| Martha Guthrie November 2007 Water Color |
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friend, Iris Lacoste.
Three tomatoes on an old
worn white cloth serve as
her model. In her studio in
Metairie, she lights her
subjects with one light
source, not florescent, not
overhead.
Martha Guthrie starts with
the white fabric after a
preliminary sketch.
Martha has a distinctive
style as demonstrated by
the finished paintings on
the right.
Her art work was featured
in a lengthly article for
"Watercolor Magazine" in
the 2002 fall issue.
She uses 140 lb. cold-
press watercolor paper
and likes to vary her
colors.
She prefers round brushes
because she likes to get
"soft edges."
"Remember that the white
cloth will reflect back up
into the red color of the
tomato," she said,
lightening the underside of
the fruit.
She says she squints to
correctly identify the
highlight.
The background comes in
last. It is always "a cool
or warm dark,"
never a straight black. It
is always very thick. A
glaze will be added later.
Three tomatoes on an old
worn white cloth serve as
her model. In her studio in
Metairie, she lights her
subjects with one light
source, not florescent, not
overhead.
Martha Guthrie starts with
the white fabric after a
preliminary sketch.
Martha has a distinctive
style as demonstrated by
the finished paintings on
the right.
Her art work was featured
in a lengthly article for
"Watercolor Magazine" in
the 2002 fall issue.
She uses 140 lb. cold-
press watercolor paper
and likes to vary her
colors.
She prefers round brushes
because she likes to get
"soft edges."
"Remember that the white
cloth will reflect back up
into the red color of the
tomato," she said,
lightening the underside of
the fruit.
She says she squints to
correctly identify the
highlight.
The background comes in
last. It is always "a cool
or warm dark,"
never a straight black. It
is always very thick. A
glaze will be added later.
demonstration, many taking notes.