Art Adventures

Posts tagged ‘farmers market paintings’

There must be contrast for interest. Really. If life/art/people/etc. were all just the same, we would find ourselves uninspired and bored. Ethnicity, culture, race, skin color, height, houses, food, personalities, paintings; if it were all the same, where would be be? I shudder to think. The blandness of sheer repetition would cause dullness of the senses.

And so it occurred to me this past weekend when I went to Portland with a friend of mine ( We went in search of potential gallery representation, as well as to enjoy Portland’s art scene. I was struck by the need for contrast. Not only concerning styles of paintings, but contrast within a painting. Contrast is an absolute necessity to create compelling interest.

We visited a variety of galleries. There seemed to be a disturbing amount of art that I wouldn’t want in my house. Much of it was seemingly simple, with dark themes, many hung without frames, and at exorbitant prices. Nonetheless, some of it was striking. Of the galleries we visited, a few stood out as representing accomplished artists of a range of styles, all employing the elements and principles of design in a compelling manner. Those galleries were Butters Gallery, Gallery 903, the Augen Gallery, and the Froelick Gallery. Again, we didn’t have time to see them all, but these were the best of those we visited.

Of the most noticeable common themes, texture seemed to be often employed element for many artists. Mixed media, tangible texture, and visual texture abounded. In addition to texture, contrast of value, such as darks against lights created compelling visuals. For instance, in a high-key painting of mostly light values, a shape, or line of black added at a focal point made the work sing. Or, in a mostly black/dark painting of war and oppression, bright spots of flags gave some relief in contrast and made the viewer look closer…longer.

So! To that end, I have come home very inspired to add contrast and increase texture surface to my paintings. As a result, I took one of my photos from my favorite artistic inspiration locale, Pikes Place Market in Seattle, of a flower vendor.

Flower vendor carrying flowers

I began with a basic reference photo.

I loved the way the flowers surrounded this girl as she carried a huge bouquet to a customer. In planning my painting, I cropped in closer to the girl and mapped out my values on a small thumbnail sketch. I wanted to produce an edgier painting, so planned a dark mass of value that connected her shirt, hair, and the bouquet to the edge of the painting.

Flower vendor value study

Value study. The arrows indicate visual movement of the dark value moving out of the edge of the painting.

Once I began painting, the texture came through from all the applications in the base of the gesso. This was a recycled painting, as well. It had a former life of being something else (that clearly didn’t work…). I had covered it and textured it up, but a little remained of the painting beneath, adding further interest.

Detail of the flowers around the vendor's face

Plenty of whites were left unpainted here in a detail of the flowers around the vendor’s face

Produce netting was used in various spots to create a honeycomb or a grid-like pattern.

Detail of produce netting pattern

Detail of produce netting pattern


I added many pops of color onto a neutral background of black/grey/and cobalt. Above, the vendor’s shirt takes on many textures. Produce netting squares, small squares of paper, scribbles in the gesso base, and 3D lines were painted into the surface before the paint was applied.

The edge of the bouquet.

The edge of the bouquet. This detail describes both the netting honeycomb pattern and the painted-in squares of color for interest.

More texture.


Watercolor pencils add a line element


Scribbles and underscoring create complicated patterns in the painting.

Scribbles and underscoring create complicated patterns in the painting.

And finally, the finished painting:

Flower Vendor copyright

“Transaction of Color”, 20×16, $550. Original painting. Watercolor on gesso and collage.

This painting has a very fresh, open feel, accomplished both by the texture, the massed values, and the bright areas of color. Hopefully you get a chance to view this painting in person. I will be installing it at Hood Avenue Art as soon as it is sealed and framed. It is very interesting to view the different textures and colors up close. All in all, I believe I captured the contrast I was going after with the almost-blacks, the neutrals with pops of color traveling in pockets throughout the painting, the gestural strokes, patterns, and texture. Look for these qualities to come up in my future work. Expand the mind, people!

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All images and paintings on this site copyrighted by Sarah B Hansen unless otherwise noted.



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Mmmmm….strawberries.  Tangy, sweet, tender and warm-from-the-garden burst of freshness on your tongue. There’s nothing like them. It’s Strawberries from the Market today for Thirty-Dollar Thursday!

I took this photo when I went to Portland Saturday Market in March this year.  They were an early batch, for sure.  They called my name.  Yoo-hoo!  Yeah, you with the camera. Over here!

