Sep 05

Painting: Do I Paint In The Wrinkles?

Liar Liar Pants On Fire……well, I did exactly what I swore I wouldn’t do. Last night I spent about half an hour applying very thin glazes of burnt sienna and cadmium red light to the skin tones. My face, especially, still looked really sickly. Worried about it all night. And today what did I do? Painted on thick paint with hardly any medium at all. And got the whole thing almost finished.

Painting when I started this morning.

Painting when I stopped this evening. All I have to do is let this dry, then do a little bit of glazing – probably mostly cadmium red light on the face and some ivory black on the shirt and it will be finished. I did put a thin glaze of straight cerulean blue over the background. I thought it would neutralize the background colors, but it turned some of them green.

Skin tone mixtures: 1) Four values of cadmium red light/naples yellow/white

2) Burnt umber and white

3) Burnt umber/ permanent blue violet/white

4) Some burnt sienna blended into wet skin tones

5) Some alizarin crimson/permanent blue violet blended into skin tones

I used a small stiff brush and painted wet-into-wet. Up close I thought it looked very illustrative, but step back a little and it looks realistic. Tom said that anyone could take one look at it and know that it was me. High praise indeed.

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Sep 03

Painting: Do I Paint In The Wrinkles?

When I started painting today I was bitching to myself because I just couldn’t find the brushes that I wanted to use. Wow, it was like they’d all worn out all at once….

These are the same size brushes – the one on the right is brand new and the one on the left is ??? old. When they’re worn out like that they just don’t paint the same. To this day my mother complains about how often she had to buy me paint when I was a teenager…..yes, mother, paint tubes run out and brushes wear down. The funny thing about brushes is that it usually takes me a while before I realize that a brush should be discarded. Usually I complain for awhile – thinking that it’s my inability to paint – when really, it’s the brush’s inability to perform it’s task once it’s worn down. …..and yes, someday I’ll sort through my brushes and throw out the useless ones.

The hardest part about glazing over an underpainting is that for a day or two the skin tones look really really sickly….and it’s hard to resist the temptation to start painting on thickly which would defeat the entire idea of doing an underpainting. In the last few months  I must have either  1) learned patience or 2) learned how to glaze -  because this time I’m willing to go slowly and build up thin layers of color. My vote is for #2.  Also, I think that the extremely fine canvas that I’m painting on now makes the skin tones look better – it almost looks like soft, smooth skin. Another thing about glazing over an underpainting is that you can get the eyes to look great – glazing makes the irises look very detailed. and you can be more subtle about adding in the red of the blood close to the surface.

When I glazed color onto the arms I applied the color in lines and then fan brushed the colors to blend them. The arm on the left is blended; the one on the right shows the lines. The lightest color is cadmium red light/naples yellow/white, the shadow is permanent blue violet, and the deeper skin tone is burnt sienna. I stroked the fan brush in the direction of the hair on my arms! In order words – not straight up-and-down and not straight side-to-side – but rather, in an upward sweep.

I love painting tubes of paint – it’s so much fun to make them look all squished up and messy. Remember: lighter colors come forward and darker colors go back. So to create the dent in the red paint tube I painted the dent prussian blue/black/white and the top of the tube is  mostly white/prussian blue. Always remember to make a shadow under them to make them appear as though they’re sitting on the tabletop.

Really hated the blue background and it made the skin tones look very sickly. Started painting over it very thinly with mixtures of cadmium red light/naplesyellow and straight cadmium yellow medium. I did it very unevenly so that some atmosphere was created. When I first started painting it on, I wasn’t sure i liked it, but found the finished  background very interesting. Strange thing is – it made the skin tones POP and I look much healthier!

The painting is far from finished, but I’m starting to like it. There’s a certain look  about it which screams ILLUSTRATION !!! And I don’t mind that a bit…..

I’m working on these small 16×20″ paintings to use on greeting cards and maybe, hopefully, on calendars or magnets. And then it dawned on me……I could use myself to create a character for character licensing. I’ve thought of doing that with some other people I’ve photographed, but it never occurred to me to make myself the character………hmmm….could I be the next Dilbert?

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Sep 02

Painting: Do I Paint In The Wrinkles?

End of Day One of painting.

