watercolor tutorial

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My criteria for the Perfect Fall Leaf is that it contain every color of the season in one feuille. Obviously, as soon as I laid eyes on this beauty I knew I’d found perfection for this year’s Annual Fall Leaf Painting Tutorial (2013).

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If in previous years you’ve followed my Annual Fall Leaf Painting Tutorial, you already know that after I’ve laid my leaf on 90-pound Canson watercolor paper and traced its entire outer edge, I divide the leaf into its “cells”. The secret to painting a Fall leaf is to paint it cell-by-cell.

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I am using size 0 and 00 brushes and my cute little set of Windsor Newton watercolors here — the colors are very bright and rich. Let the watercolor dry throughly before you start a new cell.

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This way, you can let the paint colors bleed into each other within each cell (see below, I’m letting my yellow paint bleed into the green)…

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…and still keep all the other cells clean and bright and not muddied-up as you add to the leaf (cell by cell):

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I’ll just let you watch for the next few frames as I paint in details, cell by cell:

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I have to say that I find Fall Leaf Painting to be very relaxing, especially when I add the tiniest details.

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The great thing about Fall Leaf Painting…

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…is that in the end, you have a leaf that will never fade or crumble or get disgusting looking (tea bag included for scale):

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This is what happens to your Fall Leaf the day after you finish painting it, poor thing.

This is especially true with oak leaves! Hoo boy, nothing dies faster and uglier than an oak leaf. That’s why I was overjoyed when I found an unusually ripe oak leaf this year and was able to paint it before the poor thing went the way of all fallen leaves.

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For more Fall Leaf Painting Tutorials, please check the Archives of this blog under Watercolor Tutorials. Sure, you might have to wade through some Cat Painting  and a lot of Garden Painting  and loads of Watercolor Failures that I’ve posted from time to time…but enjoy the browse and if you care to send me a note you can always reach me at vivianswift at yahoo dot com.

 

 

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So, it’s Friday evening and I’ve poured myself a nice cold of  Pinot G., and I’ve met my deadlines for the week (yes, Dear Readers, sometimes people actually pay me to write.) and you and me can discuss the crucial issues of the day.

Namely, Summer is over. I watched it go, sitting in my backyard, at 4:44 pm Daylight Savings Time on the Long Island Sound Sunday, Sept. 22. More of a bummer this year than usual.  Don’t get me started.

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I did not pick up a paintbrush this whole past week (spent all my time wordsmithing, you know) but I do have  something worthy to show you from a spot of painting (let us all now assume English accents) from yonder fortnight.

Two weeks ago I was working on an illustration of the beloved children’s tale, Peter Rabbit. Beatrix Potter is my idol when it comes to illustration, and I  have a chapter on London Gardens in my work in progress, the Damn Garden Book, so I was not going to miss the opportunity to reference my childhood infatuation with All Things English, starting with Peter Rabbit.

You know the story. For my illustration, I had to get the lay of the land, namely farmer MacGregor’s garden:

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The wondrous Beatrix illustrated it as a walled garden on the edge of a woods. And my favorite scene:

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Voila, Le Chat. (they call them moggies in England, by the way.) See how this ties into our whole Paint a Cat saga?

So, here is my interpretation of Peter Rabbit at this most crucial part of the whole story of Peter Rabbit:

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(I have blocked out the left hand side for future text, FYI.)

As soon as the paint dried on this thing I knew there was a problem with the cat but I didn’t know what.

I put it away for 48 hours, took a fresh look at it, and it hit me like Thumper:

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The cat’s head is too small. Of course!! That’s why it looks more like an ermine than a C-A-T.

But the thing had already been painted, and it’s watercolor, so o lordy, what to do?

I am now going to tell you, Dear Readers, a Trick of the Trade.

