Poppies. Michele Clamp. Watercolor. 11”x14”. For Sale.Poppies 250.00
11”x14”/16”x20” with archival mat.Add To Cart
I have a love hate relationship with painting flowers. As I’ve said countless times before they seem as though they’ll be enjoyable and relatively easy to paint. Bright colors, loose forms, doesn’t matter too much if you draw the leaves slightly off. And I’m wrong every time.
The thing about flowers is that their beauty has a lot of subtlety to it. The variation of color and value in the petals is key to capturing that and that is where a lot of us lack the required skills. If the delicate modeling of the curve of a petal is slightly off -- slightly too dark in the shadows, slightly too abrupt in the change of tone — you lose the effect.
So considering what I was up against these poppies came out really quite well. Fresh colors - just enough change in the color to suggest petal shape. Not bad at all. Plenty to improve upon of course but isn’t there always?
Some intermediates :
These were the first washes. As you can see I’d been trying to match colors on a separate piece of paper and I thought I’d gone plenty dark enough in the flowers. I was completely wrong.
Second layer :
I’d been wrestling with the flowers for a while here. The left hand one I did first and it has slightly too much value difference in the petals. The large one on the right came out much better.
The final thing :
I had quite a lot of fun painting the innards of the vase. Water is always fun to paint - you can be quite loosey goosey with it and it will still read well. And, for some reason, people are really impressed with it.
I did a little beefing up of the color in the left hand flower but left most alone. Pretty happy.
Wed, 16 Oct 2019 21:23:54 +0000
Fruit Still Life. Michele Clamp. Watercolor. 11”x14”
As it was still early and I had a fistful of reference photos I thought I’d have another go at a fruit still life. I haven’t done one of these in a long time and I was interested to see if I could still remember how to do things.
First the photo. A little more complicated than the previous one and I’ve always dreaded doing grapes.
Drawing and first washes in. Not particularly confident at this point and I’d been a little tentative with the first washes so everything’s looking a bit washed out.
Next stage and things are looking a little better. Still not really very confident but at least the grapes aren’t giving me as much trouble as I’d thought.
Final version. To be honest I quit while I was ahead here. I could have gone back in and darkened up some of the grapes but felt the risk of ruining it was too great. Pretty happy with this to be honest.
And of course an easel shot.
Fri, 11 Oct 2019 20:57:29 +0000
Fruit Still Life. Michele Clamp. Watercolor 11”x14”
I’m starting teaching on October 21st so I’ve been thinking about lesson plans and the like. I thought we’d start off with something simple to get people used to handling the paint and mixing colors.
I thought this would be much more straightforward than it was. Turns out that when you’re trying to think through what you’re going to say and paint at the same time everything gets more complicated. Added to that is that I was trying not to paint on automatic but only do things that I could clearly articulate. Easier said than done.
So here was the initial photo :
Nice basic shapes, good colors and distinct patterns of light and shade.
Drawing is fairly straightforward I hope. Concentrating on angles and junctions and negative spaces. I marked in the shadow areas and highlights more than I usually would for emphasis.
First layer with the midtones and some darks. My shadow on the lemon fell off but that’s ok.
final image with the darkest darks put in and some details in the stalks. I hope this isn’t either too simple or too complicated for people to follow along with.
And a nice easel shot. Always good to have one of those.
Fri, 11 Oct 2019 20:42:49 +0000
I’ve been watching the fabulous Paul Foxton on youtube who has some mesmerizing videos on the Munsell color system and judging and painting color and value. Having watched him measure value using the Munsell color chips and paint perfect spheres and blocks in oils I thought ‘that doesn’t look too hard’. There’s always room for sharpening up your value judgement skills so I thought I’d have a go in watercolor.
I found this value scale and printed out a few. These are for measuring values from 1 (black) to 10 (white) so you know which area is which value.
