This year, the Kawartha Art Gallery in Lindsay, ON invited me and other member artists to participate in a new initiative, Palette Partners, a community art and local business partnership.

Palette Partners is part of the Gallery's ongoing efforts to support the City of Kawartha Lakes cultural economy by creating opportunities for local artists to promote their work to a wider audience, while forming connections within the larger community.

Artwork accepted into the Palette Partners project is displayed in public spaces at participating businesses for several months, with a QR code providing viewers with the option to purchase the artwork online through the Gallery's website.

Three of my paintings were selected to display at Milk & Honey Eatery, a newly-opened restaurant at 18 Kent St. W. in downtown Lindsay.

I am pictured above in front of the building and my paintings are shown inside the restaurant beside owner Olivia Moore, whose passion for baking and cooking rivals my passion for painting.

I enjoyed a delicious lunch at Milk & Honey last week, along with 30 members of the Women's Probus Club of Lindsay, and the service and food were both excellent. I highly recommend this spot for brunch, lunch, or just a hot beverage.

They offer quality home made meals and fresh baked goods, and are open  from 10 am to 3 pm Monday through Saturday. Check out their website here.

I am very pleased to support the cultural and business communities this way and applaud all the local businesses and artists who have joined Palette Partners.

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Subscribe to Karen's Newsletter if you want to see more of her art stories, travel tales, studio news updates, or notices of upcoming exhibitions.

Summer has arrived in full force and brought with it a bounty of sunny tidings on the artistic front.

The first piece of happy news is so remarkable, I hardly can believe my good fortune. About a week ago, I learned that not just one, but three of my paintings had won awards in the 4th annual Women in Watercolor International Juried Competition.

The congratulatory letter went on to say, "This year's competition had over 1800 submissions from over 60 countries from the best of the best women watercolor artists, so you should be very proud!". My winning paintings are shown below.

Superior Jewels (varnished watercolour on 20 x 16 inch panel, private collection)

Won Third Place in the Landscape & Water Category

Where Garden Meets Rock (varnished watercolour on 40 x 28 inch panel, private collection)

Won Finalist in the Still Life & Floral Category

Superior Lady (varnished watercolour on 14 x 11 inch panel, private collection)

Won Honorable Mention in the Animal & Wildlife Category

I am grateful to the Women in Watercolor organization, which was formed in 2020 to "help encourage, support, and promote the outstanding women that are working in this medium on an international level, through online competitions, and in-person events". I also send heartfelt appreciation to the nine international judges who bestowed awards upon my artwork.

If you take a tour of all the inspiring prize winning paintings at https://womeninwatercolor.com/2023-award-winners/ you will understand how incredibly blessed I feel to have received these honours, given the level of technical and creative excellence among the winning artists.

The second piece of happy news arrived in the mail a few weeks ago, in the latest issue of Airstream Life magazine. This subscriber-based quarterly publication serves 10,000 enthusiasts of the iconic brand of recreational vehicles and related active outdoor lifestyle.

I had been interviewed last winter by one of the magazine's writers, for a series called Collecting Experiences, focusing on various creative pursuits that Airstream owners enjoy.

When the June 2023 issue came out, I was thrilled to learn that it contained a seven page feature article, illustrated with a dozen colour images of my watercolour paintings, telling the story of my artistic life and how my paintings are inspired by our adventures traveling in our Airstream trailer. (I wish I could share a copy of the article here, but it is only available to magazine subscribers.)

After many decades spent navigating through this topsy turvy artist's life of mine, I still feel as thrilled as a little kid when good things like this happen. I feel incredibly fortunate and often think to myself "Pinch me, somebody!".

If you have comments you wish to share, please do so using the 'Leave a Comment' button at the top of this post.

Subscribe to Karen's Newsletter if you wish to see more of her painting stories, travel tales, studio news updates, or notices of upcoming exhibitions.

I had to keep this piece of happy news secret for several months, but now that the City of Kawartha Lakes has announced the official winners of this year's That's a Wrap Art Competition, I can share the story.

It began last June with a Call for Entry from the City regarding a temporary (3-year) public art initiative to wrap select traffic control boxes along the Kawartha Lakes road network with artist-created imagery.

The theme of the competition was Nature & Outdoors, and applicants had to be residents of Kawartha Lakes.

This project was a partnership between the City and Kawartha Arts Network, intended to enliven the urban landscape, help reduce graffiti, and visually connect the communities of Kawartha Lakes for area residents and visitors.

As an extension of the program, chosen artwork also is featured in the 2023 Municipal Calendar.

I submitted eight of my painted images in July and was delighted to learn in August that my painting 'Nightfall', was one of nine images chosen for installation this fall.

Everyone was asked to keep quiet about winning the competition until the City could make a formal announcement after the wraps were installed.

The City worked with Auto Trim & Signs in Lindsay to design and create vinyl wraps to fit the control boxes, based on the artists' digital images of their paintings, and installation was completed by early November.

My artwork image 'Nightfall' was installed on a traffic control box in front of the Bobcaygeon Municipal Service Centre, at the corner of County Rd. 36 and King St.

WOW it looks amazing, far surpassing my expectations! Auto Trim & Signs did a wonderful job of the wrap design and installation.

