Orchids and Artichokes

Odontoglossum orchid, colored pencil drawing, 17" x 14."

Here's my most recent botanical piece, a colored pencil drawing of my second mystery orchid, which I believe may be an Odontoglossum species or hybrid. The orchid blossoms opened in the middle of March and I documented them here in this posting. The blossoms were starting to fade just as I completed my drawing about a week ago, the last week of April. As the tepals gradually become thinner and more papery with age, the flowers turn dark and eventually fall off.

Artichoke and asparagus, colored pencil drawing, 17" x 14."

Above is a view of the artichoke and asparagus colored pencil drawing done in class--my scanner is too small to do the full page of my sketchbook, so this is a photo showing my test marks for the colors in the upper left hand corner.

Dendrobium bud.

The Dendrobium orchid I bought last fall and painted for my class project has put out a new flowering spike. I wish it had done so a few months earlier as I was struggling to finish the watercolor painting, but considering the plant appeared to be dying, I'm happy to see the resurgence. The orchid has a new growing stem as well as the flower spike. Above is a photo of the buds developing their characteristic spur.

Spring Arrives

A rainbow after the rain.

I've been neglecting my blogging for the past few weeks in favor of working on my garden. Spring has finally arrived in Front Royal, bringing its usual cycle of beauty. The cherry tree in front is blooming and last fall's back-breaking labor is showing nice results with white narcissus and pansies among the sedum ground cover. The three small Korean boxwoods by the porch are putting our new growth after a dose of good garden soil worked in last fall.

The improvements on the evergreens by the porch encouraged me to try a similar treatment on the stunted barberry bushes along the west side of the house and the puny row of arbor vitae in back. I spent a couple of weekend afternoons digging two holes at the base of each plant, removing many large rocks and filling the holes with good potting soil, then mulching the beds. My back gave out before getting to the last three arborvitae--they'll have to wait a bit longer for their treatment.

In the meantime, the Japanese Full Moon maple, the climbing rose and the clematis I had ordered on-line arrived and needed to be planted. I started to strip the skimpy turf at the side of the porch for the rose and clematis, and soon realized the soil there was much too rocky for these plants--I'll have to re-think the location, or create a raised bed there. I have my heart set on training an old fashioned ever-blooming rose, 'New Dawn,' to twine around the posts on the porch so the wonderful scent can greet visitors.

Full Moon Japanese maple unfurls its leaves.

Herb helped me dig the proverbial $20 hole (more like $100 in today's inflated currency) for the full moon maple and we got it into the ground just before the spring rain. As the rain retreated a lovely rainbow appeared.

On another beautiful evening I began to tackle the brambles and weeds invading the strip of back yard that starts to slope down to the ravine. I want to eventually plant some small redbud trees and other flowering bushes there as a transition to the backdrop of tall trees growing in the ravine. Imagine my surprise and delight to find some tiny violets blooming in this inhospitable rocky soil! They appear to be a native variety, not the common European weed-type, so I'll leave them there in hopes they spread over this shady corner.

Wild violets

Drawing with Color Pencils

Pear and Orange, Prismacolor pencils on mat board, 10" x 9."

I really enjoyed the recent Colored Pencil class at Brookside Gardens. Colored pencils were my favorite medium for drawing as a child. My sisters and I had amassed a huge collection of Prismacolor pencils which we would expand during our shopping expeditions to downtown Havana with my mother and aunts. Each of us was allowed to select one pencil for purchase as a reward for good behavior. At the rate of four pencils every other week or so, our collection grew over the years until we had the equivalent of an expensive 120 or 150-color set (of course, favorite colors also had to be replaced often).

I've tried many other mediums since then: watercolor, acrylics, oils, pastels, you name it. To me, colored pencils are still the most portable, easy to use, and versatile. No mess either--nothing to clean up other than pencil shavings and keeping your paper smudge-free. My love affair with them has been re-kindled by this class.

Artichoke with asparagus spear, Prismacolor pencil study, 17" x 11."

There is such an amazing variety of effects you can get with colored pencils, blending and overlaying of colors, along with varying pressure and linework. Prismacolor pencils have a wax base, and the one thing to watch for is that excessive application can cause the wax to rise to the surface over time creating a "wax bloom" that obscures the artwork.

In these botanical illustration classes I have been exposed to another type of colored pencils: Faber Castell's Polychromos pencils, which are oil-based. These are well-suited for shading and adding detail such as veins under watercolor washes. The range of colors is lovely too--I just invested in a 60-color set so I can experiment more with them. I wonder what else can be done with these as a stand-alone medium? Stay tuned.

