About Doris Joa

My name is Doris Joa and I am an artist from Germany.

My mediums are watercolor and oil. One of my special favorite subjects are Roses and figurative work. I paint roses and also other flowers in oil and watercolor. Beside Pansies, Rhododendron, Peonies, Daisies and Tulips, there are a lot of roses in my gallery on my website like Heidi Klum Rose, Sangerhauser Jubiläumsrose, Rose “Mein schöner Garten”, Rose Golden Celebration from David Austin, Rose Innocencia, Rose New Dawn, Rose Clair Renaissance, Rose Queen Mother, Rose Bonita Renaissance and more.

My goal is to paint in romantic realism. I am also doing figurative work, portraits, still lifes and in 2005 I have started a new series of colourful Horse paintings in oil. I also have started with doing postcard paintings in 4?x6? and other small studies .

I have a great passion for nature and her beauty and try to capture this in my paintings. The sunshine, the shadows, the light and the glittering of a raindrop I find most captivating.

I love it when people tell me that when they view my paintings they can smell the flowers, feel the velvet of the rose-petals and have the feeling of standing in a garden.

Please be sure to visit Dori’s website to learn more about her and to view more of her work.

Her websites:

http://www.dorisjoa.com/

http://romanticrosesinwatercolor.blogspot.com/

English is not this artists Native Language. She has tried her best to translate this demo to English, so please be patient and understanding. Thank you and thanks Doris for sharing this demo and for translating it to English!

Step by Step Watercolor Painting Lesson – “Heidi Klum Rose”

I have started with a new painting of the Heidi Klum Rose.

It needed some time with finding the right composition. This time I will have a lot of sunshine in the painting, especially later on in the leaves and in the background. Hopefully it works out the way I have envisioned it in my mind. I think it is always an adventure when you start a new painting and so exciting when you see the final result. I am often pleased and stunned by the outcome, but sometimes it doesn’t turn out the way I planned, but I always try for perfection.

Above are two photos . I was not able to paint very much and I needed to do a photo before it was too dark outside.
The first photo is the drawing, the photo is not the best. Sorry for that. The painting will be around 10″x14″ in high format. I paint on coldpressed 140 Lb Paper from Lanaquarelle (the same quality as Arches) and I paint directly on the block without stretching it. It works perfect.

The Heidi Klum Rose is a very pink/violet Rose. The petals in shadow have a dark violet/blue colour.

I am using the following colours:

Permanent Rose and Alizarin Crimson for the very warm areas, Purple Magenta is the “local” colour, which I also add to the warm and to the cool areas. Winsor Violet and a Mix of Purple Magenta for the cool areas and I add Helio Turqouise to this mix, when I want to have it darker. In the really dark areas I am using a mix of Alizarin Crimson/a bit of Purple Magenta/some Winsor Violet and a bit of Sap Green, these areas are not as cool so I leave out the Helio Turquoise there.

I must add here, that I am playing with the colours and when the colour is dry I often see, that it doesn’t look exactly as I intended it to look, so I may go over this area again and then add another colour from the colours above. I also do not always mix on the palette. ON some petals I simply wet the area and then drop the colours in that I want to have there and let them mix on the paper.

The leaves will bathe in sunshine later. There are leaves which are looking more green and some are looking really blue and for this green/blue I will use the Helio Turquoise. I love this Colour and since I know that I will use it on the leaves I am using it also in the Rose. I simply thought I would try it out.

When something doesn’t work, or the colours look terrible, I start over to try to make it better. Don’t be afraid to play with your colours – I cannot tell you how many times I started a painting over. But since I am not afraid to experiement, it makes painting much easier and more relaxing.

Not much has happened with this painting yet. I did have a visit from a very dear friend, which I have not seen for several years now and I took all the time for her which was possible. And the other day I was swimming with my kids and we all enjoyed this. Also I am still working on a figurative painting, which Work in Progress you may have seen on my other blog, so there was only a bit of time for this Rose.

