New Artworks

Fragrant Pinesap (Montropsis odorata), watercolor on vellum, 10" x 8"

 

I finally finished this piece and submitted it to ASBA's juried exhibition "Curious Allies." It's my hope that it will be selected by the jurors, but who knows? The competition is very tough. It's the first pieces I've done on this very expensive medium of botanical vellum, and it was particularly difficult because the vellum is not white, but a warm cream color. In order to bring out some highlights, I used Titanium white watercolor.

This painting is a re-statement of a watercolor I did in 2017 after visiting Kentucky's Daniel Boone National Forest where I encountered this very rare plant of the Monotropa family. These plants are mycotrophic, that is, they have no cholorophyll, and like fungi, they must rely on other plants to supply the nutrients they need. I've been fascinated by these botanical oddities ever since I came across some ghost pipe flowers on a Fourth of July in Maryland many years ago. I wish I could find more of these species but the majority are found only in the western part of our country.

 

Goldfinch mosaic, 8" x 8" before grouting.

Just for fun, I did another small mosaic of two goldfinches--I purchased a mosaic starter kit after I took Anne Atkin's workshop at the Red House, thinking this is a wonderful distraction from more serious art! After I finished it, I traveled to Richmond to meet with Anne so that she could teach me how to grout this mosaic and the one I'd done at the workshop, where there was no time for this last finishing step.

My two mosaics after grouting.

Grouting is a messy task and probably best done outdoors, but Anne had prepped me beautifully; I brought two drop cloths (one for the table and one for the floor) and several plastic containers for the water and grout so we could work indoors. Once we were done, we just picked up the plastic drop cloths and grout bucket and tossed it in the trash. The mosaics sure do look different once they've been grouted!

 

Blandy's Wetlands in November, watercolor, 11" x 14"

The weather was still warm in early November, and some of the Blandy Sketch Group decided to have one last plein aire session. I wasn't able to join them on the particular day, but I went by the afternoon before and painted this watercolor of the wetlands seen from the back forty. It was a bit breezier than I expected, and once the sun started going down it got chilly, but I had enough down that I could finish this one at home the next day.

My first Vellum Painting

Slipper Orchid Paphiopedilum glaucophyllum on vellum, 12" x 9".

In April I had the opportunity to take a workshop with Carol Woodin at USBG on painting orchids on vellum. Painting on vellum was something I really wanted to learn--the techniques are very different from watercolor painting on paper. Since vellum can easily buckle with moisture, it's essential to apply the paints very dry, in thin layers, and build up the color gradually. I had read about this, but wasn't quite sure how dry the paint needs to be.

USBG brought out a group of lovely orchids from their collection for us to work from. I chose this delicate-looking Paph--Paphiopedilum glaucophyllum--for my painting. Many of the other orchids had wild colors: yellow, orange, magenta and purple, that were appealing but seemed too difficult to deal with.

Photo of Paphiopedilum glaucophyllum on my stand.

I struggled with the composition of my drawing, trying to give a sense of the winding stems and their bracts. I noticed that this species of Paph is of a type that has multiple flowers on one stem and a small bud could be seen beside the open flower  in front (most of the Paphs I've previously seen had only one flower per stem). The hairy spotted petals were one of the features that attracted me to this species.

Transferring the drawing to the vellum presented another problem--without a light table, it's very difficult to put graphite lightly on the back of the drawing and get much to go on the vellum, so one had to re-draw a good bit of the original drawing with the slim guidance given by barely-readable linework.

Once I started to apply the paint, putting an even wash with a dry brush was another challenge. Even more challenging was adding layers to the previous washed to build up the color--the slightest dampness tended to lift the previous layers to create "holes" or streaks that were hard to deal with.

Carol was very patient explaining how to repair these problems. Most of my classmates had a little more experience painting on vellum than I, and many obtained wonderful results with their pieces, bringing their expertise to bear on their particular orchids.

Paphiopedilum painting  on vellum by Cristina Baltayian

 The workshop breezed by very quickly, my piece is not quite finished but I managed to get enough on paper to give an idea of this specific orchid. I can see it's going to take a lot of practice for me to get these techniques down, and I hope to have the time to devote to it.

Paphiopedilum painting on vellum by Renee Johnson