All I did was paint a new (right) cat on a separate bit of Canson 90 pound cold press paper (the only paper I use — I love love love this paper) . Then I cut it out, and glued it over the ermine, like thus:

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Here’s a close up:

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I know from experience that when this picture is scanned for print and published in a book, the fact that it’s a cut out will never register with the reader:

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In fact, if I am not about tell blab about it right now, you probably would never have noticed that Peter himself is a cut out, pasted in front of the MacGregor garden in the background:

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And you know what? I feel A-OK about this because I have recently discovered that our darling Miss Potter did the exact same thing back in the day when she was watercoloring her way to immortality.

Take a look at this illustration below:

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See that DoG? Look closely:

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Look closer:

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Yep. He’s a cut out. Underneath that Pomeranian, probably,  is some small-headed Pug that gave the delightful Miss P. second thoughts.

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And if Miss P. can do it, then I can do it.

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Last Sunday Top Cat took me into a magical woods on the southern shore of the Long Island Sound…
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…otherwise known as The Gold Coast of Ye Olde Long Island…

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…where Ye Olde Money of yore transplanted ancient yew trees from the Olde Worlde to make Instant Stately Homes (now gone to ruin)…

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…and where the haunted forest is reclaiming ye olde acres of lawns into native wild flower meadows once more…

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…where I came upon  yon ancient cottage…

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…which beckoned me to pause…

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…and consider its perfectness as a refuge from the madding world…

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…where I could gather inspiration from nature and light and where cats could roam free…

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…but there was just one little problem…

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scale.  For this magical realm goes by the name of The Muttontown Preserve (I’m not making this up) and it encompasses the last American address of — I’m not making this up — King Zog, the last, deposed monarch of Albania and I conjecture that ye Ole King had a young Princess for whom nothing would do but she had a play house in the American Colonial vernacular.

I can not tell you how much I want this house. If you hear about some crazy cat lady claiming that she is the reincarnation and rightful heiress of the late great King Zog — that’ll be me, staking my claim to this itty bitty ranch house in Muttontown. I’m not making this up.

But speaking of crazy cat ladies…

…it’s time to draw us some kitty cats!

OK. Here’s how I decided was the best way to share my minuscule amount of knowledge of the visual arts, of which I am not a certified practitioner of.  First, I am going to show you how I draw a cat from memory:

I start with a bottom-heavy oblong shape:

 

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Then I add hips — by the way, I’m doing this from memory to make a point:

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The point is that since I have been looking at cats my whole life I have internalized the basic structure of Le Cat:

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And as you can see, the basic structure is no more complicated than that of a snowman:

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So really, when I paint a cat, I don’t actually have to sketch out this blueprint — it’s already “on the paper” before I pick up a brush:

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But I am showing you the building blocks that I visualize when I look at a cat:

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And when I say “sketch”, I don’t mean make those crappy wispy wimpy scritching marks that a lot of people do when they “sketch” — I mean commit yourself to making a strong, unequivocal line:

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Voila, The Cat. Now, to make a cat head on, you use the exact same strategy…but let’s go through the basics of the dear little kitty face:

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Got it?

OK. So, now we’ll make another snowman:

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And we’ll erase some lines to make the kitty face front:

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And, voila:P1190796

Kitty Cat.

I hope you can see that drawing a cat isn’t all that hard. But it’s something that every cat lover should know how to do, in case of emergency:

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I like this kitty’s little smile. But really, those ears? That tail? Those dangling front legs?

I got this Lost Cat poster from a new book that I just started reading:

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It’s very cute and I recommend it. But it got me thinking….how can I apply my cat-snowman lesson to a real life cat?

So I found a really cute cat from the internets:

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And now all I have to do is interpret this cutie as a kitty snowman:P1190786

You see? All I had to do was  get the basic building blocks of this sweet kitty to start her portrait. Again, I have to say, this is a drawing of what I usually only visualize before I start to paint. It took me a long time before I understood that the time I spend just thinking about what I’m going to paint before I paint makes all the difference between a good painting and one that is a crap shoot, so yes, I spend a fair amount of time visualizing. I’m just saying.

Next, I picture the particular markings that make this sweet kitty her own self. She’s a darling tuxedo tabby, which in my mind looks like this:

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Then I plot out where the dark and the light spots are:

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And now I’m ready to paint.

