Just a few florals to brighten your day :-)
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You can find stock of my art and photography here:
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Showing posts with label leaves. Show all posts
Showing posts with label leaves. Show all posts
Friday, May 10, 2019
Thursday, July 19, 2018
Floral Still Life by Judy Mackey
A stunning floral still life by our July featured artist .... Judy Mackey
Floral arrangement by Judy Mackey
Monday, February 26, 2018
"Be My Valentine" by Lynda Cookson
Another challenge painting (which, funnily enough, I did use a palette knife on when I was moving the paint in the middle of the two big red flowers!) ... watercolour on Yupo Paper.
I find it keeps me fresh to be fiddling with watercolour or a craft object during the palette knife painting of a more formal painting. Otherwise I tend to fiddle with the formal painting and usually ruin it in some way LOL
"Be My Valentine"
Watercolour on Yupo Paper
8" x 12" (20 cm x 30 cm)
I find it keeps me fresh to be fiddling with watercolour or a craft object during the palette knife painting of a more formal painting. Otherwise I tend to fiddle with the formal painting and usually ruin it in some way LOL
"Be My Valentine"
Watercolour on Yupo Paper
8" x 12" (20 cm x 30 cm)
"Be My Valentine" by Lynda Cookson
Sunday, February 25, 2018
"Spirit Flowers" by Lynda Cookson
Painting no. 17 of 30 in the 30 Paintings in 30 Days Challenge
"Spirit Flowers"
Black Ink on Paper
5.5" x 7.5" (14 cm x 19 cm)
You may often wonder why you see paintings other than palette knife paintings on this website. The members of the Palette Knife Painters group all paint using palette knives most of the time ... but to keep our work fresh, and to keep ourselves fresh, some of us also work in other mediums using other tools as well. I hope you enjoy all that you see.
"Spirit Flowers"
Black Ink on Paper
5.5" x 7.5" (14 cm x 19 cm)
You may often wonder why you see paintings other than palette knife paintings on this website. The members of the Palette Knife Painters group all paint using palette knives most of the time ... but to keep our work fresh, and to keep ourselves fresh, some of us also work in other mediums using other tools as well. I hope you enjoy all that you see.
"Spirit Flowers" by Lynda Cookson
My website : http://lyndacookson.blogspot.fr
Friday, February 23, 2018
"Tall Pot of Geraniums" by Lynda Cookson
Painting No. 16 in the 30 Paintings in 30 Days Challenge
"Tall Pot of Geraniums"
Watercolour on Paper
11" x 7" (28 cm x 18 cm) approx.
"Tall Pot of Geraniums"
Watercolour on Paper
11" x 7" (28 cm x 18 cm) approx.
"Tall Pot of Geraniums" by Lynda Cookson
My website : http://lyndacookson.blogspot.fr
Monday, February 19, 2018
"Fat Blue Vase" by Lynda Cookson
Painting no. 13 in the 30 Paintings in 30 Days Challenge
"Fat Blue Vase"
Oil on Canvas
12" x 16" (31 cm x 41 cm)
"Fat Blue Vase"
Oil on Canvas
12" x 16" (31 cm x 41 cm)
"Fat Blue Vase" by Lynda Cookson
My website : http://lyndacookson.blogspot.fr
Friday, February 16, 2018
"Birthday Bouquet" by Lynda Cookson
Painting no. 11 in the 30 Paintings in 30 Days Challenge
"Birthday Bouquet"
Oil on Paper
5" x 7.5" (13 cm x 19 cm)
"Birthday Bouquet"
Oil on Paper
5" x 7.5" (13 cm x 19 cm)
"Birthday Bouquet" by Lynda Cookson
My website : http://lyndacookson.blogspot.fr
Thursday, February 15, 2018
"Big White Flowers" by Lynda Cookson
Painting No. 10 in the 30 Paintings in 30 Days Challenge
"Big White Flowers"
Watercolor and Pencil on Paper
11" x 8" (28 cm x 20 cm)
"Big White Flowers"
Watercolor and Pencil on Paper
11" x 8" (28 cm x 20 cm)
"Big White Flowers" by Lynda Cookson
My website : http://lyndacookson.blogspot.fr
Friday, February 9, 2018
"Lone Sunflower" by Lynda Cookson
7 February 2018
Painting no. 7 of 30 in the 30 Paintings in 30 Days Challenge
"Lone Sunflower"
Impasto Oil on Canvas
10" x 13.5" (26 cm x 34 cm)
Painting no. 7 of 30 in the 30 Paintings in 30 Days Challenge
"Lone Sunflower"
Impasto Oil on Canvas
10" x 13.5" (26 cm x 34 cm)
"Lone Sunflower" by Lynda Cookson
Saturday, July 8, 2017
"Tropical Flowers" by Lynda Cookson
I've recently, because of down-sizing and moving into a much smaller home, destroyed a few of the larger paintings I had in stock. "Tropical Flowers" wasn't one of those! She's hung in my bedroom for a few years now and is going straight back into our new bedroom pretty tout suite!
