Tag Archives: toned canvas

Wings, a beach scene

Wings – final, acrylic on canvas, 18 x 24. Kit Miracle

I was looking through some old photographs for subjects to paint which I haven’t visited for awhile and came across the inspiration for this painting. Sometimes the subject doesn’t grab me for several years until I revisit the pictures but this photo was only from last summer. I love the beach scenes by Sargent, Sorolla and Zorn, particularly the ones involving children.

For this painting, I decided to work slowly and do plenty of preliminary work.  My last post included several sketches, some Notan studies, and one painting study of the central figure. The latter is actually larger than the figure in the final painting.  See the sketch for this painting.

The title comes from the focus on the little girl with her water wings and the flapping wings of the seagulls.  Sargent did a wonderful painting of Neapolitan Children at the beach and one of them is wearing a contraption of bladders for floating, similar to today’s water wings.

To learn more about this painting, check out my step-by-step page here.

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Lucky Red #6 – White Elephants

Lucky Red #6 – White Elephants, acrylic on canvas, 16 x 20, Kit Miracle. This is another painting in the series which depicts many symbols of good luck.

This is the sixth painting in my Lucky Red series.  There are more symbols of power and good fortune in this set up.  The still life arrangement plays off the many shades of whites and reds with a little green for eye relief.  I love the way it glows.

Lucky Red #6- detail 1. Here you can see the various treatments of white. White alabaster elephant, white satin background, white bone and pearl necklace. I also love the red pomegranate and apples for contrast.

Both of these white elephants are relatively new acquisitions.  The alabaster elephant on the left has a creamy glow and its upraised trunk portends attracting  good fortune.  The white elephant on the right has a lowered trunk which symbolizes leaving good fortune. Elephants also symbolize strength and power (not a surprise) in addition to honor and stability.  These all seem good qualities to me.

Lucky Red #6 – detail 2. More close-ups of the second elephant, pearls, and apples.

Again I have placed a pomegranate in the painting.  This symbolizes fertility as do the apples in addition to knowledge.  The martini glass is just for fun.  Of course.

The pearls in the necklace also connote many positive meanings: sincerity, purity, good luck, wealth, integrity among others.  Plus, they were fun to paint.

Lucky Red #6 – White Elephants. This is the set up as I had it in my studio. There’s a lot of eye/hand coordination when painting a still life, or anything from life actually. Mostly, it’s a matter of practice, practice, practice.

I can’t vouch for the veracity of the good fortune that any of these items will bring, but I love to create still lifes that are a little beyond just pretty pictures.  This series of Lucky Red still lifes  features good luck symbols and the color red at least somewhere in each painting.

This painting was a fun challenge to paint with so many shades of white and red, reflections and shadows.

Purchase painting here. https://www.etsy.com/shop/KitMiracleArt?ref=l2-shop-info-name

Plein air painting at the Parklands

Bridge at Parklands, plein air, acrylic, 16 x 20, Kit Miracle

I attended a plein air painting event today at the Parklands.  This is a new park in the area which just opened last month.  Already, it has become a popular destination for dog walkers, bicyclists, moms pushing strollers, just about anyone of any age.  Created from a former golf course, it features three lakes/ponds, several water features, an outdoor musical instruments area, exercise equipment activities, a pavilion for special events, a splash park for kids, and many other features.

Although the day was promising to be exceedingly hot with temperatures in the 90s, I elected my first painting should be of a new bridge over a waterfall.  Usually one only has about two hours to make a plein air painting before the sun and the shadows move too much.

I always start with a small black and white Notan sketch before I begin to paint. Then on a toned canvas, I lay in the darks.  Since I was working in acrylic, it didn’t take long for the paint to dry.  In fact, I had to use an acrylic retarder to slow down the  drying.

This is the view I selected. I liked the shape of the new bridge and the contre jour light (backlight). As you can see, I began painting in the darks on a red-toned canvas.

I start with a one inch brush which will get 85% of the painting done.  The bigger the brush, the less fussy I am.  Sometimes I begin laying in the sky.  In this case, I laid in some of the other darks and midtones and just kept working away.  The bridge was critical as any mistakes could really make the painting ….well, not good.

About 85% finished. Leaving the bridge for last, I concentrated on the landscape first.

The final touches are to add the lightest colors, the highlights, the sky holes in the trees, most with smaller brushes.  I really like the peeps of red showing through the painting.  I think it adds a little bit of liveliness.

A friendly little butterfly who kept me company quite a while. I think it’s a Painted Lady butterfly. Very appropriate.

One interesting thing happened to me while I was painting.  I had a little butterfly who just kept hanging around.  She walked along the top of the painting, then the sides, not even moving as I painted closer to her.  If I shooed her away, she quickly came back.  If my identification is correct, this was a Painted Lady butterfly. How appropriate.

After I finished this painting, I moved to the shade where I completed another one of a different scene.  Fortunately, there was a nice breeze all day but it was still pretty dang hot.

