random

Blue Sky in Cold Wax Art

Every once in a while I  experiment with cold wax and oil paint.  So when I had some spare time a couple of Saturdays ago,  I created these little "Yellow Mill" blocks.  I painted (squigeed, is more like it)  them en plein air, except I was working from the comfort of my Williams Mill Stone Building studio. This is the view from my studio window. The Yellow Mill (an 1850's lumber mill by the Credit River) was freshly painted this summer  (an enormous task as this is one big building) and its yellow clapboard now glows against the bright blue sky. The sky really is more blue here at the Williams Mill. It 's gotta be all that "blue sky" thinking we do. lol

I made four of these cold wax panels. One sold before I had even signed it, and I received commissions to do two more.  All this before they have even appeared in public  in  the "Big Show, Small Works" art exhibition & sale  at the Williams Mill Gallery, (along with my chipmunk panels & Scotsdale Farm paintings) opening Nov. 9th, 2011. They are happy little paintings, aren't they?

Night Canoes

Night Canoes. Latest work drying in the studio! 24 inch tall by 48 inch wide oil painting on gallery canvas. Glowing in the moonlight these vessels are in limbo between yesterdays adventures and tomorrow's excitement. I wonder what their masters are dreaming of? Where they were, what lies ahead or a jumbled story of both.

Please note: The colour isn't quite correct in  this iphone shot.

100 Little Portrait Paintings Begins

Baby Portrait Painting Copyright Christine Montague 2011 Last fall, I created a 6" x 6" cold wax portrait oil painting in an inspiring cold wax workshop with Janice Mason Steeves. The little monochromatic portrait received a lot of attention in class, on my blog and in the studio. At Christmas I was commissioned to paint a 6" x 6"  Siamese cat portrait oil painting. Not only did I enjoy creating this little portrait, it was surprising what a little treasure a portrait this size is. So for the sheer joy of it I decided I will paint 100 6" x 6" portraits over the next few months. I have other painting commitments so I won't be following the theme other artists have followed, for e.g. 100 portraits in 100 days, but I hope you'll keep checking back to see what's new. Better yet, subscribe to my blog and those portraits will arrive in your mailbox!

Meanwhile, I have other exciting news. My concept for the Salmon Run Project was accepted. This show opens June 9th, Art Gallery of Mississauga.  As soon as I pick up my "salmon" I'll start posting on that art project, too. Stay tuna! lol

Yes, Virginia, There Are Art Cards in the Studio

It is always a good day when I open my mail super box & see a key, because a key means that I have a parcel. And who doesn't like a parcel? Inside this parcel, were 90 fine art greeting cards with images of my paintings on them. After having repeated inquiries for greeting cards in my studio, I relented. I ordered a small trial batch before Christmas...and without any effort on my part, they sold out! Seemed only natural to order more.

Now I had nothing against greeting cards. It is just that self producing them, i.e. printing & packaging, is a time-consuming process. If you consider the value of the time better spent in the studio, time spent making one's own cards, well.. it just wasn't for me.

So when I heard of a company that not only prints them, but packages them nicely too....well... I reconsidered, gave them a try, and here I am, checking out 10 different styles of cards.

I have to admit it's pretty fun to open a box filled with cards with my paintings on them. Now, just to someday open that box with the books with my paintings in them............

Anyhow, there are art cards in my studio and I hope you'll like them too.

You're an Art Collector and You Don't know It.. Yet

Riverwood Park Koi Pond oil painting by Christine Montague Above is the 18" x 24" oil painting I did for August's "Second Saturday Collectors" Special" at the Williams Mill Visual Arts Centre , a centre of over 30 working artist studios & their galleries, plus a main art gallery in Glen Williams (Georgetown) , Halton Hills, Ontario.

Artist Carmen Hickson and I (Christine Montague)  started an exclusive art event at the Williams MIll recently entitled "Second Saturday Collectors' Special" . Wait, you say. I am not an art collector and so this event must not apply to me!