I had to snap a couple of photos in all their red deliciousness.  Here’s the one I used for my painting:


Strawberries at Portland Saturday Market

After a quick sketch of the yummy orbs (okay, okay, it’s not chocolate, but hey…it’s STRAWBERRIES!), I did a first wash:


First wash of strawberries and their neato turquoise containers

I had hooked up my video camera to do a video of the process, but alas, no battery.  I think my video-making is jinxed!  Next wash:


Adding more depth and color into the strawberries and their container

The strawberries…I can smell them!  I had fun with the final wash, because after I completely saturated the berries with Quinacridone Red, I covered the containers with plastic wrap and sprayed the berries with water. Then, I lightly dabbed the water off and lifted it back to white. When the berries were dry, I dotted them individually with flecks of red to make them appear to have seeds.  Cool, huh?


Strawberries at Portland Saturday Market. 8×8 on gessoed watercolor paper.

So here it is!  What you have all been waiting for!  My weekly Facebook Thirty-Dollar Thursday offering for you all lucky folks out there!  Buy it today, as it won’t be thirty dollars(plus shipping) again! 🙂 Follow me for more offers:  SBHansenART on Facebook.  Love to you all and enjoy your Thursday.  Maybe have a strawberry or two.  I know I will.



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If there was ever a time for an egg to be serenaded, this was it.  It’s Portland, Oregon?  And you know the reputation for Portland and it’s No-Cruelty-to-Animals(that we eat ;)policy, right? I’m not necessarily making fun of Portland and it’s quirkiness.  After all, I lived there for 12 years.  Which probably explains a lot.

Well, this egg found himself at the Portland Saturday Market.  Why so sad, you ask?  His mother, model chicken that she was, spent her days daintily nibbling at custard-crusted insects, sipping mineral water in the organic garden and eating enriched wheat grass before tucking into bed at night.  I have proof:  Portlandia.

Think symphony music. But on this day, some Ya-Hoo from the carton next door blabbed that Life After This was not so good.  There were rumors of coffee, toast, and…EGGS?  What?!!  He got the drift.  There was no hope of a happy ending for our little friend.  That’s when the low, rhythmic bawwow wow wow of a didgeridoo came through the fray to soothe our poor little anxiety-ridden egg at the Saturday Market in Portland last weekend.  Trust me.  I saw the whole thing.  Hence, the title of my new painting, “Didgeridoo Eggs.”  Don’t know what a didgeridoo is?  Well, I video-taped the gentleman playing the thing, and you can clearly hear bagpipes in the background.

So anyhoo…the Portland Saturday Market proved to be much different from Pike’s Place Market in Seattle. Guys in kilts playing bagpipes, petitioners trying to get us to sign a petition, organic produce piled high in visual delight, wonderful food smells…and, of course, the guy on the ground playing a didgeridoo.  Super cool.  I loved the area and went crazy taking photos of all the fruits and veggies.  I have so many reference photos for future paintings!  It’s nuts!  I don’t have the time to paint all that is in my head.

But I started with the eggs.  They called loud and clear to me, in all their white pureness, the old wooden box they sat upon, and the light whispering through them.  I had a square piece of plexiglass for this composition.  My last one, so I better get myself in gear and see if more framers have old plexi for me.

I finally successfully figured out Windows Movie Maker that I downloaded last week. The reviews said the program was simple.  It pretty much was, once I fumbled my way through trying to edit last week’s video and the flub-up with the audio.  This week, I used my camera on a tripod to video the egg painting.  Then, I downloaded it onto my computer and uploaded it into Movie Maker.  Problem was, it was sooooo long! My boys, Teenagers-Hooked-on-Media that they are, advised a time-lapse with a song.  No audio.  I figured out how to do it, so here it is:

What do you think?

Below are some photos to show texture in the painting…pretty hard to see detail when the video is running at 8x!


Detail shot eggs, showing gesso texture beneath the painting


Another detail shot behind the eggs on the carton


Up-close shot of egg carton



Removing the worn area of the wooden box with a damp brush

The lettering on the front of the box was fun to do.  I painted the whole area with an underpainting of Cobalt Teal, quinicrodine Burnt Orange, New Gamboge, and a touch of quin. rose.  I allowed the area to dry, then went in behind some of the letters with Moonglow to pop them out.