The Mystery Orchid Blooms

The most recent of my orchids to put out a flowering spike, which I'd been referring to as the "mystery orchid," finally opened! It has very curious flowers, the sepals and laterals petals are a greenish yellow speckled with red-purplish brown spots. The labellum is creamy white, also speckled, sporting the classic mimic bee to attract pollinators.

I wonder what its parentage could be? Odontoglossum seems the most likely, at least from the flower's shape and markings, although it could be a hybrid with perhaps Oncidium. Whatever the hybrid or species may be, I am having a good time sketching it with an eye to doing a finished work later on.

Diane Tesler Workshop

Diane corrects proportions on a student's painting.

Recently I had the privilege of spending a long weekend focused on art. On Saturday I had signed up for Brookside Gardens' colored pencil class. Much as I would have liked to, I was not able to be at Diane Tesler's workshop at VECCA on the first day. I joined the group for the other two days and had an epiphany.

Over the years, other artists have recommended Diane Tesler as a truly accomplished artist and teacher, but I had not had the opportunity to take one of her workshops before. She still teaches classes at the Art League School at the Torpedo Factory in Alexandria, though she now lives full-time in Kewanna, Indiana. This weekend was my first chance to work with her, and so conveniently close to my new home.

Diane and students at 7 East Gallery VECCA space.

This workshop has been held for the past 27 years in various locations around Woodstock, VA; some of the students have attended regularly since then. VECCA's 7 East Gallery space has been used for the past 8 years or so. There were 14 of us participating, working mostly in oils, but also in pastel, and space in the gallery was tight; two back rooms absorbed the overflow.

Betty Weathers concentrating on her painting.

Elaine Boomer with her lovely still life.

Diane travels with wonderful props she has collected over the years. She comes in the day before to set up the still lives that the students will work from and the set-ups all seem to evoke something beyond mere objects piled up together... all of her assemblages seem to imply a story, a mood, or theme. Some students prefer to bring in photos of what they want to work on; the workshop format allows for a loose structure.

Donna Patton working on her wine festival still life.

Jane McElvany's fabulous crab feast

 By the time I joined the group on Sunday morning, most of the others were far along on their paintings, and I could see from their work that they were all experienced, talented artists. Some of the still life set-ups were quite elaborate and would take a lot of work to finish. Some artists were already working on a second painting of the several canvases they had brought.

There was only one set-up that had had no takers--a pair of old, weather-beaten work boots on a paint-stained cardboard backdrop sitting in a corner of the last room. Not a very appealing subject, but this was the only one available for me to paint. There was nothing to do but embrace the challenge and try to have fun with it, to love the subject as a mother loves her ugly child.

I was going to sketch directly on my small canvas panel, but Diane instructed me to sketch it on paper first, and, of course, she was right--this saves a lot of wasted effort. I borrowed some sketch paper from another artist, and saw right away that my panel was too small for what I had drawn. But I hadn't brought anything else larger, so I was stuck with either having to drive home to bring another panel, or trying to find a place nearby where I could buy a larger canvas (good luck with that on a Sunday morning!). Providentially, another artist, Betty, offered me one of the extra canvases she had brought along--she had one that was just the right size--but it was toned with a deep brick-red gesso! (I prefer neutral toning like cool or warm gray, Burnt Sienna at most). We negotiated a price.

Putting the first strokes on that dark red background was intimidating. What was there to be afraid of? Nobody here was going to beat me or laugh at me if my painting didn't happen to turn out well. As the day wore on, the bright sun coming through the window behind my canvas didn't exactly help, but I slogged on, enjoying the conversations of my fellow artists.

Diane made her rounds, offering helpful suggestions and comments to each student, sitting down at an easel here and there to demonstrate, or make a correction if the student asked. After lunch break, she asked us to bring our paintings over to the main room for a critique.

Suzanne Arthur 's ironing board painting

The crits were thoughtful as well as constructive--Diane found something noteworthy in each piece and commented on aspects of mood and feeling that would enhance each painting, pointing out problems with composition, or areas that could be confusing or mislead the eye. Every student took away something of value, not just about their own painting, but in viewing the others' work we were training our eyes to see what worked and what didn't, and apply those lessons to our own work as well.

Lewis Anderson's pastel of peppers with pot & vase.

Workshop organizer Barbara Randel had made reservations for dinner for our group at Sal's Italian Bistro in nearby Edinburg on the weekend's two evenings--an opportunity to get to know each other better. Dinner at Sal's on Sunday evening was great fun--we had the place pretty much to ourselves (I can't speak about Saturday night) and that was a good thing--I was afraid we'd drive our waitress nuts, but she took it in stride.

