Winter Forest Watercolor Lesson

Winter Forest

watercolor painting by Rosa Phoenix

Happy Holidays!

Believe it or not, it's cold and wintry here in Arizona, and there's snow in the mountains!



We painted a wintry forest scene in my watercolor classes. 

This is a nice lesson for beginners. We learn about wet-on-wet technique, using masking tape, and color perspective (distant objects are lighter in color and appear blurry, while closer objects are darker in color and have more definition).



Step 1

We start by masking off the bottom part of the painting with masking tape, then applying a pale wash of paint (using lots of water) to the paper in a cool blue lavender color. 

This will be our sky.


Step 2

While the wash is still wet, loosely paint in the most distant layer of trees, using a slightly darker lavender paint that is very wet. I use a small round brush, using a quick back-and-forth motion. It doesn't have to be detailed, because the trees are very far away. 

We want the trees to blend in with the sky, to get a misty look.


Step 3

While our background tree layer is still wet, we loosely paint in the middle layer of trees in a blue green color. The colors will blend together and that's OK.


Step 4

We let our painting dry, and then we paint in our final layer of trees that are closest to us. We use a dark blue-green color paint, and we use less water this time, so our trees have more definition.

Finally, we remove the masking tape and paint the bottom part of our painting. I painted a wash of icy, light blue color.

My students used their imaginations to create a scene here: one painted snowy hills; another painted a deer, and another painted a river with fish jumping in it!

Remember to stay creative and open to possibilities. It's a wonderful way to live life!

Autumn Colors: Watercolor Painting Lesson

It's Autumn in Arizona! 

What better way to enjoy the changing season, than by walking in Nature, and seeing the autumn colors?

I took these photos on a hike to Horton Springs, near Payson, Arizona. 

Up in the mountains, the trees grow tall, and their leaves put on a spectacular display of color, illuminated in the sunlight!

the creek from Horton Spring

The change of seasons gives us a chance to reflect on the changes in our lives. 

It's a time to celebrate our growth and progress! 

Autumn is a colorful reminder that we can make a brilliant impact here on Earth.

I'm very excited about a new change for me this season: I'm teaching art classes!

I love it, because I am sharing the joy of creativity with others.  

*****

Here's a beginner's lesson in watercolor painting and color mixing, inspired by autumn colors:

First we learn about the color wheel. 

By mixing the three primary colors (red, yellow and blue) we can mix all the colors we need. Do you see the beautiful colors of autumn?

It takes just 3 steps to make our painting of autumn foliage:

Step 1

First we wet the paper, then start dabbing primary colors onto the paper. 

The colors mix together right on the paper. (This is called wet-on-wet technique in watercolor.) 

Then we let it dry.

Step 2

We use a cut piece of sponge, dip it in more paint, and dab the paint on the paper with the sponge.

Here is what it looks like, after we have added color with the sponge. Do you see how it creates texture?


Step 3

To finish the painting, just use a small paintbrush to make the tree limbs and branches. The brown color was mixed using all three primary colors: red, yellow and blue.

And we are done, in 3 easy steps!

Sketchbook: Papago Park, Phoenix

Papago Park "Hole in the Rock"

sketch by Rosa Phoenix

Here is a sketch I made in Papago Park, Phoenix, Arizona.  Papago Park is known for its unusual sandstone rock formations. This one is called "Hole in the Rock". It's said that the Hohokam ancient people used the hole as an observatory to view celestial events. It's one of my favorite places for watching a sunset. 

 Papago Park

 photo by Rosa Phoenix

My first on-location sketch since San Francisco. Luckily, there are a lot of beautiful sights to sketch right around Phoenix. I've found some other artists to sketch with, so that makes it more fun.

Painting a Feeling

3 mini paintings by Rosa Phoenix

Here in the desert, I am learning to make art all over again.

That's because, I'm finding that my artistic language and tools that I use (painting, drawing, photography, collage) are inadequate to express what I see and feel here.

Inspiration is everywhere.

The sense of space, eternity and the scorching radiance of the sun are overwhelming.

Visually, the desert is a stunning place, with sculptural rock formations, mountains and mesas, canyons, prickly plants, unusual wildlife.

Above all this, a great sky constantly unveils new wondrous shows of clouds, lightning, changing colors, light and stars.

I don't want to make "representations" of this landscape. That would result in a poor imitation of Mother Nature.

The great power I find in the desert is not what I see, but what I feel.

How can I put this feeling into a painting?  

These 3 mini paintings continue my experiments with horizontal bands of alternating colors.

These are more "painterly" and loose. These are not literal landscapes or skyscapes, but they suggest that.