But if you think about it, the moment you take that first step, and buy an original work of art, you are a collector. That may not have been your intent, but by making that commitment, you have done more than passively purchase an item to hang in a room, you have done something even better. You have bought something that you respond to emotionally and that speaks to your heart. You have also done something more!  You have just supported your local entrepreneur  -which is what being a visual artist  is (they suffer all the same risks) -  and have contributed to your country's cultural economy.

The event has already created a buzz among the other artists at the Williams Mill where I have my studio and this past Saturday, 5 other artist also participated. Congratulations to Simon MacDonald who immediately sold his painting of a regional scene, with another couple standing by hoping to make it theirs! Wow!

So here's what the buzz about "Second Saturday Collectors' Special" is all about -

  • Purchasing art is exciting and special. We want you to experience that special thrill. So on the second Saturday of each month, a brand new art work is unveiled at 12 noon in the studios of each of the participating artists. The unveiled art is a surprise to all. This is even great fun for the other artists at the mill.
  • While owning original art is as important as the air to breathe for some, we understand that to many original art is regarded as a luxury item. You may love a work, but you are nervous about actually buying it. SO,  for that day only, the art work unveiled, is offered at a very, very special price.
  • Owning original carries bragging rights! The moment you buy a Second Saturday Collectors Special, you have purchased a real work of art, you beat out others to get it, and you have immediately made an profitable investment. How so? Because at 5 p.m. that Saturday if the painting hasn't sold? The "Second Saturday" price label comes down, and the true value label goes up.
  • Original art is an instant heirloom.  It has provenance. Who throws out original art? Who puts it in a landfill? It will live on for ever. Hundred years from now, someone will be admiring that work and talking about you - who owned it.
  • And last, but not least, you will have purchased locally. To be an artist at the Williams Mill, one can not be a  hobbyist. This is a highly disciplined, entrepreneurial profession with long hours . Like farmers, artists  are passionate about what they do, but artists never get to take a day off and every cent counts.  We appreciate your business.

The Artist Studio - Big Cats "Spring Into Art"

[slideshow] Above are a few photos of my studio - all cleaned up for this past weekend's  "Spring into Art" Open House - an annual event on the first weekend of May  at the Williams Mill Visual Artist Centre. Lots of black oil paint going on it those giant paintings of cats! I changed the "wet paint" sign to the more effective "Warning   - Big Wet Cat".

Artist Carmen Hickson supplied the tulips, and not seen,  I had lilacs and crabapple blossoms. As an aside, lilacs are out  in Mississauga, are simply buds in Halton Hills, and a visitor told me are not yet in bud in Ottawa. The coffee was ready to brew on the Keurig, and the chocolates were out. Thank you to everyone who took the time to stop by. I always appreciate your investing in my art.

Couldn't make it this time? My studio, as well as the over 30 others at the Williams Mill Visual Arts Centre are open Fridays and Saturday 12 - 5 pm. The Williams Mill Gallery is open Wednesday to Sundays 12 - 5 pm.

The Williams Mill is in the western GTA (Greater Toronto Area). It is only 5 minutes south of Terra Cotta, and  is 15 minutes north of Winston Churchill Blvd. and the 401 in Mississauga.

New Found Joy at the Terre Neuve (Newfoundland) Gallery

Artist Christine Montague with Aurora's Mayor Morris. Grand opening of the Terre Neuve Gallery.

The opening of an art show is always exciting and full of promise. Combine this with the opening of the gallery itself - especially one as well conceived as the new Terre Neuve Gallery in Aurora, Ontario - and I knew I was in for one special day.