I'd arranged for a day off on Monday so I could continue painting the next day. Monday was cloudy and the lack of direct sun worked for me. On the second day I managed to see more and get down the details of the shapes better.  The longer I looked at those boots, the more Attitude they seemed to have. Something about the way the empty boots stood there suggested the classic contraposto stance, as if the wearer had stood in such a pose habitually for so long, that the boots had frozen in that stance. Now that I could see the attitude, the painting became much more fun. Or was it that had begun to identify and project my own personality into the boots? Whatever it was, I felt myself becoming emboldened by this realization, and confident enough to add bits of cadmium red light straight from the tube into the reflected lights, and leave a few areas of the dark red background showing through in places. Diane reminded me to put in the shadows of the shoelaces for a final touch.

The result is so striking, all I can say is I've never done a painting like this before--I'm really pleased with it. I would never have thought of this on my own. Thank you, Diane, for being such an inspiration! I am really looking forward to the next workshop in the fall.

The Painter's Boots, 20" x 16" oil.

Winter Blooms and Sketches

Winter blooms.

Miltassia hybrid "Scent of a Woman."

My orchids really seem to like our new master bath--they have been putting on a wonderful display this winter. Above is a photo of one of the plant boxes surrounding the bathtub, and below a detail of the current blossoms--a pink Miltassia hybrid named "Scent of a Woman." I bought this orchid at a clearance sale for $5--the plant looked as if it might not make it, but I decided to take a chance on it anyway. A little TLC and not only did it bounce back, it has blossomed faithfully every winter since I bought it. This flowering spike is the largest it has produced to date, with more than 22 individual flowers.

Graphite sketch of Brassidia hybrid orchid.

The sketch above is of one of my "mystery orchids" bought at a roadside stand in Florida three years ago. This is the one that blossomed on Christmas Eve (recorded in photos that were posted here in December) that I believe may be a Brassidia hybrid (a three-way hybrid of Brassia, Miltonia and Oncidium). I plan to turn this sketch into a watercolor illustration later on. 

Below is another quick sketch done last night. My camera is currently undergoing repairs, so I need to sketch this orchid to record the development of its large and fascinating flower spike. What will the flowers turn out to be like and what colors? From the structure of the emerging buds--very similar to the Miltassia--I'm guessing it may be another Oncidium-Miltonia hybrid, but who knows? This is part of the fun.

Mystery orchid #2

Painting Practice and 7 East Gallery Reception

Dendrobium Orchid practice painting

Yesterday in class we continued to work on various watercolor techniques we can apply to our paintings. One interesting one I tried out here was to use colored pencil to shade the veins in on the petals and sepals and include a subtle touch of yellow-green at the tips of the sepals. This is done before the watercolor wash is applied and allows one to add detail that would be difficult to put in with a brush. I still have a ways to go rendering the flower color accurately, and will practice more before starting on the final painting next week.

Catching up with my other art activities, last Sunday was the opening reception at for my featured artist show "Life Impressions" at 7 East Gallery in Woodstock, VA. Snow flurries had been forecast for the morning, and sure enough, dry flakes were blowing about when I got up. Checking the weather report on-line, there was no accumulation expected and the snow was supposed to clear by afternoon, so I went ahead with my preparations for the refreshments. I was bringing two more paintings to add to the show; at the gallery's request we would display those on easels set about the floor.

Herb and I headed out a little past noon to be there at one o'clock to set things up, driving through more thick flurries, but these stopped before we reached the town of Woodstock and the sun actually came out. I had a lovely table set up but only a few artist members of the gallery came, and our son David and his girlfriend. My public may have been small compared to other shows, but as Spencer Tracy would have said in character, "what there was, was cherce".

Me in front of 7 East Gallery (photo by David)

Inside the gallery (photo by Herb)

Featured Artist at 7 East Gallery

After the Blizzard, oils on panel, 11" x 14."

Next week my art will be having its first exposure in the Shenandoah Valley at VECCA's (Valley Educational Center for the Creative Arts) 7 East Gallery , 123 S. Main Street in Woodstock, VA. I'm honored to be the Featured Artist for the month of February.  And that is a nice way to celebrate the beginning of this blog's fifth year.

I thought this painting of the winter of 2010 blizzard would be appropriate for the invitation. We've been extraordinarily lucky these last couple of winters have not been severe. This winter has been quite civilized so far... cold enough to let us know it's here, a few inches of snow now and then, but nothing epic like the winter of 2010 with its record-setting back-to-back blizzards. How we'll fare during the rest of the winter in the Year of the Snake remains to be seen.

If you get a chance, please join us for some refreshments at the opening reception next Sunday, Feb. 3 from 2-4 PM at 7 East Gallery in Woodstock, VA--"the other Woodstock," the townspeople like to say.