I have painted more on the petals, using all the colours, which I mentioned before. But I wanted to spend some more time on the leaves. This gives me the feeling, that there is more happening on the white paper and I enjoy this. It also gives me a better feeling of what the painting will look like, so I am painting them here and there on the mainsubject and here and there on the leaves.

For the leaves I used aureolin yellow, indian yellow, sap green, phthalo green and helio turquoise. I also used some of the Winsor Violet in the leaves. I like the different colours on the leaves, to have some warm and some cool and some darker and some very light.

I was contacted by several people about my Demos of how I create my Rose paintings. I hope that my blog is helpful to YOU and gives you some inspiration. Please share it with your friends and link to my blog and when you have a moment, simply leave a comment. I love to hear what you think.

I have finally done more progress on this painting. This is the next step. I am still working on the background with all the leaves and I really like how the painting is developing.

I have worked more on this Heidi Klum Rose Painting. As you can see, I have made a lot of progress and I really love how the painting is coming along. I only hope I am pleased with the final painting. I started to add darks to the background. Within all the leaves (there are really many leaves) I think this works the best. The colors for the darks are Alizarin Crimson, Phthalo Green, Sap Green, Helio Turquoise, Winsor Violet, Ivory Black (but only mixed together with other colours) and here and there some Indian Yellow.

To integrate the leaves into the background I have at first wet the area, where I wanted to paint the darks around the leave and then I simply moistened my brush with clear water and wet the edges of the leaves. The result is that the still wet paint of the background runs over the leaves.

This eliminates hard edges and brings and blends the leaves into the background so that they are part of it.I really love the painting – the feeling of a hot summer day. So far, I have only worked with transparent watercolors and have not used any masking fluid. I have painted around the whites.But I also have to add when you loose some highlights it is always possible to add then maybe a hint of white gouache to save your painting.

Heidi Klum Rose, watercolor,
10″x16,5″, copyright: Doris Joa

SOLD

The painting of the Heidi Klum Rose is finished. I softened many of the edges, but I still need to take a closer look to see if I have forgotten any.

The greys in the background at the top are a mix of sap green with winsor violet.
When you compare this photo to the photo in the post before you will notice that I have painted over some leaves, which were too white, it didn’t work and my eyes were still wandering there, especially to the leaves on the right side at the bottom.

When I was finished with the painting I did at first a photo and looked to it at the monitor. This helped me to see how distracting the hard edges were. So I used a flat brush and softened them.

Here is a photo of this brush, this works really perfect.

In the next photo I just would like to show how the painting looks before with some hard edges and how it looks after softening them. This may help for the beginners to get a good suggestion.

You see in the left photo how distracting these edges are, here is a close up of the part which shows it much better. I think I should have done the photo then, before I softened the other edges and did think of showing this when the most were already softened. But I think you will get a good suggestion of what I mean.

Biography

Scott Burdick was born in Chicago, Illinois in 1967 where his mother and father early on encouraged his interest in Art. “I spent a lot of time in hospitals as a child and remember my mother showing me how to transform simple shapes like circles, triangles, and squares into objects like planes, helicopters, and fish. It seemed such a magical thing and made spending so much time in casts and on crutches much more bearable.”

In high school, Scott began taking life-drawing classes at the American Academy of Art under the legendary Bill Parks. “Though I’d always loved drawing, it was Mr. Parks who filled me with the enthusiasm and discipline necessary to improve my skills. His love of painting and creative expression infected us all.” After finishing the Academy, Scott continued his study at the Palette and Chisel Art club, where he met his wife, painter Susan Lyon. “It’s a wonderful thing being able to paint together all the time and grow as artists together,” Scott says.