Collage of "Tropical Flowers" by Lynda Cookson
Detail of "Tropical Flowers" by Lynda Cookson
Tuesday, June 20, 2017
"Cool Touch" by Lynda Cookson
"Cool Touch" looking hot on a hot, hot, hot day here in Brittany, France. The heat has come really early this year ... and I'm ducking! I don't do heat LOL
For sale : HERE (or click the image)
For sale : HERE (or click the image)
Friday, November 25, 2016
Autumn, by NY artist, Celeste Plowden
I learned the art of acrylic and pastel painting through private instruction, after having spent my career as a designer of printed fabrics in the New York market place. I am a graduate of the College of Design, Art and Architecture at the University of Cincinnati, with a major in the History of Art, 1977. Later, I studied printed textile design at Parsons School of Design, in New York. Immediately afterward, I began free lance work for several design studios in the garment district of NYC, where I did re-coloration work for printed apparel fabrics, and sold my own designs through Bread and Butter Designs,also located in New York. In addition, during the 1980's and 1990's, I designed a number of needlecraft and stencil books for Dover Publications. Currently, I am working on a series of exotic birds and other animals done in acrylic paint, with a palette knife, for texture and brilliant color. I consider my paintings to be representational or impressionistic in nature, and I use fantasy colors because what I see often makes me feel these colors,and what would make an interesting composition, rather than using realistic colors.
Monday, July 11, 2016
"Garden Flowers" by Lynda Cookson
A daily painting depicting a breezy and sunny corner of the garden.
"Garden Flowers" can be purchased by CLICKING HERE or by clicking on the image or the title.
"Garden Flowers" can be purchased by CLICKING HERE or by clicking on the image or the title.
Thursday, July 7, 2016
"Tulips in Blue Glass" by Lynda Cookson
Two types of ink with this painting ... black ink marker and calligraphy inks, which make a stunning combination. I love the freedom, yet definition, that you can get using these two mediums together.
"Tulips in Blue Glass" can be purchased by CLICKING HERE or by clicking on the images or their titles.
"Tulips in Blue Glass" can be purchased by CLICKING HERE or by clicking on the images or their titles.
Sunday, November 8, 2015
Autumn Leaves, by New York artist, Celeste Plowden
Fall shades of red and gold mix with brown to form a swirl of autumn
colors, as seen in the woods and forest floor, this time of year.
Acrylic on canvas, UV varnish, sides painted, wired and ready to hang.
Painted with a palette knife for texture. 12x12 For sale at my
I learned the art of acrylic and pastel painting through private instruction, after having spent my career as a designer of printed fabrics in the New York market place. I am a graduate of the College of Design, Art and Architecture at the University of Cincinnati, with a major in the History of Art, 1977. Later, I studied printed textile design at Parsons School of Design, in New York. Immediately afterward, I began free lance work for several design studios in the garment district of NYC, where I did re-coloration work for printed apparel fabrics, and sold my own designs through Bread and Butter Designs,also located in New York. In addition, during the 1980's and 1990's, I designed a number of needlecraft and stencil books for Dover Publications. Currently, I am working on a series of exotic birds and other animals done in acrylic paint, with a palette knife, for texture and brilliant color. I consider my paintings to be representational or impressionistic in nature, and I use fantasy colors because what I see often makes me feel these colors,and what would make an interesting composition, rather than using realistic colors.
Friday, September 25, 2015
Autumnal Lake Scene, by New York artist, Celeste Plowden
Available at my Chairish store.
I learned the art of acrylic and pastel painting through private instruction, after having spent my career as a designer of printed fabrics in the New York market place. I am a graduate of the College of Design, Art and Architecture at the University of Cincinnati, with a major in the History of Art, 1977. Later, I studied printed textile design at Parsons School of Design, in New York. Immediately afterward, I began free lance work for several design studios in the garment district of NYC, where I did re-coloration work for printed apparel fabrics, and sold my own designs through Bread and Butter Designs,also located in New York. In addition, during the 1980's and 1990's, I designed a number of needlecraft and stencil books for Dover Publications. Currently, I am working on a series of exotic birds and other animals done in acrylic paint, with a palette knife, for texture and brilliant color. I consider my paintings to be representational or impressionistic in nature, and I use fantasy colors because what I see often makes me feel these colors,and what would make an interesting composition, rather than using realistic colors.
Wednesday, November 12, 2014
Water Under the Bridge by Janice Tingum
Water Under the Bridge
by Janice Tingum
Watercolor on YUPO Synthetic Paper
8" x 10"
I don't typically use a palette knife when painting with watercolors, but a while ago decided to give it a try on YUPO synthetic paper. A step-by-step demo of this piece follows.
Materials:
One 9" x 12" sheet of 74 lb. YUPO synthetic
paper to paint on
One sheet of YUPO paper to use as a palette
HB Portfolio Aqua Sketch pencil
#4 palette knife
#3 white nylon round brush
#2 while nylon round brush
#2 script brush
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Winsor & Newton Artists' Watercolor paints: Permanent Rose, Viridian, Cadmium Orange, Burnt Umber, Aurora Yellow, Cadmium Lemon.