Which I will do next week. I will paint this adorable sweet kitty girl and show you how I do it, brush stroke by brush stroke.

However, if you are new to cat painting, you can draw your kitty like I did, and do a nice watercolor wash over your pencil drawing and it will look really nice too. I would have done this to my pencil drawing here but I ran out of time this week. SORRY.

And now, for the Winner of our fabuloso Elizabeth Gilbert The Signature of All Things Give Away:

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Top Cat picked : Melissa! Melissa, please send me your snail mail address at vivianswift at yahoo dot com and I will send you this beautiful book a s a p. Melissa is a new dear reader — welcome!

 

 

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I had a really bad idea last week.

But first, a quick digression: Check out this window of W H Smith, the largest English bookstore in Paris, on the Rue de Rivoli (did I mention that it’s in PARIS? As in PARIS, FRANCE?): photo-5

See that book on the right? SEE IT?!?!?!? I’m so excited. I know this bookstore well and I NEVER thought I’d ever have a book in the window! (In my mind, I am buying everyone in the world a glass of champagne because I’m so happy!)

Thank you, Carol Gillot of Paris Breakfasts for sending this spiffy photo.

As I post this, Top Cat and I are on the road, taking a little 300-mile mosey around the Delaware Bay area on the east cost.

We left the Isle of Long via the Williamsburg Bridge…

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The most beautiful skyline in the world.

…and then we drove down the Garden State Parkway through the Garden State (Surprise! It’s New Jersey!) which is a drive that we love because, for one, the Garden State Parkway…

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…is planted with  fields of wild cosmos…

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…and leads us to Top Cat’s favorite playground…

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…Atlantic City. I, too, love AC because I get to say howdy to my favorite feathered friends on the boardwalk:

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This is what my feathered friends look like one second after all the french fries that I was feeding them are gone.

Other sights from the Delaware Bay:

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Somers Point is NJ’s best kept secret.

 

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Rose-Marsh (not Marsh-Roses, which would make more sense) in Cape May, NJ.

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Ochre-colored wooden door with louvres on colonial house in Smyrna, Delaware.

Our hunt for secret gardens took us to the perfectly preserved Revolutionary village of New Castle, Delaware:

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But even on a road trip, I haul my Damn Garden Book-in-progress with me:

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That’s me, working on the London chapter of The Damn Garden Book from the 16th floor hotel room of The Water Club at Borgata Casino in Atlantic City.

The Damn Garden Book got one step closer to publication this past week. I finally got my first three chapters illustrated and written and I submitted it to my agent — I do not “workshop” my writing; I re-re-re-re-rewrite it until I think it’s 99% of exactly what I want (I never get to 100%) and then I show it to my agent. Her feedback was very positive and she thought the book was ready to submit to Bloomsbury as is. So the manuscript is at my editor’s at Bloomsbury now and as soon as she approves the concept, we’ll negotiate a publication date and voila: the Damn Garden Book will be a reality.

One thing my agent observed was how much my painting has become more sophisticated. Well, I said, that’s what happens when you paint every day — you can’t help but get better. For example, here’s a little tiny illustration that appears in my first book, When Wanderers Cease to Roam (Bloomsbury, 2008)…it’s on page 45 for those of you reading along.

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I drew this little illustration from reference photographs that I’d taken of my old, pre-marriage-to-Top-Cat kitchen:

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Photo montage of my dear old kitchen.

I loved my old kitchen. It had a corner, as you can see, that was just right for turning into a shrine to my love of all things Tea. About a year ago I re-did this illustration, expanding it to a full-page illustration. First, I drew it all over again:

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And then I painted it from scratch:

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I also changed cats — in the first illustration I put my cat Honey on the table — in this new illustration I put Woody Robinson on the table, in his favorite place: with his head under the lampshade.

But I can not leave you without a painting this week! So, seeing as it is August, my favorite month of the year, I’m re-running a favorite post from 2010 that I call: Painting August.

