In my still life paintings, I begin with a charcoal drawing to achieve accurate proportion and to decide on composition. I create a color study, identifying the interaction between light and the objects it illuminates. In some cases, as in the eggplant and tea pot paintings, complementary colors (opposite each other on the color wheel) are utilized. I use the same ink-in and color study steps as in a portrait.
I studied watercolor painting with Bainbridge Island artist Claudia McKinstry. To date, I have used watercolor for large flower paintings (22" x 30"), beginning with an under-drawing in graphite. I enjoy working with the play of light and shadow on brilliant colors, and "coralling the light" by surrounding lighter objects with darker hues. The darkness of the background determines, for example, how dark the shadows of a light object can be painted. I make the background indistinct to enhance the crispness and detail of the flower.
