31 August 2016

Here we go again - will I never learn!

 30 paintings in 30 day challenge
Collage of all 30 paintings
What was I thinking! I've signed up for another of Leslie Saeta's 30 paintings in 30 days challenge.
I probably won't complete 30 paintings, as my family visitors are here until the 9th September. If I'm lucky I might be able to cheat and paint a couple over the next two days when they are all staying in our holiday apartment in Nice. I have not been painting much this year as my father was ill and passed away in February and I have been organising the probate, add that to never having time in the summer anyway and I now feel I need a kick to get started again. 

These challenges can be hard, the pressure is all self inflicted, but it certainly helps to boost confidence and increase skills. 

I have taken part in 30 painting in 30 days challenges before and afterwards and always amazed at what I have achieved. They are not all winners of course, but many of them are. The collage above is of last Septembers challenge. Read the original post here.
Sign up for the challenge HERE

30 August 2016

Ikebana 4 - Burnt Orange Chrysanthemums

Ikebana 4 - Burnt Orange Chrysanthemums
Oil on canvas panel
by Marion Hedger
24x30 cm (approx 10x12inch)
Palette knife painting
Contact me to commission a similar painting


16 August 2016

Working Loose on Peonies, Bowl of Beauties

Bowl of Beauties floral still life
by Marion Hedger
Peony oil painting
20x20cm deep box canvas (1.5inch)
Edges painted purple
Painted with a palette knife.
Soft Edges
Obtaining soft edges with a palette knife is difficult, so I first painted the peonies followed by the background. Where I wanted soft edges, I swiped palette knife across the edge to soften it and mix the paint. Where necessary I added extra paint on the knife before swiping going from the petal into the background and sometimes vice versa.

Here are some close-ups showing this


30 July 2016

Art Inspiration, Hollyhocks in Banon

This public garden was reached by a steep path up to the church at Banon here we stayed overnight on our recent trip. The climb was well worth it to find this garden area in full bloom. Not only was it colourful, but the benches were positioned to give a wonderful view of the surrounding countryside.

Many of the village in this area were full of hollyhocks which seemed to be self-seeded and growing in no soil!

I have painted a small painting of this garden and blocked in a larger one. I am working up to do it as a larger painting still.

If this scene appeals to you, I would glady work with you to paint you your own personal version. Contact me to start the ball rolling.


15 July 2016

Reaching for the Sun palette knife painting

Reaching for the Sun
Provence Sunflower painting
18x24cm (approx 7x10)
oil on 3mm MDF canvas panel

After my recent trip to the lavender and sunflower area I had the impetus to finish some paintings started last year. The sunflowers were much smaller and blooming later than normal and did not give their usual showy display. Luckily, I have the photos from last year to remind me. Often the sunflowers are way ahead of the lavender, but probably because of our cold spring this year they will need another couple of weeks. Maybe a good excuse to go on another trip.

About this painting
Another re-invigoragated painting by painting into a wax and liquin mixture like yesterday's painting

Here are a couple of close-ups to show the texture


14 July 2016

Golden Light Provence Landscape Painting

Golden Light
Provence landscape painting
18x24cm (approx 7x10)
oil on MDF canvas panel

Imaging walking in the evening glow of the sun on this peaceful path in the foothills to the alps.

About this painting
This is an older painting which I reworked to adjust some of the colouring.

I covered the painting with a thick layer of wax mixed with liquin and then liberally applied more paint into the layer. It is a fine balance of how much paint and pressure to use on the palette knife. The wax/liquin mix is quite slippy and the paint has to be thick enough to 'stick' but the mix holds the texture of the applied stroke. It also discourages fiddling with the stroke as that just wipes it off again.

Here is the old version, have I improved it? There is always something lost as well as gained when reworking a painting. I'd love to hear your thoughts.

Some close ups of the texture