End of Day Two painting. Okay, it looks more realistic, but I hate the blue background. Think it deadens the entire painting. Orange isn’t  my favorite color, but it really seems to liven up the background. Day One I was looking straight ahead. Day Two may eyes seem to be glancing off to the left.

But does the painting really look like me? The more I try to make the expression on my painted face look whimsical….the more my face just looks scrunched up between my hands.  I think that’s because I’ve made the shadows on my face too dark. I don’t know if this blog will ever help anyone else with their painting, but it sure is helping me. For some reason I can see things more clearly when I see them in a photograph on the computer screen. When I’m in my studio painting all day I can’t always see what I’m doing. But if I sit in an easy chair and have a snack….and glance at the painting…then I can see the mistakes. Just relax….let your mind flow….and WHAM !!! Suddenly it comes to you.

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Sep 01

Painting: Should I Paint In The Wrinkles?

Today I decided to start a 2nd 16×20″ painting that I plan to make into a greeting card. I figured that way I’d be able to paint on two small paintings at once, since most of it will be glazing. The basis for the painting is this self portrait I took about 6 months ago:

Hmmmm….I look quite a bit younger in this photo and I only took it a few months ago. Either 1) stress is killing me – and not so slowly, at that – or 2) I look better and younger with longer hair or 3) the lighting in my bathroom is very very flattering. Probably it’s a combination of all three, but I’m going to grow out my hair again just in case that’s it. I love the convenience of inch long hair, but I have to admit – it isn’t very flattering on me.

I mixed up values of burnt umber and titanium white – this time I only mixed up nine values. It’s really easy to mix up a lot more, but it does use up an awful lot of paint.

And this is what it looked like at the end of the day – not yet complete, but I’m off to a good start. Originally I was going to have the reference photo of myself under my right elbow, but at the last minute I chickened out and painted a container of medium over most of the photo. The photo would be so small and at a weird angle – I don’t know if I could paint it very well. Okay, I admit it – I paint much better LARGE.

And you’re probably wondering…..how is she going to use that photo in a greeting card? Well, my idea is to 1) on the front of the card have the painting and the words -Do You Think I Should Paint In The Wrinkles? and 2) some kind of verse like…..Wrinkles? What wrinkles? Happy Birthday to someone who doesn’t look a day older. I want to make the kind of greeting cards that I’d like to buy – ones with actual painting on the front versus line drawings or funny photos. And I want the paintings to be of REAL PEOPLE. Real Characters. I just hope that there are like minded people out there who would actually buy the cards. And send them.

I’ve really enjoyed just painting for the last two days, but I know I’m doing it to avoid making business phone calls. I really have to force myself to make some calls to stores in Chicago to see if they’ll carry my ABC’s of Chicago poster and notecards. We have several thousand $$$$ invested in the printing and I can’t let them just sit in my studio gathering dust. This is why I finally quit my jobs in sales – call reluctance.

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Aug 31

Painting: The Bluebird of Happiness

Spent the entire day painting and was really surprised at how quickly the hours slipped away. I seemed lost in my own world.

The underpainting had dried, so I started glazing in color. This is the stage which requires patience – and this is where I usually screw it up.  Glazed burnt umber onto her hair – with some permanent  blue violet mixed in for the darkest tones.  I mixed up a few light values of skin tones – white/cadmium red light/naples yellow. I glazed it very, very thinly over the lightest portions of her face. I glazed burnt sienna into the shadow areas, followed by some permanent blue violet. A little bit of straight cadmium red on her cheeks and lips. At this point her face and hand are starting to look more realistic and I have to fight the urge to start painting on thickly so as to get it finished in a hurry.

Glazed the entire jacket – leaf by leaf- with sap green, then decided that it wasn’t quite the right color. Then I started glazing on forest green.

I continued painting the entire jacket with mixtures of forest green and white. It took me most of the day – and now looking at this photo I wonder why I didn’t leave the original sap green alone. Is there something called Painter’s Remorse? Because I think I have it. I was very very careful painting the jacket – I wanted the jacket to have dimension as well as each leaf to have dimension. The leaves are supposed to be laying on top of each other. It looked good close up, but didn’t have as much definition as I’d hoped when I stepped back to look at it.I did keep stepping back to look at all through out the day, but it wasn’t until I’d finished the entire jacket that I started thinking maybe I’d messed up.