His ideas for paintings come from everywhere. “What makes a subject attractive to me are the same things that attract us all. The beauty of a young girl, the character of a weathered face, the solitude of a farm at sunset, or even the story itself behind someone or something that makes it interesting.” Scott believes it is the job of the artist to recognize this when it happens, analyze why, and use his technical skills to convey the feeling to someone else. He notes that some paintings are as simple as stopping at the sight of something interesting, while others may take more time to research than to actually paint.

Today, Scott and Susan live in a rural area of North Carolina. Surrounded by forests and the foothills of the Appalachian Mountains, their house is a perfect resting place after the many trips they take throughout the world in search of subject matter to paint.

Artist Statement

“I see painting as both a way of exploring the world and then as the vehicle of sharing those discoveries with others. I travel to find subjects to paint as much as paint so I can travel and expand my horizons. Through this unique language, one can say things that are impossible with words.”

Scott’s Website

Be sure to visit Scott’s Website to see more of his work and to learn more about him.

http://www.scottburdick.com

Secrets of Drawing

Be sure to also check out Scott’s drawing video, “Secrets of Drawing”, where Scott discusses the technical aspects of measuring, values, shapes, and all the considerations in drawing a portrait. You will see two portrait demonstrations, in addition to numerous side examples to illustrate the various points covered.

Follow This Link for a Preview  of this Video

Ordering Details

Portrait Painting Demonstration – “Brittany”

Once I’d figured out the correct size of my canvas (26″ by 50″), I started with a few basic charcoal marks to place the head and make sure I had it approximately life-size. For this painting I didn’t draw out any of the features since the subject is simple enough that I can just paint and work out the details as I go. The main advantage of this approach is that it keeps you from painting up to lines and ending up with stale brushwork. To paint this way requires a great deal of drawing practice since you are basically thinking about your drawing and proportions with every brushstroke, rather than concentrating on drawing first and then painting next.

Here you can see the underlying, large shapes that I started with. I’ve already started laying in the smaller shapes of the eyes over the top of the tone of the face, but you can still see the underlying shapes of the nose, mouth and chin before the details of those areas have been placed. Getting these large shapes correct before going into the details are the most essential part of your painting.

Now I continue working out the medium sized shapes of the nose and lip area. Notice how I’m not dividing the lips along anatomical divisions, but by the large light patterns, treating the upper and lower lips as the same shape both in the light and shadow. Always start with the largest, simplest shape you can and then go onto smaller shapes on top of this.

Each new element that I add is carefully compared to what’s already on the canvas. To determine the exact placement of the ear, for example, I first held up my brush horizontally across the photograph and checked where the top and bottom of the ear came in relation to the eyes and nose. Then, to find out how far to the left the ear should be, I measured the distance from the side of the model’s left eye to the outside edge of the ear (on the photograph) and compared that unit to portions of the face I’d already drawn. For instance, the distance from the outside edge of the model’s left eye to the outside edge of the ear is the same as the distance from the outside edge of the model’s left eye to the inside corner of her right eye. Since I already had the eyes worked out on the canvas, I simply used my brush to measure that distance and then made a mark where the outside edge of the ear will be. I do this constantly whenever I come to something new in a painting (especially if it is a large distance). Measuring and drawing will eventually become so natural that you do it almost without thinking and it takes but a couple of seconds.

As I slowly define the boundaries of the face, I’m constantly holding my brush up horizontally and vertically to see where landmarks line up with things I’ve already painted. Notice also how nice a variety of edges you can achieve when working into paint already there.

I just slowly and methodically keep working from one thing to the next. With a palette knife, I block in some red strokes for the shirt.

Now I paint in the details of the lips and continue refining the features. You can leave things loose the way they were at the earlier stages or just start refining them until you have a very polished and detailed rendering. It’s really just a matter of what you’re going for in that particular painting.