Packed from the get-go the gallery stayed abuzz with positive energy all day long. I enjoyed chatting about my work with so many enthusiastic Aurora art lovers. In fact, the gallery was so busy,  I didn't even notice that the "Jewel" 88.5 radio team, who had been terrifically supportive and complimentary to the art, had packed up and gone. (Ahhh, the keen eye of the artist)

I 'm honored to have made the acquaintance of Aurora's gracious and fascinating Mayor Phyllis Morris. Although my portrait painting of the Lorne Scots reservist, "Private Romeo" often garners a lot of attention, it's always particularly poignant to me, when someone with military experience, is drawn to it.  Mayor Morris served in the military in the U.K.,  and was recently at the deployment ceremony  for Aurora's Queen's Own Rangers Reservists.

I enjoyed meeting other Terre Neuve Gallery artists - Rebecca Last, & Christina Kerr. Of course, I have known the wonderful sculptor Mary Ellen Farrow, a fellow Williams Mill artist, for a long time.

There wasn't much time left over to talk to those who created  this new gallery - Harold Hillier, Sarah Olson, Andrew Hillier, and consultant Karyn Lockhart.  Their vision, has given me a place to share my vision, and for that I am very grateful.

Finished Big Cat Painting Today

Detail of Big Cat Painting Copyright Christine Montague

I didn't want to leave the studio today until I finished this painting - I was so anxious to see it completed. Although I adore painting in oils, drawing was my first love, and so, it was exciting for me  to both draw (oil sticks) & paint (oils) in this art work. This piece also combines my love of portraits, my love of animals and my love of black (I am only painting in black until they invent something darker). Equally as fulfilling was my use, for the first time, of silver oil paint as my "white" - although its reflective values proved a little trickier to photograph. My iphone camera, couldn't quite do the trick.

Do you know that many artists give a lot of thought to the placement & appearance of  their signature on their paintings? Well, I am one of those artists. This new work called for a different look to my signature. Traditionally, on my carefully rendered, realistic paintings, I carefully print my full name in block lettering. I don't like my signature to distract from the work, and even will use more than one colour to print it so that the signature  flows with the work. This painting called for something more expressive. Artist Carmen Hickson of www.theredpigstudio.com lent me a nifty colour pushing brush* ( a rubber chisel tip instead of bristles). It was perfect for carving out a cursive signature with values that suited the painting.

By the way, "Big Cat Painting" is not the official title of the painting...

* I don't know the official name of these rubber tipped brushes, and tried unsuccessfully to  google them for this post. My son, who used to work at Curry's Art Supplies, informed me they weren't big sellers, but I sure found it terrific to use.  Do you know what this type of brush is called?  I did however find this new neat little cleaning gadget while trying to find the rubber brush name https://www.currys.com/catalogpc.htm?Category=A021B006823&Source=Search. I could have used this when washing piles of black oil paint out of about 8 brushes this evening :D

New Painting Begins: Giant Cat Portrait

I just finished a series of 8" x 8" paintings  - Scotsdale Farm: Snow & Shadows. I needed to stretch my wings after painting so small.

A larger than life portrait painting of a Maine Coon cat in silver, black, and white oil stick and oils seemed the natural next step.

What I have done so far -

  • It is the first time I have used Tri-Art "sludge". I used it to cover the white canvas and add some texture.
  • After applying the sludge, I saw a large cat eye, ear &  head looking right in the swirls of the paint.
  • Decided to go with my instincts. Found a photo of my silver tabby  Main Coon cat to use roughly as a reference.
  • &  voila ... the painting begins. The face emerges some more out of the darkness.

Today's New Oil Painting #3. Scotsdale Series by Christine Montague

Finished this 8" x 8" oil painting of Scotsdale Farm, on the Bruce Trail in Halton Hills, Ontario, Canada. two Muskoka Chairs wait for summer time. Another of the interesting little white buildings to be found on the farm. The white clap board contrasts wonderfully with the dark trees, cast shadows and smooth snow. I don't know the significance of the bell? Decorative? An old school bell? Used to call farmhands to dinner? Can you suggest a better title for this work?