I finished the entire jacket, but now I think I’ll have to glaze in some colors – blues in the shadows and maybe yellow in the lighter areas. Right now it looks all too much like one shade of green. Although it does look like the reference photo I was using. I repainted the background – this time I used rose/naples yellow/white and transparent orange/naples yellow/white for the sky. Glazed raw sienna/burnt umber into the field area. I also worked on the bird – I think the blue is too light for a bluebird- and the bird’s orange breast fades into the orange in the sky area. Tried painting her shirt blue – like waves- but didn’t like it.

I’m not sure what I expected this painting to look like, but I don’t think this was it!! Does this really look like a greeting card? Or Sci-Fi in any way? I’m really going to have to think about what I want this painting to say…obviously I intend for Trisha to exude happiness…..but I’m not feeling it right now.

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Aug 28

Painting: The Bluebird of Happiness

Started working on giving the jacket more dimension and folds – at first I tried just glazing over certain areas with burnt umber. As you can see – it didn’t really work. This shows you how important getting the correct values really is.

I decided to outline each leaf with burnt umber to give them definition and a shadow effect. You can tell that on the left side I’ll done the outlining and on the right side I haven’t. I also changed the values of the folds in the sleeve.

After doing the outlining I tried to get the correct values of paint in to make the leaves look 3 dimensional, but also to make the jacket look 3 dimensional. It was at this point that I wished I’d mixed up 30 different values of burnt umber/white – I could have really used them. But it was Saturday and I was feeling lazy, so I just mixed up 5 values today. I wished I hadn’t discarded the 10 values I’d mixed up a few days ago. I discarded them because I thought they were getting a little gummy, but I probably could have gotten one more day out of them. I also added a few brush strokes to represent grass – not sure if I like the effect. She might look better with a simple background of colors behind her…

I put several hours of painting in today…and I’m not really sure that I made any improvements. After looking at the photo on the left which it what it looked like when I started today…and compare it to the photo on the right……well……I can see a little more dimension in the jacket and I’ve fixed the problems with her face, but not too sure about the grass in the background – I think she gets lost in it. Hmmm…may have to go downstairs and wipe that paint off.

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Aug 28

Painting: The Bluebird of Happiness

Yeah, I got to spend time painting today. I worked on the underpainting for the leaf jacket in Bluebird of Happiness. I knew going in that it wouldn’t be easy to do – I have to give the jacket dimension while also giving the leaves dimension – and the leaves are piled on top of each other. I think I got a good start on it.

At this point the face looks more dimensional than the jacket.

You can discern the sleeves and lapel from the body of the jacket, but I don’t think the sleeve has much shape – it looks a little flat. I’m going to let it dry and then glaze burnt umber onto the edges of the sleeves to show folds and depth. I could just start glazing with green at this point, but I thought I’d get the underpainting as developed as possible before I start glazing in the color.

One way to see how the painting is progressing is to look at it in a mirror. That will show you any problems that you have going on and that you can’t see just looking at the painting directly. One of your eyes is always stronger than the other, so that looking at the painting reversed in the mirror lets you see if the face is getting contorted.

I just reversed this picture in Photoshop and I can tell that the side of the face nearest the bird isn’t  going back enough. That just means that it isn’t turning back enough. I’ll have to work on using a darker value on that side of the face. Remember: Light Values come forward and Dark values go back.

Turning the painting upside down will also help you look at it with fresh eyes. However, the upside view only helps you see if the composition is balanced – it won’t help you see if the face is contorted.

I played around with the background a little bit by glazing on a little color. I want the background to be fairly abstract. I might play around with a few background options in Photoshop. I’d thought of doing a series of four women : Earth, Wind, Fire, and Water. Trite, I know, and over done. However, it would make that collection of four pieces that I keep hearing people licensing your work are looking for. If I did that then I might add the words Earth or Earth Mother into the background – I would probably leave the painting as is and add the words in Photoshop.

Just starting to build up some color – I don;t want to make the sky blue (because of the bluebird) so will probably stick with a glowing orange and yellow  sky depicting sunrise.