Here is a list of the location and artist for each art wrap image in the 2022 program:

Bobcaygeon (2):
Canal St and Bolton- Karen Szostak
Highway 36 and King St- Karen Richardson

Fenelon Falls (2):
Victoria st and Lindsay- Lindsay Edmam
Lindsay st and Colborne - Donna Bisschop

Lindsay (5):
Mary St and Lindsay- Wren Kellar
Victoria St and Colborne- Joy Mccallister
Kent St and Albert- Christine Woods
Mary St and Angeline- Megan Lowry-Smith
Kent St and St Joseph’s- Rhonda Larson

To view all the art images chosen for That's a Wrap, and see a map of their locations, visit That's a Wrap - City of Kawartha Lakes.

I am grateful to the City of Kawartha Lakes and Kawartha Arts Network for the opportunity to participate in phase one of this wonderful public art project. Next year, the City plans to run another competition and wrap more traffic control boxes in Kawartha Lakes.

Subscribe to Karen's Newsletter if you wish to see more life-of-the-artist stories, travel tales, studio news updates, or notices of upcoming exhibitions. 

For the last two months I have been working diligently in my art studio, completing the seven new watercolours shown below. During this late winter season, I have enjoyed making art beside my cosy fireplace, while daylight hours continued to lengthen outside my window. I welcome the advent of spring that is upon us.

You might assume my studio would be full of new paintings by now, with the pace I have been setting (painting an average of one painting each week since the fall), but most of my new works have gone on to collectors or out for display at my retail galleries. I still have two empty walls in my studio that need filling, but I am extremely grateful that my artwork is capturing the attention of collectors even during this pandemic.

The series of 'after dark' paintings I began late last year continues to intrigue me. It has been exciting to experiment with new pigment combinations and create these magically dusky skies. My latest batch of paintings includes scenes of sunset, twilight, starlight, moonlight, and dawn.

Today, I am sharing the stories behind the creation of these new artworks, beginning with the two blue moonlight-on-water scenes.

These two varnished watercolours are different sizes of the same scene. On the upper left is Moonbeam Dream (8 x 8" panel) and on the lower right is Moonbeam Melody (10 x 10" panel). In both pieces, the reflection of a full moon shimmers on the lake like a dancing flame. The heavens are so dark a blue they almost appear black - a perfect backdrop for the celestial bodies that shine in the night. 

The smaller painting was requested by a client and I enjoyed painting this simple but evocative scene so much that I proceeded to make the larger one as well. I also painted this scene in February for another client. It's a popular scene.

These paintings were inspired by a photo I took of the full moon over Lake Ontario last summer. We were camping steps from the shore and the blue of the water and sky was captivating. Thankfully my camera was able to capture the rich colour (shown at right).

To make the distant headland more interesting, I changed it to a group of islands I photographed at Lake Superior (shown below). I had to imagine what the islands would look like in moonlight rather than sunlight. I also added the stars to make the scene extra special.

Click here for more details about Moonbeam Melody.

The next painting shown here is Dancing With the Moon, varnished watercolour on 10 x 10" panel. A stately pine bows gracefully towards a resplendent moon playing peekaboo with a delicate swirl of clouds. Together they dance under a canopy of stars.

The genesis for this painting was a photo I took at my sister-in-law's home on Lake of the Woods. We were sitting at her camp fire one evening last summer when the full moon rose over the trees (shown below left) and I grabbed my camera. I loved the soft blue and purple colours of the sky that were revealed when I lightened the digital photo later on.

I found another photo I took during that trip, of tree tops in Lake Superior Provincial Park (shown below right). I used some of the dramatic tree silhouettes in the painting.

Click here to see more details about Dancing With the Moon.

Shown here is Land of a Million Stars, varnished watercolour on 16 x 12" panel. The slim elegance of these trees hides an indomitable strength that allows them to withstand decades or even centuries of frigid northern winters. Their perseverance is rewarded on perfectly clear nights by a glimpse of the Milky Way.

This painting was inspired by a photo taken by my Facebook friend Randy Whitbread, an avid photographer who lives in Flin Flon, Manitoba. When I saw his photo (below right) , I knew it would make a super painting, although a technically difficult one (and I was right).

When I was close to finishing, I decided my painted sky was too bland. I referred to the photos of another Facebook friend, professional photographer James Shedden from Magnetawan, ON to add my interpretation of the Milky Way. An example of his beautiful night photography is shown below left.

  

I am tremendously grateful to these intrepid fellows who allow me to use their photos in my paintings. They can capture northern night images that I cannot.

Click here for more information about Land of a Million Stars.

 

Shown here is Twilight Magic, varnished watercolour on 6 x 12" panel. Northern lakes are the places in nature that heal the stress of my busy life, calm my mind, and restore my equilibrium. I love them beyond measure and cannot imagine a life that does not offer frequent immersion in these magical landscapes throughout the year.

This photo was inspired by the photo (shown here) posted on Facebook by our friend and former neighbour, Lee Warner of Port Perry, ON. This is the view from the property where she used to live. I loved the way the last rays of sunlight silhouetted the Muskoka chairs and distinctive cedar trees of the shoreline.

