as subject matter, I don’t consider myself much of a landscapist.  I also consider myself a watercolor “purist,” but admit I find the use of opaque color interesting.  Examples of opaque colors are:  Holbein’s Jaune Brilliant #2, Grey of Grey, Verdirter Blue, Compose Green, Lilac and Lavender.  Below, I share my two small landscape results, both of which contain some of the opaque colors mentioned.

West Face of Pikes Peak in Fall, 5”x7” ©Johanna Cellucci

Great Sand Dunes, Colorado, 5”x7” ©Johanna Cellucci