Tag Archives: colored pencil

Colored Pencil Class

On Thursday, February 18, I will be starting an eight week class on colored pencils.

The class will cover basic techniques, tips and tools. All student levels from beginner to advanced are welcome.

The class will be meeting every Thursday from 2 to 4 p.m. at First Christian Church at the corner of First and Main Streets in Newton.

The cost is $20 per class per student pay as you go or $15 per class if you want to pay for the full eight weeks up front.

Pre-registration is recommended, but not required.

If you would like more information about this class or about future classes, email me.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

SOMETHING NEW – The Winter Path

With a new year starting, I feel both the need to do something new, as well as a need to do the same things in new ways. For several years now, I have worked with Coloured Pencil more than anything else. I love the vibrancy of Coloured Pencils and the detail that is possible, and it has been great fun exploring this great medium. But as many Coloured Pencil artists have found, it has taken a toll on my hands. I’ve started to have some serious hand pain while I’m working on a large piece, so it’s time to be gentle with myself for a while. This means limiting the Coloured Pencil work and returning (for the most part) to watercolours, something that will be a joy, as watercolour has always been the medium I love best.
Much as I love painting dogs, cats, and horses, (and always will), I am at a place where I need to refresh my mind, and that means painting something completely different every now and then. I dearly love the beautiful valley where I live, and everywhere I look, in every season, I see lovely things, sometimes large panoramas, and sometimes little things that could be easily missed if one is not looking for them. I find at this time, that I want to paint some of these things and places once in a while so I can share them with you.
THE WINTER PATH is a place near home that I see whenever we drive into the city. Half hidden, it is easy to miss this path as we zip past it in the car, but now I know to look for it, and I find beauty there in every season. This 5 x 7 watercolour is the first in what will be a “now and then” series called “The West Carleton Paintings”.

©Copyright 2009 by Heather Andserson. See original post here.
To learn more about this artist, visit her website.

New ACEO Horse Paintings

There are four new ACEO horse paintings to announce: three oils and one colored pencil.

ACEO Horse Painting 2010-003 – Hock Study Lockkeeper is shown at the right and features a detail study of the flexed hock in the portrait of Lockkeeper. It is an original oil painting on gessoed mat board.

Also finished are ACEO Horse Painting 2010-004 – Hind Feet Study Lockkeeper and ACEO Horse Painting 2010-005 – Hind Feet Study. One of those is another detail study from the Lockkeeper portrait. The other is a more abstract painting of back hooves painted with a more muted palette than the detailed studies.

I am also very happy to share the first colored pencil ACEO of 2010. ACEO Horse Painting 2010-006 – Red Bay Appy Itching was finished yesterday and is the first of a series of three ACEOs featuring grazing appaloosas. All will be in colored pencil and may be purchased individually or as a set.

The remaining cards are not yet completed, but will be soon. Keep watch.

All of the 2010 Series ACEO Horse Paintings are available for review and purchase on the ACEO Horse Painting page in the galleries on this page.

Stayed tuned for additions to the 2010 ACEO Horse Paintings collection.

If you would like to see an ACEO sized painting of your favorite horse or pony, contact me. ACEO and other portraits are available in oils and colored pencil. I am always looking for good subjects and interesting compositions.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

ACEO Horse Paintings

One of my 2010 studio goals is to paint one equine themed ACEO painting per week for the year.

The process began last week with the assembly and preparation of supports for ACEO horse paintings. That included coating a half dozen mat board cards with at least three layers of gesso on all surfaces.

It also included cropping a failed colored pencil painting into several ACEO sized cards for future ACEO horse paintings in colored pencil.

The process advanced today with the development of seven possible compositions. Four of them were also transferred to gessoed cards and the drawings were subsequently ‘fixed’ with Raw Umber and a 10/0 sable brush. As soon as that work is dry, painting can begin.

Three of those cards cropped from the failed painting also are ready for continued work. They require only time on my part for work to continue.

All new ACEOs will be posted on this blog as they are completed. New paintings will also be added to a  gallery page dedicated to ACEO Horse Paintings showcases current paintings.

For those who not familiar with this unique art format, an ACEO is a trading card sized piece of artwork. They can be either originals or reproductions. The only stipulation is that the artwork must be 3.5 inches by 2.5 inches in size. No exceptions!

ACEO stands for Art Cards Editions and Originals. ACEOs are bought, sold and traded on such open format sites such as eBay and Art By Us, and by specialty web sites such as ACEOs – Art Cards for Sale or Trade.

