Here is an 8×10 of a Night Blooming Cereus which I painted in order to have something to donate to a local art group. This took a lot of work even though it is a small image. I am enjoying this flower so much, I am considering doing a multiple for a larger format. I have so much going on at the moment that it is challenging to keep up. My gardens are better than expected since I couldn’t find anyone to help clean them off until after their robust sprig growth had already over taken them. It didn’t seem to slow them down.
TAKE NOTE, arrangements were made for me to present a demonstration at the Community Art Center on Two evenings;June 9th and 10th from 5 to 7. Sadly, the info about the time was mis-printed in the news letter. This presentation will NOT be at noon. It will be from 5-7 as planned. I will be demonstrating a head and shoulders portrait and answering questions as we go through the process. I hope it will be a helpful endeavor. Shalom, Diana

Well, this image is not showing very true to color but I will get a better shot when it is finished. I am not happy when rushing thru a painting. I don’t mind if a painting moves along at a rapid pace because it is working out well, but I just don’t like to be hurried along. I suppose I must admit that I have produced a few good pieces under this type of circumstance. I just don’t enjoy it. I am so thankful that art is providing me with good times and experiences. I want to be able to continue as long as I can. This was class day which is also rewarding because the students express their satisfaction in their learning and in their accomplishments. I hope to finish this little painting tomorrow. I will post if I get it done. Diana

Most of my work is large format and takes weeks, months or even a year to finish. So, when asked for a donation for a fund raiser I feel a little lost. In the past, I have already donated the smaller examples which I had painted as gifts. Right now, I have a fund raiser and a friend’s birthday with five days left to complete the items. I chose a subject dear to me and appealing to most, a floral. This is a night blooming cirius. I must look up the correct spelling. Now to get busy.

I’m not sure if this photo will show clearly what I want you to see. Keep in mind, photos somehow have an ex ray quality about them when trying to get an image of an oil painting.

When painting a portrait in bright light, some of the flesh must necessarily be in lesser light or even in shadow. This will certainly look dead until enough color is applied to give it some life. This process takes skill because adding too much light can cause a chalky looking surface, which is very un natural. But if we don’t get enough color and light, that dark under painting will look like putrefied flesh, for sure! The legs on the right got a nice balanced layer today. Look carefully at the legs on the left. One is only partly painted. I took the photo at this stage to help you see the difference. I do hope this helps you to understand and achieve a better reality in your own work. Diana

This painting was begun more than five years ago. There might be a blog entry to remind me when. It got stalled because my photo references were blurry. But, the thing is, I love this image of my two youngest and decided to paint it. I didn’t imagine the likenesses would be such a chore. Other more inspiring and clear ideas called me away but now I am setting a goal to drag out the few unfinished works and aiming to solve their challenges.

I first covered the faces and other flesh areas with titanium white. This is very opaque which will take me back to a sort of blank canvas. I let it dry while I worked on sketches to get their likenesses good. Now, if you look closely, I have applied a flesh tone mixed with a transparentizer to allow many translucent layers to build up, creating a supple and realistic flesh area. Next, I used a combination of titanium, flake or lead white and a tiny amount of Naples yellow. With this mixture, I carefully sculpted areas of light that now begins to add the three dimensional shapes that will build the likenesses. As portrait artists, we must understand this. It is the way the light falls on a surface that enables us to recognize features. Both of these girls have almost finished raising their own children but I can still see them at this stage. All my girls have been a joy.

I had this set to include both photos but I never seem to be able to get a double photo without a lot of effort. Sorry

Yes, little by little I am getting back to my routine. There are fewer hours in a day or maybe the hours are shorter and so I find it difficult to get as much done. My daughter, in her wisdom, tells me I have a case of Covid depression, but rarely has any sort of depression gotten to me. So, my decision was to set a goal of completing current works and also actively revisiting unfinished paintings. I am in a good habit of not accumulating many unfinished paintings. They are set aside only when I cannot solve some problem or bring the work up to my level of satisfaction. This subject is of my two youngest daughters. I have always loved the pose but the original photo is very blurry. I am using other references which is proving to be more challenging than I expected. I finally have the likenesses worked out.now I am concentrating on values, skin tones and all the other details that will bring this to life, at least for me. I sewed these eyelet dresses and they are hanging in in my studio to inspire the beauty of fabric in oil paint, even ones as simple as these. After all, they aren’t velvet or lace or brocade! You may smile to know the younger girl was often expected to need intervention, medically, in order for her to reach the doctors growing curve on her health chart. I resisted and eventually she passed her sister up by quite a lot. She is at least five foot ten now and my ability to tower over her is long gone since I have lost three inches! ☹️ This portrait is unique for my work. I rarely focus back so far instead of filling the canvas. These two just held hands when I snapped the shutter and I wanted that to be the attention getter. Hope to be back to my normal output and creativity soon, but I have two more unfinished masterpieces waiting for my attention. Shalom, Diana

