Tag Archives: toned canvas

A Day at the Beach – Painting a Series

A Day at the Beach, final. 24 x 36, acrylic on canvas, Kit Miracle

As a working artist for over three decades, I find keeping interested in painting involves challenging myself. Sometimes this means new subject matter or new materials. Even a new location helps.  The challenges keep me inspired and allow the mental juices to flow.

My latest challenge is painting a series of paintings revolving around a day at the beach.  I love slice of life subjects, catching people going about their lives without thought of an audience. One thing I’ve noticed is that when people are at the beach, they stake out their territories, bringing the chairs and the umbrellas, the coolers and the toys.  Beach goers seem to operate under the illusion that no one can see them in their little sand kingdoms.

But the artist’s eye can.

The planned series includes vignettes of life at the beach.  Families, couples, kids playing, people just enjoying the sunshine…or totally ignoring their surroundings with their noses in books or napping.  My inspiration for these seaside paintings are John Singer Sargent, Joaquin Sorolla, and Burt Silverman.  It took a lot of effort to make their seaside paintings seem so, well, effortless.  Unstaged even though they often were. And that is the aim of this current series that I’m working on.

The painting above depicts the settling in and establishing of territory by a family.  Mom gets the lounge chairs ready while son is waiting patiently for her attention.  The composition with overlapping umbrellas and tents is like a little city, each with its own slice of life.

The beach walkers and people playing in the surf add distance and perspective to the scene.  I also chose to flatten the color of the sky (no clouds) and the foreground.  This allows the emphasis to be placed on the middle plane where all the action is.

A Day at the Beach is number six in the series.  I have sixteen planned but we’ll see.  A series is an exploration of an idea and I’ll keep at it until I don’t have anything else to say about the subject.

If you’d like to see how this painting was created, click on this link or go under the tab Artworks and click on A Day at the Beach for step-by-step photos.

Thanks for stopping by.

Yearning for Spring

Yearning for Spring, framed, 16 x 20, acrylic on canvas, Kit Miracle, contemporary impressionist

I am just so ready for spring.  Living here in southern Indiana, the winters are usually rather mild, at least compared to my years in Michigan.  We will often get a little snow but not much to worry about.  I think winter here is really like a long fall.

However, this year Mother Nature seems to have taken a fit.  Warm one week just enough to tease the early bulbs out of the ground.  Then the next week, temperatures diving for the bottom of the thermometer.  Last week we saw lows of 10 degrees which meant our wood furnace (The Beast) was doing its best to keep up.  Yesterday we saw a high of 62 with some 70s predicted for next week.  Last evening the peepers could be heard in chorus in the bottoms.  Did I mention that I am really ready for spring?

I felt an irresistible urge to paint some spring flowers. With few early flowers out yet except a couple of bedraggled crocuses and some hardy daffodils, I turned to my photos of some spring bouquets.  And to step outside my usual style.  Same old, same old, gets boring in my opinion.

Yearning for Spring, acrylic on canvas, 16 x 20, contemporary impressionist, Kit Miracle

The first bouquet consists of forsythia, double fancy daffodils and some branches of flowering quince.  I like the subtle colors here and aimed at coordinating the background to the flowers but to subjugate it to the foreground.

Dancing Tulips, acrylic on canvas, 16 x 20, contemporary impressionist, Kit Miracle

The second flower painting took me in a different direction.  I aimed for bold colors and lively strokes.  This painting certainly accomplished that.  It almost looks as if the tulips are dancing.  To see the step by step for this painting, click here or go the Artworks tab and click on Dancing Tulips.

With the warming temps coming this week, my real tulips might be blooming. They’re already up several inches and it will just need old Sol to entice them out.  I’m ready!

Of course, both paintings are for sale at my Etsy shop.

Thanks for stopping by.

Spring is Nature’s way of saying, “Let’s Party!”       Robin Williams

Yearning for Spring, detail 1

Yearning for Spring, detail 2

Dancing Tulips, detail 1, Kit Miracle

Dancing Tulips, framed, acrylic on canvas, 16 x 20, Kit Miracle

Year of the Pig

Year of the Pig, green background, original painting, 6 x 6, Kit Miracle

The Chinese Year of the Pig begins on Tuesday, February 5th.  I had this cute little pig teapot and decided to paint it for a close family friend who is Chinese and whose birth year is the Pig.  Actually, I painted two versions.