 

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So until next Friday, I hope you’re all enjoying the best month of Summer with road trips real and imagined.

Have a fab weekend.

 

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Yes, we will be painting together in this post just like olde tymes.

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This is my first try at painting the Chelsea Physic Garden deep in the heart of London. Yeah, it stinks. Those buildings do NOT look like multi-million dollar Victorian townhouses that comprise one of the UK’s most posh neighborhoods.

 

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This is attempt No. 2, where you can see how I tried to be more “impressionistic” with the buildings in the background. Yeah, this stinks too. But I was hoping the flowers in the foreground would save me. They didn’t.

For the record, both these paintings STINK.

And then, I suddenly remembered that I’d already solved this problem once before in my ow Damn Garden Book:

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This is the title page for the Edinburgh chapter. Note the city skyline in the background. Duh.

So I sketched out the buildings that surround the Chelsea Physic Garden in London…

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The next several pictures will be of my renewed attempt to paint the Chelsea Physic Garden but I’ll tell you right now (spoiler alert) that it doesn’t turn out right:

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I like the white space here. I’m going to work with this look later.

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I call this Failure No. 3

Unfortunately, this (see above) is not how the Chelsea Physic Garden is laid out. Those of you who have been to this lovely 4-acre walled garden founded in 1673 by the Worshipful Society of Apothecaries as a teaching garden where medicinal plants were cultivated will know that I’m trying to paint the quadrant known as the Systematic Order Beds, which actually look more like this:

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I call this Failure No. 4

There still isn’t something quite right. So let’s have one more go at it:

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Failure No. 5

BUT AT LAST!!!!  Ifinally got the Chelsea Physic Garden that I wanted. This picture (below) only took about four hours to paint, not counting the four previous attempts that cost me about 20 hours of my life. Fact is, I’m a better miniaturist when it comes to painting gardens…

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I prefer to tell visual stories in little bits at a time…

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Writing and painting are similar in that to get anything done, you have to be very sensitive to your shortcomings and avoid any picture or paragraph that lets those shortcomings hang out. By painting or writing to your strong points, you develop a style that is uniquely your own. The next series of pictures is of me painting a typical London view, but painting it in a way that highlights my strong points (and hides my weaknesses). Notice how I work front-to-back in this one:

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By the way, I later added people walking on the sidewalk to give a sense of scale. This is the actual view from my friend Wendy’s brother’s flat in Knightsbridge:

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Since I already know that I can’t paint architecture, I’m going to leave those buildings white. Voila: a style.

This tactic seems to work well for London…I wonder how it will work for Giverny? Because I have my heart set on painting this view:

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Ahhhh…the “paintbox” flower beds.

It might even be my nxst Triscuit. Which reminds me! We have a Triscuit to give away!! 

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WOW! I had to ask Top Cat to pick a number between 1 and 56…56!!!  Your Comments were just great last week and I’m still re-reading them  (a Van Gogh Triscuit must be in my future) so thank you, thank you, thank you to all who left a word or two. And just to show you how unpredictable Top Cat can be, when I asked him to chose that number of which he had 56 to choose from, he chose…Number One. So this Monet Triscuit goes to Carol Wall of Vancouver! (Carol please send me your mailing info to vivianswift at yahoo before this Comment section closes at midnight Tuesday, July 2/3!!)

Next week, we head out on another road trip. We’re going to see this garden:

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It’s time to go to Marrakech!

 

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Some days, nothing works out the way you planed. But…P1150574…if at first you don’t succeed, or if at second, third, and fourth you don’t succeed (see above) then pour yourself a nice big gin and tonic and sit around listening to sad songs (I prefer old Motown, the Temptations Since I Lost My Baby and the like) and feel sorry for yourself and seriously consider writing novels (ewwwwwwwwwww) or anything that doesn’t require having to come up with  illustrations, and then take two aspirin AND START OVER AGAIN.