Read More

Today's New Painting #2. Scotsdale Series by Christine Montague

Up and out early to my studio in the Stone Building of the heritage Williams Mill this morning, I was painting by 7:30 am.  This little painting 8" x 8" oil painting of the stone silo at the province owned heritage  site, the Scottsdale Farm. This beautiful old stone silo  is on the Bruce Trail  (a popular walking trail - part of the Niagara Escapement in Ontario, Canada).

I love the architecture of the American Colonial Buildings at this farm which I visited for the first time January 2 of this year with my plein air painting group OPAS. With three works of art inspired by this visit completed already, and other ideas lined up ready and waiting - I guess a Scotsdale Farm series is in the works! The photo below is very glossy as so fresh off the easel & it was still too dark out to take outside in more even light.  Not a bad start to my day! And here is a better picture of "The Fourth Tree"  - also a Scotsdale Farm painting.

The Artist's Shadow. Happy Groundhog Day?

Happy Groundhog Day! Wiarton Willy and Punxsutawney Phil did see their shadows today, so six more weeks of winter in sight.  Hang in there, everyone.

Gratitude, Hope, Great Art Neighbors & a Little Fun too, Make for a Happy New Year

For an eternity, it seems, my  painting career has been compromised by my grilled cheese membership in the sandwich generation.  Genuine teen angst faced by those of the younger generation in my household, and the  chronic health issues, and subsequent death of those in the older  one, gave me little time to pause for breath, nevertheless paint. However, , thanks to my commitment to be in the art fair, Art-09, in the Metro Toronto Convention Centre in June, I did somehow pull through and manage to create new work. It is amazing how financial pressure & a deadline will inspire, isn't it?

And thanks to all the attention one of those paintings received (Stop and Go on the Credit), even though it did not sell at the time , in the fall I made the decision it was worthy of a quality frame. This meant, up to Four Sticks Framing - owned by the very accomplished painter Jim Reid (formally framed  for the AGO & McMichael) - at the Williams Mill Visual Arts Centre.

After choosing an exquisite little cherry veneer frame (Stop and Go immediately sold!) I popped down the little stairs by Jim's studio to the lower level of the big stone building to check out the The Red Pig Studio . I have enjoyed reading the blog of this studio's owner -  found object assemblage sculptor and painter, Carmen Hickson. I thought I might like to meet this unique artist and see her work in person.

To my surprise, the one very large studio was now two - Carmen's studio on one side and the other empty. Well, long story short - after a couple of hours of animated conversation with Carmen, and an email to the mill's owner, I was the proud occupant of that empty studio space beside The Red Pig Studio.

Just in time  - my art work was included  the Williams Mill Gallery "Big Art, Small Works" show (I think I have now sold four!), and my studio was included in the Christmas Open House  weekend, where the owners of  Georgetown's Main Street Inn toured my studio & invited me to include work in their Christmas Exhibit.

So after, what can only be described as a couple of years " Annus horribilis" I am suddenly...

...grateful to be back painting, grateful to have my studio in this unique artist centre, grateful for all the wonderful and inspiring artists I have as neighbors. Grateful, as well, to all my clients- you let me continue to make art. And, although it has taken hindsight to admit so, grateful that I had the strength, good health and fortitude, to have been there for those I love when they needed it most. My life of art wasn't sacrificed  as I feared, but simply waiting in the wings for my return.

Wishing you a New Year full of hope, happiness, and good health - i.e. a 2010 to be grateful for!

Fondly,

Christine

An Art Full Day in Mississauga- A show, Plein Air Painting too

Plein air painting by Christine Montague - Lakeshore Road from Starch Building This weekend, I had the unique opportunity to exhibit my paintings during the South Side Shuffle Jazz Festival. Five other Mississauga artists and I put on an art show in the historic St. Lawrence Starch Company, on Lakeshore Blvd in Port Credit, Mississauga.