Inspired by Agnes Martin

mini paintings by Rosa Phoenix

I've returned to the desert where I grew up, in Phoenix, Arizona. 

The desert of the American Southwest has always attracted artists, 

who are drawn to the open skies, raw landscape, sculpted rocks and dazzling light.

A couple of years ago I visited the Dia Arts Center in Beacon, New York. There I encountered for the first time, the works of Canadian-born artist Agnes Martin (1912 - 2004).

Her paintings couldn't be simpler: stripes in the palest colors, painted on a pencil-drawn grid.

Gratitude

by Agnes Martin

In concept, it seems one-note and one-dimensional, but actually, to be in the presence of these paintings is a transcendent experience. It's not something that translates as a reproduced image. 

Paintings emanate with the energy and intentions of the artist.

A painting is a lot more than just colors on a surface.

 Agnes Martin gallery at

Dia:Beacon

photo by Bill Jacobson

I still keep Agnes Martin's paintings in my heart.

I learned that she lived and worked in Taos, New Mexico, just like another of my favorite artists, Georgia O'Keefe.

The desert is a harsh environment. 

It is a huge, open space that makes a person feel 

very small, insignificant and vulnerable.

How do you capture that sense of space? 

The desert invites a different kind of artistic approach.

Lots of decoration and embellishments don't work. Ornate patterns don't work. Realism doesn't work. 

I think the maxim "Less is more" applies here.

Agnes Martin had a particular genius for this.

Agnes Martin

Here in the desert, I'm clearing my mind.

As an exercise, I created my own works, inspired by my desert surroundings, and Agnes Martin.

Using some small, square canvases, I used masking tape and latex paints to create a series of striped paintings. Here are some in progress, with masking tape on:

mini paintings in progress 

by Rosa Phoenix

I used desert colors.

When I put them together as an installation on one wall of my room, I was pleased with the result. It is a suggestion, rather than a literal interpretation, of desert beauty. 

I wake up and see the colors of the desert. I see the sky, the clouds, the earth, the light. I see Indian blankets. I see the striated colors of the rocks. I see sunrises and sunsets.

 This wall of mini paintings keeps my mind clear and creative.

I like the rhythm of the stripes.

wall of mini paintings by Rosa Phoenix

I feel so inspired by the beauty that surrounds me. 

Like Georgia O'Keefe and Agnes Martin before me, I find myself challenged to create in a whole new way.

Here is a video interview of Agnes Martin, where she talks about the painting process. It is quite enlightening.

Palo Verde in Bloom

 

palo verde tree in springtime

all photos by Rosa Phoenix

Spring has come to the Sonoran Desert. The palo verde is Arizona's state tree.

The palo verde is a native tree of our desert, with a delicate and feathery appearance. It is completely green, with green trunk and branches and tiny leaves.

In springtime, it covers itself with tiny, golden yellow blossoms.

I spent almost my entire childhood in Arizona. I've seen many palo verde trees. Yet I feel that I am seeing them in bloom for the very first time.

 

Why have I never noticed this before?

To see the street lined with many of these delicate desert trees, 

adorned with golden flowers, is a special vision.

I was sad to miss the cherry and plum blossoms of San Francisco this year. 

Imagine my delight to see the palo verde trees of a desert spring.

Sometimes, you have to go away for awhile, and return again, 

to see with new eyes, what you weren't able to see before.

South Mountain Petroglyphs

Dobbins Lookout view from South Mountain

all photos by Rosa Phoenix

Here are some views from South Mountain Park in Phoenix, Arizona.  

South Mountain is a nice place to hike, bike, drive, or ride a horse.

Here you can see the desert landscape and views of the city of Phoenix.

Recently I hiked the Holbert Trail, which features many ancient petroglyphs, made by the Hohokam people.

 rock art

The Hohokam people settled and farmed this area in ancient times.

According to local oral tradition, the Hohokam may be the ancestors of the historic Akimel O'odham and Tohono O'odham peoples in Southern Arizona. (Wikipedia)

The city of Phoenix was named to acknowledge these original settlers, because a new civilization rises from the ruins of the ancient civilization.

rock art

Is that a whale or fish on the rock below the spiraling snake?

To me it looks like a whale.

Where would these desert dwelling people have seen such a creature?

Maybe someone had traveled from the California coast.

This desert was once an ancient sea . . . how things change!

 another human figure

or maybe a bird?

 the four directions

the cross

the Saguaro cactus,

native to the Sonoran desert

All photos were taken on my iPhone using the Camera+ app.

LINKS

South Mountain Park

Hohokam people on Wikipedia

Sketchbook: San Francisco

felt tip pen and ink drawing by Rosa Phoenix

This is the view from Tank Hill, looking toward downtown San Francisco and the Bay.