Yes, dear readers, I preloaded my post today before I went to France and it’s a good thing I did because it turns out that I hate blogging on my iPad with a PASSION but before we continue with our previously recorded program (still in NOLA, watercoloristically speaking) here are some pics I took on the aforementioned iPad to show you the beautiful weather in Paris:

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My hotel room in the 6th arrondisement came with this:

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I took these pics with my ipad and boy do I hate blogging on this thing.  So that’s all the Paris I can give you for now, but do read my friend at ParisBreakfasts for her report on my arrival on her home (Paris) turf!

For today please enjoy the following tale of watercolor redemption, and take heart. Sometimes it’s necessary to paint ugly in order to get to the less-craptastic stuff.

Let’s get back to this:

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The problem, it dawned on me after four really awful attempts at painting a most beautiful garden in New Orleans (see above), was that I had  gotten hold of the wrong concept. My original idea for this garden was that I would illustrate it in a  format that I call a “squint”.

The format had worked well for me throughout Le Road Trip, where I used squints frequently:

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These squints — the long, narrow strips of paintings that I used (above) were a lot of fun to do and I think they are vey successful when it came to illustrating France. For the Damn Garden Book I had planned on using vertical squints, rather than the horizontal ones in Le Road Trip:

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This is my thumbnail sketch for a two-page layout using vertical squints. But as you can see (way above, those crappy 1st, 2nd, 3rd, and 4th attempts) it was NOT working for me in regards to this fabulous New Orleans garden I was trying to  paint.

And then I realized that I’d gotten the wrong point of view. Not only were the squints not going to work, but I’d been painting the garden from a very boring full-frontal point of view. You see, the most important feature of this garden path that I’d been trying to paint is the garden gate that had been imported from France, but I’d been depicting it straight-on:

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Oh lordy, this stinks. It does no justice to the story I am trying to tell about this garden. It looks fake fake fake fake.

Luckily, when I was visiting this garden in New Orleans, I had taken many reference photos of this gate so I went back to the drawing board and re-did this gate from an entirely different perspective:

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So let us begin again.

First, I apply masking fluid with my trusty toothpick in the itty bitty bits:

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I use the tip of a paintbrush to apply the masking fluid over the bigger bits:

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When I failed to draw a pleasing mulberry tree branch in the upper right hand corner the first time…

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…I erased it and drew it again, but it was still too gormless to keep:

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So on the third attempt I got a decent-looking branch drawn, and I sketched in leaves.

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I put masking fluid on those leaves and I’ve ever done this before and I have no idea how it will turn out. We’ll see. But I’m already a bit discouraged. This picture as given me a lot of trouble and I’m in a bad mood. So, while the masking fluid dries, I go make myself a cup of tea.

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I want a fancy-colored sky here because this illustration is more about mood (it’s New Orleans, baby!) than meteorology.

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Quickly, I do the wet-in-wet background foliage:

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Even when the paper is only damp, you can get nice little bleeds:

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For brick work I mix two colors of Grumbacher paints with two colors (brown and burnt sienna) of Windsor Newton, for richness:

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See how there’s a Triscuit in the middle of this picture?

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For the Tahitian Dawn Bougainvillea in the foreground I dab pink, orange, and red in wet blobs:

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I lay down a base color for the garden path:

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The stuff behind the garden gate will be tricky:

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Now, for the rambling roses that are big pom poms of bluey-pink:

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Dirt here:

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So far, so good. Now, all I have to do…

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…is peel off the masking fluid and not screw up painting the gate.

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To heighten the rich brown color of the wooden gate I mix blue…

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…and brown directly on my paintbrush…

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…so when I apply it to the paper I get a wonderful bluey-browness here:

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Now for those mulberry leaves, which I have  no idea what I’m doing,  I pray to the big DoG that I won’t blow it this late in the game:

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Exhale. They look OK.

For the lantern I intend to use an old trick I’ve been using for years.

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You have to use Grumbacher paints for this trick, because you need the chalk that makes their colors so matte. I first apply a layer of yellow Grumbacher, and then I make an edge of darker orange and I let it dry thoroughly:

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Using very clean water, I then use a wet brush to pick up the paint in the center:

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And we are DONE:

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I hope you can see how the lantern “glows” from the way I “erased” a bit of the yellow/orange paints. I decided to leave certain planes of the garden gate white — that is, blank paper — because I think the white bits make its unusual shape  pop more this way. It’s also very attention-getting and this gate is really the subject of this picture in the first place.