Placing a darker color around the letters to pop them out of the background

I love the composition of this painting, with the dark and mid-dark values making a “Y” against the turquoise and white eggs.  I chose the single brown egg as a focal point in the composition.  All the other eggs sparkle of pure white.


Didgeridoo Eggs. Watercolor on Plexiglass. 25×25

Didgeridoo Eggs ranks up there in the top three in my ranking of seriously fun paintings.  I enjoyed every step of this painting.  It went so smoothly and quickly.  I propped the painting up in my house and looked at it every chance I got.  And you know what?  Everytime I glanced it’s way, I smiled.  Now THAT’s an accomplishment.  I hope the person who purchases this painting feels the same way.  And I hope you enjoyed this post.  Feeling creative?  Get at it!  Feed that beast!!


Gatherings…I can picture folks in these colorful lawn chairs.  Visiting, having a glass of wine, and looking out to their kids playing in the yard in Hood River.

I’ve had this photo in my mind for 2 weeks or so, thinking about what I want to say with it. There is nostalgia, there is friendship, there is leisure.  Of course, I’m drawn to repetition and color!  Here we go!

Photo and value study of composition

Photo and value study of composition

This  time, I had the forewithall to do a value study first.  Here, you can see my planning with a simple sketch.  Photo reference is at the bottom.  I try to select large, connecting shapes of the same value so that there are not so many bits and pieces flying around. Next, to study the composition and layout:


Composition study/sketch

I usually divide my paintings into thirds and pick one of the areas the lines intersect as the focal point.  Here, you can see my circle in the lower LH third where I selected the blue chair for the focal point.  After some thought, I change it to the front (RH) lower third because of the ease of all the shapes converging in this area.  This is where I plan to have all my darkest darks and lightest lights.

I prep my canvas with texture in the areas where I want to draw the eye.  I’m texturing using Cheap Joes Gesso, while it’s still wet:


Texturing the canvas by drawing a grid tool through wet gesso

In the lower area of the photo above, I have placed wet squares of tracing paper, further enhancing texture.  Gesso was painted directly over top to adhere the tracing paper to the surface of the plexiglass.  After it dried, I drew the composition onto my prepared plexiglass:

Drawn out composition

Composition drawn out on prepared plexi

To allow me to paint all the chairs, the background, and the foreground, without worrying about saving the whites, I painted liquid mask (or frisket) to all the arm chairs.  To enhance the idea of repetition of pattern and line, the arms provide an integral part of the design.  I’ll return later into the whites to add detail.

Painting near white chair

The focal point is near my brush(above photo). To draw the eye,  I’ll keep the chair white, placing complementary colors red and green/blue next to the white chair.  The darkest darks of the painting will be behind the chair, to make it POP.   This is also where I’ll add the most detail to the painting.

You can see the texture of the gesso impressions after painting.  Pretty cool, huh?


Detail of texture around the wisteria plant on the shed

Here is a detail of the texture of the underlying tracing paper adhered to the plexiglass in this photo. Ooooo…I love this stuff!


Texture detail of background trees, grass, and foreground chair

You can see how easy it is to paint the chairs and background without worrying saving the whites of the chair arms.

Removing the Frisket:

(Okay, okay…this is hilarious.  I decided, per suggestion of a very nice fellow blogger, to upload some videos to my blog, using YouTube.  I’ve never done this before.  It was pretty easy, but I thought I had removed the background music.  Didn’t.  And it is loud, so you can’t hear what I’m saying!)  Also, I was soon made aware that the video needs to be in landscape mode, not portrait.  Good grief.  What a goof I am.  Removing frisket video here. I promise to improve…REALLY!

Removing liquid mask from the surface of the painting

Removing liquid mask from the surface of the painting

I spent about an hour or so going over each and every removed-frisket area to soften and enhance the arm chair lines.  It took a while, but was worth the work.  The chairs look finished and have shadows and detail.

Gatherings almost done

Gatherings…almost done

You might be able to see how much softer the lines are in the chairs.

Check out this texture from tracing paper beneath the paint:


And on the shed behind the chairs:


I had to rework the wisteria area.  Difficult to explain what you want the viewer to see without explaining it all.  I’m still not certain I’ll stay out of the wisteria bush.  Feels weird to me, but I’m not sure what is wrong with it.