The painting is a very simple portrayal in acrylic on a canvas panel.  Although the teapot is small, the pig is big on character.  It was very fun to do after some of the more complex paintings that I’ve been doing lately as I don’t usually paint on this small scale except for watercolors.

The Year of the Pig (birth years 1935, 1947, 1959, 1971, 1983, 1995, 2007, 2019) portends good luck for the people born in this year.  They are hard workers, energetic and enthusiastic.

So, to my friends of Chinese background, and to everyone else, Happy New Year!

One version of this painting will be listed in my Etsy shop.

Year of the Pig, brown background, acrylic on panel, original painting, 6 x 6, Kit Miracle

 

Beeches – Painting Beyond the Photo

Beech Trees in Winter, snow scene, original painting, 16 x 20, Kit Miracle

Photographs are a wonderful tool for artists and have been used for well over a century.  I’m teaching a class on painting from photographs and wanted to create a demonstration of how a photo can best be used.

I would guess that most artists who paint in a realistic manner use photos at least some of the time.  I know that I have boxes of photos from years past when film was developed.  Now, with digital cameras and phones, we have thousands of images available to us.  Digital photos are also easy to use on a computer and crop or change as needed. I use an old laptop in my studio for this purpose.

For some reason, some artists seem to be ashamed of using photos but I consider them just another tool. I always paint still lifes from real life but might take some photos of flower bouquets to save for future reference.  And I love plein air painting so most of my landscapes are painted from life.  However, I take plenty travel photos for later use.  I also participate in life drawing studios which is great for building hand/eye coordination, but many figure paintings are from photos.  And it goes without saying that I only paint from my own photos; never from commercial or other pictures which could violate copyright laws.

Beeches, original photo. It was too wide for the format I planned to use so I cropped it to a more pleasing composition.

We haven’t had much snow here yet this winter but we had a couple of inches a few weeks ago.  I took the dog for a walk in the woods and the snow made the beeches really stand out.  Beech trees are native to this part of the country but we don’t have many on our property.  They make pretty good firewood and were chopped down long ago (before our time).  However, we’ve noticed a resurgence of beech trees since we moved here over thirty years ago.  They hold their leaves over the winter so the orangey color contrasts nicely with the snow.

Beeches cropped photo.

As you can,  my original photo was wider than the format I chose (16 x 20) so I cropped it to a more interesting composition.  I divided my canvas into thirds each way (nine squares) and drew directly on canvas with a brush loaded with a darkish color.  The canvas had been primed in red.

I usually start with the darks and then add the midtones and then the lights, starting at the top of the canvas.  As I was painting, I realized that the painting was a bit drab with the overcast sky and muted shadows.  Although the beech trees gave it some color, I want to put more oomph into it.

Therefore, I decided to make it a sunny day and added some sunlight streaking in from the right, with a brighter sky and some clouds behind the distant trees.  This defined the path through the woods much better.  I added some sunlight on a few of the trees to bring them out more.  Ah, it’s great to be an artist and to change the world to suit myself!

Beech Trees in Winter, detail 1. This is the road through the woods. I probably made the snow look deeper. And I’ve learned over time that white will often look brighter with a little yellow thrown in than just plain white. It certainly catches that sunlit feel.

Beech Trees in Winter, detail 2

Beech Trees in Winter, detail 3, notice the clouds in the blue sky behind the distant trees

The point here gets back to what I said at the beginning of the post.  A photograph is a tool.  It’s the artist’s job to use what we can, to add more or to change whatever we want.  I certainly think the sunlit painting has much more appeal than the original photo.  What do you think?

Dreaming of Rabbits

Dreaming of Rabbits. Border collie painting, 18 x 24. Acrylic on canvas. Contemporary impressionism. Kit Miracle

This is a rare quiet moment of my dog Mikey.  Anyone who has ever been owned by a border collie knows that they are power plants of energy, always ready for a walk, a ride or a new adventure.  Mikey spends much of his days chasing squirrels, birds, rabbits, anything that moves, really.  Here you see him in one of his other favorite pastimes.  He climbs up onto a patio chair and takes a nap, even if no one else is around.

Artists who paint in a realist fashion are always advised to paint what you know.  This is what I know.  Just a common, everyday scene.

Painted on canvas in a contemporary impressionist style. Check out the muted colors of the shadows and the impatiens flowers.  The lovely, soft colors are so easy to love.

Yes, for sale here:  KitMiracleArt.

 

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.

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.