Oh yes, I am much happier with this point of view than the one I tried, and tried, and tried, and tried to make work before. Right?

I will still be on the road next Friday, so there won’t be a “live” post here, but I could maybe take you on a tour of my work space / studio, which is where I keep my paints, paper, feathers, files, and threads:

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Yes, long before I painted gardens, I used to embroider them.

So if this sounds interesting to you please leave a Comment below…or otherwise I’ll just wait until my return on May 24 to throw something together if I’m not toooooooo jet lagged. Studio tour? Yes or No?

 

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Yes, that’s me, trying to paint New Orleans. It was not a happy experience.
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But first — Cat News!! There has been a  recent appearance of a possible new member of our herd of backyard cats:

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This handsome fella has  shown up on the back patio for breakfast a few days this past week in spite of the fact that Bibs and Taffy get all North Korean on his ass every time they see him. I call him Newton. Hey Newton, if you’re reading this, I got some cat nip just for you (at the end of a Have-A-Heart trap).

Now, what is this I hear  (from Rachel and Sarahsbooks in Comments to last week’s post) about The Bed-book of Travel???

First of all, I thought I had written the bed-book of travel…

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…to be put bed-side for excellent late-night reading.

But it seems that somebody else, namely Richardson Wright, beat me to it in the 1930s:

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The Bed-book of Travel is a collection of short pieces to be read (preferably in bed or berth) by those who have been places, those who are going somewhere, and those who have wanted to go; Together with seven travelers’ tales. This book is now very rare and the one copy I found on-line last week for sale for $70 is already gone. I snoozed and loosed because I spent a few days mulling over this purchase, wondering if I really wanted to read this book seeing as how, if it turned out to be soooooo much better a bed-side travel book than mine, I will want to quit writing/illustrating bed-side books forever.

But the book that I really dread reading is this one:

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This is Richardson Wright’s 1929 Bed-book  about gardening (in paperback re-print from The Modern Library) which I  am awaiting delivery of, and if it’s half as good as its reviews say it is I AM TOAST. And not a nice slice of hot-buttered whole wheat served with a steaming cup of Assam tea kind of toast, nope. I mean a hunk of cardboard-like salt-free rancid Melba that’s been sitting in the cupboard leaning on the stack of Size D batteries waiting for cassette playing boom boxes to come back in style  kind of toast.

I wanted my Damn Garden Book to be THE go-to gardening book for reading in bed…but if it’s already been done I might as well retire my paintbrushes and take up something useful.

Useful, like dancing all day in the French Quarter with my own dear Top Cat.

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Ah, Love of my Life, nobody does a Grateful Dead-inspired free-form solo version of  Zydeco Swing  like you:

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Well, seeing as how I am not yet a reclusive former bed-side travel / gardening book writer  illustrator, I better get with the travel / gardening book illustrating. It’s time to do New Orleans!

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This is the pencil sketch for the full-page illustration that will start the NOLA chapter. It is designed so I can drop text into the middle of it. It is rare (never) that I use a ruler to draw a scene but in this case it was unavoidable with all those necessary straight lines of wrought iron railings and all those pesky perspective lines to get right. To answer Laura’s question from last week, I never attempt to erase pencil lines once I’ve put watercolor over them. It’s impossible to erase thru the pigment. Most times, tho, I don’t mind seeing a little bit of pencil in a painting because it is a ver authentic part of painting.

When it comes to erasing the watercolor, however, I have been known to use a nail file to clean up very small bits.

