PaintMyPhoto Quarterly Newsletter - Issue 12

Winter Edition 2014

Paint My Photo

12

‘A winter’s morning’ - Photo by Lisa Cunnington

PACKED WITH ARTICLES YOU WON’T WANT TO MISS...

Our Featured Cover Painting is ‘The Ice Disc Forms’ by Cherry Aron Winner of the October 2014 Challenge

Where Photographers and Artists Meet

Original reference photos by Margaret Wiles and ESP (Nigel)

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EDITOR’S WELCOME

The End Of The Year Is Upon Us...

Goodness me, this year has flown by! And what a great year for PaintMyPhoto it has been; so many new members sharing their wonderful photos, and so many wonderful artworks being created from this amazing resource.

I’d like to say a HUGE personal thank you to Roy Simmons for his vision and generosity in setting up this site for us all, and to the kind, generous and devoted administration team, who volunteer their precious time to keep the site running and support the vast membership we now have - you folks rock bigtime!

Blue Fishing Boat

I have made so many wonderful friends on PMP and continue to have the opportunity to delve in the treasure chest of reference material that has been shared. I’m sure I’m not alone in this it’s such a great place to find fabulous reference material, meet like-minded people and forge new friendships - it is also a brilliant site to share the wisdom and expertise of fellow artists.

I hope you all have a wonderful Christmas and New Year and look forward to seeing 2015’s creativity from you all!

Ruth Archer

Almost a Unicorn

If you aren't a member of PaintMyPhoto, then please have a read of our magazine and find out more about us. Are you are a photographer who would like to contribute good quality, copyright-free reference photos for our artists to use for inspiration? Are you an artist using traditional media (a complete beginner or a professional, it really doesn't matter) who would benefit from being able to use photos without copyright worries? Perhaps, like me, you are a bit of both! Membership is free and you will find the

The Traveller

site a very welcoming and friendly community.

Everyone is welcome!

Â

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MEET THE PHOTOGRAPHER

Ainslie G Visit Ainslie’s Gallery on PaintMyPhoto Contact Ainslie via PaintmyPhoto

Ainslie G Arabian Fixation 14

Dream Horses and Fabulous Flowers!

First and foremost, on behalf of all members, may we thank you for your generosity in sharing your wonderful photos! Can you tell us how you first discovered Paint My Photo?

them- 20 and counting! For me, the Arabian encapsulates all that I believe in: honesty, natural beauty, a good and kind heart and the ability to trust and love. The Arabian horse is very emotive and expressive.

Thank you so much for this opportunity! What a thrill to be asked. I wish I had discovered PMP years ago but I feel fortunate to have found it earlier this year whilst Googling for reference photos for my own art. In the search, PMP was listed and I clicked on it.

The rest they say is history! I have met some wonderful, like-minded people with new friendships formed.

I photograph just about anything and everything that captures my artistic eye but my other favourite subject is flowers and plants. I’ve never been interested in a ‘flowers in a vase’ scenario though. What I love to capture is the essence of that particular flower. I shoot for different angles, composition, lighting and colours to produce more than an ordinary flower photo. I strive for the extraordinary.

What is your favourite photography subject?

Oh boy, I think that is obvious! One only has to visit my page and see… Arabian horses! I have been around horses since a child but was introduced to the Arabian horse when I was about 12/13. I had never seen a horse so refined, elegant with such natural beauty! I was hooked! I have now been photographing the Arabian horse for almost as many years as I’ve been drawing

What type of camera and equipment do you use for the photographs that you post on Paint My Photo?

My first camera was a little 35mm point and shoot, a gift from my parents for Christmas when I was 16. I then bought myself a point and shoot, but this one had a zoom, which I thought was the best thing in the world!

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AINSLIE G

Freesias II

In 2001, I invested in my first SLR, a Canon film body with 28-80mm wide angle lens and a 75-300mm telephoto lens. I used that for years until I had saved enough money in 2008 to swap to a digital body (Canon EOS 40D), which is what I still use today. I don’t use a flash unit on my SLR but I do use a Polarising filter and a lens hood on my telephoto lens. My equipment is basic but does the job. If I ever won the Lotto, I would invest in the best body but even better lenses!

I also use my Sony Xperia smartphone to photograph with. Perhaps not the best camera to try any technical shots but fabulous for whipping out of my pocket when say, I spot a gorgeous flower in the last rays of evening light as I’m out jogging!

What, if any, photography/image software do you use to manage your photos?

The only software I use on my laptop is Windows Live Photo Gallery and Picasa to download my photos into and store in folders for easy reference, seeing as I have 1000s of photos! I also back up all my photos onto a portable external hard drive.

I know what it is to lose photos by not backing up!

I do have Coral PaintShop Pro on my laptop which I use only to flip photos if I want to for my art. I do not manipulate my photos, such as changing the horse’s conformation. I will crop and change a photo for art purposes, such as “Don’t Dream It’s Over” and “Spellbound”.

Side Step

If you had to choose just one photograph that you have posted on Paint My Photo, which one would it be and why?