Gatherings. 21x30 watercolor on plexiglass

Gatherings. Watercolor on plexiglass, 21×30

So, video snafu aside, I’m overall pretty pleased with the outcome of the painting.  I usually paint close-up, zoom-in-on-detail-type-paintings, but this was a fun departure. I love the chairs.  I’m off to Portland next week, to check out the Saturday Markets and other fun stuff they have.  Looking forward to some new material to paint to inspire you all!!


I have a thing…with string.

Or I do, at least, in my new painting.  Flashback: It all began with a simple photo of radishes at Pike’s Place Market in Seattle.  A HUGE batch of super-red, stacked radishes, that is. Bountiful, and bursting forth with string-like roots snaking every which direction. Argh!  I’m having an aesthetic fit!!  Calm down, now, Beastie.  Hmmm…the radish roots seem very string-like, me thinks.  How about some thread, adhered to the surface of the plexiglass, echoing the stringy-roots?  And, because sheet music’s grid-like structure could add contrast to the circular radish forms, I’ll add it to the background (though I somewhat regret that later).

After 2 weeks of non-posting(C’mon, Sarah, get it togetha! You made a promise to yourself to paint a painting and post about it weekly!  Sheesh! What can I say, I spent time with my boys and my husband at the Oregon Coast. No posting…but you all were in my mind the whole time.  Really!), I set out to begin the task of strings and radishes singing a tune on plexi.

Here is how the painting came about:

A detail showing squares of sheet music and string adhered to the surface of the plexiglass

A detail showing squares of sheet music and string adhered to the surface of the plexiglass

Moving ahead with my initial ideas, I gessoed over the sheet music and the string and drew in the composition.  In my photo, the composition was somewhat split in half in the top, where the 75 cent sign was; a big no-no in the rules of composition.  I added another sign above and slightly to the left to shift the weight to the left.

When I finished the drawing, it looked pretty crazy. There were pencil lines everywhere. Along with the string and music squares, I could hardly tell what was where…how…who? Not sure if it would turn out at all.  The string caused most of the confusion, but I kept my hopes up.  Stringing me along, it was, with hopes of grandeur.  Keep going, Sarah! Don’t lose hope! However, with all the chaos facing me, I worried I might lose the white roots of the radishes.  There was so much going on.



Pre-painting drawing. Kind of crazy, I know. Can you tell what’s going on?

The roots were an important piece of the painting, but I wanted to paint quickly.  Solution? Frisket the roots! Frisket is a masking fluid, applied to a surface of a painting to resist paint, then later removed.  Anything beneath the frisket remains unpainted.  So I could paint all the radishes at once without being concerned about keeping the roots clear of paint. Good enough, and I’ve used it plenty of times in the past, for whiskers or hair, especially. You can see the slightly glossy frisket painted on the roots below:

Detail of radish root showing applied frisket

Detail of radish roots showing applied frisket.

At this point, I remembered a horrible fact. I had used frisket once before on a gessoed plexiglass painting, and it DIDN’T REMOVE!  Just like Bazooka gum on a shoe! Yikes! Ruined the whole painting.  The tacky stuff adhered, in a weird way, to the gesso. It had been an old jar of frisket, though. I tested a corner on my painting where the offending material resided.  I touched a corner of it with the rubber remover thingy.  It lifted up, and, similar to those rubber glue things that attach pseudo credit cards to advertisements you get in the mail, it pulled up beautifully.  Whew, whew, whew!

Sheesh!  The stress of the art beast!

Loading a 2″ wide wash brush, saturated with varying amounts of sap green and quinacridone red, I placed the dark green mixture directly into the leaf and dark radish shadow areas. Immediately, before the green dried, I covered the radish area with the 2″ brush, fully loaded with quinacridone red, working around the green areas, but letting it all bleed together.  I then worked quickly to lay in the green onions and celery.  Here is the first wash:


First wash of radishes, green onions, and celery

Hmmm…the radishes look like a big red blob!  If I place some red below the sign in the lower RH corner, it might fix The Blob.  It helped.  After it all dried, I went into the radishes again and pulled out their circular shapes.  I let that layer dry, then, crossing my fingers, removed all the frisket.  Hallelujah, it released!  The radishes looked pretty good, albeit still a little confusing. I ignored that thought, though, and worked on the signs and detail in the onions.