Click here to see more details about Twilight Magic.

 

Shown here is Morning Calm, varnished watercolour on 8 x 10" panel. This iconic diving raft is often seen in the quiet bays of northern Ontario lakes, near family cottages. A luminous sunrise reflected on the water makes the solitary raft our sole focus. It brings memories of summer fun, when swimmers played in the bay, and reminds us that soon summer will be here again.

Shown above is an extra-large painting titled All That I Am (varnished watercolour on 24 x 36" panel). Don't let that smooth, untroubled lake surface fool you; this was an enormously difficult piece of artwork to complete. (More about that later.)

There is something special about a calm northern lake, especially when it features a stunning island. Every tree and rock is perfectly reflected on the water's surface. It is as if Nature is saying "See how wondrous I am." I feel a kinship with quiet, wild places like this.

All That I Am marks a milestone because it is twice the surface area of my previous maximum-size painting (which was 18 x 24"). Since I create my paintings on watercolour paper and mount them to cradled wood panels, I am limited by the size of paper and panels I can procure.

A few months ago, I discovered that Arches (the company in France that manufactures the watercolour paper I prefer) makes an oversized paper. I searched all over Canada without success for a supplier that stocks this large paper and eventually had to import it from an American art materials company. I also found an Ontario supplier of 24 x 36" cradled wood panels which are made in Quebec.

Next, I bought a selection of 2" flat watercolour brushes, since my existing arsenal of brushes is comprised of smaller sizes, and I knew I would need to work with bigger tools and generous amounts of paint.

Once I had all the materials in the studio, I searched for a subject suitable for a large painting. I wanted to start with a simple composition to evaluate my new materials, in case the experiment was a flop. A few months ago, I met Randy Whitbread through Facebook. He is an outdoor enthusiast and photographer who lives in Flin Flon, Manitoba. His photos of the northern wilderness near his home are breathtaking.

Randy gave me permission to use his lovely photograph shown above as a painting reference. It was taken on Millikan Lake near Flin Flon in late fall. I have seen countless islands in pristine northern lakes similar to this. The mist and the dramatic island just spoke to me. 

I thought this simple scene would work up relatively easily on my large paper, because the composition is mostly plain gray sky and water. Boy, was I wrong.

The biggest challenge in painting an evenly-coloured sky and water background in watercolour is speed: getting the paint onto the paper quickly, taking a few more seconds to move the darker colours to where you want them, and then stepping away before any section of the painting starts to dry. An even drying rate is the key to a smooth, flawless background. It also helps to build up colour in multiple layers, allowing a full day's drying time in between each layer. This repetitive process produces deep, even colours.

Shown below is my work in progress after three sky and water layers and one land layer have been completed.

The first issue I ran into on day one was the speed issue. Paint dries just as quickly on an area of six square feet as it does on three square feet. This meant I had to paint twice as fast as I am used to. The new 2" brushes helped, but I probably should have invested in a 4" brush as well.

Another problem I had to deal with the first day was buckling of the paper. This is a normal occurrence for me, and usually taping my 300 lb paper to a firm surface before I start keeps buckling to a minimum. (I can hear you artists out there asking why I don't pre-stretch the paper. I prefer the way paint behaves on virgin paper that has all its surface sizing intact.)

My usual taping strategy didn't work because the differential expansion of the wet centre of the oversized paper compared to the taped edges, caused the centre to heave up in large ripples. These undulations cause pooling of wet paint in the troughs, which would make those areas darker if the paint was to dry on rippled paper. I quickly solved this issue by removing the tape, wetting the edges so the paper could expand evenly, and then redistributing the wet paint with my brush.

Having the edges of the paper unfastened caused a third difficulty, which I discovered on day two. While drying overnight, the short sides of the painting had curled upward significantly. I taped them down to my drafting table so I could apply the next layer of colour. This new moisture allowed the paper to relax and flatten, and I removed the tape so the paper could expand and not buckle while I painted. After a few hours of drying, I re-taped the edges to my drafting table to avoid the overnight curling. Problems solved.

I continued with this layer painting for four days and on the fifth day was able to start the easier process of painting the big island on dry paper. Shown below are the steps as I gradually built up colours, shadows, and details, layer by layer.

Layer 1 started:

Layer 1 finished:

Layer 2 finished and masking removed:

Layer 3 finished:

Once the main island was completed, I built up the smaller island using three layers of paint:

Shown below is the completed painting.

If it weren't for my 35 years of practice and experience dealing with technical issues in watercolour, this painting would not have survived the battle. That is one reason I titled the painting 'All That I Am'. I certainly gave it my all.

The second reason is that I grew up near Algonquin Park in northern Ontario, where lakes and landscapes like this were the backdrop to my formative years and help define who I am and where I feel at home.

You can see the scale of this piece, pictured beside me in the photo below.

The completed painting is mounted on an archival wood panel, trimmed, varnished, and presented in a black wood floater frame. There is no glass to get in the way of enjoying the details of 'All That I Am'. I consider it to be one of my master works because of its size and level of difficulty. And it has a really cool island in it!

Click here to see more details about this painting.

If you have comments you wish to share, please do so using the 'Leave a Comment' button at the top of this post. 

