Tag Archives: oil painting

My blog has been used most often to celebrate the art of dozens of people since I started writing it, or to offer free plans for art supplies.  This time I’m showing my own recent work.  Please feel free to comment!

Oil paintings (and a silk scarf) completed by end of summer, 2016

scarf

Silk seascape scarf printed from image of “Northwest Front,” $40 including tax.

Paintings are not shown actual size;  please note a title and find its sizing, location, and price (with or without its frame) in the list below.

bouquet-of-locusts

Bouquet of Locusts

running-down-to-the-river

Running down to the River

lake-papakeechie-from-the-cloud

Lake Papakeechie from the Cloud

flood-tide-port-aransas-tx

Flood Tide

 

blue-squall-cb

Blue Squall

spring-cleaning-hill-house

Spring Cleaning @ Hill House

dsc_0643

Above the Frog Pond @ TC Steele

dsc_0641

Wild Weather

dsc_0640

Fish House, Point House Trail

dsc_0636

Neap Tide one of two studies

dsc_0633

Neap Tide one of two studies

dsc_0632

View of Useppa

dsc_0627

Cold Spell, Fog off Captiva

dsc_0623

Ebb Tide

dsc_0652

Dry Wash Stream

dsc_0653

Cold Front

dsc_0619

Autumn Winery

All paintings were started en plein air, and finished in studio.  Pricing is pre-professional, ranging from seventy-five cents per square inch for small paintings to 50 cents per sq. in. for ex-large.

All frames are at my cost (using discounts);  please feel free to decline the frame, and to find one that suits you and your home better!

Land and Seascapes
Above the Frog Pond, TC Steele, Brown County, IN, oil on canvas, 12″ x 12,” framed:  $199.41;  unframed:  $115.56.  Tax included.

Blue Squall, Crystal Beach, TX, oil on canvas, 11″ x 14,” framed:  $211.22;  unframed, $123.59.  Tax included.

Bouquet of Locusts, oil on canvas, Owen County, IN, 28.5″ x 26.5,” framed:  $990.58;  unframed, $762.70.  Tax included.

Fish House, Point House Tr., Upper Captiva, FL, oil on canvas, 20″ x 24,” framed:  $552.12;  unframed, $308.16.  Tax included.

Flood Tide, Port Aransas, TX (Mustang Island), oil on canvas, 11″ x 14,” framed:  $205.11;  unframed, $123.59.  Tax included.

Spring Cleaning @ the Hill House, Owen County, IN, oil on canvas, 24″ x 24,” framed:  $477.11;  unframed, $369.79.  Tax included.

Running down to the River Bottom, oil on canvas, Owen County, IN, 36″ x 44,” framed:  $990.58;  unframed, $762.70.  Tax included.

Lake Papakeechie from the Cloud, Kosciusko County, IN, oil on canvas, 20″ x 20,” framed: $427.71;  unframed:  286.76.  Tax included.

Mustang Island Cold Front, Port Aransas, TX, oil on canvas, 16″ x 20,” framed:  $264.41;  unframed:  $229.41.  Tax included.

Ebb Tide, Port Aransas, TX, oil on canvas, 11″ x 14,” framed:  $205.11;  unframed:  $123.59.  Tax included.

Autumn Winery, Owen County, IN, oil on canvas, 24″ x 24,” framed:  $477.11;  unframed:  $369.79.  Tax included.

Dry Wash Stream, Owen County, IN, oil on canvas, 10″ x 12,” framed:  $162.12;  unframed:  $96.30.  Tax included.

Wild Weather, Escondido Lane, Upper Captiva, FL, oil on canvas, 20″ x 24,” framed:  $544.07;  unframed:  $308.16.  Tax included.

Cold Spell, Fog off Captiva, Upper Captiva, FL, oil on canvas, 15″ x 30,” framed/unframed:  $322.61.  Tax included.

View of Useppa, End of Sol Vista Lane, Upper Captiva, FL, oil on canvas, 20″ x 16,” framed/unframed:  $229.41.  Tax included.

Neap Tide 1 & Neap Tide 2, Port Aransas, TX, oil on panel, 8″ x 10,” framed:  $82.20;  unframed:  $64.20.  Tax included.

All paintings will be given a week’s trial in your home.  No reproductions, please;  I retain my “reproductive rights.”  🙂  

Each oil painting is original work by Laura Lynn leffers.

Email Lauralynnleffers@gmail.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Advertisements

How to make a wooden wet painting carrier

selfie with homemade wet painting box

selfie with homemade wet painting box

DIY:  Wet Painting Carrier

I needed a wet painting box that would travel long distance.  Inside a small boat, on a trailer, bouncing down a thousand miles of highway.  …And I wanted it to survive the trip.