You can see some San Francisco landmarks in this sketch, including the TransAmerica Pyramid building, the Bay Bridge, City Hall, Mission Dolores and Market Street (which I colored yellow). The big rainbow flag marks the intersection of Market and Castro, center of the Castro District (birthplace of the gay rights movement).

There is also a new huge tower at the entrance to the Bay Bridge. I think it is called Rincon, but I call it the Sharper Image Ionic Breeze Tower, because that is what it looks like, to me. If only it cleaned the air as well!

I did this sketch with black Uniball pen, and then I colored it later with felt tip pens.

Virtual Paintout: San Francisco Bay Area

view of San Francisco from Treasure Island

 crayon and color pencil drawing by Rosa Phoenix

These sketches were for the Virtual Paintout, which is in the San Francisco Bay Area this month.  

Treasure Island is halfway between San Francisco and Oakland, right beside the Bay Bridge.

Click here to see the Treasure Island View as seen on Google Maps Street View

This is my first quick sketch, in pen.

 

pen and ink with felt tip pen shading

I wanted to focus on the horizon. The Bay Bridge on the left and a range of hills on the right lead the eye to the center, the city of San Francisco. 

This is my second sketch, in crayon and color pencil.

crayon and color pencil drawing 

I curved the lines to lead the eye to San Francisco. 

Looking west from Treasure Island, the city is backlit by the setting sun.  

San Francisco seems to glow like a star.

My latest sketch is below, using my new watercolor pencils and Moleskine watercolor sketchbook.

You can click on it to see a larger view.

 

View of San Francisco from Treasure Island

by Rosa Phoenix

watercolor pencil in Moleskine watercolor sketchbook

(color enhanced in PhotoShop)

I did this sketch from my memory. 

In this sketch I eliminated the figures in the foreground. 

I emphasized the horizon and the sweeping strokes leading from the city into the sky, hills and Bay Bridge.

I like this sketch. I'd like to make a painting based on this.

As you can see, I sometimes make many sketches and drawings of the same subject.  I like to experiment with different media, colors and compositions.

In each new version, I try to simplify, and create more balance and focus.

The Virtual Paintout is a monthly artists' challenge that uses Google Maps Street View as an inspiration. Every month, artists explore one chosen location with Street View, and they share the art they create on the Virtual Paintout.

Click here to see my other drawing for the Virtual Paintout: San Francisco Bay Area

Check out the Virtual Paintout here and see what other artists are creating

Georgia O'Keefe and Ansel Adams at SF MOMA

Georgia O'Keefe, painter, met Ansel Adams, photographer, at Los Gallos Ranch in New Mexico in 1929. This show at SF MOMA compares and contrasts these two kindred spirits who were attracted to the same settings and subjects in the big open spaces of the American Southwest.

It's easy to see that for both of these artists, inspiration came from nature. Ansel Adams is known for capturing many of this country's greatest natural monuments in the early days of photography. O'Keefe is best known for her macro-view paintings of flowers and other natural forms.

The works are loosely grouped by subject matter: Taos pueblos and churches with crosses are powerful images in the O'Keefe and Adams works. We also see how both artists were fascinated by the twisting forms of trees, and by the barren hills and riverbeds of the desert in New Mexico.

O'Keefe was a painter who was influenced by photography. She often zeroed in on her subject in close-up, as a photographer would, to capture detail. She also played with scale, making small subjects like flowers and bones monumental on large canvases.

Adams the photographer was no doubt influenced by abstract painters. Many of his photos were taken at times of stark shadow, creating extreme contrasts between darks and lights. This creates abstract rippling lines of shadow in photographs of barren hills and sand dunes.

For me, the O'Keefe paintings outshine the Adams photographs. My eyes feast on her palette of colors, ranging from creamy yellows to rich warm earthy reds to expansive sky blues to velvety purple blacks. Adams' smaller prints seem to shrink in the shadows of O'Keefe's large, glowing paintings. Even her tiny flowers expand and radiate light. It would have been nice to have seen Adams' work on a grander scale, with large-format prints.

Georgia O'Keefe has been my lifelong inspiration. I was delighted to see old favorites and new ones in this show. She painted in a symbolic language that is like that of Chinese painters. A few lines, clouds of color, and spiraling shapes could create a landscape, or a flower, or a skull, or a hill. I admire her economy, spareness and simplicity. Yet her colors are so luscious and luminous, that her paintings truly come alive.

"Georgia O'Keefe and Ansel Adams: Natural Affinities" is on view at SF MOMA through September 7.