Oh, easy! “Energy!” is my number one favourite photo! This photo is special to me and has been so popular with artists from all over the world. It has been drawn and painted in each artist’s style many times over. The energy and presence of this Arabian stallion oozes from this shot, enhanced by the use of black and white.

Lastly, I will never forget photographing this boy. He was let loose in the large arena and I had to stay out of the way! It was a 45 degree Celsius (very hot!) day but that did not stop him, as you can clearly see from the photo! It was my job to keep up with him! I love the rawness of the photo with his power… And look at that tail and dust!

Rose XI

Finally, we’d love to know a little more about you, do you have a personal website (or other online presence) where we can see more of your work?

Yes, I have a strong presence online, known as AinslieG with my photography. My personal website is: www.ainsliegilles.wix.com/ainsliegartistry.

I am on Facebook: www.facebook.com/ainsliegartistry and also my own personal page.

Amir II

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AINSLIE G

I am on Deviant Art, Fine Art America and Wetcanvas with my photos and many other sites with my art. I have always allowed artists to use my photos, copyright and cost free, as being an artist myself, I know what it means to be given permission to use excellent reference material or a photo that really excites and inspires the artist within. I am simply paying it forward.

I am a featured photographer in the PMP eBook, “Creative Photography for Beginners” and also started the group, “Heart of the Horse” on PMP. I have experience as a photo-journalist with my photography, articles and artworks published in Arabian horse magazines in Australia and the UK.

Magnolia III

Don’t forget to visit Ainsley’s gallery to find many more wonderful reference photos!

Gloss ‘n Shine

Ainslie’s Choice - Energy

Roses Only Series

The Chestnut III

Arabian Fixation 10

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The Mare - Alert

AINSLIE G

Roses Only Series Roses Only Series

Arabian Fixation 19

Egyptian Jewels

Jacaranda Backlight

Flower III

ASH Filly

Future Champion

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Bay Colt

AINSLIE G

Magnolia Series

Trot To It!

Waiting to Work

Rose VI The Breeze

The Sire Arabian Fixation 13

Roses Only Series

The Rear

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Geranium Buds

RO’S HIDDEN TREASURES

Robyn Lovelock Robyn (Ro) is a very talented artist and photographer based in Australia. She is also one of PMP’s superstars, helping to keep PMP running smoothly and looking after members.

You can view Ro’s gallery or contact her via PMP.

Robyn Lovelock Bright, Spring 2014

Robyn’s Been Busy Finding us a Fabulous Selection of Photos - Enjoy!

Red Vase by Lee Hoemann

Greoux Les Bains by Eowla

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RO’S HIDDEN TREASURES

A Mixed Special

Blue Fairy Wren 2 by Jacky

Latest Arrival by Glennis Weston

Cows by Freda Austin Nicols

Ed’s Gate by Freda Austin Nicols

Sweetness by Freda Austin Nicols

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RO’S HIDDEN TREASURES

A Mixed Special

Sunset on Lake Mulwala, Australia by Kathy M Gabby

Winter Walk by Steven Wolf

She’s Trying to Communicate with Us by Jacky Werner

Ickford 041 by Heather Murphy

Hummingbird by Valavan Manohararajah

Sapling in Snow by Steven Wolf [10]

RO’S HIDDEN TREASURES

A Mixed Special

Ruby-Throated Hummingbird in a Flower Garden by Rodney Campbell

Murphy, North Carolina

by Dottie Best Roger’s Photo - Jindivic View

by Robyn Lovelock

No Lemons Today! by Suzanne Wallick

The Crooked House by Ruth Archer

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Title by Name

RO’S HIDDEN TREASURES

A Mixed Special

My Favourite Cottage Bathed in Autumn Sunlight by Robyn Lovelock

Venice by Dermot Brennan

Early Morning in Norfolk by Ruth Archer

Moroccan Landscape by Karina

A Doorway in France by John Warren

Notre Dame in the Rain by Anita Johnston

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Venice Bridge by Anita Johnston

RO’S HIDDEN TREASURES

A Mixed Special

Cannon by Lester Phipps

Sipper Hill by John Robinson

Long Gone by Dorrit Zaroba

Portrait of a Lemur by Sandy Scott

Eastern Sierra Landscape by Steven Wolf

Tasmania by Robyn Lovelock

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RO’S HIDDEN TREASURES

A Mixed Special

Winter Scene by Patricia G

Tree by Judith Chalker

Horses in Snow by Rosemary Clark

Winter by Andre Van Sande Winter Landscape 2 by Angeline Rijkboer

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RO’S HIDDEN TREASURES

A Mixed Special

Barn in Snow by Teresa Houston

Snow Scene 3 by Steve Lyddon

Winter Morning by Janet B

Winter by Marcus Moller

Mount Rundle 2 by Terry Krysak Landscape by Rosemary Clark

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ART IN THE MAKING

Neil Nicholson Visit Neil’s Gallery on PaintMyPhoto Contact Neil via PaintmyPhoto

Neil Nicholson ‘Zebras in the Early Morning Light’

Painting Landscapes Using Acrylics I have always had an interest in art, specifically landscape paintings. However, it was not until two years ago that I decided to try my hand. A variety of things sparked my interest. My daughter had a natural talent from a young age, and as a student, she was producing work of an incredibly high standard. Then a move to Western Australia stoked the fire further, with its rugged beautiful landscape, which I found incredibly inspiring. The final push came one day when a work colleague mentioned that he would like to try his hand at painting when he retires some day. My reaction was, “Why wait until you retire”? He then posed a challenge, by suggesting that we both produce some art work for a local art exhibition that is held in our town annually. We had a few months to prepare, so I commandeered some of my daughter’s art supplies and I got started. The result was that I entered three paintings in the local exhibition. One of them won ‘People’s Choice’ another got a ‘first place’ for adult fine art, and the third was ‘Overall Exhibition Winner’.