Sure, there are commercial wet painting carriers available, and plans shared on the Internet for cardboard varieties.  Most of them, though, are for canvas panels, and I prefer the gallery wrapped, heavy-duty duck, inch-and-a-half thick canvases.

IMG_1113So, I made my own.  They’re the four boxes sitting on top of my first try, a lovely lightweight shelving frame that would have fit perfectly between the bench seats on the boat.  I was finishing it, when my husband asked, “Will that fit through the door?”

Ummm…

Back to the DIY Project (no need to dwell):  For panels, wood supports, or thinner canvases, you can adjust the spacing on the dividing rails to the width of your support–but do add a bit of wiggle room.

Here’s how:  Select Your Size of Canvas, and decide how many you’ll wantstructure_2_close.up to carry on a field trip;  for the inch-and-a-half thick type, a box made of 6″ wide boards (which are not really six inches wide but we’re not in charge of that) will hold three canvases each.

Procure Your Lumber (the small box shown on top is made entirely out of scrap 1×6 pine boards, but the larger boxes are made from lighter weight, half-inch thick poplar boards and quarter-inch oak panels).

Measure and Mark.  I kept it simple (nobody comes around, asking me for dovetails).  Both top and bottom were the width of the canvas plus a quarter-inch tolerance (or a bit less).  Both sides were the height of the canvas plus the depth of the top and bottom boards.

I cut the wood and held the side board against the bottom board on a flat surface, drilled holes, and screwed each into the edge of the bottom board.

Dividers.  I used 99-cent, quarter-inch basswood from Michaels to basswood_divider_close.upmake rails along both sides.  There was just enough room for my three inch-and-a-half deep canvases, three basswood rails, and a bare eighth-inch extra in each space.

I plan to lay the boxes flat in storage, so wet paintings will be “shelved” facing up, and that extra eighth-inch might minimize smearing or sticking on the long trips home.

basswood_dividerMark, Glue, and Tack Dividers.  I started by laying the first basswood rail along an edge of each side.  This rail prevents the top of the wet painting in that slot from touching the inside of the completed box.

Next, I measured and marked, and glued and tacked in the two remaining rails.

Once the other side had its matching rails, I tested the rail spacing, and let it dry poplar_large_lay.inovernight.

 

structure_3_on_pine

Only the two side boards received basswood rails.

 

Paneling is where I really slipped up, as you’ll see.  Theoretically, it’s simple:  cut your quarter-inch thin panels the same length, and your box will be square as long as your corners are square.

Ummm…  Maybe it was that quarter-inch tolerance, under “Measure and Mark?”

Moving on, it turns out that leftover window oops_wet_painting_carrierblind parts–the unused bits of wood squirreled away when a blind is cut down for a short window–make nice shims.  One could, uh, use shims.

Glue and tack as needed to correct any mis-steps which might cause one canvas to want to fall upon its neighbor.

If this is the case, use the slimmest possible shims.  …And, before the glue dries, make sure the canvases still fit in their slots.  Better yet, re-think my quarter-inch tolerance!

IMG_1109Finishing with stain and varnish was important to me because of the abuse I expect to heap upon these boxes.

I used leftover porcelain knobs from a kitchen project, plastic cable carriers as turnbuckles for the lids, and sewed some old webbing to brass D-rings to serve as straps.  For salt-water painting sites, I bought stainless steel screw-in tie-downs and stainless steel screws, but the SS snap hooks for the straps are costly.  I bought only one set;  the others are plated.  Brass snap hooks would work around salt water, but the hardware stores in my area are selling bronze in place of brass.  I’ll expect to replace the plated hardware.

Travel safe!

IPAPA and the Wawasee Paint-Out

Art En Plein Air


image
Donna Shortt took this photo of the breaking day on July 13th, at Lake Papakeechie, from an upstairs bedroom at my family’s cottage.  Yep, up at dawn.  These IPAPA painters barely pause for breakfast.

She, Pam Newell, Dave Voelpel, Leanna Arnold, and I were there for the annual Indiana Plein Air Painters Association paint-out at Lake Wawasee, in northern Indiana.  IPAPA people dotted the area lakes’ landscapes for the event, thick as the threatening clouds.  They hunkered under sun hats, umbrellas, and shelters, undaunted.  When they couldn’t find an open (or free) lake view to paint they found flower gardens, street-view scenes of cottages, and crowded shoreside views peopled with the backsides of sailing students.

