Still Life/Floral Honorable Mentions from The Artist’s Magazine‘s 28th Annual Art Competition
Lea Colie Wight
Manasquan, New Jersey • www.leawight.com
Painting from life, Lea Colie Wight chose her dining room, which has dominant north light, as the setting for Yellow Runner. “The relative values in the setup changed, depending on the time and brightness of day,” she remembers. “I had to determine the light and shadow relationship on the bowl and plate and stick to it despite atmospheric changes. Also, because both objects are basically white, leaving room to place the highlights was important.”
As for developing graphic patterns while keeping the overall order of importance, Wight shares her technique: “I used peripheral vision to view other, stronger focal points in the setup or pattern, then painted what I noticed indirectly.”
Nancee Jean Busse
Grand Junction, Colorado • www.nanceejean.com
“My greatest challenge was resisting the urge to get lost in details and therefore ignore the composition,” Nancee Jean Busse says of Under the Surface. “I love rendering objects with exactitude,” she notes. “It becomes ‘the siren on the rocks’ for me, however, and I have to stand back and gain perspective, sometimes setting a painting aside for a few weeks to really see it.”
Busse began with a thumbnail: “If I don’t do that, I end up putting weeks into a bad painting,” she says. After the thumbnail, she painted background glazes with the expectation of developing a rich backdrop. “Once the background was dry, I drew my composition on the panel and then painted, painted, painted until it was finished.”
Los Angeles, California • www.katesammons.com
“I wanted this painting to show natural elegance and simplicity,” says Kate Sammons. “Eggs have a timeless appeal as a form that can seem both contemporary and classic.
“What struck me most about this piece was the subtle color harmonies that exist in an entirely white composition,” she says. To achieve these harmonies in paint, she used a limited palette of black, white, vermilion and yellow ochre, with a touch of pink and orange glaze.
Simplicity of design often calls for subtlety of technique. “Without much color or value to express the form,” Sammons says, “I had to rely on a delicate modeling of the value and temperature shifts in order to define the eggs and vase and to place them correctly in relation to the atmosphere and their background.”