To my surprise at final judging, I was awarded first prize.  So it was worth the melting conditions.  Maybe the Painted Lady brought me a little luck.

Flower Market – Provence, France

Flower Market, Jardin du Sur, Uzes, Provence, France. 16 x 20 on red-toned canvas panel. Kit Miracle This shows the final painting. I have sharpened some of the details and added more. I deliberately did not concentrate on the white labels for the flower pots as I thought they would be too distracting. Overall, I like the painting but it seems a bit busy.

Small Flower Market, Uzes, Provence, France. 16 x 12. Kit Miracle Final painting. I like the way the path leads the eye to the main figures. Plenty of color but it works for the subject.

Several years ago I had the opportunity to bike through Provence, France.  It was the opportunity of a lifetime.  I fell in love with the area.

One of our stops was in Uzes at the Jardin du Sur.  This was wonderful open air flower market on a very hot Sunday.  I spent quite some time there, sketching, taking photos, writing postcards, and, of course, buying a souvenir or two.  The flowers and the people were so inspiring.

A few weeks ago, I was going through the old photos and my journal when I came across these references to the flower market.  I decided to create the larger painting first which is on a red-toned canvas panel.  After I was finished with it, it seemed a bit too busy even though I had cut out many details.

Then I decided to do another painting of the same scene but just a close-up of the two main figures. This was on a canvas which I had toned fuchsia!  Yes, really!  I think I like the second canvas better but what do you think?

Anyway, if you’d like to see a step-by-step, visit this page where you can follow along on both of the paintings.

Painting on a toned surface

50 Cents, farmers market still life with contre jour lighting (back lighting). Acrylic on canvas board, 20 x 16, Kit Miracle

My studio is an old summer kitchen about 30 feet from the back door.  It was built to keep heat out of the house, therefore it is not insulated.  In the winter I often work with a hat, two pairs of socks and multiple layers of clothes.  Despite the old leaky building, I worry about breathing paint fumes from the oil paints.  Even though odorless turpentine is supposed to be, well, odorless, it isn’t.  And even if it were, I would still be exposed to the fumes.  Not good.

So when a friend recently gave me several canvas panels, I decided it was time to try something new.  These panels are all 16 x 20.  I don’t usually use canvas panels this large but why not?

I decided to work on my acrylic painting skills and toned several of the panels in red. (See the links at the end of this post for other pages about using toned canvasses.) I like using red as little bits peek out, adding a lot more life.

At the Flea Market, acrylic on canvas board, 16 x 20, Grafton, MA Kit Miracle

Acrylic paint has some of the best and worst properties of watercolor and oil paint.  It is water-based and dries quickly.  It is also has the opacity of oil paint along with texture.  But it requires a lot of planning and forethought before you can even begin the painting process.

Farmers’ Market Bounty – in process. Notice the loosely drawn vegetables. The actual painting is much more vibrant than the photo shows.

Farmers Market Bounty, acrylic on canvas board, 16 x 20, Kit Miracle

These four paintings were created relatively quickly.  I deliberately used larger brushes and aimed for the feel of the subjects rather than fussing over too many details.  The subjects were from photos that I took at some farmer’s markets and flea markets last year.  I also thought it would be interesting to paint some crowd scenes.  Anyway, I’m pretty pleased with the results.

Check them out below. Check out my Etsy site for more details photos.  Yes, they are for sale.

I always welcome feedback.

Saturday Morning at the Farmers Market, acrylic, 16 x 20, Kit Miracle

Other links.  Painting on a Toned Canvas – Step-by-step. 

Also, search for toned canvas for several other posts about the subject.

Red Cabbage Still Life – A Challenge in Color and Shape

Red Cabbage Still Life, oil on canvas, 18 x 24, Kit Miracle

This still life is a little larger and more complex than many of my other recent paintings.  I was inspired by a visit to the grocery.  I must have had my “artist’s eyes” on that day because I seemed to be dazzled by the beautiful colors and shapes of the vegetables.  Several of the more interesting vegetables came home with me that day.

Inspiration in the vegetable department at the grocery. I love these colors and interesting shapes.

Before I tackled the main still life, I first completed several smaller still lifes just to get a feel for the shapes and colors.

Red Cabbage, oil on canvas board, 10 x 10, Kit Miracle

Surprisingly, the red cabbage was the most difficult to paint.  It has very subtle hues of purple, red and magenta.  It was a tight head so not much interest as far as shape until I peeled back a leaf or two.  I think a larger, leafier cabbage would be far more interesting.

Artichoke, oil on canvas board, 10 x 10, Kit Miracle

The artichoke, with it’s pointy leaves and shapes, was very fun to paint.

Radishes in Green Bowl, oil on canvas board, 10 x 10, Kit Miracle

The radishes are usually fun but their greens started to wilt quickly.  However, they later generated more new leaves so that was a big help.

The final big still life was painted on an 18 x 24 inch canvas which I had toned in variegated colors.  It seems to have a glow all its own.  I don’t quite know how that happened except that some of the under painting showed through.  Unfortunately, I didn’t’ take step-by-step photos of this painting.  I might tweak it a bit more but there’s always a risk of going too far.  Sometimes done is done.