Here’s a close-up of the lips and nose so you can see the brushwork. Be especially conscious when doing the darks in areas like this that are surrounded by light lest you make the accents too dark. Squint and compare them to large areas of darks. Photographs will often push many of the darks into pure black, regardless of their actual relationship in real life. Think of these small dark accents the way you would if painting a tree branch against a light sky. The thinner the branch gets, the lighter it appears because it is more and more influenced by the value of the sky around it. This is what is happening with small darks like nostrils and the accents at the corners of the lips. The same is true, by the way for lights surrounded by darks. Think, in this case, of sky holes in trees. The smaller the openings, you must actually mix up a darker color.

Here is the face for the most part finished, though I do end up doing little adjustments throughout the rest of the painting as I see them.

Here I start blocking in the hand and arm, starting with the large shapes first and measuring, measuring, measuring!

Getting into details in the hand and deciding to go with a lighter color for the shirt.

To make sure I get the left arm right, I take a few measurements and sketch in with my brush a few main shapes.

Once again, just slowly going from one shape to the next, fitting in each puzzle piece of the subject. I’m not thinking any differently when paining a tree, arm, or eye — they’re all just abstract shapes, of a certain value and color, in a precise place.

Using some mineral spirits, I think down the paint and wash in some colors to go behind the bamboo on the left. This is mainly just to kill down the white so I won’t be struggling to paint in between all the vertical shapes of the bamboo later on.

Changed my mind; I think the girl’s shirt was better the darker red, after all!

Here’s the final painting.

Here is another great episode of Karrie on Canvas presented to you by “Jones Television -- Channel 22″. Jones Television-Channel 22 is a twenty-four hour, non-profit, commercial-free station cable-cast in Northwest Arkansas. Established by the Harvey and Bernice Jones Trust in 1996, the station broadcasts community and educational information with a reach of more than 150,000 households in Benton and Washington counties. Through generous support from Cox Communications, Inc., Jones Television is uniquely positioned to offer niche programming featuring the people, places and events that make up the rich tapestry of Northwest Arkansas. You can learn more about them by either visiting their YouTube Page or their Website.

Back to the video.  This is an acrylic painting demonstration by artist Karrie Evenson.  If you are a fan of acrylic painting and trying something new and different, then this video is for you.  Karrie has a very unique style of painting that you are sure to find refreshing and enjoyable.

If you only learn one thing from Karrie, it would be to just let go and don’t be afraid to try new things.  One of the biggest problems beginners face is the fear of wasting paint or of producing an ugly painting.  If you are constantly fearful and holding back with your painting, you will never get any better.

Enjoy the video and if you would like to learn more about Karrie and view more of her work, be sure to visit her website as soon as you can:

http://www.karrieevensonart.com

Below is an excellent step by step oil painting video lesson by the very talented Debra Bryant.  I found the following oil painting demonstration on the video sharing site Ustream.tv.  This is a very long demo with over 3 hours of footage. So grab your favorite beverage or snack, sit back relax and be prepared to learn something new.

In this oil painting lesson, Debra shares her oil painting techniques for creating a beautiful landscape painting from a photo.  She begins her painting by first toning her canvas with purple so that this color will show through the final painting in spots.

She demonstrates her techniques for creating a convincing sky and clouds. One key technique that she points out in the video for doing this is to make the sky more green near the horizon. To make realistic looking clouds, she mixes reds and yellows into white.  Also, when clouds near the horizon, they become narrower and  more gray.  These are just some of the awesome techniques you will learn in this video.  Enjoy!

Follow this link to visit Debra’s Ustream Profile for more awesome Painting Demonstrations.

Follow this link to visit Debra’s Blog.

Florida Landscape Part 1

Florida Landscape Part 2

Florida Landscape Part 3

Artist Name: Olga Weiner

Location: Montreal

Title of Artwork: Roses With Silver Tea Set

Dimensions of Artwork: 16″x20″

Medium: Oil

Support: Canvas

Describe this Piece: I have arranged this still life ,using the flowers that I got on my Mothers Day, in my home studio, and painted it using a palette knife.