The location was terrific, the venue attractively set up, and the atmosphere, with the Shuffle's live music drifting through the doors, made for a really pleasant experience. The positive remarks on the artwork displayed, as well as the overwhelming appreciation for an art venue in the area was very encouraging. The show reaffirmed just how much an art gallery for Mississauga artists is needed.

This weekend was also World Paint Out Day, a day that individual artists and plein air groups around the world make a special effort or host special painting on location events. Ontario Plein Air Society was too recently formed to organize an official plein air event. Instead OPAS, asked its members to  make an effort to paint and to then post the work on its blog site.

My very full weekend - TIFF (The Men Who Stare at Goats gala ( yes - I saw George Clooney and Jeff Bridges) a street garage sale, and the art show, left me with only a short time to dash out a painting, while working the show at the Starch Building.

A beautiful day to paint! This 6" wide x 12" high oil painting is from the viewpoint of Fram's St. Lawrence Starch Building, looking east, past the iron fence, to Lakeshore Blvd.

Although I prefer not to touch up my plein air paintings, I chatted too much to inquisitive & friendly passers by, and so need to clarify and brighten up a few parts. This includes defining the words "Port Credit" (the focal point) on the red and white banner.

The Great One That Got Away

I thought you might enjoy the retelling of a blog I wrote from 2007. Lessons still apply!

Dry Docked. High & Dry with No Cash in Sight. Or The Great One That Got Away.

Ever read "Blink- The power of Thinking Without Thinking" by Malcolm Gladwell? Well,

read the following and find out how my snap judgement resulted in lost opportunity.
A very long time ago, as part of an OCAD class with the terrific teacher Chin Kok Tan, I was plein air painting (ie. on location) on Toronto’s Ward Island. I sat alone on my little stool (picture one of those little blue and white striped Canadian Tire folding ones) painting a watercolour of a sail boat in dry dock, the CN Tower & Toronto skyline in the background.
Three men came up from behind, and one of them politely complimented me on the painting and asked its cost. As I replied “$50” , I twisted around to look up the man asking. His fair hair was backlit by the bright sun, and I could not see his face.
Meanwhile, another of the three, yakked loudly and addressed me as "sweetheart". He made me uncomfortable, and so I dismissively ascertained all three to be “jocks”, and I was an artiste (even though I was a runner, skier & generally liked physical activity).
The polite, potential customer, continued to compliment my painting, and pulled about $30 from his pockets, stating that was all the cash he had on him. I held firm to my price due my irritation and judgement of the louder man.
The three went off, the polite, potential buyer thanking me, even though he was empty handed.
A while later the three returned. Groan. They had searched for more money (at a nearby boat?) and had come up with $38. “You don’t even have to finish it” they laughed. I proudly held my ground. It was $50 or no sale.
The three men departed, and then, when about 50 feet away, the gentleman who wanted to buy the painting, ran back to me, put his hand on my shoulder, said “Keep up the good work, dear” , and then rejoined his friends.
Immediately, I was swarmed by my classmates who had watched from afar. “What did he say ? What did he want? “
I looked at them. I hadn’t a clue what they were referring to, although by now you may have guessed.
Yes, I had turned down selling my painting to Wayne Gretzky .
Well. Lessons learned.
  • Snobbery does not equal professionalism.
  • Always look a customer in the face.
  • Treat every one with respect. Do not prejudge. Look after your customer. Appreciate when someone has actually taken their time to stop, look, and compliment.
  • Be fair to your clients by being consistent in your prices, but sometimes, it pays to compromise. At the time I could have used that $38, although I have had more than $50 in fun in recounting this story.
  • paint on location with a buddy (maybe a partner might have been more observant than I)

Epilogue: A year later I sold the painting at an outdoor art show at Corbyville, Ontario. By that time I had paid for a matte and shrink wrapped it. After the woman bought it I told her the Wayne Gretzky story. She was delighted as the painting was bought as a present for her husband and he was a huge Gretzky fan. Oh… and the price the watercolor painting sold for? $25!