These paintings will be for sale on my Etsy shop.  KitMiracleArt

Plein air painting, Brooks Bridge, Martin County, Indiana

Plein air painting of Brooks Bridge, oil on canvas board, Kit Miracle

I went plein air painting with my friend Bill Whorrall on Monday.  It was a beautiful and unseasonably warm December day with temps in the 60s.  However, the wind was brisk which posed some problems later.

Brooks Bridge across the East Fork of the White River in Martin County, Indiana

Bill lives in Martin County, Indiana which is lovely and boasts a variety of terrains – rivers, stone ledges, hills, woods.  We decided to paint this one lane bridge, Brooks Bridge, which spans the East Fork of the White River south of Shoals.  We had spotted this location before but the ground was too wet to drive on.

While we were painting, we saw about four vehicles, including a four wheeler; probably the farmer checking us out.  (It’s hunting season and there are lots of poachers.)  I just waved and he drove back.  The sparse traffic is probably why the bridge is only one lane.  Yeah, impossible for you city people to believe but they still exist.

Bill was working on some ink drawings that he created with sticks and twigs as drawing instruments.  You can see the results here.  Really neat.

Plein air painting along the East Fork of the White River south of Shoals. My friend Bill Whorrall is drawing with ink and sticks.

Painting half done

I decided to use a canvas panel toned with yellow paint.  It was pretty bright but where it shows through, it seems to add some magic.  I like it anyway.

Plein air painting of Brooks Bridge. The wind nearly took my easel right after I took this photo!

The only real problem was that the wind picked up throughout the morning.  A strong gust nearly knocked my easel into the river!

I tweaked the final painting in my studio, darkening the details and adding highlights.  It’s sometimes difficult to really see and judge colors and contrasts in the bright sunlight.  What do you think?

Yeah, it’s for sale at my Etsy shop.

The Huntress I and II, oil on canvas

The Huntress I – oil on canvas, 20 x 20, Kit Miracle

The Huntress II – oil on canvas, 20 x 20, Kit Miracle

The Huntress I and II are two paintings that I created earlier this year.  Although I have often created a series of paintings, this is the first time that I created a pair of paintings.  They each stand alone from a design view, but work better as a pair.

My aim here was to create a bit of mystery, to simplify the background and the figure, and to play off the high intensity light without adding a harshness to the scene

Check out the step-by-step page to learn more about how I made these beautiful pair. https://my90acres.com/artwork/the-huntress-i-and-ii-step-by-step/

Sunflowers in blue bowl

Sunflowers in blue bowl, 16 x 20, oil on canvas, Kit Miracle

Sunflowers in blue bowl, 16 x 20, oil on canvas, Kit Miracle

This is another example of a slow painting.  If you’ve followed my blog, you know that I like to paint en plein air.  The challenge of turning out a speedy painting in a couple of hours is fun.  However, some of my best work is when I create a studio painting which may take weeks or more.

This blue bowl of sunflower and zinnias presented its own challenges.  If you’ve ever painted live sunflowers, then you know that they keep up their rhythm of turning towards the sun.  This means every time you return to the studio, the darn flowers have rearranged themselves!

This is an oil on a toned canvas.  I spent about a week and a half on this painting.  I don’t know if the painting is actually done but I’m finished working on it.  The flowers were in pretty sad shape by the time I finished. I like the careful attention to detail but it is a real trick to not overwork a painting.  It should look effortless for best effect.  In my opinion.

Painting Nova Scotia

Cabot Trail, most iconic of drives.

Cabot Trail, most iconic of drives.

My husband and I made a trip to Nova Scotia last month.  Neither of us had been up that way.  It was so beautiful!  I took my painting materials but came home with enough subject matter to last for a long time.  We spent a week on Nova Scotia south shore, then toured the Cabot Trail in Cape Breton and finally ended on Prince Edward Island.  The weather was lovely with temps in the low seventies, dipping to the fifties and even forties at night.  Perfect for August, I think.

Nova Scotia Beach, Storm  Coming

Nova Scotia Beach, Storm Coming

Here are the first few paintings, some painted on location, some back here at home.  Rugged shores, pines, ocean, beautiful sunsets and sunrises, quaint towns and fishing villages…what more could an artist want?  As always, I appreciate any feedback.

Painting at Sand Hills Beach, Nova Scotia, Kit Miracle

Painting at Sand Hills Beach, Nova Scotia, Kit Miracle

Sunrise, Nova Scotia, oil on canvas, 12x16, Kit Miracle

Sunrise, Nova Scotia, oil on canvas, 12×16, Kit Miracle

French Lily, oil on canvas, 12x16, Kit Miracle

French Lily, oil on canvas, 12×16, Kit Miracle

Cape Breton, Cabot Trail, 12x16, oil on canvas board, Kit Miracle

Cape Breton, Cabot Trail, 12×16, oil on canvas board, Kit Miracle