I couldn’t believe it; by then I was hooked. I put in many hours, and found that I improved with every painting, learning something new from each one. I also started to research about painting in acrylic on the internet, and bought a few tutorials that were available on line to hone my skills.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics A lot was also learned through trial and error. I paint mainly landscapes, with my passion being Australian landscapes. I have also done some of Africa (which is where I was born) and have tried a few portraits, as well as some wild life. I have recently exhibited paintings in two galleries on the West coast where my work was well received.

I try and take most of my own reference photos, but I am extremely grateful for having stumbled upon the PMP web-site. It is not only a fantastic source for excellent reference photos, but also a wonderful community to be a part of.

The demonstration that I am sharing with you is of a painting submitted for the September Paint My Photo Challenge called ‘On Higher Ground’, 89cm wide x 26cm high painted in acrylic on canvas.

Painting Demonstration: On Higher Ground: Colours used: Titanium white, cobalt blue, ultramarine blue, burnt umber, warm yellow, scarlet, violet and burnt sienna.

I buy rolls of canvas, as it is more economical and I can cut it to whatever size I like, though I do use stretched canvas on occasion.

In this painting, I tried to achieve the effect of distance as well as height, which were two of the main requirements for the September 2014 ‘Paint My Photo’ challenge. I chose a beautiful reference photo taken by Roger Lovelock, and I modified it to suit the challenge brief. The feeling of distance in this painting was achieved by keeping all the colours muted, and slowly increasing in tonal value as items got closer to the viewer. In order to achieve a distinct contrast between the foreground and the distant mountains, I introduced a ledge with a gum tree on it, and I made these colours strong and sharp. The idea was to create the illusion of standing high up, overlooking tree tops, and then out to the mountains in the distance.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics TIP: I use Teflon cutting boards as my palette (purchased cheap from the supermarket) I wrap cling film around them. If I have mixed paint and I want to continue painting at a later stage, a small piece of cling film over the top of the wet paint will keep it usable. When I am done completely, I just discard the cling film and put a new piece on the board. I always keep a little paint from each of the main colours I have used, just in case I need to touch anything up later on. (This is especially important for the sky and mountain ranges; as it is near impossible to mix exactly the same colour a second time).

Step 1 – I started out by drawing a rough outline of the mountain ranges. NB: I chose to leave the gum tree until later, but it could have been done at this stage and masked it.

Step 2 – Painting the sky - The colour for the sky was produced by mixing white with some cobalt blue and a touch of ultramarine blue. I then painted the blue part of the sky from the top to just above the mountains.

Step 3 – Clouds – The reference photo had some storm clouds sitting above the mountain range. For this I mixed a grey colour using ultramarine blue, warm red and warm yellow. This was then lightened using some white. I then loaded a #6 round hog bristle brush with grey on the underside, and white on top, then in “c” shaped brush strokes, I started to paint the base colour for the clouds. NB: The white will mix with the grey a bit, this is what you want, it is just the base on which to build further lighter shades later.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Base colour for clouds

Once the cloud area was covered with this mixture of dark and light grey, I then added more clouds/highlights using pure white and a lighter shade of grey for the underside of the brush over the top of the darker base colours. This method really gives the clouds nice depth, and a realistic quality to them. NB: If you look closely at clouds, they are seldom just pure white.

Completed clouds

Step 4 – The mountains – As objects recede into the distance, they become closer to the colour of the sky, so for the most distant mountain range, I used the same mixture as the sky, but I darkened it slightly with a little more cobalt blue, and a hint of red. I also mixed some red, yellow and white to get a very pale apricot colour.

A little of the apricot was then added to some of the mountain colour, and this was then used as some subtle highlights for the distant mountain range.

Mountains always have a lighter haze towards the base, so I add some white to the brush and; blend it in around the base whilst the mountain range is still wet. This also helps to differentiate between the two ranges.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics

Step 5 – For the next mountain range, the values were increased slightly again, by adding a little more ultramarine blue and red to the colour of the previous mountain, to achieve a slightly darker tone. This makes it look closer than the first range. Highlights were added again using the same method as step 4, (adding pale apricot to the colour of the mountains) but just slightly stronger to compensate for it being closer. There is a third mountain which is the closest one (on viewer’s left hand side) I simply darkened the paint mix for the previous mountain range again slightly, using the ultramarine and red (see photo in step 6).