After removing the frisket, I worked on the details of the veggies and the signs.

Can you see the string fling thing in the green onions? Kinda cool, huh? Maybe it will all be okay? The upper RH corner seemed to lack confidence, though, and I struggled with the music grids.  I whited it all out a little with gesso and still wasn’t happy with it.  Huh.  Fight fire with fire. Maybe in this case, less is NOT more!  I cut up more music and glued it on, hopefully making it all seem more intentional. HA!


Adding more music to the upper RH corner.

After the matte medium dried, I added more string and covered it with a light layer of gesso.

Here is an up-close detail of the strings by the green onions:

Detail of string near green onions

Detail of string near green onions

Finished painting, below:

Radishes and String Music

Radishes and String Music, watercolor on plexiglass, 22×30

Overall, I’m pretty happy with the results of this painting.  As you can see, I’ve added tomatoes at the upper top LH corner to echo and somewhat subdue the dominance of the radishes.  My focal point is in the 75 cent sign/green onion/radish area, where I’ve provided the most detail, the darkest darks, and the white of the sign.  Everything else is the supporting cast for this area.  My favorite area, though, is the green onion area.  I painted these super-fast, I love the strings winding around them, and they come off looking fresh and real.  I also love the tomatoes in the upper right. They are very loose, painted in one wash, beginning with the green tops and working around the green with deep, warm red. The great thing is, they LOOK like tomatoes (hmmm…must…do…tomato painting next…).

Hope this inspired you to get out the paints and feed the beast!  Let me know what you have been working on!  Thanks for reading and supporting this post. 🙂


Hoo-boy.  This painting refused to cooperate.  Fighting through a “boring” comment, wrestling with too-dull-red oranges, and a square composition, I forced my painting to sing. I think.

I’m still not sure if it turned out okay, if I have to be honest.  It was a struggle from the get-go.  Over the week, I read an article that refreshed my somewhat muddled brain about color theory.  I LOVE color theory, but I had forgotten about some of the finer points, having not painted for three years.  So I set about designing a painting based on the complementary theme of Blue Green vs. Red Orange, Orange, and Red.  I also challenged myself to a square canvas.  I had a berry photo that I thought would work well here, playing off the grids of the background and containers with the circular form of the fruit.  Here’s the start:

Starting with a square canvas of plexiglass, I drew in the berries.

Starting with a square canvas of plexiglass, I drew in the berries.

You can see the grids of collaged paper in the background in my messy (but come on, it’s creative, so it’s messy) studio.

Next step, flinging paint:

Laying in the red orange colors

Laying in the red orange colors

This is the fun part, laying in super-charged colors next to each other and letting them run. Looking back on this, though, I chose to paint with Daniel Smith’s Napthol Red, which, though it is a nice color when wet, becomes a little dead when dry and is very staining.  I wish I had gone with my usual, the friendly, the colorful, the happy Quinacridone Red from Daniel Smith.

Mixing Napthol Red and Cerulean Blue

Mixing Napthol Red and Cerulean Blue. The complementary colors are placed right next to each other while they are wet.  You can see them beginning to bleed into one another and create not only a blurred line, but interesting colors and texture.

I love mixing the super-charged colors next to each other and watching the action.

The first wash:

First Looks:  Blocking in the colors

First Looks: Blocking in the colors

Okay, okay, this is a horrible photo, but you get the idea.  You can see where I’ve blocked in the colors and let them bleed together.  I began to get a feel for the composition here, though  I wish I had done my usual thumbnail sketch with this piece to get a better idea with value placement and composition.  Hmmm…it’s not singing and I’m not so sure about it, but I’m trudging on.  Like I always say, every painting has it’s teenage phase.  Sorry kids…

Mid-way through the painting.  I've created some detail in the fruit forms.

Mid-way through the painting. I’ve created some detail in the fruit forms.

This painting still didn’t sing.  I wasn’t if it was the colors or the layout or what.  So I did the smart thing (?), I presented it to my teenage son.

“Well, Mom.  You know?” (tap, tap, tap on the ITouch).  “What?  What do I know?”  “You know…(long pause)”  No, I really didn’t know.  That’s why I was asking him.  A bit difficult when his eyes were so trained on his little screen thing.  “Earth to son…what do you think of the painting?”  “Yeeeaahhhh…it’s a little boring, Mom”.  Sheesh.  Like pulling teeth.  But it gave me an idea.  Which was the whole point.  Remove the oranges.