While some artists specialize in ACEOs and miniature artwork, others like me include ACEO and miniature artwork as only one part of their artistic portfolio.

ACEO sized custom portraits are available from Carrie L. Lewis – Horse Painter. Portraits are available in either colored pencil or oil on a variety of surfaces including Rising Stonehenge paper and archival mat board for colored pencils and prepped mat board or canvas for oils.

ACEO paintings are a fun and interesting way for me to try out new subjects, techniques and materials, do a little experimenting or just have fun.

They are also a great way to begin your collection of original artwork from a variety of artists and featuring a variety of subjects, styles and mediums.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

“Love Story,” Commissioned Portrait


I’ve been quiet of late because I’m hard at work on commissions at the moment. I usually don’t post commissions as works in progress – you won’t see them here until they are complete and have been approved by the client. Sometimes that’s because they are gifts, and sometimes it’s just because there is often fine-tuning at the end once the client has seen the almost completed portrait, and I’d rather wait until those details have been worked through.

Above is one of my latest pieces, an 8 x 10 pencil portrait of a retired jumper mare named Love Story. The photo we ended up going with for this one was actually supplied by Diane McFarlane, a photographer who commissioned me to do the drawing for her friend. I did get to meet this beautiful mare, however, and really enjoyed that time!

I’ll post an oil portrait I’ve also recently completed next time. Now, it’s back to the easel, where I have two more oil commissions on the go. For now, my other works in progress are on hold!

©Copyright 2009 by Linda Shantz. See original post here.
To learn more about this artist, visit her website.

Painting to Benefit Local Retirement Facility

I am very pleased to announce that one of my original paintings has been selected as a raffle item for a local fund raiser.

Park Pony, an original colored pencil painting, was chosen by a representative of The Kansas Christian Home Auxiliary for their 2009 holiday bazaar.

The auxiliary has traditionally raffled a hand made quilt and those quilts became favorites among bazaar shoppers.

With no quilt available this year, organizers were in search of something large enough to make a good raffle item. Enter Park Pony.

The Holiday Bazaar & Bake Sale is November 6 & 7, 2009. Hours are 8 a.m. to 4 p.m. on Friday and 8 a.m. to 2 p.m. Saturday. The winner will be drawn after close of business on Saturday.

Proceeds from sales and the raffle help support the Kansas Christian Home in Newton, Kansas.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Horse Racing Painting – Light & Shadow

The finished drawing has been transferred to Rising Stonehenge paper after a careful review and a little bit of tweaking.

The technique I use for colored pencil work is a variation of the Flemish technique described in my Classical paintings blog. Paintings go through an under painting stage and a color stage.

The primary difference is that I do an umber layer, then a dead layer with oil paintings while colored pencils have only an umber layer and I use only one or two colors and white.

The two colors are Light/Raw Umber and Dark Umber. Light/Raw Umber is the most frequent choice because I want the under painting to be fairly light in value. But on subjects that are darker or that feature dark areas, I use Dark Umber.

Most of the time, I used Prismacolor Verithin pencils at this stage because they are harder and hold a point longer. I can lay down sufficient color to create the value range without filling up the tooth of the paper. When doing multiple layers, that is important.

At this stage (photo at left), I’ve worked on the under painting for two days.

The first work I did was placing whites in the lightest areas. The horse’s blaze, the numbers on the bridle board, the jockey’s cap and the saddle cloth and the jockey’s pants all received attention. I used a Prismacolor Thick Lead white, but used very light pressure and let the color fade into the shadow areas.

The focus of the first few sessions in the umber under painting, though. Beginning with the darker areas of cast shadow around the flaps of the saddle cloth, under the rein and in other areas, I used Verithin Dark Umber and extremely light pressure (1 or less on a scale of 1 to 10) and applied color in even layers.

Work is slow at this stage. I want to develop lights and darks as completely as possible and I want to avoid getting too dark too quickly. Slow and steady wins this particular race. It’s also a lot easier to think first and put color down second than it is to lift color after putting it in the wrong place!

The umber layer was completed on September 21. On to the color!

For indepth updates on this and other paintings featured on this blog, check out the Demonstrations page.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Horse Racing in Colored Pencil

With a trip to Michigan looming and some impatience with oil painting permeating the studio, I decided to look for something to do that would advance studio goals, provide a road trip project and give me a break from oil painting.

Enter colored pencils, a horse racing scene and a new project.

