loriann signori's painting-a-day

fog series and love of exploration

lsignori@verizon.net (loriann) — Wed, 09 Dec 2009 11:42:00 +0000

pastel and watercolor on Uart

large value painting 20.5x21.5 on BFK

Monet Branch of the Seine Near Giverny

As a child Monet was my favorite. Still he is one of my top twenty artists (dead ones)... especially his water paintings of the Seine and the waterlilies. When creating the top painting on location I couldn't help but think of him. This is a site where I have painted frequently in the past 4 years. The paintings are large and small. A few of them will be in my solo show in May (I need 32 paintings so I have saved a few special ones)

I love the way the fog sits on the water with the trees. On site I was able to get it. With the value painting I was not as successful. Temperature of color made to color version succeed .Warm near cool. I think I will use the value painting as a grisaille, fix it and then paint on top.

Later......After seeing it here and then posting it I can't stop thinking that I should work on it more before using the fixative. Did I ever say how much I love to paint and explore???...never a dull moment!

welcome to my studio

lsignori@verizon.net (loriann) — Tue, 08 Dec 2009 11:35:00 +0000

Welcome to my studio! I always love seeing other artists' studios so I am sharing mine today.
I am a slightly messy, somewhat chaotic painter who is fortunate to have a studio of her own. About four years ago, as I outgrew my other studio I took over what was the master bedroom. Yay! (what a husband, eh?) I have outgrown that by now and long for the reconstruction of the entire attic. (yeah, right!)
Let me walk you through my space. The first photo was taken as you walk into the studio. I have placed my easel so that I can step back far (through the door and down the hallway) and I can still see the painting. I like to sneak up on my work. On the right side top is looking from the north windows. I keep the small paintings that are inspiring my current work on the wall. Below you see into two of my flat file drawers. These things saved me from myself and my messy tendencies. Four drawers have just pastels (unison, schminke, diane townsend, girault, great american, and sennelier), one has paints and palettes (watercolor and oil) and the rest of the drawers store paper and finished work. The bottom photo is my watercolor palette, it's my plein air one, I was using it today so it's out. I have a bigger one as well. The lights are full spectrum.
I must say there are pluses and minuses for having your studio in your home. At this point in my life the pluses outweigh any minuses. I love painting at any time of day and night without having to leave home. As long as I keep a daily schedule all the extra hours I put in are just gravy. I love being around my kitties as well. Long ago I insisted on a separate space... no longer. I finally realized that my strong work habits were the backbone, not the space.

My other studio is the back of my car. I will show you that on another day.

OK, anyone else want to show their space?

Ice Crusted Sunrise

lsignori@verizon.net (loriann) — Mon, 07 Dec 2009 14:46:00 +0000

8x10
Sunday morning, on ice covered streets, I drove back to my muse and painted the moments after sunrise. Boy it was cold.
The underpainting was done fairly dark and purposely changing temperature. For instance, while the morning sky has a cooler light (typically) I first made the sky a warm yellow orange. When I painted the pastel on top I went towards the cooler side- a more lemony yellow with green. I wanted to see what would happen. It's funny I was thoughtful about that, but my favorite part is the left shadow mass of trees and its reflection. That is where I painted simply by instinct. hah! What does that tell me??????

moondance

lsignori@verizon.net (loriann) — Sun, 06 Dec 2009 11:13:00 +0000

With the memory of Wednesday and Thursday night's full moon firmly in my mind I painted this in the studio.
This one is for my best friend in the world, Leah.

let it snow!!!!!!

lsignori@verizon.net (loriann) — Sat, 05 Dec 2009 16:16:00 +0000

both are 5x11 pastel and watercolor on Uart

They said it would snow later this morning I had no idea it would begin when I was out at the lake...lucky me!
The top one was painted as the snow mixed with rain. By the time I painted the second the snow was so heavy it was like the landscape was wearing a thick, fuzzy veil.
Again, at the risk at sounding redundant, it's all about value. It's truly amazing how many color are present in the white of the snow.

full moon rising

lsignori@verizon.net (loriann) — Fri, 04 Dec 2009 08:20:00 +0000

9x9 pastel on BFK

18x24 pastel on oil on marble dust board
The full moon was Wednesday night. Both Tuesday and last night were equally dramatic. The moonrise happened immediately after sunset. The sky was that wonderful green blue that it only can be in December when we near the winter solstice. A little sliver of pink appears like a surprise guest. I guess it's time to work on those December twilight scenes I wait all year to do. There's something different about it and I can only paint this special twilight in December/January when it is present...even when I work in the studio. Last year I created the one on the bottom ...let's see what this year will bring.
It's my birthday today and I can't wait to go outside to paint. Sometimes morning is a long wait.