Releasing the oranges from their somewhat "boring" location on the painting.  Covering the oranges with gesso.

Releasing the oranges from the painting, with their somewhat “boring” location, their dead color, and their too-straight horizon line. I covered the oranges with gesso, thus sending them to orange heaven.

Go away, oranges!  You are too boring and add nothing to the painting.  Too much orange and blue fought one another.  When using complementary color schemes, one color needs to dominate.  The oranges and blues were too equal in amount and intensity.  Also, the orange line on the horizon was too straight.

Post orange removal. You can see that I also took away the area in the foreground.

Post orange removal. You can see that I also took away the fruit in the foreground. Does it look better?

What do you think?  I looked at this for a day.  Took it back to the son, who was involved in an ITouch game with his brother. Both were engrossed in the game, both were semi-involved with the conversation, both thought the painting was still boring.  What is it with this boring thing?  I’ll tell ya what’s boring.  How about playing on the ITouch for hours? How about that being boring?  Huh? Huh? Deaf ears.  Anyway, my solution:

Rectangles added to the background and foreground.

Rectangles added to the background and foreground.

When I’m in Pike’s Place Market, there are many windows, signs and square containers.  I always like the window/rectangle grid in my work, and added them there, reminding me of the windows and adding a counter to the round fruit. The grids, hopefully, also removed the “boring” word from the painting’s now-established identification.

Alas, I had to noodle some more:

Finished for now.

Finished for now.

I removed the rectangles from the foreground, so I had a sense that the containers were on a surface.  I also darkened the area in the lower LH corner.  I haven’t come up with a name for the painting yet, but darned if I WON’T call it “Boring”.  What do you all think?  Was this painting a success?  Have any ideas for a name?


Gesso prep for Grapefruit Splash

I started a new painting this week!  I love how this one turned out!  Watch my steps to get inspired.

Grapefruit Splash Prep Work:  Starting with the photo, below right, I applied gesso over an old painting on plexiglass.  While the gesso was still wet, I pulled a plaster tool through it to form grid-like patterns on the painting surface.  Vertical and horizontal lines add contrast to the organic shapes of the fruit, as well as texture and structure to an otherwise organic/spherical composition.

Once the composition was drawn in, the fun began.  Crazy painter alert!! Watercolors were flying everywhere!  I have to remember not to wear my “good” clothes when I do this.

Grapefruit Splash First Wash

Grapefruit Splash First Wash

Here is the first wash, using the big watercolor brush you see in the photo, which keeps me loose.  The composition sings in this, with the focal point in the lower LH third of the painting.  I’ve chosen a contrasting color theme of purple and yellow.  My thought here was to paint a high-value painting, with the deep dark purple in the upper LH side providing a stark contrast to the yellow grapefruit and push the lights to seem even brighter.

Grapefruit Splash Second Wash

Grapefruit Splash Second Wash

I LOVE the cut-open grapefruit sections! As I painted, I noticed my whites needed to be brighter.  With watercolor paper, it can be difficult to retrieve whites once they are gone. On a gessoed surface, I can either wet the paint and remove it with a damp cloth, or, as in this case, paint over it with watercolor ground or gesso:

Applying gesso over the areas I want to be bright white

Applying gesso over the areas I want to be bright white

This gave my white patches on my grapefruit a clear, bright white.  I also brightened up my sign in the same manner. After it dried, I sanded the edges slightly and went on painting, carefully avoiding the white patches.

Concentrating on the focal point, I added detail to the grapefruit sections.

Concentrating on the focal point, I added detail to the grapefruit sections.

Since the focal point is the cut section of grapefruit, I paid special attention to it’s detail, making sure the brightest colors, whitest whites, and most convincing attributes were here.

This close-up shows the detail and structure the gesso grids provide to the painting.

This close-up  illustrates the detail and structure the gesso grids provide the painting.

Final product.  This painting was so much fun that I couldn’t leave it alone until I finished.  Well, sort-of.  A week passed from start to finish, with work, family time, laundry, and the inevitable dirty floors.  Does this painting inspire you to get the paint out?

Finished! Grapefruit Splash. Watercolor on Plexiglass. 21x31

Finished! Grapefruit Splash. Watercolor on Plexiglass. 21×31

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