After all this time, my husband got sick. I got some Covid tests at our pharmacy and some chicken to make soup. Yes, his test was positive. I think it was six days later, and I had all the same symptoms but my test was negative. I will retest this evening. I want to express my gratitude to the most high God of Abraham, Isaac and Jacob that both of us are now recovering from a milder version of this pandemic. Our remaining symptom is fatigue. No fever, only slight cough. HalleluYAH. I will get back to blogging here as soon as I can. Hugs to you all and stay well.

I don’t oil out. I find that makes the surface unworkable. I consider what is here as a block in or first pass. With this one, though, the photo reference is not clear and that is what stopped me in my tracks. I searched for hours for images that would help and I have made new drawings. I have whited out the faces and will begin again. Don’t be afraid to set out on this adventure. It will help you learn. Well, let’s say, I hope I don’t destroy this one which I will entitle ‘SISTERS’

First let me apologize for skipping out for so many days. We all hit a rough patch sometimes. I just needed to rest and get my mind in gear. I have so many portions or sections of life pulling at me and I am thankful that I am never bored. I just had a period of time when I felt like a snowball rolling down hill, picking up everything in its path. I have stuck with my weekly class because the student’s energy revitalizes me and also because they are so eager to learn more. Their positivity and joy has been a support to me.

My work in progress usually consists of multiple pieces. I am attempting to finish these in order to prepare for a demonstration I have proposed to do for a local group. It is not physically practical for me to take my classes to them and so in compromise, I offered a two or three evening demonstration. This entails quite a lot of early preparation. I do hope it turns out well.

The piece in the photo here is going to be entitled,’evening light’. Since I had not posted a recent photo, I thought you would want to see how it is coming along. It is not yet finished. There are still a few things to do but I am pleased with the overall compelling allure of her expression.
There is so much happening that my posts may still be sporadic. Hugs, Diana

I do not use the direct painting method. I do not mix all the perfect mixes of colors and choose a different color for each stroke to achieve a perfect finish on the first or second layer. I use the indirect method, which means, basically, that I paint in layers, each layer forming some part of the portrait such as structure or flesh or light, etc. If you scroll back, you can look at the earlier parts of the grisaille to see I already painted in the deep shadows that help the lighting form three dimensional form on these hands. Now, I must paint these shadows or darks in the correct color. I choose flesh color, mixed with two dark additions. I apply them carefully, following the grisaille pattern and my references so as to perfect the shapes. I already know that this layer will look blotchy, the early color layers always do. My dilemma stems from the fact that when I photograph this image, the photo looks sooty or dirty. What my eyes see is a gradual darkening of the flesh color. What the camera sees is sort of an ex ray. I find it impossible to get a photo that shows what I see. This effect, to a lesser degree, is why, I believe, paintings never look as impressive in a photo. There is just something not quite right. I hope someday, I learn what to do about this.

When I create and set my mind to working on a composition, some of them look simple. It usually doesn’t turn out that way. This image has good lighting, good shadows for definition, great expression,,, you can just guess he is yelling, ‘Look, Mom!’ What could go wrong? I decided to use a linen covered board made by a good company, which I have used before. Well, for some reason, every layer I apply feels as though I am painting on dry sand instead of smooth linen. I figured that would be better by the second or third layer, but it isn’t. The oil in the paint is sucked up so fast. It looks dry too. What else? Well, I tell my students that portrait painting is the art of correction, correction, correction!!! The eyes here look pretty good but I will need to modify them both a little. This grandson and his brother and sister all have the skin tone of their dad and their Mom’s grand dad, which is two distinctly different gene pools, but the skin is so white. This is a challenge when doing a portrait. I must paint layers of flesh to make the skin look supple and alive but I must not build up color in a way that darkens it. I think as I move along, this will be OK. As I tell my class, ‘If it doesn’t look right, it just isn’t finished!’ Now I will photo my other ‘in progress’ work and try to attach it.