orange, orange, tangerine

lsignori@verizon.net (loriann) — Thu, 03 Dec 2009 23:49:00 +0000

Just watercolor. I finally did it. Knowing that in its raw state it would serve as a great color study I resisted placing even one stroke of pastel. Let's see how long that lasts:-)

importance of value paintings/studies

lsignori@verizon.net (loriann) — Wed, 02 Dec 2009 12:08:00 +0000

9x12 pastel on BFK
As you know I have been creating many value paintings recently. I started doing these works as grisailles for pastel and oil glazing. Next, I began to really like doing it. The value paintings are different than the notans, which are small studies with only 3 or 4 blocks of value. These I do before beginning bigger works to determine value patterns and dominant values.
Now add the idea of a full value painting.And after creating many I have came to the belief that it is imperative to do these before beginning big works. It really helps me work out the main issues before heading to the juicy stuff-color.
Most artists know that normally the sky is the lightest value, followed by the horizontal planes reflecting the sky, next the slanted planes and the darkest are the vertical planes. Doing the value paintings allows me to work out the other nuances and hopefully some of the obvious mistakes. Mistakes like making the sky too dark in value or nuances like how the movement works, or how the shapes work together..are they interesting or redundant? The value paintings also stress how you, the artist are the conductor of the painting. Like a symphony you decide how you want the musicians to play together...darken one...lighten another? You choose. When it is in black and white it is so easy to see.
It's also good to do these value paintings if you are stuck in you painting. What you can't see in color you can see in black and white. It's funny how we (I) can overlook things we KNOW inside when caught in the frenzy of painting.
Have I convinced you to try one?

as the sky continues to weep

lsignori@verizon.net (loriann) — Tue, 01 Dec 2009 13:30:00 +0000

4x10 pastel and watercolor on Uart
I was thinking about temperature of color as I painted inside my dry car. The drizzle that began light turned to a downpour later. I stuck to the overcast drizzle feel of the painting. The sky has been weeping for weeks....if only this rain was snow.
I can't wait for my first snow plein air landscape.

morning's crisp air

lsignori@verizon.net (loriann) — Mon, 30 Nov 2009 10:34:00 +0000

8x8 pastel on watercolor on wallis (actually painted on Sunday)
Focus -sky
I began with defining the color and value of the light in the distant sky and how it will be reflected in the water. The sky is the lightest value, followed by the light reflection in the water.
There was a heavy frost coating the grass. Hundreds of Canadian geese were floating on the water. Winter's coming.

windswept lands

lsignori@verizon.net (loriann) — Sun, 29 Nov 2009 05:34:00 +0000

about 18x24 pastel on BFK
Still working on the field, but this time I took a whole different view. Low horizon- something out of my comfort range. I tried to capture the windy autumn into winter spirit that has been present for days now. Clouds have always stymied me. I guess it, once again, is all about value. Hmmmmm, am I sounding redundant?

field/experiment with materials

lsignori@verizon.net (loriann) — Sat, 28 Nov 2009 23:17:00 +0000

8x10 pastel on archival fore core
Yes. that's right this was done on a left over piece of archival foam core. It was soft..felt similar to the BFK I have been using. I must say it worked completely differently. Glossy and slippery and it sure wouldn't take a lot of pastel. I had to jam it into the surface with constant rubbing. An experiment. Felt more like etching.

After my frustration with the value study I coated the board with lascaux pastel primer. The board would not take water so using only my notes and my memory I did a color study with pastel. This is all preparatory work for some bigger field paintings.

I think I have to start alternating my plein air painting sessions with more memory work.

The only thing I learned from all this is that "all that glitters is not gold;" meaning archival foam core will not substitute good paper:-)

autumn's last breath

lsignori@verizon.net (loriann) — Fri, 27 Nov 2009 16:19:00 +0000

8x8 pastel and watercolor on Uart
The cold winds were whipping across the lake, which meant I had to hold onto my easel and forgo the umbrella. My goal was to use color to make the feel of autumn's ending.

whispered moment

lsignori@verizon.net (loriann) — Thu, 26 Nov 2009 16:37:00 +0000

8x8 pastel on watercolor underpainting, thickened by fog

Just knowing there would be a thick fog in the morning made it difficult to sleep. (I love fog.)
Painting fog is all about value relationships. Like bookends, choose your darkest dark and lightest light before doing anything else. The watercolor was easy, it flowed on the paper. But the added moisture in the air made the pastel chunky. I had to go to the car several times to dry the surface. The fog continued to be thick so time was not an issue.
Happy Thanksgiving everyone..now I will go bake a pie.

through my pours

lsignori@verizon.net (loriann) — Wed, 25 Nov 2009 12:01:00 +0000

9x9 pastel on watercolor, Uart paper
This one was painted early Tuesday morning on location. It was raining lightly you could feel the atmosphere through your pours. "Grey" days are the best!
It was too wet to add pastel so needed to do that in the studio. With this painting the goal was to get the essence with the barest minimum of strokes.

Lone Tree/ experiments with value/color and mood

lsignori@verizon.net (loriann) — Tue, 24 Nov 2009 11:17:00 +0000

12 x12 pastel on BFK

I am determined to explore mood through this field series. On the bottom is another value painting (similar to November 18th posting) and on top is the color I chose to paint over what now worked as a grisaille. I lost my focus and expanded my value and color range. It was then that the mood of the grisaille was lost. I guess that is why the Tonalist paintings have such mood. Limited change in value. Experience, make mistakes and explore that is the path to constant learning.