Try to say that a few times, and you’ll understand their frustration.

Pam Newell, "The Red Cottage," oil on panel

Pam Newell, http://www.pnewellart.com, “The Red Cottage,” oil on panel

The site’s the thing–en plain air painters (think:  in plain air) need a place to stand for a couple of hours. That’s about all they need, they bring everything else with them.

Here’s hoping more Lake Wawasee residents open up their shoreside lawns, their unparalleled views, their access gates for these professional artists, next year.  Lake Wawasee can be a wild and wonderful model on a stormy day, and the weekend of July 12th was brilliant with weather.

Donna Shortt, "The Red Cottage," oil on panel

Donna Shortt, http://www.dshortt.com, “The Red Cottage,” oil on panel

The IPAPAs shown here were working  Lake Papakeechie (off the tail end of Wawasee), with its more intimate water views.  And at least some of the other IPAPAs found painting space near water–Saturday night’s pizza party, at the Wawasee Yacht Club, sported a few lake-themed paintings.  Despite the paucity of water scenes, easels wound around the yacht club yard, blooming with high quality impressions of flowers, boats, and grand old homes.  IPAPA member Dave Voelpel, in a reverent tone, called it “Museum quality work.”

Dave Voelpel at work on a watercolor

Dave Voelpel at work on a watercolor

Leanna Arnold, oil on canvas

Leanna Arnold, oil on canvas

The weekend event ended with a show at Lake Wawasee’s South Shore Golf Club on Sunday, July 13th.  Check IPAPA’s Facebook page for the next group paint-out, or go to the website at http://www.inpainters.org.

Leanna Arnold and I are both new IPAPA members.  She took two of her fresh paintings for the pizza party’s  group display, while I left my one unfinished start at the cottage.  Her abstracted rendition of Lake Papakeechie, shown here, was received with interest.

Leanna painted a total of three canvasses on Saturday and Sunday.  Look closely at the photo of Dave and his watercolor, and you’ll see her painting on the dock, down by the lake.  Examples of her earlier work can be seen on this blog;  go to the January, 2013 archives.

Plein air painters somehow manage to get paintings finished and ready to sell inside a matter of hours.  From what I’ve seen in the few months I’ve been paying attention to these intrepid, on-site, outdoor artists, they carry frames with them and come prepared to deal with anything nature throws at them–including the art loving, art buying public.

Laura's hour-and-a-half start

Laura’s hour-and-a-half start

Here’s mine–an hour or so’s start.

Ah, but I was hosting.  Yes, that’s it.  I was a student last weekend, learning from these masters but not at all in their class.

One thing I’ve learned about painting in the open air is that I work faster, more intuitively.  There’s no time to wallow in angst.

But I need more time.  I’ll have to go back next year, and finish this one.

 

 

 

 

 

 

 

 

 

 

 

Dave Voelpel at work

 

 

 

 

 

 

 

 

 

Gladiola Bob and the Bloomingfoods Farmers’ Market

Gladiola Bob & Bloomingfoods Farmers' Market

Gladiola Bob and the Bloomingfoods Farmers’ Market

Last week, Bloomingfoods East, in Bloomington, Indiana, accepted—and hung—this painting.  I’d struggled to “get it right” for many years, and I was thrilled that the manager, Tom Zeta, and several employees received it with a gracious delight.

Why it all happened is a story that takes a bit more telling, but it started with the realization that a grocery store—which is what Bloomingfoods is, after all—is generous to its competition, allowing a farmers’ market to set up out front in its parking lot every single Wednesday of the long market season—for 34 years.

The painting features sketches of some of the farmers who offer their home-grown and/or homemade wares to the public at the Wednesday Market:  Left to right, Bob Wise (Wise Acres);  Jeff Padgett (Padgett Farm);  Chester Lehman (Olde Lane Apple Orchard);  and Marcia Veldman (Meadowlark Farm).

Six years and change have passed since I started this oil painting;  finding time to work on it and trying to capture its early morning spirit (and its tiny, dime-sized faces) proved daunting.  I worked from photos I took a year before Bob Wise—known as “Gladiola Bob”—died, and remembered his kind spirit each time I worked on it.

Now in its 34th year, according to Market Master Don Dunkerley and his partner, Jean Ellis, of Mountain Greenhouse in Bloomfield, Indiana, the Wednesday Market remains independent.  It’s a non-profit, co-operative venture, unconnected to the city’s Parks & Rec farmers’ markets. Dunkerley has been bringing his fresh produce and plants to this market since it began, and is grateful to Bloomingfoods for their support of local farmers.  “They’re so co-operative,” he said, “they help to keep a space open for us.”