Step 6 – For the middle foreground, I mixed ultramarine blue and warm yellow to get green, (NB: more blue than yellow though, because grass that far in the distance would have a bluish tinge). This was then lightened with white to produce a sort of pastel bluish green colour. I then took a little of this mixture, and added a touch more yellow as a variation colour. The foreground was then blocked in with the pastel green. NB: Blend it slightly with the base of the mountain, there should be no hard lines here, or it will bring the mountains forward, and you will lose distance.

With the paint still wet, I added some of the yellow tinged paint to the centre plus a few touches here and there, and I blended them to give some variation. Making the centre of the picture a little brighter creates a spotlight effect which is good as it draws the eye in.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics

Step 7 – Distant trees - Using the same blue colour mix as the second mountain range, I then added some dots and dashes starting against the base of the mountains moving forward (closer to the viewer). This was to simulate trees and bushes in the far distance.

Step 8 – For the next lot of trees (slightly closer again) I used a dark blue / grey mix for the underside of a #6 round hog bristle brush (lightened with some white), and the paler blue from second the mountain range for the top of the brush, and I added some slightly larger threes here and there.

Tip: Wet the entire brush (#6 round hog bristle) in the dark blue/grey paint, then using a piece of kitchen towel, pinch it between your fingers so that it forms a chisel shape, now load the underside again with the blue / grey, and then load the top of the brush with the paler shade of blue (from the second mountain range) tap some trees in here and there (blue/grey facing downwards with the pale blue facing upwards).

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Mixing ratio for blue/grey

Blue grey mix with the lighter blue

This is how it will looked when mixed

Tree tops Light blue with dark underneath

This is the result on the actual painting.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Step 9 - For the trees closest to the ledge, I mixed up a variety of greens with touches of burnt sienna, and I muted them with white slightly. You don’t want to make the colours full strength yet, save full strength for the gum tree and ledge, as this will give excellent perspective.

Tip: I generally don’t mix the paint completely for this step, I prefer to leave it streaky, as this ensures that you get realistic looking treetops with a variation of colours, and it prevents them from looking too uniform (See thumbnails below).

Using the blue/grey mix on the underside of the brush again, I picked up different shades of the green colours on the top of the brush as I went, adding in all the trees closest to the ledge (I used the same method as described in the tip in step 8). I tried to keep the slightly brighter shades toward the middle of the picture to draw the eye to the middle.

Keep the mix streaky

Blue/grey mix and the greens

Below is how it looked on the actual painting:

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Brush stroke

by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Step 10 – In step 10, I drew the gum tree, with a branch extending towards the middle of the picture. NB: You could have drawn the tree earlier; I chose to put it in after the fact.

Step 11 - I blocked the ledge in with an undercoat of burnt umber.

Step 12 – Painting the gum tree. I used three main colours for the tree trunk. Using the blue/grey mix that was used for the underside of the brush on the smaller trees, I added some violet and white (this is intended for the mid-section of the tree trunk/branches). I also added a touch of yellow to some white paint for the sunny side of the tree. I used burnt umber for the shadow side of the tree.

Method: Starting with the burnt umber, I applied the paint to the shadow side of the tree. Cleaning the brush first, I then picked up some of the yellowish white mixture, and applied it to the sunny side of the tree.

Roll the brush as you go, so that you get a nice clean bright edge to the sunny side. Then with the two previous colours still wet, I added the paint mixed for the mid-section of the tree. This was then lightly blended with the burned umber. I wiped the brush clean, and then blended the light side of the tree into the middle of the trunk.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics The images below show the process for painting the tree trunk as well as the three colours used.

Below is the tree in progress on the actual painting.

This method gives a gentle transition from light to dark, and makes the tree look 3D. Don’t over work it or you will spoil it. This same process was followed for the thicker branches of the tree. I used a #8 filbert brush for this. For the smaller twigs and branches, I just diluted some white, and some burnt umber to a runny (ink) consistency. Using a #0 fine liner, I applied white to one side of the brush, and burnt umber to the other side of the brush. I then twiddled some fine branches and twigs in, rotating the brush as I went, so that you get nice darks and lights on the finer branches.

With a small crank handle painting knife, I then added some burnt umber around the base of the tree. With slight traces of burnt umber still on the knife, I also added touches of the dark colour to the tree trunk here and there, to simulate knots and bark etc. Some burnt umber was added to the forks of some of the bigger branches as well.

TIP: Keep the very top of the tree trunk darker, this will prevent the eye from following the line of the tree trunk out of the picture.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Touches of burnt umber were added with a small crank handle painting knife.

Gum trees always have bits of bark peeling off them in a variety of colours, so I mixed some warm red with some burnt sienna and some yellow to produce an orange / brown colour, and added touches here and there.

For the shadow side of the tree, I darkened this mix with a little burnt umber.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Step 13 – Leaves. To get realistic looking leaves and foliage, you need at least three shades, working from dark to light. For the leaves on my tree I used four. I mixed a fairly dark blue/grey mixture out of red, yellow and blue for the darkest part of my leaves. I also mixed a very dark green, a lighter green, and a fourth colour consisting of the light green, but with tinges of burnt sienna in it.