There is something about color I sometimes can't resist. I will do this composition again and limit my value more.
What is your experience with mood/value/color?

tangerine sky

lsignori@verizon.net (loriann) — Mon, 23 Nov 2009 11:30:00 +0000

Pastel on watercolor, watercolor underpainting below

The air was cold and the water was slightly warmish....thus the beautiful fog. The tangerine sky set nicely off of the blueish fog. I must admit I just enjoyed myself with this one. Just painting for the pure joy of painting.

Towards the Sea

lsignori@verizon.net (loriann) — Sun, 22 Nov 2009 16:30:00 +0000

12x12 pastel on paper
I blogged this one (bottom, value painting) last night. I was thinking about soft and hard edges. I quieted my mark in the distance and allowed it a little more activity in the foreground; still trying to keep this soft and moody. Last night in my dreams I added paint and pastel. So, of course, upon awakening I tried to paint it "for real." I sprayed it with my wonderful Spectra-Fix and began with paint.

Yesterday Paul walked the length of the street with his crutches (me by his side.) He is starting to get his pep back. Yay! thank you everyone for all your well wishes!

mark making/ influenced by john marin

lsignori@verizon.net (loriann) — Sat, 21 Nov 2009 15:20:00 +0000

16x20 watercolor and pastel on Uart paper

I had the most fun with the watercolor underpainting, I even wonder if I should have stopped then, before my fingers were freezing and stumbling over the paper. (It takes awhile before getting your "frozen painting legs."I feel like a total whimp now.) I feel the underpainting has a freshness the other doesn't. After I finished the watercolor I noticed that it felt so John Marin-esque. Why I ask???? The one thing I remember about John Marin is that he believed he had to know a place intimately before he could paint it. I am in complete and total agreement with him.

Today was thinking about marks- why and how we choose. The bigger paper allowed the marks to get bigger and more expressive. I also wonder if our marks reflect emotional state as well as reaction to the subject. Any thoughts on that one painters and non- painters?

straddling abstract

lsignori@verizon.net (loriann) — Fri, 20 Nov 2009 18:24:00 +0000

How much to leave in and how much to take out... that is the question. Today I started with a very abstract underpainting and than snuck up on it, little by little till you can read what it is yet straddles abstract.

How much do you need?

lsignori@verizon.net (loriann) — Thu, 19 Nov 2009 23:19:00 +0000

My question today..how much can I take out and still leave enough?? Strip it down to the most fundamental aspects of the landscape. Can it still say landscape? Have a mood?
Lots of doctor, PT and tests today...busy. Hopefully I will get more done tonight. Paul is beginning to have some independence. Yay!

back to values.... tree on the hill

lsignori@verizon.net (loriann) — Wed, 18 Nov 2009 12:06:00 +0000

Back to values. Before beginning bigger work (or any work for that matter) it is always good to do a value sketch. Usually I make a small notan rather than a full blown value study. But recently I have really been enjoying painting in one value. The reasons for making these are numerous, most important and most obvious is to determine the value relationships between colors in the landscape. After doing this it is easy to become freed of "local color." Meanwhile I have learned that more than color, value makes the mood.
Try making one... just for the fun of it. One hint remember to SQUINT. Value doesn't separate things...we do.

This one comes from a small painting I did this summer. The full color painting (below) is 5x5 and this value painting is 19x22.

chroma equals vibration/ autumn trees

lsignori@verizon.net (loriann) — Tue, 17 Nov 2009 14:06:00 +0000

8x8 watercolor and pastel on old Wallis paper

Another quick hour for work while Paul sleeps. This time I was painting it in my head all evening before heading out this morning. This scene lasts just moments so a lot of study needs to go into understanding what is important and how. I painted like a madwoman on this one. To me, this finally found success. The right chroma (not always the correct hue) is very important in the quest for the vibration.

vibration between colors

lsignori@verizon.net (loriann) — Mon, 16 Nov 2009 15:01:00 +0000

8x 8 pastel on watercolor Uart paper

Today's focus- paint the vibration, the sensation between the colors. That doesn't mean the exact colors, but instead the feeling they make when they dance together. I had only one hour to paint while Paul slept. Time limits can be good too.

Update on Paul: yesterday he spent the day in the hospital (possible blood clot, yipes!). He is home now, but the most time I can spend away is one hour. Lucky part, my studio is right next to the bedroom and I can keep a good eye on him.

third version- square

lsignori@verizon.net (loriann) — Sat, 14 Nov 2009 12:23:00 +0000

The next format to try was the square. I saved the best format for last. The mood is there...now I will think about color.

On another separate note Paul is now home, hobbling around with my help. They say it is 4 weeks till full movement. He is on crutches and can get up and down stairs. Will time go quickly? or slowly? hmmmm. Thanks for all your well wishes.

Till tomorrow!