First, I painted in a quick bit of background architecture in pale blue, to represent a white building in bright sunlight (which will become more evident later in the painting):

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Dab in the background greenery:

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Working wet-in-wet I dab in the pale greens and add detail until I like the shape of the foliage:

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Commentor Judy Jennings asked about getting “natural” shades of green. To tell you the truth, all my greens are unnatural in that I edit nature all the time. My shades and hues are mostly close to the scene that I’ve observed, but if I need to lighten bits up and darken others for the sake of the picture, I do it. I also edit the shape of foliage all the time — see above. I make it a pleasing shape for my composition first, and true to nature second.

My biggest guess regarding Judy’s question about getting a “natural” paint color is that you must always keep your water CLEAN. I constantly dump out my water and get clean fresh stuff. Especially if I am going to mix yellows into green I always get a brand new glass of water. And if I have to work wet-in-wet with lots of yellows AND greens I have two glasses of water handy, one for rinsing the yellow brush-fulls and one for rinsing the green brush-fulls.

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For shadows I use blue with a bit of burnt umber mixed in it instead of black or grey:

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Now I use masking fluid to cover the table and chairs so I can cut loose with the stuff I want to paint behind them:

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While waiting for the masking fluid to become bone-dry, I do the middle-ground stuff:

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I pretend the table and chairs aren’t there and paint the railing-drapping greenery right over the masking fluid:

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I could never do this without masking fluid. Well, I could, but it would either look bad or would take me forever to paint:

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Fore ground:

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Peel off masking fluid, paint what is revealed underneath:

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Even down to the stems of the wine glasses, which I measured or you and are three millimeters high:

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Take a look, and add whatever else this picture needs:

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Not there yet::

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THERE:

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I Hate It. This will definitely require a re-do!!

So now I’m off for two weeks in France: Paris and Giverny; then to Marrakech to see the Majorelle Garden. To give you a preview of the two posts that I have for you in the queue, next week we will see how I manage to paint four really, really, really, really hidious stoooopid pictures of my New Orleans Fragrance Garden…

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…before I happily get it right finally (no, that’s not it above — this picture above stinks!!!!) ; and then the week after that I give you a tour of the knicks and knacks of my workspace:

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I will have my iPad with me in France etc. and Carol of  the highly chic, fabulously popular  Paris Breakfast blog is going to show me how to post from any cafe … so I might be able to send you all a few pictures and a quick update while I’m on the road.

How much you want to bet that what I post will be photos of great French cats?

P.S. Comments on this post will close after five days (nothing personal; it’s the spam, and closing Comments after five days keeps the spam to a manageable level of about 3,000 messages per week).

 

Next time we meet, one of us will be in Paris!!

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Winter, Spring, Summer, Fall

ChrisHanKwanSolstice love for all.

Happy Holidays, everyone.

 

For this year’s holiday card I did a four-panel ode to the four seasons:

 

Something old, something new, something borrowed, something blue is a good recipe for art, too…I took two of my favorite paintings of the beautiful Long Island Sound in Winter  from my first book When Wanderers Cease to Roam and I added new paintings of my own backyard in Spring, Summer, Fall, and Winter again to give a panorama of the entire year that begins and ends with a celebration of this dreamy time of year when we give ourselves a new beginning, a fresh start, a whole new energy to create, to accomplish, and to share the best of ourselves. Right?

I do hope all you who put your names on my list enjoyed receiving your 2012 ChrisHanuKwanSolstice card — I had to make it special this year, for all your kind reviews of Le Road Trip on Amazon and Goodreads.  Merci Mucho to you all, and since we’ve have a lot of new readers joining us I thought I’d show my gallery of ChrisHanuKwanSolstice cards from the past:

2007  —  Wanderers in the Wonders

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2008  —  Comforts of the Season

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2009  —  Long Night’s Moon on the Long Island Sound

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2010  —  Praising the Light

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2011  —  All is Calm, All is Bright

***

Have a wonderful holiday, everybody, and a fabulous Sostice, and a happy happy New Year —

and I’ll see you back here on January 4, 2013!

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Already these mornings are dark when I make my first cup of tea of the day.

There goes another Summer.

This week I even held my hands over the stove to warm them up while I waited for the water to boil — first time since last April. And I automatically put on a fleece when I head out to the backyard to give the wild cats their breakfast.