Subscribe to Karen's Newsletter to see more of her painting stories, travel tales, studio news updates, or notices of upcoming exhibitions.

Since the turn of the year, I have been working away in my art studio, completing the eight new watercolours pictured above. During these cold months, I enjoy making art beside my cosy fireplace, while winter winds blow outside my window.

My studio is full of northern scenes this winter, and I feel like I am creating some of my best work. Half the pieces produced so far this year explore the effects of northern lights, and it has been exciting to experiment with vibrant greens and blues to create these magical skies.

I've also done scenes from summer, fall, and winter with various atmospheric effects such as mist, sunset, and moonlight.

Today, I am sharing the stories behind the creation of these new artworks, beginning with the larger pieces.

Shown above is an extra-large painting titled All That I Am (varnished watercolour on 24 x 36" panel). There is something special about a calm northern lake, especially when it features a stunning island. Every tree and rock is perfectly reflected on the water's surface. It's like Nature is saying "Stop and see how wondrous I am." This piece is twice the size of my previous largest works. 

In January, through Facebook, I met Randy Whitbread, an outdoor enthusiast and photographer who lives in Flin Flon, Manitoba. He gave me permission to use his lovely photograph shown below as a painting reference. It was taken on Millikan Lake near Flin Flon in late fall. The mist and the islands just spoke to me. I feel a kinship with quiet, wild places like this.

The creation of All That I Am was arduous due to its size, and I will tell you the full story of that adventure in a future article. Suffice it to say for now that I was very relieved when I managed to complete the painting successfully.

Click here for more information about All That I Am.

Shown above is 'Moonglow', varnished watercolour on 20 x 16" panel. A vintage cabin sits nestled in the quiet of a winter forest, under the warm glow of a full moon. Two venerable conifers stand guard as branches creak and wind sighs softly through a gentle night.

This complex scene was inspired by a photo taken by another of my Facebook friends, professional photographer James Shedden. His photo of an old schoolhouse near Magnetawan, ON on a moonlit night (shown below and used with his permission) captivated me. I was looking for a 'meaty' subject to get my teeth into and loved the complexity and mood of this scene.

 

I consider this painting to be one of my master works, not only because of its size and intricate structure, but also for its feeling of mystery and invitation.

For more details about 'Moonglow', click here.

Pictured above is Splendour of the North, varnished watercolour on 9 x 12" panel. Calm northern lakes provide the perfect showcase for northern lights. As they dance across the starry night sky, the swirling hues of the aurora are in perfect synchronicity with their twin on the water.

This painting was inspired by another photo (shown below) by my Facebook friend Randy Whitbread.

Click here for more information about Splendour of the North.

Pictured above is Reflections of Glory, varnished watercolour on 10 x 10" panel. One of the many benefits of living in or visiting northern Canada in wintertime is being able to view the aurora from time to time (if you are willing to stay up late in cold, dark conditions). The eerie lights move across the night sky in luminous ribbons and waves, like vast curtains billowing in heavenly breezes. In this scene, the glorious hues are reflected on a frozen river.

This painting was inspired by a photo (shown below) taken by my Facebook friend James Shedden near Magnetawan, ON.

Click here for more details about Reflections of Glory.

Shown above is Reach for the Stars, varnished watercolour on 12 x 6" panel. Whenever I am lucky enough to witness the aurora, they always leave me awestruck with the power of Nature. Their ever-changing colours and shapes, like silent fire rippling across the heavens, never cease to amaze me.

This painting was inspired by another photo (shown below) that was taken by James Shedden near Magnetawan, ON.

To see more details about Reach for the Stars, click here.

Pictured above is Standing Watch, varnished watercolour on 16 x 20" panel. Every night, as they stand guard under a canopy of starlight, these venerable pines in a northern forest witness the vastness of the universe. Tonight their spectacle includes the glow of northern lights.

This night scene was inspired by a daytime photo I took looking upward in a pine forest (shown below). I don't recall the location but I assume it was in northern Ontario.

It took some imagination to remove the sunlit effects and convert this to a night scene. I enjoyed painting the characteristics of each tree that made it unique. No two are alike.

Click here for more details about Standing Watch.

Pictured above is Sky Fire, varnished watercolour on 10 x 10" panel. This painting started out with an imaginary, luscious sky and a low horizon. I wasn't sure what scene to invent but the white section remaining at the bottom  of the watercolour paper reminded me of snow. A winter scene was born.

I see landscapes like this when we are out snowmobiling in northern Ontario. I love the drama of reflections on open water, contrasted with the white of the snowy fields. The flat orange pink colour of the lower left sky was a perfect backdrop for the intricate branches of a tree.

WHY FRAME WITHOUT GLASS?

I am pictured above at an arts festival in 2015 with a display of my watercolour paintings presented without glass. I began using this framing method in 2011, taking advantage of technological advances in art materials. I like the clean, contemporary look of the thin black frames and no glass.

Prior to this, for the first few decades of my art career, I protected my watercolour paintings in the traditional manner, with museum quality matting and backing board, UV-blocking glazing, and coordinated moldings to hold the 'sandwich' together. Examples of this presentation are pictured below, at an art festival in the early years.