Starting with the darkest colour, I then tore off a piece of coarse cleaning sponge (available from supermarkets) I wet it in water first to get it soft, removed excess water, and then I dipped it in the dark blue/ grey mixture. I blotted it a few times before applying my foliage to all the branches of the tree in umbrella shapes.

The photo below shows the tree with the blue/grey colour applied.

I then did the same again with the dark green, putting touches of it over the first colour (don’t obliterate the blue/grey totally). When you do the lighter greens (following the same process), it is important to remember the direction of the sun. Take care not to cover your darks up again completely. Make sure the lightest parts of the leaves are on the sunny side. Once the foliage was done, I twiddled a few more twigs in here and there using the runny mixture of white on one side of the #0 fine liner brush, and burnt umber on the other.

The photo below shows two additional greens added to the foliage.

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by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics The photo below shows the completed leaves.

Step 14 – For the ledge, I mixed a variety of browns and oranges, and I applied rocks and texture over the burnt umber using a small crank handle painting knife. I left some of the dark to show through in places. Once dry, I used a fan brush with some pale yellow on it to simulate some grass, here and there. Then, with a runny mixture of pale yellow, I used the painting knife to add some longer strands of grass in the foreground.

When I was done, I scrutinised the paining, and then went back and added a few branches to some of the little trees that are just beyond the ledge (Again I used the #0 fine liner). I also added a couple of slightly higher tree tops to the left side of the painting just to balance things a bit. The closest mountain on the left also helps to balance the composition.

On Higher Ground – 89cm x 26cm Acrylic on canvas

By Neil Nicholson [28]

by Neil Nicholson

ART IN THE MAKING

Painting Landscapes Using Acrylics Here are some more examples of Neil’s fabulous paintings:

Rust in Peace

Fern pool

The Watering Hole

Tasmanian Landscape

African Village

Beach Gathering

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MUSIC MAN COMPETITION

Roy Simmons Roy is the founder of PaintMyPhoto and a brilliant artist.

Contact Roy on his profile at PMP. View Roy’s photos in his PMP Gallery.

Roy Simmons ‘Forbidden’

Art & Music Are Magic! The Student Award Many of you will be aware that we recently had a competition linked to the Music Man Project run by David Stanley. David composed 8 pieces of Music, and our challenge was to interpret what he had in mind when composing. The main competition has closed and been judged by David as you can see on the competition page.

The competition entries and the story of the project will feature in the new ebook 'Art and Music are Magic' The cover featuring Rose's painting (see image). David hopes to release the book soon.

The paintings were great and have already had a wide viewing as you will from the following photos.

My Wife Janet and I attended 2 sessions of the Music Man, where the printed out paintings were displayed for the students to see. We played each piece of music as they looked at the paintings to decide which, in their opinion, most suited. In groups they looked carefully and stuck a star on their selection. It was interesting, as there is no 'right answer' we encouraged the students to make their choice.

[30]

MUSIC MAN COMPETITION

by Roy Simmons

Art & Music Are Magic! The Student Award Their abilities vary greatly but they clearly enjoyed the experience and were extremely attentive.

Choosing Carefully!

Many discussions about Art were enjoyed.

Janet let us know which paintings had got the most stars!

[31]

MUSIC MAN COMPETITION

by Roy Simmons

Art & Music Are Magic! The Student Award There is an overall winner that will be featured in the up coming ebook called 'Art and Music are Magic' ...and the winner of the student choice award is...

Cherry Aron for her painting 'Lost in a Dream'

Congratulations Cherry! You impressed some very discerning art critics.

I would like to extend my sincere thanks to all the artists who took part, this was great fun to do. I will keep you all informed as the ebook progresses. Contributors will get a 'heads up' when the book becomes available on Amazon worldwide. All royalties from the book will go to the Music Man Project.

If you would like to see all the fabulous entries for the competition, please visit the competition galleries:

GALLERY - PIECE NO 1

GALLERY - PIECE NO 2

GALLERY - PIECE NO 3

GALLERY - PIECE NO 4

GALLERY - PIECE NO 5

GALLERY - PIECE NO 6

GALLERY - PIECE NO 7

GALLERY - PIECE NO 8

[32]

PAINT MY PHOTO... CREATIVELY

Lorna Webber Lorna is a very talented artist and photographer based in the UK. View Lorna’s Gallery on PMP. You can contact Lorna by visiting her PMP profile page on PMP.

Lorna Webber ‘Road Rain’

A Celebration of Skill and Imagination that will Inspire You!

Purely Abstract “I don’t usually like abstracts… but I like this one.”

This is something I hear quite a lot. The truth is, we often respond to abstract art more positively than we might imagine.

In this issue I’d like to introduce you, very gently, to abstract painting. We will be looking at pure abstracts, that is, paintings which do not seek to represent real objects at all. I hope you will like the examples I’ll show you and if you think you don’t like abstract art, you may surprise yourself.

Painting by Anne Vos, inspired by a photo by Mirta [33]

PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! In this issue I’d like to introduce you, very gently, to abstract painting. We will be looking at pure abstracts, that is, paintings which do not seek to represent real objects at all. I hope you will like the examples I’ll show you and if you think you don’t like abstract art, you may surprise yourself.