As you can see, this grand daughter does not present me with the same challenges as her cousins, only different challenges. I have wanted to do this painting for a long while. It is about as much fun as I thought it would be. These two paintings will give me a head start in shows next year. I have another project to prepare for the Community art center so I must get started on that. Even though I do not like cold weather, I do so love to hibernate all winter with a paintbrush in my hand. I hope you all are able to use some of the hints I give you as I proceed. I pray you will all remain in good health. Till next time, Shalom, Diana

children have such expressive faces. When I see one like this, the spirit shines through and I am drawn to it. One like this, which says so much by just a look, interrupt the previous works even though I won’t abandon them for long. It seems to me that when I am pulled to another painting in an unexpected way, that the painting of it is easier. It flows without effort. I don’t want to suggest you do the same. It is a good habit to develop to strive to finish a work before moving on to the next, or else we will end up with a lot of unfinished works. I guess I am admitting to you that my brain works best and happiest when There are several projects wanting my attention. It was the same when I was raising my girls. Adding another new baby didn’t cause mayhem, it seemed to bring purpose and focus to the entire family. It was the same when we took on AFS (foreign exchange students) into our home for a year each. They became true family members and we all focused on them. This painting is a true joy. I can’t wait to show it. I used a different base coat and built the entire painting with the same colors. If you follow my blog, you know I cover the primed linen with a mixture of Burnt umber and French ultramarine blue, which gives a greyed down brow in a mid range value. This time I decided to go with raw umber mixed with Terra verte. I expected a similar value range but I could never reach the mid value. I am intrigued and pleased with the soft pallet. The title of this piece must absolutely be ‘LOOK, MOM!’ Now to get some painting done! Shalom, Diana

Hi to all my subscribers and visitors. This is what happens when my artistic brain is moving faster than what my mind and body can keep up with!!! I have at least four current paintings in production, two or three waiting for last minute adjustments and a dozen or so in preparation for sketch, transfer or beginning work! Some ideas just insist on being breathed into life, which means they must be begun. I didn’t take the photo references for this one. My daughter Mollie showed them to me and they screamed at me, so, I put them all together and came up with the composition. I’ll show it to you as I get more done on it. I just love the way this little guy looks in the surrounding grisaille! My sister in law, rest her soul, used to plead with me to let a painting stop at aa midpoint. She enjoyed the raw possibilities they expressed. So do I but I like them finished too. I apologize for not posting more but this has been a catch up week on so many fronts. Yesterday I took Bruce to have steroid injection in His back. Already he seems to notice improvement. Now I am feeling as though I just cannot find enough time to get everything done. Patience. I am so blessed to be doing this. I am also spending a lot of time studying Torah and now languages, since there was a special on the program from Rosetta Stone. Of course my students told me this week they want to continue. Well, I love this effort as much as they do. I’ll hibernate the rest of winter and hopefully have a lot to show for it in the spring. Hugs to you all. Hope you get something out of this. Shalom, Diana

So, you can be encouraged if you can feel the energy in your early work. All I did today was add some light, deepen some values and pick out some shapes. I don’t think I ever marked a grid on a canvas before, since I always draw on paper and then transfer. I just wanted a more spontaneous painting. Keep watching, although there will be a few days I’m not in the studio. Blessings, Diana

When I taught myself how to paint portraits, everyday was a wild adventure. I would stare at my canvas and subject and ask myself, ‘ how in the world shall I proceed?’ So, I have returned to that basic because it seems to be a way to find my path through this maze. Without telling you too much, I will say that I isolated some of the larger pieces of the puzzle with dark, but transparent color. I have marked some significant features by means of the simplest grid. I am going to stop for now but when I go back to this, I will lay in some very bright touches to establish where the brightest light is. In my minds eye, I can see a vivid image. I aim for that from the beginning. This is only about an hour’s work, but, it is strategic. I must proceed carefully.

Yes, I know. I am in the middle of two or three portraits so why start something new? Well, I am itching to do something new. Portraits call me and I love painting them. When I paint other things, I usually don’t have the natural vision. But once in a while, something else sings a siren song. I have succumbed! I am not going to tell you about this one. Mostly, because I don’t know how to do what I am doing so, what is there to tell. Also, I want you to watch this progress ,,,sort of,,, in the dark. We will all see if I am successful. Diana

I am working on the many layers of flesh to build up the suppleness of skin in this portrait. Like I said in an earlier post, it may seem simple, and then it is not! Sorry to be so short but it is late and so I must cook dinner.