And with the wisdom of age and hindsight (there's that word sight again) , I mean, how cute were these guys going back to search for change to try to get the $50? What was I thinking?

Plein air painting at Riverwood with OPAS

Today I was to paint with the new group Ontario Plein Air Society, but rain got in the way. Instead we held a very constructive meeting in OPAS leader Zan's SUV, and roughed out goals for the next year. OPAS will be holding plein air painting sessions every Sunday until November and yours truly will help organize at least three of them, including the three day paint out to be held in conjunction with the international plein air paint out day! To find out more about and /or to join OPAS  (it's free!) visit   http://ontariopleinairsociety.blogspot.com/ Meanwhile here are a few hits of colour on what was a very gloomy day.

Riverwood cardinal in the rain Copyright Christine Montague 2009

A Hit of Pink Copyright Christine Montague 2009

Riverwood - Urban wilderness marsh Copyright Christine Montague 2009

A New Plein Air Painting

Plein Air Oil Painting Copyright Christine Montague 2009 Tubing & OPAS on the Credit River. Photo copyright  plein air painter Christine Montague 2009

Today was the third gathering of the new group Ontario Plein Air Society.  Nine of us met at the Williams Mill Visual Arts Centre in Glen Williams.  We used my former studio in the beautifully restored old yellow mill - which can now be rented by the half day - as a home base, but painted down the road by the Credit River.

In my secluded little spot on a couple of feet of eroded shoreline, and only a foot from the water, I painted the tree line that stood at my eye level, resulting in the oil painting on canvas above "Spring Growth by the Credit River. A Glen Williams, Halton Hills scene) . The day was hot, and very bright, but in my tiny shady oasis, I was cool and relaxed by the lapping water. That is, after I decided to ignore the huge yellow jacket that buzzed in front of my eyes every 20 minutes, and the clouds if midges that wafted above now and then!

Some terrific paintings were produced by all, and it is always fascinating to see each artist's interpretation of  the same location.  I am always surprised how  3 hours of painting outdoors feels like a happy day away! (Please note: this plein air painting is now sold)

Today we were honored that J. Bandini, President of the International Plein Air Painters Worldwide Organization drove all the way from Niagara Falls to join us.

And for those of you who think you might like giving painting out doors a try - the following is info on OPAS. By the way OPAS is free, and anyone is welcome. It is a way for plein air painters across the GTA and beyond, to link up to paint.

http://ontariopleinairsociety.blogspot.com

Find us on Facebook Ontario Plein Air Society(OPAS)

Follow us on Twitter twitter.com/O_P_A_S

On the "Go" - Two new paintings, Mississauga landscape, Kincardine Lighthouse interior.

The Lighthouse Stairs Copyright Christine Montague 2009 Last week was busy!  I finished this  20" x 20" oil painting of  a youth going down the lighthouse stairs at Kincardine, Bruce County, Ontario, Canada. The challenge to myself was to paint whites in shadow (expand my gray palette). I wrote a blog on this painting & mini  color mixing lesson. Click  here.

Stop, Go. Copyright Christine Montague 2009

Above is a 9" x 12" oil painting of  a Go train emerging from the trees over the Credit River in Port Credit, Mississauga, Ontario. Young boaters from the nearby Mississauga Canoe Club stop to watch it go by - thus the title Stop and Go on the Credit River (Please note: This painting is now sold).

The Credit River in Port Credit is fabulous spot to spend an urban summer evening. Boaters, birds, coffee and ice cream - Lots of places to stroll, shop, sit & people watch.

The original painting isn't as dark as this photograph. Unfortunately it sold so quickly I never did take that quality RAW photograph. Artists out there ! Heed this lesson. A painting is NOT finished until you have taken that quality image for your records.

