In 1998, my husband and I traveled to Italy for the first time. We wanted to cram everything into two weeks (Northern Italy to Rome). I was so excited to be on that plane… I cannot even tell you!
We had set aside just one day in Venice (which far too many tourists tend to do) and it happened to be the worst rain storm and flood they’d had in 30 years. NO MATTER! I made the very best of it! While my husband carried an umbrella over my head, I snapped rolls and rolls of film (yes, film in those days!). As we left Venice the next morning, I promised Her I would return one day! I was mesmerized!
Fast forward several years…
After conducting workshops in the States and in Montreal, Canada, I finally started teaching annually in Venice! A dream come true!
Annually since then, I take different small-sized groups of 5 or 6 painters and we stay in an apartment that I rent. To keep myself amused, I rent apartments in different parts of Venice each year. We live, eat, drink and play where the locals do it! Staying in Venice for 8 days at a time lets you really, really experience Her to the fullest (although we do venture out to Murano and Burano while we’re there, of course, more on that below).
Personal Observations About My Painting Process
Pen & Ink: I consistently reach for my pen & ink when I’m outdoors (not so much in my studio). I make a few “boundary” marks with my pencil first (making sure I design the overall composition to my liking), then add paint, and finally, almost at the very end, I sketch freely on top of that with pen & ink (I don’t necessarily draw over my pencil lines).
A favorite is my good ole Sharpie Ultrafine point pen (either in black or dark brown, depending). But I also love my Venetian set of sepia ink and fountain pen. It bleeds a bit when water touches the edge (it’s what I used in “Rainy Day in Venice”…it seemed an appropriate time to use it).
Substrates: Although I do carry a very thin, softcover sketchbook in my bag, I travel with 300# Arches paper, cut down to 9×12 (I tape it or clip it to cardboard). Because I’m always trying to produce work I can sell (it’s how I make my living, after all). I can take that Venetian sketch back home and hopefully finish it into a salable piece. (Nice when that happens, because a plein air version always has so much life to it!). I also LOVE to paint on translucent Yupo, but that’s more of a studio substrate for me. It gives you a much more organic result, as compared to painting more smoothly on paper or watercolor canvas (see “Italian Colors, Burano” below).
Application of paint: In my studio, I paint with many layers of color, in order to build up my values. Outdoors, there’s no time for that. I have to assess the values, make bolder choices, and capture them before the light changes.
Example Of A Studio Work-in-Progress
More Stuff I Love To Do Around Venice
There are 2 islands in the Venetian Lagoon that I always must visit. The first is Murano (10 minutes by ferry), where they blow glass. Another is Burano (30 minutes away). It’s a very colorful fishing village and the local ladies are known worldwide for their lacemaking skills, passed down from generation to generation.
I guess I manage to keep myself “alive” and challenged by using a variety of substrates, different water-based painting materials and even subject matter (I paint much more than just Venice). BUT, my focus for 36 years has been on sketching and watercolor. At some point, you have to hone it in, if you’re going to improve your skills. What do you all think?
Thank you, Charlie, for this invitation to introduce myself. I look forward to returning the favor on my own blog real soon! Sign up to receive my blog posts and follow me at the links below so you don’t miss a thing!
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