I stood back from the painting and thought that the face and hand looked pretty realistic. That’s when I noticed that my wonderful new easel leaves a 3-4 inch shadow on the top of the painting – not a good thing – especially when I’m painting small. May have to attach a light to the side of the easel. Bought one a long time ago, but it didn’t give off enough light to paint by in a large room , but it might be just enough for this situation.

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Aug 26

Gold Coast Art Fair

To paraphrase Charles Dickens………“it was the best of shows, it was the worst of shows.” Gold Coast Art Fair is an Amy Amdur Production which is in it’s 53rd year in Chicago. It’s called The Granddaddy of Art Shows in Chicago. With 500 artists it’s also the largest outdoor art show held in Chicago. Formerly held on city streets, this is the first year it was held in Grant Park. Wedged right between The Art Museum of Chicago, Buckingham Fountain, and Lakeshore Drive, it should have been a perfect venue. However, even though Amy Amdur is a very organized and efficient show promoter….well, even she can’t control the weather and the economy and the City of Chicago.

We loaded in from East Jackson Street. We knew in advance that we’d have to dolly in to our booth space. The distance wasn’t really too bad – it was just the heat and humidity that did us in.

Out of all of the empty booth spaces available, the La Croix Company decided to use our space as an entry point to dolly in pallets full of La Croix Sparkling Water. The field was a little damp, so they laid down plywood to haul over. We just dollied in our things and placed them in the empty booth area next to ours.

This  shows our stuff laying in the field next to a small body of water. Oh, and I forgot to mention the duck poop – it was everywhere! We’d checked out the show location the day before and it was covered with Canadian Geese and sea gulls – or are they just called gulls if they’re hanging around Lake Michigan? It normally takes us 2.5 hours to set up our booth and hang the pictures. Due to the temperature being in the 90′s and the humidity being quite high…well, it took us an excruciating 5 hours to set-up. We were just brain dead and moving very slow.

The show opened at 10am on Friday. Once again the temperature was in the 90′s. It’s just hard to be enthusiastic about art when you’re exhausted from the heat. An exhibitor near us was taken to the hospital with dehydration. The show went until 7pm even though it was advertised only until 5pm. When the show changed locations it also changed dates. When the new date was selected there was no Chicago Bears football game scheduled. Then they scheduled a pre-season game.  Even though Soldier Field was about 10 blocks away from Grant Park, the city officials didn’t want the art show people taking away parking spaces from the football people. The city wanted the show to shut down on Saturday, but they finally agreed to let us stay open until 3pm. So the hours for the show were advertised incorrectly due to last minute changes.

This is a very unflattering pic taken of me Saturday morning at breakfast. Okay, I did pose to look particularly miserable, but I was feeling miserable and tired after two days of hard labor and high heat. Also, it had stormed Friday night, so we weren’t sure what the field would look like when we arrived……

Mud had actually splashed all the way up to the top shelf of the bookcase that we use to display cards. Fortunately I’d tied up the tan wall covers so that they didn’t get covered with rain water and mud.

The small body of water behind our tent had grown during the night – it now stretched into the inside of the booth next to us. We were actually lucky – our neighbor had to move her tent forward about 3 feet and scavenge for plywood boards to lay down over the mud puddles. Even people on concrete didn’t fair so well – some of them had ponds inside their booths. Amy Amdur’s people used shop vacs to suck up water and bought and laid down more plywood boards. However,  there were 500 artists in the show, so most of us had to fend for ourselves. We cleaned up our space as best we could and helped our neighbor move her tent. We stopped short of helping her move muddy plywood – we left it to her fiance to get covered with mud.

This was the sidewalk in front of our tent. Due to standing water and mud which was already there on Thursday, we didn’t have any booth in front of us. Normally that would be an advantage – everyone walking by would look into our tent. However, I think most people looked out over the open field at the mud puddles. It seemed like just when we’d cleaned up from the rain-  and the show and sales were starting to pick up……well, that’s when a city official walked around yelling, “this show will close in five minutes.” It really was disappointing……..