Red.Indian

large market bag

I was once a vendor at this market.  I’m a writer, with a few novels out under my pen name, Laura Lynn Leffers (.com), but I’d had a bit of trouble with my eyes, and started sewing market bags—focusing on a seam—until I had too many bags to foist on friends and family.  While I awaited a diagnosis (it turned out to be  blepharitis, a simple tear duct problem), this is the market that took me in, allowed me space, and gave me a positive outlet.

small market bag

small market bag

Eventually, Marcia Veldman, who sells produce and flowers at the Wednesday Market but is also the Bloomington Parks and Recreation co-ordinator for the big Saturday Market at City Hall, suggested that I apply to the Saturday Market’s monthly “A Fair of the Arts.”  I did, and enjoyed being an officially “artsy” market bag vendor for a time, while I worked through my vision problem.

It didn’t keep me away from the Bloomingfoods East Wednesday Market, though.  It’s accessible.  No queuing up, and waiting for the McCormick’s corn.  Jeff remembers the names of every single person he’s ever met (I’m sure of it).  There’s a cheerful, low-key, hard working midwest air about it.  Plus, you can finish your grocery shopping at Bloomingfoods.

Chester Lehman defines the 34-year collaboration between the health food store and the farm stands as “Mutually beneficial.”  Marcia Veldman explains it by saying, “Part of their mission is to support local farmers.”

Comanche brief bag

Comanche brief bag

I was grateful to be a vendor at the Wednesday Market.  And that explains the painting.

Was Writing… Now Painting

Art Works/New Chapter Introduction

Last year, in October of 2013, on Crystal Beach, Texas, I set up on the beach to begin a new chapter.  God knows, it was needed. crystal beach set-up

Along came a couple in a golf cart.  They were on their honeymoon, and wanted to buy the painting.

Back in Indiana, I finished it, named it “Gulf Squall,” and shipped it to them.

Here it is, oil on canvas….

crystal beach, cropped

 

It’s no surprise to anybody who knows me, but I’ve wanted to be a painter since I was a girl, and scared up dribs and drabs of time every year or two, to start a painting.  Some were finished and hang on my walls–most are of my sons as babies.

So, here’s a new section of the blog, and my introductory chapter:  Eight painting starts at Ft. Myers Beach, Florida, Feb., 2014, pictured below;  two of them finished and six yet to go.  My best hope for a good finished painting is the big “Northwest Front,” I think.

But first, there’s another promised painting to finalize and deliver.  …And another painting start done for last weekend’s Owen County Studio Tour.

Is that too many unfinished paintings?  I have plenty more to finish–the results of those dribs and drabs of time, and all rooted in the past.  Yes, I have a full novel–chapters full of unfinished paintings!

But art works.  Right?

Era's pelican, cropped

“Era’s Pelican,” postcard size

northwest front, cropped

“Northwest Front”

turquoise mud, cropped

“Turquoise Mud,” for now

beach day, cropped

“Beach Day”

small craft advisory, cropped

“Small Craft Advisory”

personal space, cropped

“Personal Space,” bad start

FMB pier, cropped

“FMB Pier”

offshore fog bank, cropped

“Offshore Fog Bank”

FMB LLL by Carol

Photo by Carol Spencer

 

 

Art Works for Lisa Shelton

Lisa SheltonLisa Shelton’s self-portrait, All Dressed Up, is her first attempt at portraiture.  The canvas version and the real Lisa are shown here on a cold November day, outside the Owen County Art Guild.  Although she’s been an artist all her life, Lisa began painting only a year ago and All Dressed Up was done recently, eight months after she took up painting.

An oil on canvas, Lisa painted it using a “selfie,” a term used to describe a photo taken of oneself using a smart phone.  “The day I took the picture,” she said, “I’d been cleaning my house and had found things I’d forgotten I had.  I started putting them on—dressing up, which I love to do—and taking pictures of myself.  I used the selfie to find out if I could paint a portrait.  My goal is to paint a portrait of my late grandmother for my dad, as a gift.”

When Lisa, a pre-school teacher, joined the art guild, and then the Partners in Painting class a year ago, her artistic interests already included playing the cello, creative writing, sculpture, sewing, knitting, and photography.  As a ten-year-old, she remembers picking up a Polaroid Instamatic and taking her first picture, in which, according to her Great-Uncle Gerald, she’d cut the heads off the people.  Nevertheless, for Lisa, it had been the most exciting thing she’d ever done and, she said, “As a teenager, I got my hands on a camera that used real film!

