Here is the original print from which I am painting:
(picture was taken in 2009 while visiting New Zealand and Australia)
This is one of the books I am referencing for painting clouds above the lighthouse:
4 cups waterSubstitutions: sour cream and cream cheese in equal proportions saves a search (and also saves money) for creme fraiche. Velveeta cheese could also be substitued, and will result in a more yellow color.
2 vegetable bouillon cubes
1/2 cup creme fraiche
2 tablespoons coarse grain mustard, with whole mustard grains
1/2 cup spreadable soft cheese, you want it to melt well
4 tablespoons cornstarch
salt and pepper
1 spring onion, chopped
1 Bring water to boil.
2 Add creme fraiche, mustard and cheese.
3 Stir until smooth.
4 Add cornstarch.
5 Continue stirring.
6 When soup thickens, add salt and pepper to taste.
7 Garnish with chopped spring onion.
the priest, dipping his thumb into ashes previously blessed, marks the forehead -- or in case of clerics upon the place of the tonsure -- of each the sign of the cross, saying the words: "Remember man that thou art dust and unto dust thou shalt return." The ashes used in this ceremony are made by burning the remains of the palms blessed on the Palm Sunday of the previous year.From Rock Hill, SC the Herald reports this is a day when Christians
“...confront our frailness, our failures,” ...“and the ashes symbolize our broken dreams.”
Services will start today around sunrise and will go far past nightfall. It will happen all over the earth. People with ashes on their foreheads dispersing into the day and night to try to make a world of record unemployment, broken dreams, and foreclosures.
The ashes do not always inspire.
“One time, years ago in Rock Hill, so many people left a service at the Oratory on Ash Wednesday and went to the old Revco pharmacy there in the Beatty Plaza on Cherry Road...the clerk thought it was a cult coming in. She called the police.”
The cops came to find people with gray forehead smears in the shape of the cross, hands clasped in prayer. There was no cult.
The popular customs associated with Saint Valentine's Day undoubtedly had their origin in a conventional belief generally received in England and France during the Middle Ages, that on 14 February, i.e. half way through the second month of the year, the birds began to pair. Thus in Chaucer's Parliament of Foules we read:
...For this was sent on Seynt Valentyne's day
...Whan every foul cometh ther to choose his mate.
For this reason the day was looked upon as specially consecrated to lovers and as a proper occasion for writing love letters and sending lovers' tokens. Both the French and English literatures of the fourteenth and fifteenth centuries contain allusions to the practice. Perhaps the earliest to be found is in the 34th and 35th Ballades of the bilingual poet, John Gower, written in French; but Lydgate and Clauvowe supply other examples. Those who chose each other under these circumstances seem to have been called by each other their Valentines.
Daybreak is a semicircular shawl, featuring clear graphic stripes that echo a rising sun. The generous wingspan allows the fabric to drape comfortably around your shoulders and neck. There is plenty of room to play with color in the three sections of this arched shawl. There are three sizes available to knit this shawl.
•Don’t be afraid to use bright colours neat from the tube for expressing the colour of flower heads.This is excellent advice which I attempted to incorporate into two current works in progress (below).
•Applying the sunlit or pale colours before the shaded areas will ensure the rich colours of the flower heads will not be contaminated by the dark colour
•Don’t use black to darken the colour of the petals, but its complimentary colour, which is any opposing colour on the colour wheel
•Periodically standing back from the painting and using a wider brush than one might expect, will add boldness to any floral painting
•A good quality sable is essential for detail. A number 3 or 6 round is often ideal
•Over-mixing a colour might kill the life out of a bright colour. Allowing a few streaks of a colour mix to remain will add expression and life to any flower painting.