These traditional archival materials worked well to shield the artwork from environmental damage, but were heavy and fragile to transport and display. The worst aspect was that reflections in the glass often impeded viewing of the painted image.

With my new method of mounting, the artwork is created the same way but sandwiched differently. I still paint on 300 lb. acid-free 100% rag watercolour paper. After the painting is completed, it is supported from behind by an archival wooden art panel and sealed on the front with a UV- and moisture-resistant coating that takes the place of glass.

The art panel is then mounted in a simple black wooden float frame, as shown in the 12 x 16 inch painting below 'Come Fly With Me'. This new process provides a clean, updated look to the artwork, helps protect the painting from humidity and colour fading, and allows the piece to be hung without the glare and weight of glass.

Now my watercolours have the visual impact of an oil or acrylic painting, while still showcasing the soft colour transitions and glowing light effects of traditional watercolour. I think of this as having the best of both worlds.

HOW DOES THIS FRAMING METHOD WORK?

People ask me this question frequently. Sometimes they are curious collectors but often they are fellow artists who wonder if they too can present their artwork without the weight and glare of glass.

I summarize my experiences here, so that art collectors can be better informed when contemplating an art purchase, and artists can choose safe procedures and materials, and avoid potential problems.

That said, if you are an artist and wish to display your paintings without glass, I encourage you to do your own research and find the archival method that suits your circumstances and keeps your artwork protected. I place a lot of trust in art material manufacturers' recommendations based on actual science, rather than those of well-intentioned but possibly ill-informed artists on YouTube.

An example of a trusted resource would be this printable instruction sheet 'Mounting Flexible Supports to Panel, an Archival Practice', produced by Ampersand (manufacturer of art panels). This article includes instruction for mounting canvas art as well as paper art.

Outlined below are the methods and materials I use to mount and varnish my watercolour paintings, along with some important tips I have learned over the last decade. The process takes about a week to complete and can be somewhat perilous for novices. Remember that mounting your painting to a panel is non-reversible, so start with a small sample painting while you learn and test the process. Also bear in mind that some art societies might consider a watercolour painting coated with acrylic varnish to be a mixed media artwork.

TEN STEPS TO MOUNT AND VARNISH A WATERCOLOUR PAINTING

(A printable version is available at the end of this article.)

1. Obtain an art panel which has already been sealed and primed, and a floater frame that will fit. Panels come in standard sizes; the smallest I use is 8 x 8 inches and the largest is 24 x 36 inches. My favourite panels are Jack Richeson cradled gessoed tempered hardboard panels, ApollonGotrick gesso wood panels, and several coated panels made by Ampersand (Claybord, Gessobord, or Primed Smooth Artist Panels). I prefer the 3/4" or 7/8" panel profiles. I buy custom floater frames that will fit the panel profile plus the thickness of the watercolour paper and still have at least 1/8" of the frame protruding beyond the front surface of the artwork. This will protect the vulnerable edges of the painting.

2. Complete a finished painting on 300 lb. acid-free Arches watercolour paper, with an image that is 1 inch longer and 1 inch wider than the panel. The excess paper will be trimmed off after mounting is complete. Thinner papers will show any unevenness of the adhesive layer, so avoid 140 lb. paper. I do the mounting after the painting is done for two reasons; the mounting adhesive affects how paint behaves on the paper, and I don't want to risk wasting a panel with an unsuccessful painting.

3. Decide where the image will need cropping, to become the same size as the panel, but don't cut the watercolour paper yet. On the back of the paper, draw a pencil outline of where the panel will need to be placed. If your painting scene has a horizon, make sure it aligns parallel with a panel edge.

4. Place the painting face down on a hard, flat surface that is covered by a clean towel. Wet the back of the painting with clean water using a sponge. Quickly apply a thin coat of Golden Soft Gel Matte acrylic medium to the surface of the panel, using a two-inch flat brush. This needs to be done in about 30 seconds so the adhesive stays evenly wet. (Use a cheap brush, because the dried adhesive eventually builds up in the brush hairs, no matter how carefully I rinse the brush.)

5. Flip the gel-coated panel over and place wet side down onto the back of the wet paper, aligning the panel within the pencil lines from step 3. Press hands hard on the centre of the panel to force air bubbles out the sides. Pile on heavy objects (stacks of books work well) on the centre of the panel to make sure the paper and panel are squeezed tightly together. (See photo below) Leave overnight to dry, then remove the weights and flip the painting front side up to continue drying.

6. After another day, or once the painting feels fully dry, paint the edges of the panel with black acrylic paint. I usually apply two coats. The flange of watercolour paper helps to protect the front of the artwork from the acrylic paint. (Shown below)

7. Once the acrylic paint is dry (30 minutes), place the painting face down on a clean cutting mat and remove the paper flange with a very sharp utility knife. Make the cuts vertical and flush with the panel edge (shown below). When done, use a fine grit sanding block to sand the edges of the paper to remove any burrs.

8. The exposed thickness of the watercolour paper is white. Paint it with a black or very dark watercolour mixture (shown below). I mix my black from the three primaries. This dark colour will make the paper look like part of the panel rather than a separate layer. Do not use a black marker or acrylic paint, as it is too easy for these pigments to bleed over onto the front of the painting. Leave the painting face up to continue drying for several days before varnishing.