Sunday arrived bright and shiny and it was perfect weather. We knew that the crowds wouldn’t start rolling in until after church….or as one Chicagoan said….after brunch and their first Bloody Mary of the day. Ha. Eventually the crowds came, but for us the sales were disappointing. So, I do what I always do when I’m at a show and bored……I start looking at faces to find new people to paint. Met Jim from Chicago. He liked my paintings, so of course I had to photograph him.

Love that look on his face.

Juliette was the artist next to us who’s tent was flooded. Considering the mess she had to deal with she took it in stride and made do. It seemed funny that our booths were next to each other since we where the only two figure painters in the whole show. Fortunately, we liked each other and each others work – even though our styles are completely different. Her website is www.juliettebelmonte.com. I took lots of photos of her and may paint my own version of a woman with an umbrella walking a duck on a leash – that painting is one of her best sellers. I already had a picture of a woman wearing a raincoat, rubber boots, and holding an umbrella – sans duck – that I was thinking of doing.

I chased down Laura and asked if I could photograph her – turns out she’s only 15 and was there with her mother. I could have sworn she was 21! I loved her dark hair, perfect complexion, and the colors she was wearing.

Isn’t Drew interesting? To me he looks like a hot, sexy European. Actually he’s a hot, sexy American who’s moving to Bloomington, Indian a to get his Phd in Psychology. Wouldn’t you like to tell him your troubles?

I met Victoria while standing in line at the ice cream stand. Turns out that she’s done some modeling. What can I say? She’s just beautiful in a haunting, clean, wholesome way. Who wouldn’t want to paint her?

And what can I say about the Sunday night tear down? It was pure misery…..500 artists trying to tear down their booths and drive up their vans and trailers to load up – ALL  AT ONCE. People were double and triple parked on the streets. I tried to talk Tom into leaving our stuff and coming back later when the crowd was gone. But he was tired and stubborn (he apologized later) so we started dolly-ing things across a bumpy, muddy field, across the sidewalks, across a six lane street, down a ramp, through doors, up a ramp, and across the parking garage – probably 1.5 blocks. We ended up cut, bruised, and exhausted. At the end of trip #3 I had to sit down and rest. Mind you – I’m tough, but this was beyond difficult. After  trip #4 I ordered Tom to sit down  and rest. He had a triple by-pass 4 years ago and shouldn’t even be doing this sort of thing. I said I’d get the van and try to park close by. I had to pass up 2 small parking spots because I knew I’d never be able to back up and parallel park into them. I did a u-turn in the middle of the street and pulled up behind a trailer that was almost finished loading up. Once he left I was able to completely pull into an empty spot. I went and got Tom and we still had 4 more trips before we were finished loading up. Our normal 1.5 hour tear down had turned into FOUR HOURS!!! It was 9pm before we drove off.

At our hotel I apologized to everyone else who shared our elevator – I knew we looked and smelled like homeless people. One again Chicago had chewed us up and spit us out.








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Aug 24

Painting: Bluebird of Happiness

Just returned from five days in Chicago doing the Gold Coast Art Show downtown in Grant Park. It was quite an experience and I took loads of photos, so I’ll try to organize them and post about the show tomorrow. Unfortunately load out was quite physically demanding, I hurt my back and ended up at the emergency room first thing this morning. Between the muscle relaxers and pain killers the hospital gave me I slept most of the day. Did manage to get in a few hours of painting.

I decided to start this painting by doing an underpainting to help establish the values right off the bat. I took the photo of Trisha and desaturated it in Photoshop. Having the photo printed in a gray scale will help me easily determine the correct values.

I transferred the drawing onto the canvas by tracing it using graphite paper. The drawing doesn’t show up very well in this photo, but it is visible enough on the canvas to help me maintain the correct physical proportions.

Next I started mixing different values of burnt umber and white. You start with burnt umber, add a little white and mix it well. You want to start with a fairly large dollop of paint because you take half of that mixture, mix in a little more white, then take half of that mixture and mix in a little more white, etc. I ended up with nine piles of paint in values between the darkest burnt umber and pure white.

I have mixed and worked with as many as 30 values of paint. I took a workshop from Christopher Brian where he taught us to mix 20 values of a mixture of alizarin crimson and viridian. That makes a very dark purple-ish black and the different mixtures result in shades of gray. Having 20 values to choose from definitely made it easy to pick the right value – it was amazing that your eye could tell the difference between that many values. However, it also sucked all of the fun out of painting! It just made it very mechanical. This is the underpainting that I did in that workshop.