I often have the problem - when the painting is glossy and glazed - of getting a true representation of the painting. Either the gloss of the paint from my use of liquin (which speeds drying time) reacts like a varnish layer and reflects the light, even on an overcast day. OR even worse, the camera is too efficient and somehow photographs through the top glaze layers and The image photographs as if in an unfinished state!

My husband has decided this is his favourite of all my paintings. Hmmm. I am flattered, but considering I have done some fairly ambitious pieces over the past six years, I am bit "stopped" by such enthusiasm, but I will admit it was fun to have a "go" at a train.

(Last week I also did my first plein air painting . Here is that painting & blog - Click here) This painting will be auctioned off at the 2010 Art Gallery of Mississauga Annual Art Auction.

Mini Art lesson 4. Learn Along with me in How to Paint Grays in Oil.

One of the reasons I wanted to create the painting I have in progress at the moment (scroll down) was the challenge to paint many variations of the colour gray. A trivia  email going around states that the human eye sees 500 shades of gray. In trying to confirm this online,  I have found the human eye sees 500, 700, 256, a dozen and less than 16 shades of gray.  Whatever the true answer is, it is a lot more than I normally mix in  my standard palette, and in the creation of this painting  I hope to illustrate as many variations as I can. Normally, I use the following  standard palette -

My usual pallette

  • cadmium yellow pale
  • yellow ochre
  • cadmium red
  • alizarin crimson
  • viridian
  • olive green
  • chrome green
  • cerleum blue
  • cobalt blue
  • ultramarine
  • burnt umber
  • titanium white

I create black from mixing equal parts burnt umber and ultramarine and my grays from adding white to that mixture. (see lower right of palette above)

gey-beginning4

So how to expand on my knowledge of creating grays?

I turned to the terrific book I bought recently Color Mixing For Artists Minimum colors for maximum effect using watercolors, acrylics, and oils by John Lidzey, Jill Mirza, Nick Harris, and Jeremy Galton. Barrons Educational Series Inc. This is one of the most readable, portable, helpful and affordable color books found in our local stores.

This is the starter palette from Color Mixing For Artists

Starter palette for oils

  • titanium white
  • lemon yellow
  • cadmium yellow
  • yellow ochre
  • cadmium red
  • alizarin crimson
  • Winsor violet
  • French Ultramarine
  • raw umber
  • Payne's gray

The book has a whole section on mixing gray as well as sections on mixing most other colors

Mixing Gray oil paint

Palette 1. Using Alizarin crimson, viridian, ultramarine, lemon yellow

Left: 7 parts viridian, 1 part alizarin, 2 white

Centre: 3 part viridian, 1 alizarin crimson, 6 white

Right: added some more viridian and white  to left mixture

Ignore blue blob

Mixing grays

Palette 2

Left: 2 parts French Ultramarine, 1 alizarin crimson, 2 lemon yellow, trace white

Centre: 4 parts French ultramarine, 1 cadmium red . White.

Right: 20 parts viridian, 1 part crimson, white, and more white

palette 3 Mixing gray in oil paint

Palette 3

Top left: 4 parts cerelean blue, 2 camium red, 1 lemon yellow, 2 white. And more white.

Bottom left: Mixtures of ultramarine and alizarin and white.

Bottom right: cerelean blue, burnt umber , white

Top right: 3 french ultramrine, 1 alizarin crimson, trace lemon yellow, white

Of course what I am really doing for much of this painting is creating the illusion of white painted surfaces- the railing, painted walls, white flowers on the t-shirt- in shadow and reflection. One of the great joys of painting is learning to intrept just what it exactly what we are seeing. When asked what colour are the walls, we would answer white, but what we paint is another story.

An additional note. A couple of years ago I enjoyed a show entitled "White" at the the Abbozzo gallery in Oakville.  Examples of the interpretation of white from all the gallery's stable of artists wwere on display. This show was a great example to all painters and students on the myriad of ways to paint white (and its grays)  - whether in abstract. realistic or illustrative painting. To see a few examples from this show click here.