Flowers Workshop - end Part I

 Hello dear reader -

If you recently read my June newsletter and are popping over here 

to see these last flower paintings from the workshop I was in, welcome! And if you

always check this blog and many times there is nothing new,

but now there is, welcome to you too! 

[By the way, if you ever just want to read/see what I have been up to in my studio - just click on the menu line that says Studio Journal, on my website ... you don't have to "join or follow" like it says in the sidebar on this page.]

This is the still life bouquet I was
looking at to paint this next exercise. The progress shots are below.

Pink Rose (I need to think of a title)
still life
oil on Masonite
12" x 7 3/4" 

bouquet & painting side by side

For my last Flowers Part I painting exercise, 

I had a few Alstroemeria stalks that were still in 

good shape so I popped them into one

of my favorite vases.

The following show the photo of what I was painting and the progression.

I used a piece of watercolor paper that
 I had previously coated with a turquoise-y acrylic paint as an underlayer 

On Their Way Out
(but still beautiful)
Still Life
Acrylic & oil on Watercolor paper
10" x 7" 

painting and bouquet

Ok, that is it for Flowers workshop Part I. 

Thanks for reading!

I will be blogging about the second Flowers workshop (Part II) 

from Jordan Wolfson,

and the other challenge paintings that our group has made.

If you haven't yet, I'd love for you to take a peek at My Website!

Happy Painting!

Teri

6th Challenge Painting - Collaboration!

 

Hi Studio Journal readers!
Today I am writing about our 6th painting challenge. For those of you who saw the Juneau/Douglas City Museum December 2024 exhibit, you might be interested in seeing how these paintings came together.

Challenge #6 parameters (chosen out of a hat with 18 ideas)

1 - Blind contour* drawing to begin painting 

2 - Collaborate with another member of our group and paint your work halfway through. Integrate your contributions so the original work can still be glimpsed.

3 - Rediscover an old successful painting or your own with the new parameters

First person responsibilities:

After contour drawing, paint all of the big shapes of the painting. 

Within each shape, paint 50% of it,

to what you consider to be “completed”.

Leave the rest to the next artist.

Timi’s to Teri

Teri’s to Patrick

Patrick’s to Timi

So, I hope that is clear for those who 

want to imagine what we did.

Here are the series of photos showing, first, my process 

for finishing the painting that Timi gave me to work on.

(Remember, she did the blind contour, 

from one of her own paintings, then painted it 50% of the way.)

The way Timi's painting looked when I took possession.

 
 

I got to work. I saw a cat.

Ok, here I was getting close, but realized that cats' legs 

do not bend like that! ... so we had our cat 

Haze Gray, model cat anatomy!

Big Hat, Big Cat  (sold)
oil on canvas
18 1/2" x 14 1/2"
by Timi Johnson
&
Teri Gardner Robus

Here is the original painting from which 

Timi based her blind drawing and her half-way painting.

Next, if your patience is still holding, here are the photos of how my painting

progressed and how Patrick finished it.

my blind contour drawing

This is my 50% finished - I handed it off to Patrick

Pear-fect Day
oil on panel
15" x 15"
by Teri Gardner Robus
&
Patrick Ripp

and my original painting:

Perfect Fit
collage & oil on wood panel
12" x 12"
(available)

And last collaboration - Patrick & Timi collab.

This is his halfway through painting; handed on to Timi:

Finished painting by Timi 

Oils of Provence Reimagined
acrylic and oil on primed Dacron
24" x 24"
by Patrick Ripp
&
Timi Johnson

Here is Patrick's original painting.

This was a challenging challenge ... aren't they all? 

Thank you for reading and check back for more posts about 

our challenge paintings.

Here's a link to my website.

Thank you for your support!

happy painting/viewing/collecting!

Teri

*Blind contour drawing is a drawing exercise, when an artist draws the contour of a subject 
without looking at the paper that they are drawing  on.