I then squandered $7 at Amazon to buy some 2 inch wooden blocks and painted them in acrylic. One white (10) , one black (1) and two mid values (3 and 5). I didn’t have a light box handy so I cobbled together a floor and backdrop from some old watercolor block backing board.
The task was to paint a white block (and its background) by
a) first identifying the value using the value scale.
b) Mixing up the right value in watercolor
c) Painting the relevant plane with said value.
Boy was this hard. At least with oil you can directly compare whether you’ve mixed the right color. With watercolor you have to mix it, look at the consistency and flow, paint a little square on the paper, wait for it to dry, and then check whether you have the right color. I’ve ended up with a lot of notes on how the paint looks and flows on the palette and how that translates into value. It’s turned into a bit of a game. Say I want a mid value - 6. I mix up what I think is a 6, paint a little square and put my guess next to it in pencil. When it’s dried I measure it using the value scale and see how close I get. It’s hard.
These are my notes from my latest attempt :
I don’t have the full range yet but this is what I have so far :
10 - No paint - just the white of the paper. This one’s easy.
9 - Water consistency, transparent on the palette, brush doesn’t leave tracks.
8 - Water consistency, translucent on the palette, brush doesn’t leave tracks.
7 - Milk consistency, opaque on the palette, brush doesn’t leave tracks
6 . - Light cream consistency and flows on the palette. brush leaves tracks through the paint.
5 - Light cream consistency and flows slowly on the palette. Brush leaves tracks and the paint is opaque in pools.
4 - Nothing yet
3 . - Heavy cream consistency. Leaves tracks when the palette is flat. Flows v slowly across the palette.
2 and 1 - Haven’t done these yet.
I’ve shamelessly borrowed the water/milk/cream descriptions from Joseph Zbukvic and they do work well.
Of course these descriptions only apply to this color and probably vary between paint brands so there’s a long way to go.
It’s actually quite fun and each little block only takes 10 minutes of so. Even over a single day I’ve improved my mixing skills.
Mon, 07 Oct 2019 20:37:29 +0000
This came around quickly! Back to Post Road Art Center for life drawing with Andrew Cefalu. Had a pretty good week this week. I’m really getting into hands and feet and making good progress. This one was my favorite of the night due to the tight clustering of both the hands and feet.
So as usual we started with 2 minute poses.
It always seems to take a pose or two to warm up. The first one especially is very scruffy but but the third I’m off and running. There was a bit of a screw up in the second one where I had my pad angled too far away from me which produced distortions in the head. Nice line energy in these - pretty happy here.
Next were a couple of 5 minuters.
And the rest were 15 minuters.
Sun, 06 Oct 2019 20:00:45 +0000
Our trusty Canon pixma printer gave up the ghost last week in the middle of printing out teaching materials. After some back and forth we bit the bullet and bought a shiny new Epson 7750. I’m very excited about this as I can now scan paintings and print them out at actual size (most of mine are 11”x15”).
I have to admit there has been some fannying about before getting to this point. First, the scanner is only 8.5”x11” so there was a morning of working out how to stitch the scans together. Some things like hugin were overkill but then I found autostitch . from Matthew Brown which so far has done a fantastic job with only a couple of clicks. No more dodgy iphone photos for me - scans all the way.
Getting prints to the right quality wasn’t quite as straightforward as I’d first thought. The paper makes a huge difference and, although the prints on Epson’s premium matte presentation paper weren’t bad the Strathmore watercolor inkjet paper gave the most faithful color and texture representation.
Sadly the Strathmore doesn’t come in sizes bigger than 8.5x11” so I ordered some of the larger Epson watercolor inkjet paper to see how that fared. In the meantime I thought I’d just use some of my cheaper cotton watercolor paper and see how that did. I wasn’t expecting much but I have to say I’m really impressed. If you have them side by side and look really closely you can see the difference but the differences are really very small. A good result I think.
And here he is in all his glory. A bit of a beast but he just fits on the filing cabinet.