9. I never varnish my paintings in my studio, because of the toxic fumes. I set up my turntable stand in a garage with ambient temperature between 65 and 75 degrees F (18 to 24 degrees C). The varnishing process takes me a whole day because there are seven coats, with at least 45 minutes drying time between each coat. I varnish my paintings in batches of 4 to 6 pieces to make the process more efficient. I wear a respirator mask and use a spray varnish that does not disturb the watercolour paint. I start with three coats of Golden Archival Varnish (Mineral Spirit Acrylic Aerosol with UVLS) Gloss, followed by four coats of the Matte version. (Shown below).

This non-yellowing finish protects the artwork from dirt and dust and is moisture resistant. UVLS stands for UltraViolet Light filters and Stabilizers, which provide archival protection and reduce light damage. According to Golden, manufacturer of artist paints and varnishes, it takes a minimum of six coats of varnish to provide UV protection. The gloss coats seal the surface while keeping the painted image sharp, and the matte coats eliminate glare. I have not noticed any colour change caused by the varnish. It does add a slight texture to the surface of the painting. I have read that this varnish provides better UV protection than UV-blocking glass offers. I let the varnish dry overnight in the garage, to allow most of the smell to dissipate, before bringing the painting back to my studio.

10. After the varnish has dried for at least two days, I attach the frame to the back of the panel, add a hanging wire, and label the back of the panel with artwork and artist information. Now the painting is ready to hang on a wall.

I hope you have found this information helpful and interesting. Click here for a printable version of the above steps.

If you have comments you wish to share, please do so using the 'Leave a Comment' button at the top of this post. 

Subscribe to Karen's Newsletter to see more of her painting stories, travel tales, studio news updates, or notices of upcoming exhibitions.

My life has been impacted in many ways by the Covid19 global pandemic. During these last few months of isolation, it has been an interesting journey to design a 'new normal', while my husband and I hunker down at our home property, which is pictured above. In this article I am sharing with you a glimpse of how we have been spending our time at the homestead.

The biggest impact to our personal life was the cancellation of a 7-week vacation in Australia. My husband and I were to begin our excellent adventure in early April with a week touring Tasmania in our rented camper van and then fully explore the coastal route from Melbourne to Cairns before flying home at the end of May. Here is the type of adventure we had envisioned:

Hopefully we can re-book the trip at a later date through the same company, Gallivanting Oz, who did an excellent job of arranging our camper van rental and subsequent cancellation and refund. If anyone is considering a similar holiday in future years, I highly recommend this awesome Australian company. We cancelled our first class flights with Air Canada but have not seen our refund or credit yet.

Our life at home has gotten quiet, yet not boring. My husband is retired but his handyman hobby takes him to his shop out back (pictured above), fixing things for the house and doing vehicle maintenance. We order repair parts and supplies online or by phone (from local stores offering safe curbside pickup if possible) and I make a weekly trip to the grocery store. I'm doing more cooking and baking for us than I usually would and we are making the most of this chance to live life simply and deliciously.

Since we live on the edge of a small town, there are lots of places where we can walk during the day for exercise without getting close to anyone. We don't have cable or satellite TV but enjoy spending our evenings watching educational videos on YouTube or programs on Netflix. I also enjoy reading most days. We have conversations with friends and family by phone or Facetime. I look forward to the day when we can resume our in-person walks, visits, and dinners with our longtime friends.

I'm an introvert by nature (as many artists are), so being told I have to stay home actually makes me happy. I have an infinite list of fun things to do in my home and art studio (pictured above). As is my usual habit, I spent the winter months creating lots of new paintings and then moved to outdoor mode once spring arrived. Shown below is the mound garden in our front yard, tidied up for the start of the growing season.

The fact that I don't have to go out for meetings, fitness classes or appointments, means I can decide how to fill each day based on the weather or how energetic I  feel. I find myself wondering how to change my habits going forward, so I can continue this simpler existence in a post-pandemic world.

My husband and I had planned to spend the summer of 2020 making short camping trips with our travel trailer to various regions of Ontario, after we returned from Australia. It remains to be seen whether those excursions will happen or not. The realization that we may have to stay home this spring and possibly summer lead us to research growing a vegetable garden.

The current upheaval of our food supply caused by the pandemic has prompted many people throughout the world to start a vegetable garden this year, just like the Victory gardens of the second world war. I think this activity gives people a sense of control in a time of uncertainty, makes us feel useful by growing our own food, and gets us out into the fresh air while safely spending time at home.

I have enjoyed establishing raised bed flower gardens at all three of our home properties over the years, but never had the time to devote to growing many edibles before this year. The photo below from 2013 shows some of the backyard flower gardens at our Port Perry home, which was on a one acre property.

We downsized to our lovely bungalow in Lindsay the following year. The raised border garden shown below was one I constructed shortly after our move, using stone dug up from our one acre yard. I grew pole beans and garlic successfully, but invasive grass runners from the adjacent farm field had started to invade my stone garden. This spring, I decided to dismantle it and try something more robust and permanent for my new vegetable garden.