Somehow, a portrait artist must see the finished puzzle. He or she has the ability to recognize each piece and also when and where to place it. I can teach all the steps and what to watch for but the artist must have their own vision. This is probably why a group of artists can paint the same subject and they all are so different, because of the artist’s vision.
so here is the tiny piece of the puzzle for today. If I had enough energy, I would probably work from start to finish. My method is designed around my physical limitations, but I really don’t want to stop. I am thankful that I can succeed without working hours on end. I have never had difficulty picking up where I left off. I am truly grateful. See you soon, Diana

It often happens that when we expect something to be simple, that simplicity is so perfect that it is no longer simple to paint. This portrait is a magnificent example. Here, the gentle smile must be perfect, the soft light on the completion must not be handled carelessly and those eyes must not loose their allure. You may notice that the layers of flesh painting are in the stage which I term ‘blotchy’. I must discipline myself to control and not over paint each layer in order to build up the supple skin that draws viewers to my work.
I want to thank all the many art lovers who attended last nights GALA at the Greater Latrobe High School. So many of you, generously gave me your encouragement and compliments for my entry, HANDS OF THE FUTURE. This piece was chosen one of five in the adult vote. It was not selected by the students. I would hope that someday, it might be my honor to receive this recognition. Thanks again to all who came to enjoy this fabulous event.

I have always used a transparentizer from Grumbacher called GEL. Of course, since all major industries are experiencing shortages, why should painting supplies be any different? The original GEL made colors transparent but had no effect on consistency of the paint or drying time. The replacement product may be different. You will need to experiment until you find a product that suits your requirements. For now, I still have some of the original product. In this photo, I mix Titanium white, Flake white and gel. The amount of gel is equal to the amount of the two whites. I apply enough to cover all flesh areas. Then I use an old brush to work it into the canvas pores so that it is well covered. Then I use a strong but soft fan to slowly pick up the excess paint, wiping the brush frequently on paper towels. The grasaille or monotone painting will emerge. Then, using a soft fan or mop brush, I buff this to a high sheen.if you are not experienced and confident, I suggest allowing this to dry before continuing to refine the features.

I just love this stage of a portrait. It is as though we have just been introduced to this person and we are eager to get to know her. I hope I sufficiently express how important a good pose, a good composition is. When the viewers see the painting for the first time, you want them to feel this eagerness to get to know her. People should be drawn to her, not to a painting of a sweet girl, they should want to know THIS girl. That all happens in the composition. If you get good light, that, too, will draw the viewers in. Happy painting.

I did this to show how light makes the portrait dynamic. I will chat more about it later. Diana

I have not posted for a while and I send my apologies. Sophia in blue was entered in the most recent show and i also had to decide if I could enter the Mr. rogers show in Latrobe. Sophia was not completed but in spite of that, the entry took second place. now our group is asking for entries for the fall show so I am making an effort to finish this self portrait. i had begun it to have a portrait with good light to use as a demo for my students. i do not like to paint with a time schedule. Now that I have a double commission, i will not try to keep up. Sorry, guys, it is just not conducive to good art work.

in this painting, i want to talk about the application of the layers os flesh. I will try to get several other photos posted. Study them and recognize this important fact; after you apply the transparent layer of flesh color and gel, then you must mold it as if you are carving in stone, using white or another choice of skin tone in order to use light to create the dimension. The most difficult thing to learn is developing the touch and finesse to have varying degrees of thickness in the application of this layer. Remember that even the dark areas of flesh must have ’skin’ on them and so if you miss an area, it will look as though it does not fit into the picture. Areas of flesh that are in deep shadow often look dirty. This is usually because the process of applying a whisper of white or skin tone has been missed.

I will try to get these other images attached. i will also try to label their order. Don’ forget that this is the group of layers that will always look blotchy until there is a build up. Painting in these layers is what produces the supple looking and vibrant, alive look to the portrait. stay well and good painting! Diana

Today my work began with glazes on the face and lips. Next there was and still is detail needed on the hair. This grand daughter really wanted her blue hair included. There is always one more touch needed but at some point we call it finished. Not quite there yet.

Take special note of the shadow under her nose. It is still violet but now it looks like it belongs there. I added a glaze of transparent flesh mixed with the violet and white, taking it into the lighter edges and over the darker left side, which made it look more like a natural flow of light. this is not easy. you must see what you are aiming for.

One reason I settled on this method of portrait painting is because it gives me the option of working on a large swath of the painting or on a tiny one, depending on how I feel and what time restraints the particular day is affording me. in the spring and early summer, if my pain level can tolerate it, i want to be out doors and in the garden. . All the while my portrait of the moment is calling me. Today, after my out door time, I chose to add a layer of depth to the flesh tone. Of course, I couldn’t just brush it on, no, it needed the finesse of brights, then I saw some darks where needed, then hair, then one thing after another. So it is eight in the evening and I still want to make a tiny correction. Well, what can I say. This is how it goes. I am grateful. hugs, Diana