Christopher had set up a still life, taken a photo of it, desaturated the photo, and given each of the students a photo to use as a painting reference. After finishing the underpainting all we had to do was glaze thin layers of color on top. However, I was never excited enough about the painting to finish it.

This is what the painting looked like after a few hours of work. You can start to see the dimensions of the face and hands taking form, but I still have a lot of work to do on it. In the past I’ve been able to do underpaintings that looked more realistic than the finished piece. Why you might ask? Because once I started adding in the color instead of slowly building up thin layers of color I would start painting too thickly and lose the values. Then I’d have to start re-establishing the values and would waste a lot of time re-doing everything. I’ve gotten much better at doing thin glazes lately, so I’m hoping it will work out this time. Thin glazes over an underpainting is how The Old Masters worked and the technique really makes the colors glow.

When I was finished painting for the day I put the palette into an air tight plastic container and then put it into the freezer. This helps to keep the paints fresh for the next day. Normally I squeeze out new paints every day, but when  I’m working on the underpainting I’ll sometimes freeze them overnight. The oils don’t actually freeze, but it does keep them from drying and skimming over. It just takes a few minutes at room temperature for the paints to be usable again.  It’s not like you end up with a Paint Popsicle.

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Aug 19

Getting Press

This picture and mention of my artwork appeared in the April 2010 edition of CincyMagazine. And once upon a time in a land far far away I was a very young and naive girl who thought that getting mentioned in the press meant something very important – I thought that it meant that you were successful…financially successful. I thought that if an article was written about you in an art magazine that meant you were earning a living selling your artwork. Boy, was I wrong.

Being written up in a newspaper article or art magazine doesn’t mean that you’re a good artist (who defines GOOD anyway?) and it doesn’t mean that you’re earning a living with your art. What it does mean is that you’re good at getting press. Well, you know what they say…actually I’ve forgotten exactly what they say…it’s something about any publicity is good publicity. Getting written up in a publication #1) Gets your name out there into the big bad world, #2) looks good on your resume, and #3) Maybe, just maybe, will lead to BIGGER AND BETTER THINGS IN THE FUTURE. And maybe not…..

There was an article written about me in the March 2006 edition of  The Artist’s Magazine. Well, the article wasn’t so much about me as about how bad a painter I was!!! You see, I had gotten the courage to submit a photo of one of my paintings for one of their ART CLINIC articles. It’s a section of the magazine where they have a “famous” painter critique the work of a not so “famous” painter and give suggestions about how they could improve their painting. Except in my case they actually hired a FAMOUS PAINTER to critique my work. John Howard Sanden is so famous that he’s painted all sorts of rich and famous people, he has his own line of paints/brushes, he has a book/videos, and he’s been given a Lifetime Achievement Award by the Society of American Portrait Painters. And he really tore my painting to shreds.

The painting that I’d submitted was one I’d done of my husband, Tom. The painting was titled The Pilot and it showed Tom wearing a black shirt, his standard black hat and there was a shadow on the wall behind him. John Howard Sanden did his own version of the painting showing how everything should have been done correctly. And what did Tom say when he saw the “correct” version of the painting? Why, he said “Why did he make me look like an old, fat Indiana Jones???” Funny, eh? Tom didn’t think that the “correct” version looked anything like him – it looked like a very generic version of an Australian bush pilot.

And what did I learn from this experience? #1) I learned that whoever writes the article gets to skew it to suit their point of view, #2) the author gets to misquote or misunderstand what you think you said to them, #3) the author gets paid for the article and you don’t, #4) it does get your name known to a lot of people. And name recognition is good.

And what did I get out of this article? #1) I received lots of e/mails from people all across America and even Canada, #2) Yes, I get to put it on my resume, #3) Richeson Art Supplies gave me $300 worth of free brushes and paints (probably because they felt sorry for me) and best of all….#4) A woman came into my booth at Summerfair and said at the top of her lungs……..“I saw that article about you in The Artist’s Magazine and that critic was full of *#@##* !!!”. And that made it all worthwhile.

I don’t know if you can read this article, but I’ve included it below:

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