“I love photography so much because I want to shareWailing Tree the beauty of the world with people who think they don’t have time to look, to see it.  I’m a photographic opportunist—I stop and capture anything that makes me go ‘Oooh!’”  The subject of Wailing Tree, a black & white, 8 x 10 photo, grabbed her attention in that way:  the tree looked as if it were in agony, mourning in a graveyard, in the fall of 2012.

“Art, for me, is emotive,” Lisa added, “it’s not aboutBroken perfect technique.  If a piece of art connects emotionally to anybody, it has fulfilled its purpose.  Broken, another of my oils, was my response to somebody—somebody I care deeply about—whose heart had been broken.  And I had the opportunity to see this piece of art connect with another soul.  To witness that moment—when my work touches somebody—is amazing.  It is an honor.”

Wearable ArtLisa also creates tie-dyed clothing, what she refers to as “wearable art.”  She loves the medium because, she said, “It’s always a surprise!  You bind it, dye it, and you have to wait twenty-four hours to see it.  It’s like Christmas every time I wash out a new item and see it for the first time.

“Something I love about being a pre-school teacher,” she added, “is that I am immersed in art every day.  I also get to share the love of art with the children in my class.  We paint, sculpt with play dough, write stories—it is a wonderland for the creative.  I had the title of the messiest teacher they had ever met.  Then, later, I got the phrase “you can paint with anything” attached to me through one of our in-services.  One of the things that drives me crazy is that, when you walk down a hallway at a school or preschool, and all of the art on display looks just like the one next to it, you know those kids were not allowed to express themselves but, instead, told how to do it right!

“Art is an extension of who I am.  I use more than one medium to express myself because, if you feel blessed with a creative spirit, why would you ever want to limit yourself?  My question to you is, ‘Why not?’”

Lisa Shelton’s artwork is a part of the holiday show at the Owen County Art Guild;  the guild is located at 199 West Cooper Street, Spencer, IN.  Her artwork, as well as those of all the artists featured in this series, can be seen in color online at http://www.lauraleffers.wordpress.com.  The guild’s phone number is  812-829-1877;  Lisa can be reached by e-mail at:  always2dye4@yahoo.com.

Art Works for Edith Decker

Edith Decker & Santa RestingEdith Decker has done creative work—she’s a homemaker, a fine baker and cook and, together with her husband, raised six children.  She’s worn many hats but none, until now, looked like an artist’s beret.

A year ago, she looked up from a table at the Owen County Art Guild, where she was attending a writers’ group meeting, and noticed the paintings on the walls.  She said, “I thought it looked like fun, and decided to try it.”  She started art classes the very next week.

Edith is seen here with her most recent artwork, Santa Resting, an acrylic painting done on a recycled book back.  She admits to having a light-hearted approach to her subject matter, and often tries to find the humor in her work.  “He’s resting up, getting ready for his big sleigh ride,” she said.

Her first painting was In Bloom, an oil on canvas which she In Bloominitially didn’t like.  Barb Bauer, the teacher, insisted that she stand back and look at it from a distance, and Edith found herself seeing the work differently.  The exercise made her want to paint another canvas.

Bear in a Field of FlowersHer second painting was another oil, Bear in a Field of Flowers.  “It was hard,” Edith said, “especially the eyes and nose.  I painted it from a photo of a bear in the wild but, instead of portraying the background realistically I did it intuitively, and it began looking like a field of flowers.  I love flowers, so I used it.  I thought the bright colors worked well in this painting.”

Another light-hearted example of Edith’s work is In MyIn My Dreams Dreams, acrylic on canvas, which was painted from an illustration in a children’s coloring book.  “I thought my grandchildren—or any children—would like it,” she said.  Most of Edith’s work is whimsical, in fact, or humorous.  She often uses subjects close to her heart, like her cat—painted with a wide-brimmed, garden-party hat.

“I didn’t know if I could paint,” she said, “but I wasn’t intimidated.  People—like my kids—seemed surprised when I started painting, but now they think it’s a good thing.  I’m fine with the challenge.  If I don’t like something, or if I make a mistake, I just paint over it.  Barb is really good at helping me learn.  I think a lot of her.

“I can quit painting for a couple of weeks, and then I get the urge to paint again,” she added.  “I just want to go back—I really love to paint!”

Edith Decker will show her artwork at the Owen County Art Guild’s holiday show;  the guild is located at 199 West Cooper Street, Spencer, IN.  Her paintings, as well as those of all the artists featured in this series, can be seen in color online at http://www.lauraleffers.wordpress.com.  The guild’s phone number is  812-829-1877.