My husband and I designed wooden raised planters 18 inches tall with a top frame wide enough to sit on, to make gardening more comfortable for me, and to have high quality soil with fewer weeds.

He built the two cedar planters pictured below in his shop. These are each 4 feet wide by 8 feet long and have no bottoms. The little legs will keep them pinned to the ground and the planters are lined on the inside with builders' vapour barrier to help extend the durability of the wood. He also varnished the outside surfaces with clear Varathane wood preservative.

We moved the planters to a sunny spot in our yard in mid April, and since then I have been steadily filling them with a custom mix of soils and amendments using a sustainable agriculture technique called Hugelkultur (meaning 'hill culture' in German).

Hugelkultur mimics how plants grow in a natural forest ecosystem, where trees fall over onto the forest floor,  and other organic matter falls and accumulates on top of the fallen trees and breaks down. This creates a fertile place for the seeds of new plants to germinate and grow on top of the decaying wood and other organic materials. This environment not only provides extremely fertile soil for new plants, but the woody materials also soak up water like a sponge.

The photos below show the layers I used to fill my planters.

First I covered the sod with cut up paper leaf bags. By the time they decompose over the next year, the grass will have died and will not invade the garden. Worms and other beneficial organisms will be able to travel between the ground and the raised beds. The second layer was wood from apple trees we cut down. The largest pieces went in the bottom, followed by all the cut up twigs. This wood layer will slowly rot, providing nutrients to the soil above and acting as a spongy layer to retain moisture.

Next I covered the twigs and wood with layers of composted manure and native top soil (screened to remove gravel and weeds) that was cleared from our yard when my husband's shop was built.

I had saved garden clippings from the spring cleanup of my perennial beds and all those dried trimmings went on next. I covered that with about 8 inches of screened native topsoil mixed with peat moss and composted manure. Then I created a grid with string and aluminum plant markers, in preparation for my 'square foot gardening' planting layout. In this bed I am densely planting raspberry bushes, onions, carrots, lettuce, spinach, radishes, and marigolds (to deter pests).

The photo above shows my other raised planting bed which will have asparagus, pole beans, tomatoes, sweet peppers, lettuce, herbs, nasturtiums, and marigolds. You can see the bamboo teepees that will support future pole beans. The plastic bubble is a cloche, protecting herb seeds while they germinate. To the right of my planters is where the stone border garden used to sit, now seeded with grass.

I will post a garden update later in the season so you can see my progress. If you are growing a Corona garden this year, I hope you enjoy it and have good luck with your green thumb. Be well and safe.

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My ‘Unbroken’ image was licensed last year for an album cover (shown above) by Canadian singer/songwriter Terry Posthumus. The long, happy journey of how this happened began about 18 months ago, thanks to Facebook.

The story of this series of events also is an excellent example of how I use Facebook and Instagram to spread awareness of my artwork, which often leads to new homes for my paintings.

In August of 2018. I made a Facebook/Instagram post of the photo above, showing me in my studio holding a painting in progress, with the following caption:

"I started a new watercolour painting this week, based on striped stones from my own collection (note the vases of pebbles on my window sill). I'm so lucky to be able to make art in a beautiful bright studio overlooking a field of corn here in Lindsay, Ontario. Life is good. Cheers to all."

Two days later, I posted these photos with the caption:

"Finished today. Watercolour 12 x 12"
I love it! Let me know your suggestions for a great title. So far I like:
The Same But Different
Stone Soul Circle
The Ties That Bind
Eternity Ring"

I had an excellent response from my Facebook friends, and was contacted by someone who wanted to buy the painting. A few days later I responded to my followers:

"I appreciate all the thoughtful title suggestions everyone suggested. I made note of over 30 good ones to use on future paintings. The title I selected for this piece is Circle of Kindred Spirits, which was suggested by the buyer of this painting. I like this title because it is welcoming and symbolic of positive energy, and it refers to a common bond shared by members of a community. Just like all of us on this Facebook post are bound together by art. Cheers to all."

One of the other title ideas I especially liked was 'Unbroken', suggested by one of my watercolour students who follows me on Facebook. I decided to use this title on my next stone circle painting. About a week later, I posted the new work in progress:

"I have more stone circle watercolour paintings in the works. These are such fun. (OK, I'm a confessed rockaholic.) Here I am in my sunny Lindsay studio, surrounded by my pebble collection - on the window sill, and arranged into circles in the foreground. The painting I am working on is titled 'Unbroken', a title suggested by my Facebook friend Pauline Shortall-Shenton for a previous stone circle painting. I love the red/gray colour scheme in this one. I'll show you when it is finished. Cheers everyone and have a great day."

The next day I posted the finished painting photo and caption:

"Unbroken, watercolour 12 x 12". I finished this painting today, the second piece in my Stone Circle series, inspired by my own collection of pebbles. I love the way Unbroken turned out. The stones are a metaphor for the common bond shared by humanity. We are one."

The post included this close up photo below with the caption:
"Unbroken, watercolour 12 x 12". I love the way it turned out. I used actual pebbles from my collection as reference for this painting. Thanks to Pauline Shortall-Shenton for the title."

