Red-Breasted Nuthatch

 

pastel  12"x16"

Some Owls

 I've been working on watercolors (with a little gouache) of 12 species of North American owls. Each owl is 4"x4" inches, and are painted on one sheet of paper (see them all at the end). Thanks for looking!

Great Horned Owl

Flammulated Owl

Long Eared Owl

Great Gray Owl

Barred Owl

Split Complementary Sunset

oil on canvas mounted on board 11.25"x12"

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I painted this New Mexico sunset scene using a split complementary palette of Ultramarine Blue, yellow- orange (a mix of Cadmium Yellow and Cadmium Orange) and red-orange (a mix of Cadmium Orange and Cadmium Red). These three piles of paint plus white kept my focus on the balance of warm and cool rather than trying to copy the colors exactly. It was fun and I'm already thinking of trying other split-complementary palettes! 

 

Gloria Steinem

 oil on linen mounted on board 9" x 7"

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Cassidy Hutchinson

oil on hardboard 8" x 5.75"

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Five Small Still Lifes

 It's been so long since I've posted here! I have been working hard teaching at my business, plus have gotten out of the habit of posting. Here are five new small still lifes, all available in my Etsy Shop

https://www.etsy.com/shop/TarynDayStudio?ref=simple-shop-header-name&listing_id=1233741458

World of Apples

 

pastel on pastel card 12"x12"

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Quince in Chinese Bowl

 

                                                            pastel on pastel card 20" x 20"

I've been messing about with this pastel still life set up on the floor of my studio, and although I felt excited at the start, my interest petered out. I just want to be out in the forest drawing mushrooms (I've been working often in my nature journal). Thought I'd post it anyhow, even if I never finish it.

White Roses on Red

 

oil on linen mounted on board 5.75" x 7.75"

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Monuments

 

oil on linen mounted on board 12" x 12"

A very slow painting, trying to get a sense of rising above time. 

Gully at Schwenkmill Road

pastel on pastel card 12.5" x 10"

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March is one of my favorite months, with the world showing just hints of new life. Here is a scene from a walk I like to take,  on a rainy day and with a road gully overflowing. 

 

Fields of Blue (favorite vase)

 

pastel on pastel card 11.5" x 20"

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Standing Peppers

pastel on pastel card 10" x 8" 

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I've been hosting a "Paint Your Veggies" group on Sunday afternoons, and this past Sunday the subject was peppers. Our group has fun together, and we inspire each other. 

 

Peace Valley, January Afternoon

pastel on pastel card 12.5" x 11.5"

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I'm still finding my way with pastels. Heck, all art-making is finding your way. Usually the vision in my mind at the start stays maddeningly difficult to capture, but sometimes a week after giving up, I find that I might have something after all. Something different that snuck in through a back door that isn't all bad. 

Eventide

pastel on pastelbord 6"x9"

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Ring out, wild bells, to the wild sky! Goodbye 2020! 

It's wonderful to work on a scene quickly, limiting myself to 1-2 days, before my strong feelings for the subject have a chance to die down. 

Still entranced with pastels, I'm finding they are sweetly agreeable when tackling the soft subject of clouds. Photo credit goes to Roger Brown, a lifetime good friend. 

Turban Squash

pastel on pastel card 14"x17.5"

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I'm continuing to try and teach myself pastels. My likes and frustrations are probably the same as other artists who struggle with the medium after being comfortable with using oils. I'm entranced by the texture, and the way areas can be left showing either lots of pastel strokes or else easily blended softness. I'm frustrated at not always having the exact colors I need (I have a somewhat small supply), as sometimes only a pure color is what is needed. 

This drawing took me two weeks, and is larger than I normally work. An oil this size would have taken me at least a month. So that's a plus. A minus is the way the dark colors of the background would rain down on the squash whenever I worked back there. And that I can't spray it!! I did purchase some expensive fixitive made specially for pastels and tried it on something else- it darkens and dulls the colors just like any other fixitive. 

Half a Shell

pastel on pastelbord 9.5" x 19"

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An instructor of mine from my days at PAFA (The Pennsylvania Academy of the Fine Arts) thought that the practice of cropping a subject is a detriment to the world of painting. He would say that it broke the illusion of a "poetic" dimensional space by bringing too much attention to the edges. Since then I've become a fan of cropping intentionally. I like the tension it can create, and the element of surprise. 

Turnips on a Box

 

oil on paper mounted on board 6"x 7"

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Ruth Bader Ginsburg

oil on linen mounted on board 8" x 6"

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Delaware Canal Towpath

oil on linen mounted on board 6" x 8"

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