Abstract Inspiration When searching PMP’s main gallery, I found page after page of beautiful photographs that are abstract in nature, but was surprised to find very few completely abstract paintings. These stunning photos by Steve MacIntyre are more than enough to get me reaching for the paint brushes.

I think you will enjoy looking at the images featured in this article. I’m hoping that painters will be encouraged to try something more abstract, and that photographers will also consider sharing photos with abstract possibilities.

Don’t Fear the Unclear!

Many people feel uncomfortable about abstract art – whether looking at it or making it. Perhaps this is because it’s not clear what it’s about. A pure abstract may not be immediately recognisable or understandable, where a representational (figurative) painting would be. Fear not! A pure abstract is all about the prime elements of painting; things like colour, shape, texture, movement, mood, or sometimes it’s about the painting process itself. Just look and enjoy.

What could be lovelier than this beautifully harmonised painting by Sylvia M Lang which is taken from Ruth Edward Anderson’s fascinating photo.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Both painting and photo share the same title... “Windows of Nature”

Texture Jacqueline Crawley is one of the very experienced and talented professional artists who share their work and knowledge on PMP. She makes wonderful work in a wide range of media and styles, including beautifully conceived and executed abstracts. Her painting “Fall Sky” is based on her own photo.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Texture Jacqueline Crawley is one of the very experienced and talented professional artists who share their work and knowledge on PMP. She makes wonderful work in a wide range of media and styles, including beautifully conceived and executed abstracts. Her painting “Fall Sky” is based on her own photo.

The patterns of frost on her window, prompted Jacqueline to paint this wonderfully textured, austerely beautiful painting…

I hope the frost was on the outside!

[36]

PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Colour This gorgeous photo by Viacheslav is one of many such creative images he has shared to inspire PMP artists. Rhonda Baker added this photo’s visual stimulus to her own thoughts and feelings about a convalescent friend, and fused them together to create “Feathers in the Grass”

Here is a stunning mandala design by Angela Matuschka, in which she has brought together the colours and shapes of two beautiful photos, shared by Lea Sapsford (silver sphere) and Sue (blue hydrangea). This coloured pencil work is on blue Mi-Teintes paper, measuring 11”x14".

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Pattern Angela’s mandala has a very formal pattern structure which adds greatly to the meditative effect of the piece.

In his entry for the last PMP challenge, Richard Long used a much more informal pattern, drawn from a photo by Joy Anfous called ‘Shetland Study’

Into this structure, he sensitively placed the autumnal colours from Maria Balcells ‘Autumn Leaves 3’ Into this structure, he sensitively placed the autumnal colours from Maria Balcells ‘Autumn Leaves 3’ . I love Richard’s title… “Wall in Fall”.

This photo by Barbara Swinton and the painting of it by Jean Klein both draw our attention to the surprisingly beautiful patterns that can be seen, if we just look closely at the ordinary. Congratulations to photographer Barbara for noticing and sharing the image, and to Jean for translating it so beautifully into watercolour.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! This painting by Michèle Challaux has a dynamic feel to it, as does the superb photo “Drops 2” by Steven Wolf. Michèle has adapted Steven’s image into autumnal colours.

A most beautiful pattern painting, enriched by layers and layers of glazing, Barbara Tester created the gorgeous image “One Step at a Time” from her own photo. The photo is called “Simplify One Step at a Time” and I guess that is just what she has done, though the process was far from simple and the result is attractively complex. Barbara often shares the most intriguing and appealing photos, sometimes tweaked in Picasa for our delight. I recommend you have a look through her photo albums for abstract inspiration.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! In “Crosswalk”, Mark Peters achieves maximum impact by emphasising the strong geometric structure and colour in Ognjen Karabegović’s exciting photo “Red Zone”.

“Spring” is another very powerful composition from Mark, capitalising on the verticals in Viacheslav’s super photo, and turning the colour dial up to Max.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Here is an abstract painting in which the fascinating structure is taken from a mathematically generated ‘fractal’ image, based on Mandelbrot sets. I often feature the wonderful photographs of Craig C Johnson. On this occasion, I am also featuring his own painting of an intriguing image he shared. Painting and image are called “Interiors of the Imagination”.

Craig’s Reference Photo

Nature’s pattern in Marion Brown’s great photo “Ammonite”, is the structure around which Suzanne Wallick built her luscious abstract “Interlude in Chocolate”. We can clearly see the swirling spirals interpreted in paint.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! The next piece is structure of a quite different kind – a composition of flat shapes creating an almost architectural image. Michael Yates designed this painting as a visual combination of several different views of the same set of objects. He shared the photos with us, as well as his super inventive painting.

Temperature Here are two equally amazing abstract paintings which employ similar acrylic techniques but arrive at totally different results. There is no doubt that one is furnace hot and the other is arctic cold. The painting “Heat” is by Margaret Battye, using acrylic on board. Penny Stewart painted “Ice Storm – Cold Weather” in acrylic on canvas.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! The brilliant photos were provided by Vee Robillard (heat) and Janet B/Jillian B (multiple snow and ice photos).

