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The first thing people say to me is “I can't even draw a stick person”. That is exactly what I said, when I mentioned that I wished ...

Saturday, March 17, 2018


This was my largest class so far.  It was an amazing group of ladies, so much fun and a lot of budding artists here.  I think they had as much fun as I did.  I look forward to a few more classes next season.  I thank Janet for motivating me to do this. It was just what I needed to finish off a wonderful winter here in our Mexican home.  I have had a restful and healthy season, filled with family, friends and my favorite past time, painting.  The time has come now to head home to Kelowna our other home. I have missed my art group, the Mission Painters, and look forward to another great season at home. Thank you ladies for making this a really fun day for me.

Jeanne Woltering

Colleen Larsen

Cheri Krannawitter

Laurie Drummond

Water Melon Cards

Wednesday, September 28, 2016


Being new to Kelowna I decided to find a painting group, and here they are, what a wonderful group of artists and more than that "friends"!!!!  I love them all.  They offer me friendship and encourage my artistic growth, what a find they were.

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Friday, July 22, 2016


I donated a painting lesson for 4 to a silent auction to raise funds for mentally challenged teens.  It was a great success, the ladies all did a fantastic painting.  We held it at Off the Grid Winery in West Kelowna.

Thursday, March 31, 2016


Purchasing Acrylics in Mexico

The brand is Politec, the color of the tube is white and orange
They also have a brand called Amsterdam and Reeves, these are also okay, just a bit more expensive than the Mexican brand.
Because they are a fairly reasonable paint to buy, I buy all the colors, saves mixing, but a basic palette of colors would include, a warm and a cool of each color.
The ones I would suggest are
# 904 Amarillo (lemon yellow)
# 906 Amarillo Med (Medium Yellow)
Amersterdam has a yellow here I use and it is called Yellow Deep, it is a bit darker.
# 907 Narjanja Hanza (a browner orange (optional)
# 908 Naranja Cad (a bright orange (optional)
# 911 Verde Bosque (dark green)
# 912 Verde Thalo (blue green)
# 914 Rojo Politec (leans toward Pink)
# 916 Rojo Cad ( a medium red)
# 920 Cerulean Blue (turquoise)
# 922 Azul Cobalto (more of a royal blue)A
# 929 Amarillo Ochre ( I use this a lot, it is a earthier yellow, also sold as Naples Yellow in the Reeves brand, it is a bit softer yellow)
# 924 Sienna Natural
# 924 Sombra Natural (both these colors are more earthy tones, so not necessary if you are more into painting florals)


I use a brand, called Rodin
#12 flat
# 8 flat
# 6 round
liner brush

Gesso (the white base) any time I buy a canvas, I usually give it a coat or two extra, it just gives it a better smoother finish.
And a wider brush, you can get one in a hardware store, I use that for putting on the gesso, rather than wearing out your painting brushes.

Sunday, March 20, 2016



A glaze is simply a thin, transparent layer of paint and glazing is simply building up color by applying thin, transparent layers one of top of another, dry layer. Each glaze tints or modifies those beneath it. So why is glazing something that can trouble, and even threaten, artists so much? Well, while the theory may be simple, putting it into practice takes patience and persistence to master.

If you’re a painter who needs instant gratification, glazing is probably not for you, but if you are a painter wanting to take your paintings up a notch, glazing will give you colors with a luminosity, richness and depth you cannot get by mixing colors on a palette.

Why is this? In very basic terms, it’s because light travels through all the transparent layers (glazes), bounces off the canvas, and reflects back at you.  Your eyes mix the layers of color to ‘see’ the final color, giving a luminosity you don’t get with a physically mixed color.

Painting Glazes Tip No. 1: Get to Know Your Transparent Colors

Take the time to learn which pigments are transparent, semi-transparent, or opaque. Some manufacturers state this on their paint tubes
Transparent colors work best for building up rich, subtle colors through layers of glazes, but this is not to say you shouldn’t experiment with opaque colors. But if you’re just starting to investigate glazing, stick to transparent colors for your glazes and keep opaque colors for the lower layers that will be glazed over.

Painting Glazes Tip No. 2: Be Extremely Patient

If you apply a glaze onto paint that isn’t totally dry, the layers of paint will mix together, which is just what you don't want to happen. Be patient rather than sorry. If you’re working in acrylics, you can speed up things up by using a hair drier to dry a glaze. The paint must be dry to the touch, not sticky.

Work on several paintings at once so you can move from one to another while you wait for a glaze to dry.

Painting Glazes Tip No. 3: Glazes Like Smooth Surfaces

A glaze is a thin layer of paint which should lie smoothly on top of the previous layers. You don’t want it to collect or puddle on any roughness on your
support or rather not when you first start glazing. (It’s something to experiment with once you’ve mastered the basics of glazing.) A smooth hardboard panel or fine-weave canvas is ideal to start with.