Wed, 02 Oct 2019 21:23:02 +0000
Life class again last night - this was the last of the session. I thought the session had gone pretty well over all but I didn’t check over my work until this morning. Experience has shown me that how I feel the session went is not necessarily reflected in the result viewed later so I opened the sketch pad warily. But it seems my impressions were right this time. Hooray! I’m really feeling my way round the shapes much more confidently and even the hands and (sometimes) the feet are coming together.
So, as usual, we started with some 2 minute poses :
There’s some very nice stuff in here. I started off a little sketchily (first photo) and I had a few thoughts of ‘how do I do this again?’ but got into my stride quite quickly. Quite happy with these considering they’re only 2 minutes each.
Next a 10 and three 15 minuters.
Even had some time to do some shading on the 15 minute ones. Still having trouble with feet and hands but it’s a world away from where I was a while ago.
Finally 2 twenty minute poses.
Again I was fairly happy with these. Some screwups on the hands and feet but then there usually are. A good nights work.
Finally many thanks to Andrew Cefalu for organizing and monitoring the session and to Lindsey our model.
Sat, 28 Sep 2019 20:21:44 +0000
Rose-breasted grosbeak. Michele Clamp. Watercolor 14”x11”Rose-Breasted Grosbeak 250.00
14”x11”/20”x16” with mat.
Always love the color combination in these birds. A mixture of bold and subtle contrasts.Add To Cart
Haven’t done a bird in a while and fancied something with some strong contrasts. This one never disappoints.
The drawing. For once I carefully measured the length of the bird with respect to the body - 5 bird heads high.
The initial washes. Very light and I make sure I splosh through the edges to give a fuzzy underpainting. I only take care to avoid the eye area where I want to keep the white paper.
The next layer of the bird. A lot of this will be the final layer apart from the finishing darks. It often looks a bit meh at this stage.
Almost there. The feet and the branch are in and I’ve darkened up the head and put detail in the eye.
Done. A little light shading around the shoulders to bring out the white and a little touch of white gouache in the eye to bring back the sparkle.
Mon, 23 Sep 2019 22:28:48 +0000
Boats at the Naval Yard, Boston Harbor. Michele Clamp. Watercolor. 14”x11”250.00
14”x11”/20”x16” with mat.Add To Cart
I’ve been saving this scene for a bit since our painting trip to the Naval Yard in Boston. I had a disastrous outing with a previous scene but couldn’t resist the boats for any longer. I’m pretty happy - the effect of strong sunlight is there and the composition is pleasing. A good days work.
Sun, 22 Sep 2019 21:12:47 +0000
Grist Mill, Sudbury, MA. Michele Clamp. Watercolor. 11”x14”Grist Mill, Sudbury MA 250.00 Add To Cart
Don’t let anyone ever tell you painting is relaxing. I’ve been suffering a bit of mojo deflation recently and nothing has been coming out well. Until today that is!
This is a scene of the Grist Mill in Sudbury which was built as an ‘improved’ mill by Henry Ford (yes that one) in 1924. After spending some time on site earlier this year I’ve held off painting a full painting as I wasn’t sure how to attack such a traditional scene. But I think it came out pretty well. Very happy and the mojo is restored.
Some intermediates :
Fri, 20 Sep 2019 22:15:20 +0000
Paris scene. Watercolor. Michele Clamp 11”x14”
It’s been a bit of a struggle at watercolor towers recently. A lot of frankly sub par painting and much frustration. This has been the best of the bunch recently (thanks to Gary Tucker for the inspiration).
The drawing - enjoyed doing this. Second time through doing this scene and the previous versions helped get some interesting shapes in.
Below is the first effort. Ugh.
Wed, 18 Sep 2019 00:02:37 +0000
Victorian House, Hudson, MA
I had a real stinker of a painting day earlier this week. I wanted to work up one of the Naval Shipyard scenes from our plein air session a couple of weeks ago. Failed so badly I’m too ashamed to post it. So it was back to the drawing board to work out what went wrong.