Process Take a look at this exciting painting “Dani’s Abstract 2012” by Danielle Klein. It was made in watercolour on Yupo. Yupo is a slick surface which resists the watercolour, resulting in very interesting and attractive passages of paint. Dani’s abstract is based on the stunning photo “Butterflies 2” by Kathryn Smith, but is more about the technique and process than about butterflies.

I made an abstract myself from the same lovely photo, but mine is probably more about butterflies, heheh.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! This is my version.

PMP’s own Robyn (Ro) Lovelock, in between vast amounts of PMP admin work, finds time to make the most stunning freestyle watercolours imaginable. They are always uplifting to look at and are clearly a celebration of the unique medium that is watercolour. Ro’s vibrant, dynamic watercolour technique is a joy, and that is what these paintings are about.

This painting was inspired by Elisabet Handa’s lovely photo:

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! In the painting “Outback Abstract”, Ro used all kinds of special effects to produce this amazing representation of her own photo “Ularu!”

For the next painting I’d like to show you, Ro supplied the inspiration (via Rog’s photo) It is a stunning watercolour abstract by Ewa. Though the subject of the photo is ‘tree bark’, the subject of the abstract is ‘watercolour painting’.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Photos to Tempt You Here is a small selection of the many fabulous images that are available for painting on PMP – ones that may spark your creative abstract fire…

Terry Dekker’s photo “Abstract Hole” and the untouched image “Hole in the Wall”:

“Rust”, another great abstract photo by Steve MacIntyre.

Steve Lyddon’s “She Sells Sea Shells”.

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Alun Davies “Through a Glass Door”.

“A Study of the Sea”, by Max Hemingway.

The Last Word I’ve written about extra-creative paintings and the photos that inspired them in the last 5 PMP magazines, so if you like what you’ve read and want more explanation and examples, please feel free to look here:

L

I do hope you will be encouraged to try something new and to experiment a bit, perhaps even venture into the exciting possibilities of abstract painting.

Once again, I would like to thank all the terrific photographers who share their inspirational work so generously on PaintMyPhoto. My thanks too, to all the artists who have kindly allowed me to include their work in this article.

May I take this opportunity to remind every artist to let the photographer know when you have created a painting inspired by their photo? It doesn’t happen automatically when you post a painting with a link. All it takes is a grateful comment on the photo in question, to show your appreciation.

Happy creative painting!

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PAINT MY PHOTO... CREATIVELY

by Lorna Webber

A Celebration of Skill and Imagination that will Inspire You! Lorna’s work can be seen here http://lornawebber.blogspot.com/ and here https://www.facebook.com/LornaWebberVipond

Here is a selection of Lorna’s wonderful abstracts.

Cracking up in the autumn

Collagraph rocks 2

Universe explained - schematic [48]

FEATURED COVER PAINTING - ARTIST

Cherry Aron View Cherry’s gallery on PaintMyPhoto Contact Cherry via PaintMyPhoto

Cherry Aron ‘Capelin’

An Interview with Cherry Aron - Her Painting Features on the Cover 1. Please tell us a little about yourself...your hobbies and passions, your favourite painting style and media...and how you came to be a member of PMP!!

Over the years I’ve had lots of hobbies and interests, which seem to change according to given situations. Ever since leaving school I’ve attended night classes or college all of my life up until 2007, which was a hobby in itself really, so have had the opportunity to not only study academically, but to pursue other interests such as photography, life drawing, advanced cooking, creative writing and for several years I used to make pottery and ceramics.

Then after a serious illness and a very long and slow recovery I began painting two years ago. My personal favourite style of painting is collage and mixed media where I feel I can be more expressive, but this could change over time, as I discover new things. I discovered PMP when browsing for copyright free photos and couldn’t believe my luck that here was an artist’s dream where photographers were happy to share their work.

‘Letter from the Front’ [49]

COVER FEATURE

An Interview with our Winner Cherry Aron

An Interview with Cherry Aron - Her Painting Features on the Cover It seemed to me to make perfect sense that photographers could display their creative talents and artists could paint these photos.

However, I was much too shy to join in at first with my work, so was an observer for a while.

2. Do you have a designated studio where you go to create your work?

What is it like? What kind of atmosphere (Music? Lighting? Order vs Chaos?) is most conducive to your creativity when you paint?

In the spring and summer I have a garden summerhouse which is lovely to paint in, but mostly I paint in the kitchen because I have a thing about changing my bucket of painting water very often. I like everything to be orderly and clean and tidy when I paint and very often will play music to create an atmosphere for painting. This might range from classical or opera, World Music such as Japanese drums, or Native American flute and drums, to rock and heavy metal.

Whatever it is, I tend to dance along as I paint!

‘The Ice Disk Forms’

‘Snow White on Rose Red’

‘Burning Bright’

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COVER FEATURE

An Interview with our Winner Cherry Aron

An Interview with Cherry Aron - Her Painting Features on the Cover 3. What is your background in art? Is there a particular art movement/style that you especially like and try to embrace in your art? Is there a particular medium you like to work with? What kind of painting techniques/medium would you like to try that you haven't worked with yet and why?