A week later I received a private message through Facebook from Terry Posthumous. I was acquainted with Terry from when I lived in Port Perry and knew he was a musician and guitar instructor. He knew my artwork from when he used to work at Framer's Gallery and make frames for my Doors of Port Perry posters.

"Hello Karen. I would be interested in chatting with you about using your, "Unbroken" painting as the cover for my soon-to-be-released EP entitled, "Catharsis". Are you open to chatting about this? Peace."

I responded in the affirmative and, over the next several months Terry and I discussed, researched and drafted a non-exclusive rights managed license agreement, which was signed in early January 2019.

This type of contract meant I was able to sell the original painting to anyone, and also make and sell print reproductions of the Unbroken image. I had the painting photographed by a professional photographer to make a very high resolution image.

I made this post at the end of January 2019:

"I have some amazing news. My painting 'Unbroken' will be on the cover of "Catharsis", Terry Posthumus's new record, which is expected to arrive on March 29, 2019. This is the first time I have licensed an image for the music industry and am thrilled that this well-respected Canadian singer songwriter chose my artwork for his international release.
"Hailing from Oshawa, Ontario, Terry Posthumus is an innovative Canadian artist, activist and speaker. Terry is known for lyrics that are introspective, inspirational and insightful. His gravelly voice and his command of his instrument has captivated audiences near and far - with performances that have been described as “root-sy”, engaging and delightful. His passion for life, love, family, faith and justice is woven into the very fabric of his songs and stories. Through story and song, Terry delivers a powerful message of grace, hope, mercy, peace and love."
'Unbroken' also is available as custom art prints on paper, canvas, wood, metal, and acrylic in a variety of sizes, from my print-on-demand publisher FineArtAmerica."

The album of gospel songs written and performed by Terry was released originally under the 'Catharsis' title, but he liked the title of my painting so much that he quickly changed the album title to 'Unbroken'. Here is the back of the CD package:

Then, Terry emailed me with more good news:

"Hi there. Would you be interested in doing a combined Art Show/CD Release concert with me? I would like to introduce you to my world and talk about how this happened. I was thinking the last weekend of March... BTW, I want to buy the original."

I attended the album release dinner concert party at Nestleton Waters Inn (shown above), made a speech about the origin and symbolism of my Unbroken painting, and had a display of my artwork there.

Part of my speech said: "This painting is the second in my Stone Circle series, inspired by my collection of smooth striped stones. This circle symbolizes unity and the stripes represent the common bond that connects all of us, no matter what colour, size, shape, or orientation we might be. My hope is that the people of this earth focus on what unites us, rather than what divides us."

Terry spoke about how my painting appealed to him as soon as he saw it on Facebook the previous year. He said he had 14 children (11 surviving) and there are 14 stones in my Unbroken painting, so it represented family to him. He loves stones, and the way they each have different shapes, sizes, and colours in the painting made him think of the different passions, personalities, and life paths of his children.The line connecting the stones symbolized his hope to spend eternity with his kids. He also noted how a watercolour painting is constructed in transparent layers, just like he builds the audio tracks on his record, so a picture emerges over time.

It was a wonderful evening of music and stories, presented to a sold out house. Terry gave me a deposit that night after the concert, towards the acquisition of my Unbroken painting.

The album went on to become an unprecedented international success for Terry. In February he posted this about a single from Unbroken called Time and Again:

In May he posted about another single from the Unbroken album that was being played worldwide:

I am so pleased that my artwork played a small part in the continued success of a fellow Canadian artist. I love it when artists support artists! You can find out more about Terry and listen to his music at www.terryposthumus.com.

Last October, after I returned from our summer exploring Newfoundland, Terry and his wife came to my studio to pick up his painting. Terry mentioned that his Unbroken album had been entered in a national music award competition and he would let me know if he made the short list. Here is a photo his wife took of Terry and me in my studio. Terry is a lovely person - very calm, caring, and kind. He has a big heart to match his tall stature.

Terry posted this photo of the painting hung in his Oshawa music studio. I can't think of a more fitting home for this piece of art:

In November, Terry let me know the fantastic news that his Unbroken album had garnered three official nominations from the Gospel Music Association of Canada. Here is my Facebook post with the details:

"Hello friends

I am honoured and thrilled to let you know that my 'Unbroken' image was licensed earlier this year for an album cover by Canadian singer/songwriter Terry Posthumus, and the album is now one of five nominees for 'Album Artwork Design Of The Year' in the 41st Annual Covenant Awards, presented by the Gospel Music Association of Canada.

Terry's 'Unbroken' album also has been nominated for 'Country / Southern Gospel Album Of The Year' and his single 'Time and Again' has been nominated for 'Country / Southern Gospel Song Of The Year'.

Congratulations Terry on this landmark achievement and I hope you win all three awards. Thank you for the opportunity to showcase my artwork to an international audience.

Pinch me, somebody...😁🍁❤️👍"

Winners will be announced at the 41st annual Covenant Awards at Trinity Western University in Langley, BC in March. I will let you know what happens.

And that is the story of how one of my Stone Circle paintings became an album cover. That reminds me, I have more stone circles to paint!

Click here for details about art prints of Karen's Unbroken image.

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