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Winsor & Newton Cotman Watercolor paints: Hooker's Green Dark, Intense Blue (Phthalo Blue), Rose Madder Hue, Chinese White.
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This method of painting uses very little water. In
the most intense areas of color, no water was added to the paint. Thus, the
paint dries quickly, both on the painting and on the palette.
Therefore, don't squeeze out too much paint at one time. It's better to add
fresh paint from the tube as you go along. Although the paint dried
quickly in this painting, I noticed that some colors, especially the tree
leaves, remained tacky to the touch even a day later.
I drew the image on the YUPO paper with an Aqua Sketch
pencil. On the other sheet of YUPO paper (the palette), I squeezed
out portions of Permanent Rose, Hooker's Green Dark and Intense Blue (Phthalo
Blue). The amount I squeezed out of each tube to begin with was about the size
of an eraser on the end of a pencil. As I painted, I added to the paint
portions as necessary.
Using a palette knife, I mixed these three colors to create
a dark color. I did not use any water at this stage. Treating
the paint like oil or acrylic paints, I used the bottom side of the palette
knife to pick up some of the mixed paint and spread it like butter onto my
painting. I carefully filled in the darkest areas under the bridge this
way.
Painting the dark area under the bridge and the darkest part
of the water:
When I reached the area where the water is more transparent,
I dipped the palette knife in water and slightly diluted the paint with it.
This caused the paint to spread more thinly on the paper, exposing the blends
of blue, green and red.
With a #3 paintbrush, I painted the tree
trunks using long strokes of burnt umber, varied with touches of
yellow, orange and blue. I
used the script brush to paint the smaller tree branches. I also used a
diluted mixture of the blue to sketch in a few distant tree branches above
the bridge.
For the first tree leaves, I dipped the bottom side of
the palette knife tip into the Aurora Yellow paint and dabbed the
paint onto the painting. I repeated this process with the Cadmium Yellow
and the Cadmium Orange. For the light green color, I mixed up a small
amount of the Hooker's Green Dark with Aurora Yellow on the palette.
Close-up of the tree trunks and leaves:
The white cement areas of the bridge were subtly toned
with diluted blue and diluted red paint. The bricks on the bridge were
painted in part with a brush and in part with the palette knife, varying the
colors from brick to brick. I used the Permanent Rose, Cadmium Orange, Burnt
Umber, Cadmium Yellow, Aurora Yellow, as well as leftovers of the dark water
paint mixture, to build the bricks. I painted the bricks in light values first,
and then darkened the bricks as I proceeded until it reached a value that
matched the tree trunks. The shadow lines between bricks and the outlining
around the cement portions of the bridge were painted with the script brush
using the dark water color (blue plus green plus perm. rose).
Because of the thickness of the undiluted tube paints, I
could dab on yellow and orange leaves directly over the brick colors.
Close-up of bridge:
The foreground leaves on the left were painted with a
palette knife similar to the leaves in the trees. I applied strokes
of Burnt Umber for the earth color. The pinkish leaves were created by
mixing Chinese White with Rose Madder Hue. Because the white paint was not
smooth and soft like the colored paints, I needed to add a little water to
this mixture to bring it to a spreading texture.
I diluted the blue paint with a little water to create
a more transparent color for the right foreground. I applied the paint loosely
with the #3 brush, intentionally leaving white areas to suggest action in the
water.
The rocks were painted with diluted purples (blue and red
mix) and burnt umber. I lightly blotted the wet paint on the
rocks with a tissue to provide textural effects. After that
had dried, I re-evaluated the rocks and used a damp #2 brush to
lift paint from brightest sun-lit areas of the rocks. I also lifted
off paint in the water where it hit the front of the rocks. The nice
thing about YUPO paper is the ability to wipe off watercolor paint, even thick dry paint,
to get back to the original white of the paper.
Close-up of rocks:
I made a few touch-ups, dropping leaves into the
water, adding the scenery on the other side of the bridge as seen through
the arch, and signed the painting.
The leftover paint on my palette dried fast. Once
dried, it would no longer be usable for the thick palette knife painting
technique, but could still be sprayed with water and used for
brushwork in other watercolor painting projects.
The one problem I encountered with this painting was some bubbling on the back side of the YUPO synthetic paper. It didn't bubble while I was painting, but I noticed it some time later. I'm not sure if it was due to environmental conditions, such as temperature changes, or due to the paint. Here's an image of a portion of the back side of the paper:
I have done a considerable amount of painting on YUPO synthetic paper, both with watercolors and acrylics, and this is the only piece where I've noticed this effect. When the painting is matted and framed under glass, the bubbling on the back is not noticeable, but I wanted you to be aware that this could happen. A heavier weight of paper might work better.
If you are interested in more painting experiments using watermedia and YUPO synthetic paper, check out my ebook, Creating Texture with Watercolor & YUPO Synthetic Paper.
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