I’ve had no formal art training, but was aware that I could draw reasonably well and have always taken the opportunity to visit museums and galleries and to visit Montmarte in Paris whenever I could, big grin here. My favourite art movement is post impressionism, van Gogh and Cezanne being particular heroes. Having said that, I also like the Pre-Raphaelite paintings and also modern art, including abstract. I’d love to embrace the impressionist style into my art, but I find that my own style is still evolving and I don’t know what Golden Eagle (Aquila Chrysaetos) form it will finally take. I’m just having fun whilst doing it. My favourite medium at the moment is acrylics because it’s a very versatile medium and allows for collage and adding textures. I love watercolour too, in the way that a painting can shape itself. At some point I’d like to try soft pastels because I think they are a very expressive medium, capable of many textures and I’ve definitely been influenced on PMP by our very fine pastel artists.

4. Cherry, as winner of the October 2014 challenge, "The Abstracts of Autumn," we were wondering what it was about the idea that caught your attention and gave you the inspiration to take up the challenge?

Well, I’d been trying to paint an abstract for a couple of months before the challenge, with the kind assistance of Lorna Webber and Jacqueline Crawley, both of whom in my opinion, are fine abstract artists. However, I felt my three experimental paintings were still too representational and not abstract enough, I knew what I wanted in my mind, but couldn’t translate that to the canvas. So, when the abstract challenge was posted, it seemed like the perfect opportunity to challenge myself again. In the meantime, I’d been doing some research, and since I’m very methodical, I found a way in which I could actually apply a methodology and make a start on an abstract, always the hardest things to do I think.

Lost in a Dream [51]

COVER FEATURE

An Interview with our Winner Cherry Aron

An Interview with Cherry Aron - Her Painting Features on the Cover 5. You and I have visited before about how we both like to touch things, to feel the textures with our hands. This challenge was about patterns.....do you feel that pattern and texture are important in a work of art?

Many artists can portray pattern and texture perfectly well without actually using physical texture, for example when portraying fur or velvet, but I’m a very tactile person and like to touch everything, therefore I enjoy paintings with lots of physical texture added. I do think pattern and texture are important; they are what can make a painting interesting and memorable. We are surrounded by patterns and texture, both fabricated and in nature and artists of all genres and eras have liked to reflect this in some way.

6. When searching for a reference photo to work from for this challenge....what drew you to choose Margaret Wile's photo of fallen leaves in a stream, and ESP's photo of an ice disc at night?

What were your thoughts as you planned and executed the painting around these two inspirational images? Is it helpful to you, as an artist, to have so many images to choose from in our main photo gallery when you are wanting to start another painting?

Both Margaret Wile’s photo of fallen Leaves and ESP’s photo of an ice disc had made an impression on me and had stuck in my mind for months, yet I’d had no idea how to use them, but knew I would one day. So, applying the method I’d discovered, which is to first find an underlying simple shape for the abstract, (Margaret’s photo), on which to hang the main shapes, (ESP’s photo), my painting began to form in my mind and take shape on the canvas. It changed form and colour a few times as I painted, and I added textures such as modelling paste, tissue paper, dried potpourri shapes and metal washers. With all honesty I can’t say what it’s meant to be, whether it’s this or that, it just evolved in its own way and it is what it is. In a way, the title suits it, because the painting formed from those combined photos. Is it helpful having so many images to choose from? I’d be mad to say no! Every single image has something in it, something that can be abstracted for example, or just a colour or a single outline, or just because you like it but don’t know why. I’m very grateful to all the photographers who share their skills, their images and their time and give the artists all these treasures to choose from. I really don’t know what I’d do if there wasn’t a site like PMP.

Mad Man Moon by ESP

Fallen Leaves in Stream by Margaret Wiles [52]

COVER FEATURE

An Interview with our Winner Cherry Aron

An Interview with Cherry Aron - Her Painting Features on the Cover 7. If you were going to describe PMP and your experience thus far to someone who was thinking of joining....what would you say to them?

I’d say PMP is easily one of the most friendly and helpful places to be. Painting can be a solitary pastime, so the forums are an outlet for like-minded people to discuss views, share knowledge etc. and to make good friends. The many challenges within the groups and the main monthly challenge are the spurs for learning new techniques, pushing yourself and for having light-hearted fun, and if, like me, you don’t sell your artwork, it’s somewhere just to hang a few paintings and get valuable feedback. So, on that note, thanks to all on PMP!!

‘Bet You Can’t Eat Three’

‘Easy Peasy Lemon Squeezy’

‘Impressions of Venice’

Pipped at the Post [53]

Merry Christmas and a Happy New Year to You All!

A Wienerdog's Winter Fantasy by Suzanne Wallick

Well, that’s it for another edition everyone - I hope you’ve enjoyed reading the articles that have been so generously supplied by our members.

Are you a member of PaintMyPhoto that would like to contribute to the magazine? If so, then contact me via my PaintMyPhoto profile for a friendly chat - we love to promote our members!

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