The project is based on the photograph above, which was taken at Mt. Pleasant Meadows, Mt. Pleasant, Michigan May 16, 1998. The focus of this project is the number 3 horse and rider. The working title is Chestnut Number 3, though I confess to also considering the pair in the background. Maybe some other time….

The painting is going to be on a fawn colored sheet of Rising Stonehenge printmaking paper. Rising Stonehenge is about my favorite surface for colored pencil work. This will be the first time I’ve used this particular color, but it’s a perfect fit with the color scheme of this painting.

I spent most of the afternoon working out a cropped drawing based on the composition I thought I wanted, which would have been a head and shoulders crop of the horse with the rider. But the horses are already passed the finish line, so the jockey is standing in the stirrups, automatically setting up a vertical composition.

The more I worked this idea, the better I liked it. Having the lines of the horse fade at the bottom and left will focus the attention where I want it. Those ‘fading’ areas should also provide some interesting opportunities for fading color rather than having the composition go all the way to the edge of the paper.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Painting Galleries Now Live on Horse Painter

I am very happy to announce that galleries of current artwork are now live on the Horse Painter blog.

Galleries include collections of colored pencils, oil paintings, landscapes and horses, portraits and paintings and ACEOs and miniature artwork.

Oil Paintings For SaleGalleries are accessible by clicking the “gallery” tab in the menu bar at the top of this page, then by clicking on the thumbnails listed on that page.

With the exception of the Harness Racing Gallery, each gallery features new, currently available works.

The Harness Racing Gallery does feature some works that are available for purchase, but most of those paintings are portraits that have resulted from twenty-plus years of working with the Michigan Harness Horseman’s Association auction. Some of those paintings date back into the previous century, but remain personal favorites.

Another of my personal favorite image galleries is the ACEO Landscape gallery. These tiny paintings are all 3-1/2″ by 2-1/2″ in size and most of them feature some of my favorite scenes from the Flint Hills of Kansas.

Whether you like horse paintings or landscapes, you will find something in the galleries, so take some time and browse.

I also invite you to bookmark your favorite gallery for future updates. New, available paintings will be posted first on the blog gallery pages.

And if you find something you just have to have, let me know!

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

New Small Format Works in Colored Pencil

With Labor Day and a trip to Michigan approaching, I’ve spent a good part of this week looking for projects to take along with me. Because two of the six days are travel days, one of the other days will be given to business travel while in Michigan and another given to the annual Garver Family reunion, anything I take with me will have to be small and dry media.

So it’s time to dig out the colored pencils again, along with a couple of small format pieces.

I’ve also decided to make the most of this work and do paintings that can be applied to the yearly goals.

One of them is glazing color over an older painting known as Ladies in Waiting.

Ladies in Waiting was first developed as a possible mug design and went to several horse shows and exhibits as a half tone sepia work. But it never sold and in the course of looking at the papers I had in stock a day or two ago, I came across the painting. It’s a fully developed half tone ready for color work. If I add some background, it will become the pastoral for the year. It’s already packaged and ready to go, so that’s the first of my potential projects.

Another one is tentatively titled Chestnut Number 3 and comes from a vast collection of horse racing photographs.

There are a couple of good subjects in this 1998 photograph from Mt. Pleasant Meadows, but my focus for the new project is the blazed-face chestnut in the foreground, Number 3.

This will be another colored pencil piece, but will be smaller than Ladies in Waiting and is on a colored support instead of white. The drawing has been developed and transferred to the paper and very basic light and shadow work has begun.

Chestnut Number 3 will be my horse racing painting for 2009. It’s been several years since my last horse racing piece, so I’m also hoping this is only the first of many out of the gate.

I’m also contemplating starting a harness racing scene, but two images are on the table and I’m not convinced either one of them is the right one. I’ll have to see what happens. I need to do something for the 2010 Michigan Harness Horseman’s Association auction in January, but none of the images I’ve looked at this week are really lighting a fire.

So I’ll probably hold back on that until just the right combination of references, ideas, motivation and inspiration come along. Stay tuned!

In the meantime, I’ll be more than busy enough with the regular daily schedules at home and the gallery and with getting ready for the annual trek to Michigan.

When I think of it like that, two projects is probably plenty!

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Just For Fun in Colored Pencil

Or, Know Your Tools

Once in a while, I do art just because I want to try something new.

Sometimes, the art I do is just for fun or to say I did something in the studio without actually working on a paid portrait or a gallery painting.