Painting Glazes Tip No. 4: Use a Light Ground

Use a light-colored or whit
e ground, which helps reflect light, rather than a dark one, which helps absorb light. If you’re not convinced, do a test by painting exactly the same glazes on a white ground and a black or dark brown one.

Painting Glazes Tip No. 5: Glazing Mediums

g mediums thin the paint you’re using to the right consistency for glazing and, if you buy a fast-drying formula, speed up the rate at which the paint dries. They also solve any possible adhesion problems arising from diluting the paint too much, particularly with acrylics

Experiment with the ratio of medium to paint to get a feel for how much to add; too much and you sometimes get a glassy, excessively glossy effect.

Painting Glazes Tip No. 6: Use a Soft Brush

Glazes want to be painted smoothly, without visible brush marks. Use a soft brush with rounded edges, such as a
filbert brush. You can glaze with a stiff, hog-hair brush, but it’s not ideal if you’re new to glazing. Flicking over the top of the paint with a dry fan or hake brush is useful way to eliminate visible brush marks.

Painting Glazes Tip No. 7: Unify a Painting With a Final Glaze

When the painting is finished, apply one final glaze over the whole painting. This helps unify all the parts of the painting. An alternative is to apply a final unifying glaze to just the elements in the focal point.

When it comes to thinning acrylics, the only 'rule' is to not mix acrylic paintt with more than 50 per cent water. Any more than this and it may loose its adhesive qualities and peel off at some stage, or lift when you paint over it.


An underpainting is a layer of under paint or under glaze onto which the painting may be applied.   The most common practice is to use an earth color, but any color can be used for the under painting.


Apply any color, regardless of how pale, onto a white background and the color will appear darker than it actually is. Some colors will appear bright because the surrounding art surface is lacking in color. Painting onto a white primed canvas can be off-putting as the first mark appears to have great significance. The artist will also find it difficult to judge a given color’s tonal value or to set the mood of the painting. For this reason, an under glaze will come in useful. 


A good way of killing the whiteness of the art surface is to apply a thin glaze of acrylic.  The most traditional color for the under paint is an earth color or Grey. This might comprise burnt sienna, burnt umber or a mixture of an earth color and blue, such as ultramarine. It does not matter if the under paint forms an even, flawless layer, as it will be painted over.


A preliminary drawing may be applied on top of the under glaze in chalk or a thin layer of paint, applied with a script brush.  Either will show beneath (or above) the under paint. Some artists prefer to work onto the under glaze without any drawing. Applying paint onto a neutral-colored art surface has many advantages as the true tonal value of colors are revealed; pale yellow appears pale, dark blue appears dark and white can be discerned against the background.


Any color can be used for the under glaze. Apply a thin layer of cadmium red and burnt umber for a warm, smoldering underpainting, ideal for snow scenes
The cool colors will appear to shimmer against the warm color.


Similarly, a blue-colored under glaze. will create interesting contrasts against the overlying colors that are predominantly warm, such as a sunset. A yellow under glaze. will off-set violet hues, such as those found at the base of thunderstorms.

 Regardless of the color-temperature of the under glaze., this undercurrent will affect the appearance of the overlying colors in the painting, no matter how subtle. A snow scene will have a warmth about it; a sunset will appear to shimmer against the cool colors that poke through the brush marks.


Paint can also be applied upon an under glaze. that is similar in hue to the overlying paint in order to create harmony in the painting. Warm colors can be applied onto a maroon under glaze., or a sky sketch applied onto a violet under glaze. 

Setting the mood can often be determined by the color used for the under glaze. and the height of contrasts within.


An under glaze. is easy to apply. If using acrylic paints, simply mix the required color with a little pigment diluted in water. Ensure there is ample amount of the glaze mixture to cover the art surface. Lay the surface flat and apply in large, sweeping strokes via a wide household brush. Allow the glaze to dry before embarking the painting.


A thin paint layer will permit the underlying white to show through, which will make the glaze appear to glow. A more opaque glaze will cover up this whiteness, and so will kill the effect. If wanting to retain this glow, avoid using titanium white within the under glaze. color mix; add extra thinning agent to any opaque pigment such as cadmium red, cobalt blue or burnt umber. 

Pigments that are translucent or semi-translucent in nature include: burnt sienna, ultramarine, pthalo blue, permanent rose and viridian. I personally like my under glazes to glow, adding vibrancy to the overlying paint.

Wednesday, March 16, 2016


My outdoor studio is all ready for the last class of the season.  

Two of my artists painted poppies, and one brought a painting that she had been working, and just needed a bit of instruction on finishing it, and painting some margarita glasses.  All in all a good day, with a great group of ladies.  

It has been a great learning experience for me as well.  I thank everyone for their attendance and their company.  I am looking forward to new and different paintings in the fall.