Yes, that’s the Sumer of 2012 behind you already.

I have a sudden craving for hot soups and thick blankets and new notebooks. Yes, those are the signs of Fall alright.

Top Cat on the shore of the Long Island Sound on the last Sunday of Summer

That’s the last we’ll see of lazy sunsets until the next Equinox. From here on, sundown means business:

The skyline of Manhattan across the Long Island Sound. To the far right: The Empire State Building; to the far left, the Freedom Tower, 104 stories above Ground Zero.

Get yourself squared away and tucked up for Winter! Projects! It’s time to set some goals, make some self-improving agendas to get us through the dark days ahead!

 Or you could do as I do, and just make sure there’s a case of champagne ready to set out, bottle by bottle, in all those lovely Winter snowdrifts to come.

But whoa, I’m getting ahead of myself. There’s still plenty of work to be done before we can knock off for our longWinter nap. I, for one, have a Key West garden to paint (continued from last week).

As you know, Key West is lousy with two things: cats, and sunsets. So whatever you paint in Key West has to have a sunset:

HUGE — this sunset is HUGE: 12 x 18 inches (two-page spread)

Painting the ocean was a bit trickier, but with practice…

Try, try, try, try, try, try, try, try, try, try again.

…I finally felt ready to commit:

So far so good

Now all I had to do was not screw up the beach. Which I did…I painted such an ugly grove of beach trees (not palms — Australian Pines) that I can not even show you, it’s that ugly. So here’s how I salvaged this illustration:

Smoooooth moves

I simply painted a new verso side of my two-page spread, and then painted in ONE silhouette of an Australian Pine:

I’m like a secret agent, with license to cheat!

When you see this illustration all cropped and tidy in my Damn Garden Book, you will never even suspect that it’s a “marriage” of two separate paintings. And that, my dear readers,  is how you finesse it when you are too ham-handed to paint a grove of Australian Pines on a Key West beach. (And I actually improved the coastline with that fixer-upper painting, IMO.)

Did I hear someone say “That Vivian! She’s like a 007 of the art world!!”

Christie’s London has sent me their spiffy fat catalog of their upcoming James Bond sales on Sept. 28 and Oct. 5. I guess I’m on their radar for Hollywood collectibles because of the bidding war I waged for one  of Elizabeth Taylor’s fabulous caftans at her estate sale in New York last year (read all about that here).

Posters

There’s memorabilia and movie props from every Bond movie for sale, from Sean Connery…

Sunglasses from Quantum Solace, $3,000 – 4500. You should see Lot 49: Daniel Craig’s swim trunks!

…to Daniel Craig. There’s Bond cars, Bond tuxedos, Bond hotel mementos, Bond Girl frocks, etc. Here’s the thing: because I am a VIP, I was able to get another copy (rare in the US) of this cool catalog FOR YOUSE.  I expect that this catalog, like the sales catalogs for the estates of Elizabeth Taylor; and Barbra Streisand and Frank Sinatra (in both of which yours truly played a bit part as Faberge expert and horologist at Christie’s…I could tell you stories), Diana Princess of Wales (private showing of her gowns that went on sale just a few moths before her tragic death) etc. will become a collector’s item in itself.

So if there is anyone out there in Vivianworld who would like to have a 50 Years of James Bond The Auction catalog ($50 value), please leave a Comment below (or, leave a Comment even if you don’t dream of owning Daniel’s Craig’s swim trunks). I will leave this offer open until Wednesday, Sept. 26 to give every reader a fair shot, and then Top Cat will pick the winner at random from those of you darlings who have volunteered to give this book a good home. We will notify you then, to get your mailing address.

And until next week, when we will all be in Full Fall Mode, I hope you’ll all take the opportunity to wave good-bye to the last Summer sunset of 2012.

Another sign of Fall: Top Cat and I have already begun our Fall/Winter/Spring argument about whether it’s too cold in the house or OK just as is DON’T TOUCH THAT THERMOSTAT.

 

 

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