This little ditty is one of those projects that falls into both of the categories just mentioned.

First of all, a little information. This is on black Rives BFK printmaking paper. It began life as Thunderhead in Colored Pencil. That painting was an experiment on a new kind of paper and it didn’t survive. Read all about it here.

The piece of paper is 7 inches by 9 inches and when the original test failed, one of the options was to cut it down and try a different technique.

Another option was to flip the paper over and try the back.

The artwork shown here is on the back of that paper.

This past Saturday at the gallery involved a lot of printing, namely newsletters. That meant lots of waiting.

That piece of paper was still on the desk, so on a whim, I got out seven pencils ranging in color from a light yellow green to violet and began applying color in broad, diagonal strokes. The first photograph shows the first layer of color.

Each subsequent layer followed the same pattern. I wanted to see how color went onto the second side.

A confession. I also wanted to see if I could create the same kind of failure on this side as happened on the first side.

As you can see by these photos, color went on very well.

As you can also see, I couldn’t make the paper tear. And I did try. I used pressure ranging from a fairly light “2″ or “3″ at the beginning to a hefty “8″ or “9″ at the end.

I also was quite vigorous in color application. Lots of color and lots of energy. I didn’t pay much attention to the composition other than turning the paper 180 degrees with each pass to avoid creating an accidental “arc” in the color bands.

One of the things I despise in using colored pencil are the flecks of paper that show through color layers if a paper is very toothy or color applications are very light. Lots of artists use this aspect of colored pencil work very well, but I don’t like it in my own.

So I paid special attention to the saturation of each layer of color and to the amount of paper tooth I was able to fill in.

As you can see from this detail, there is still a few flecks of paper showing, but the overall saturation is very good.

I didn’t do the traditional layering with an under painting, then color. This was all direct color application.

And application was pretty much straight forward and with a much heavier hand than I usually use with colored pencil.

But the results were pleasing. Wonderful, bright colors. An interesting pattern and, believe it or not, a piece of artwork that’s worth framing.

In fact, with the next exhibit looming at the Carriage Factory Art Gallery, I may just surprise all those people who know me as a horse painter and put in an abstract!

By the way, for those who are interested, the colors I used were True Green, Light Aqua, True Blue, Violet, Scarlet Lake, Orange and Yellow, all Prismacolor.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Thunderhead in Colored Pencil Next Step

Unfortunately, the next step for this painting is to crop the paper down to the unworked portion and start over with something else.

As mentioned in the last previous post, Thunderhead in Colored Pencil – Oh No!, the paper began to peel as I applied color. On that day, I sprayed the painting with retouch varnish hoping to seal the previous work and provide a surface on which to continue work.

That was on July 30.

On August 19, I tried to work on the painting and with the first stroke of Prismacolor White, the paper delaminated even worse. The retouch varnish did no good.

Two options remain. The first is to crop out the damage and see what I can do with what’s left (if anything). That will leave a piece of paper about 3-1/4 inches by 8-1/2 inches. That shape and size does suggest some interesting possibilities.

The other option is to simply turn it over and try the back. Since I’m not sure whether or not Rives BFK paper has a ‘front’ and a ‘back’, that may be what I do first. As long as I’m experimenting, I may as well try everything I can think of on this poor sheet of paper!

Whatever happens to the piece of paper, this painting is finished in every sense of the word.

I don’t feel too badly about it. After all, Michaelangelo lost a lot of paintings to experimentation, all of them a lot more valuable than my work.

And, along with Thomas Edison, I can say I now know one thing I can’t do with Rives BFK paper! Here’s to learning.

For indepth updates on the Flemish technique paintings, check out my Classical Paintings blog’s Paintings page.

For indepth updates on other paintings featured on this blog, check out the Demonstrations page.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

County Fair Blues

The annual Harvey County Fair was this past weekend. It opened on Friday, July 31 and closed Tuesday, August 4, 2009.

The fairgrounds, which are within two blocks of my house, were crammed with carnival rides and games, taste treats and exhibits for those four days. There was a fair parade (complete with lights and sirens), livestock shows and all kinds of goings on.

With it so close at hand and with so much opportunity to immerse myself in the trappings of farm life, you would have thought I’d have paid a visit every day.

The fact of the matter is that I didn’t even once think about going there. There was too much on my plate already.