This was an attempt to work on capturing shadows on buildings in a more subtle way. I wanted to capture the effect of sunlight on the building - especially the roof areas that had just enough value change but no more. I’m fairly happy with this. I could maybe have gone a little darker in the shadow sides (or may be a little lighter on the sunlit sides) but it has a sense of strong sunlight which I like. I’ll probably revisit this and push it slightly to see what happens.
Fri, 13 Sep 2019 14:42:08 +0000
Mystic Bridge, CT 400.00 Add To Cart
It’s been a hectic week! Great news yesterday that I’m a featured artist in the Daily Paintworks August 2019 competition for my Mystic Bridge painting.
Tue, 10 Sep 2019 22:33:28 +0000
I am very excited to announce that I’ll be teaching my first watercolor class at Post Road Art Center here in Marlborough this Fall. Classes start on Sept 30th and run through until Nov 18th.
For further details and sign up forms please see the Post Road Art website.
Many thanks to Randi and Kira for setting this up.
Tue, 10 Sep 2019 19:45:00 +0000
Very excited to see that our paintings are up at the Dome Gallery in Cambridge MA. Many thanks to Judith Belt-Smith for hanging the show and congratulations to my fellow exhibitors Patricia Stimpson and Ching Lai. Paintings will be on show for two months until October 31st.
It’s a lovely space to hang paintings as you can see.
I have five paintings in the show - all New England scenes from our travels over the past few years.
All paintings are for sale through the Dome Gallery and through this website. Paintings will be available for shipping and/or collection after the end of the show on October 31st.
Tue, 10 Sep 2019 19:40:20 +0000
Memorial Church, Harvard Yard. Michele Clamp. Watercolor. 14”x11”Memorial Church, Harvard Yard 250.00 Add To Cart
I started this yesterday and was in two minds as to which way it would go. As it turned out it wasn’t a disaster but not a triumph either. I had quite a lot of trouble with the trees and in hindsight I should have cropped closer. Not a bad effort though.
A couple of intermediate shots :
Tue, 27 Aug 2019 20:42:16 +0000
Outstretched Penguin. Michele Clamp. Watercolor. 20”x16”Outstretched Penguin 450.00
20”x16”/28”x20” matted.Add To Cart
The nice thing about painting is that you get to choose what to paint. And sometimes there’s no real rhyme nor reason to it - you just fancy painting a subject in a certain style. And so here we are with a penguin. Just a penguin. I wanted him quite large - this is 20”x16” and I consciously tightened up the painting to give a smoother, more finished feel. I originally wanted to put more texture into the white fur with splashes and backruns and maybe some salt but that idea was jettisoned pretty quickly. Very enjoyable doing this one. The large size really helped - gives me some elbow room to push the paint around. I think I’ll be doing some more along these lines.
Fri, 23 Aug 2019 21:19:18 +0000
Inca Tern. Michele Clamp. Watercolor. 11”x14”
Feels a bit strange going back to the birds. I’ve been doing so many tightly composed city and landscape scenes that a single bird on the page feels like something is missing. That’s not to say that it’s easier though. Getting the pose right and tying the body to the plain(ish) background still take quite a bit of thought.
He came out rather handsomely though I think.
Edit: Forgot an intermediate photo.
This was after the drawing and the first wash being careful to brush through the outlines to create some fuzziness in the edges and to tie the bird to the white background.
Mon, 19 Aug 2019 20:39:51 +0000
Chinese golden pheasant. Michele Clamp. Watercolor. 11”x14”
Why not do a bird I thought. It’s been quite a while since I’ve done a bird and they’re so much easier than complicated city scenes. Well I was wrong on the last part. This gave me all sorts of trouble but a lot of it came together at the end.
Sun, 18 Aug 2019 19:12:16 +0000
Mystic Bridge. Michele Clamp. Watercolor. 19”x13”
Sat, 17 Aug 2019 23:00:10 +0000
Page created: Sun, Oct 20, 2019 - 09:05 PM GMT