But I did have four paintings in attendance for the duration of the fair, thanks to one of the docents at the gallery. She stopped by the gallery the Tuesday before the fair and all but insisted that I take something to shore up the art exhibit. There has been a trend toward photography over the last few years and she was eager to see some original artwork. So I took the paperwork and told her I’d see what I could do.

The open classes for art in the Home Arts Department are rather limited, with all dry media lumped together under the heading “Graphics” and with only five categories in each of the divisions.

But I was able to come up with four paintings to enter. Two oil paintings and two colored pencil paintings.

The first two images shown here are the oil paintings.

Morning Dreams is a 16�20 oil of a scene I photographed at Keeneland Race Course in Lexington, Kentucky the last time I visited that wonderful, picturesque track.

Approaching Storm is an 8�10 landscape painting during an oil painting class I attended last year.

In the colored pencil categories, I entered Searcher of the South Wind (11�14, above) and West of Bazaar (5�7, right).

All four paintings earned first place blue ribbons. The two horse paintings also garnered the Grand Champion award (Morning Dreams) and Reserve Grand Champion award (Searcher of the South Wind).

But the neatest thing was that I was told by the gal in charge of the Fine Arts exhibit, that the kids who came through the exhibit were all eager to see the paintings, with several saying how they wanted to paint like that when they grew up.

I remember those days. I remember seeing the work of other artists and telling myself and my folks, “Some day, I want to do that.”

Cool.

It amazes and humbles me to know that I’m leading the way for others when I look at my own work and see so many things I still need to learn. But I guess that’s what life is all about, isn’t it?

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Thunderhead in Colored Pencil – Oh No!

I worked a little bit more on this painting, layering Cloud Blue and Non-Photo Blue into the sky.

I’m still having difficulty getting the paper covered, so I decided after using some heavy pressure two or three layers in a row to try another blending with rubbing alcohol. That seems to work best if there’s a lot of color on the paper and there is a lot of color on the paper, so….

The blending process went very well. I used a cotton swab and blended once with horizontal strokes, then blended again with vertical strokes, before setting the paper aside to dry.

Then I picked up my Cloud Blue for another color layer. Almost immediately, there was a problem.

The paper started delaminating.

I don’t know if that’s the actual technical term, but I did start to find places where the surface of the paper was failing and balling up.

This photo shows where that happened in a corner. I wasn’t too surprised by this because of the edge and the fact that I didn’t tape the paper first. Running pencils back and forth over the edges is bound to cause problems, particularly on a corner.

Besides, corners are easy enough to cover up later on, when matting and framing take place. So I didn’t worry too much about this when it happened a couple of sessions ago.

The ‘pin hole’ shown in the next photo was surprising and disappointing. It also presents more difficulties than the damage on the corner of the paper.

There are other places where I can feel the paper beginning to roll when the pencil moves over it, so it isn’t an isolated incident.

Fortunately, it has happened only at the top of the picture. As soon as I realized what was happening, I stopped work and will have to figure out how best to proceed. There is the possibility of cropping the damage out of the composition.

When I got home, I sprayed the painting with retouch varnish. The hope is that the damaged areas will be sufficiently protected to allow work to continue. If it works, the improved tooth should also allow for a couple more layers of color.

If it doesn’t work, I haven’t really lost anything. Other options will still be operable.

I have also noticed that the lighter applications of color are disappearing as I work. Apparently, I’m inadvertently rubbing them off in subsequent sessions. I’ve not noticed lifted color on my hands or anything else, but some areas that had color no longer do.

Perhaps the Rives isn’t going to work all that well for my colored pencil technique. I’ll have to give this some thought and try a few things, just to see.

For indepth updates on the Flemish technique paintings, check out my Classical Paintings blog’s Paintings page.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Thunderhead in Colored Pencil and Other Paintings

Work continues on this project, though time to work on it at the gallery has been limited by the normal, day-to-day duties of a functioning gallery.

The sky is now almost finished. I had hoped to complete it last week, but covering black paper takes more layers of color than white paper. That’s not a bad thing, just the way of things.

The influence of the black paper on the color layer is interesting. I am having to adjust color selection to compensate.

The tooth of the Rives paper is also a little more substantial than what I’m used to, so that’s presenting another learning curve.

But that’s okay. Learning is good!

Thunderhead in Colored Pencil is available as a full demonstration on a dedicated blog page.

Oil painting has suffered the last couple of weeks. Two portraits have been finished so far this month, but it’s now the final week in July and the third and currently last portrait is still only about half done.

The Flemish technique lesson paintings are also languishing just a little bit. Shame on me, but other things have taken precedence for the time being and time is going in other directions. I’m hoping to change that soon and also hoping to get some of these lesson paintings finished in next few weeks.

For indepth updates on the Flemish technique paintings, check out my Classical Paintings blog’s Paintings page.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Thunderhead in Colored Pencil

I shot this towering thunderhead the evening of July 8, 2009. The power of this potential storm and the colors produced by the evening sun were just too good to pass up. I didn’t even bother putting shoes on before grabbing the camera and heading to the church parking lot.

I ended up with nearly two dozen images of this cloud in profile and another cloud with the sun behind it. The back light on that cloud is luscious, by the way, and may end up as another painting if I can work up the nerve to tackle it!

A few weeks ago, an artist friend from the gallery gave me a few scraps of printmaking papers. A couple of pieces of Rives BFK in black and another piece in white were among those samples.

Trying out a new subject with a new paper seemed like the perfect match.

The first thing I did was lightly sketch the general shape of the cloud onto the paper. I didn’t pay much attention to detail and instead went for the general impression of mass and shape at this stage. A lot of that detail will be added as I lay in color.

It’s also not as necessary to place all the shapes and every detail with a painting of this type as it is with an animal.

To begin the painting process, I used Powder Blue in the background, which is all sky.

That was followed by Blush in the reflected cloud light toward the bottom of the image. Once again, I held the pencil lightly and applied color in diagonal strokes in the same direction.

I used Jasmine in the direct light around the leading edges of the cloud. Because of the shape of the cloud in the upper areas, I applied color in a circular pattern and allowed the pencil point to get a little duller between sharpenings.

See Thunderhead in Colored Pencil for additional information and a continuing step-by-step demonstration.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Ace Is Finished!

This fellow has taken a long time from start to finish, but Ace is completed and being framed. In between commissioned work and in doing art demos, Ace has been done in an hour or two here and there, but I’ve enjoyed every minute.

I have done this portrait as an exhibit piece and will take him to many dog shows and art fairs.  But at some point the original will go to his owner, Emily Colvin, my eldest granddaughter who lives in Seabeck, Washington. Open Edition reproductions are in the works as Ace has made friends far and wide!

Thanks to all who have faithfully followed his progress. Watch my Blog for information on availability of the prints!

Ace - Done

©Copyright 2009 by Ann Garlough. See original post here.
To learn more about this artist, visit her website.

Monday Guest Aritst ~ Kim Ratigan

What a perfect day to have a guest blogger – winter decided to pay us another visit and dump some nice wet snow on us here in Southern Ontario, so having someone lined up to fill in today lets me take care of a slightly altered schedule at the barn without the stress of trying to fit in a painting! It’s sheer coincidence that I chose Mondays to feature another artist, even though tonight is the only real night I care about TV, because 24 is on.
Kim Ratigan is a watercolour and coloured pencil artist who lives not far from me in Burlington, Ontario. I’ve known Kim for a long time now, as we used to do art shows together. We’re both into horses and dogs, so we’ve never had trouble finding things to talk about! One of Kim’s watercolour paintings was an award-winner at this year’s Art Show at the Dog Show. Please take a moment and visit her website and blog to see more of her work! We’re going to post two of Kim’s paintings today, as I couldn’t decide on just one! Thanks, Kim!


“A Word in Your Ear”
19 x 13″ watercolour/coloured pencil

This coloured pencil painting portrays a quiet moment between a Thoroughbred going to post and his groom…commnunicating without saying anything…

The painting is on acid free rag board, measuring 19″ wide by 13″ high, and is double-matted in cream and grey-green, and shrink-wrapped in heavy plastic for protection. It is available for purchase at a special price for the duration of April’s “Thirty Horses, Thirty Days.” “A Word in Your Ear” is priced at $250.00 US (plus shipping, and 50% of the purchase price will be donated to Linda’s favourited charity, LongRun Thoroughbred Retirement, an adoption and placement program for retired racehorses in Ontario, Canada.

If you are interested in purchasing this painting, please contact Kim directly!

“Baby Bling”
5 x 7″ Coloured Pencil/Watercolour

This is a small painting of an Arabian foal in all his baby “finery.” Done in coloured pencil and watercolour, this piece was accepted into the Pyramid Society’s Annual Art Auction, and was sold for $500.00 US.

©Copyright 2009 by Linda Shantz. See original post here.
To learn more about this artist, visit her website.

RSS for Posts RSS for Comments