Killarney Provincial Park was established on the north shore of Georgian Bay in 1964, but its origins trace back to the conservation efforts of artists, notably A.Y. Jackson of the Group of Seven, who pushed to protect the area for wilderness recreation and its unique landscape. 

For several decades, I have heard of the natural wonders of this region, and this spring spent a week camping, hiking, and kayaking there, camera in hand. It was a dream come true.

In this post, I am sharing photos from four distinct locations in the Killarney area.

POINT GRONDINE PARK:

We set up camp in Point Grondine Park, a First Nation owned and operated 18,000 acre recreational area east of Killarney Provincial Park. 

Point Grondine Park features 12 new spacious campsites for tent or trailer camping.  They are primitive in nature (which means they are off grid, with privy toilets available on site) but very private and quiet. It was so lovely to wake up each morning surrounded by trees and birdsong.

Our Airstream trailer provided all the comforts of home - propane powered refrigerator, stove and oven; flush toilet and shower; comfortable queen-sized bed; and solar powered batteries for our satellite internet. We used our gasoline-powered portable generator a few times for additional electrical needs.

One day we hiked to Mahzenazing Lake, which had some lovely rock outcroppings along its shoreline. This is the largest interior lake in Point Grondine Park.

Scenes of fresh water, sturdy smooth rocks, and wind-sculpted trees, (very typical elements of the Canadian Shield), always captivate my artistic mind. I was able to capture several paint-worthy views with my camera during our hike.

KILLARNEY LIGHTHOUSE TRAIL:

Another day we drove to the little town of Killarney on the shore of Georgian Bay to hike the famous Lighthouse Trail (pictured below).

The slabs of rock were huge, and we spent an hour clambering along the shore. I love the powerful diagonal lines of rock crevices, and the blue/orange colour palette in the photo above.

Shown above is another dramatic photo from that day, featuring interesting puddle shapes that lead the eye toward moody skies over Georgian Bay. This will translate into an awesome painting.

Interesting lichens provided a striking colour contrast with pink granite, worn smooth over millions of years. The Canadian Shield is very old, with parts of it dating back over 4 billion years. This makes it one of the oldest and most stable geological regions on the planet. 

CHIKANISHING TRAIL IN KILLARNEY PROVINCIAL PARK:

My favourite hike of the week took us 3 km along the Chikanishing (pronounced chicken-ISH-ing) Trail in Killarney Provincial Park. We hiked over several large smooth granite ridges with beautiful old growth pines, pictured above. The patterns of lichens were extraordinary, especially when you realize these plants only grow about 1 mm in diameter each year.

We soon reached Georgian Bay, where a collection of rocky islands dotted the shoreline. I was delighted to see two kayakers paddle by, to provide a sense of scale and adventure in the photo above.

Everywhere I looked, pink granite provided a stunning contrast to blue water and sky, and pale green lichen added its unique textural topping to the rocks.

The water of Georgian Bay was very clear, revealing underwater stones and rock shelves. I always wonder how large trees can anchor and survive on what appears to be solid rock on these islands.

Shown above is another dramatic composition with diagonal lines and my favourite blue/orange colour combination. Intricate lichens add interest to the foreground.

As we sat on a rock ledge eating our picnic lunch, it seemed there was a potential painting subject everywhere I turned. 

While we paused to absorb the beauty and peace of these rocky islands, I was reminded anew how fortunate we are to live in this part of the world. 

GEORGE LAKE IN KILLARNEY PROVINCIAL PARK:

On our last day of camping in Killarney, the weather was warm and sunny with little wind, so we took the opportunity to launch our kayaks from the beach at George Lake in Killarney Provincial Park. The photo above shows me in my kayak at the base of one of the impressive rock cliffs on the lake.

Shown above is the same rock face from a different angle. My kayak would look like a tiny speck in this photo.

Shown above is one of the most famous rock cliffs on George Lake. I love the diagonal rock crevices juxtaposed with vertical mineral stains. The two pines at the summit give a sense of scale to this massive, smooth headland.

The same headland looks very different viewed from behind (pictured above). That smoothly eroded kind of rock surface always reminds me of elephant hide.

George Lake is lined with interesting rocky shores. The contrast of pink granite and green conifers dominates the photo above.

Our day on the water provided a fitting finale to our week exploring the wonders of Killarney. Now I understand why artists like the Group of Seven were captivated by this stunning region and kept returning here to capture the iconic Canadian Shield landscape in their famous paintings. I have so much admiration for this land and look forward to capturing some magic of my own in watercolour. Stay tuned!

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Recently I shipped this commissioned work, 'Northern Haven', varnished watercolour on 11 x 14 inch panel, to Michelle J, a collector in Atlanta, Georgia. One might wonder why someone living in the southern USA would chose this particular scene from the Muskoka region. It's an interesting story and Michelle gave me permission to share it here.

Her great grandfather, Dr. Herbert Leslie Barber, was the doctor for Parry Sound District in Ontario, roughly 1900-1927. His mother lived with him, his wife, and their five children in a house in Burk’s Falls. 

They also owned a large red brick cottage on Lake Cecebe, between Burk's Falls and Magnetawan, complete with an ice house, wooden boat, and screened in sleep porch - very traditional for the Almaguin Highlands. The family used to take the steamer from Burk's Falls to the cottage and stay for the summer. 

Michelle's mother grew up spending summers on Lake Cecebe, followed by Michelle and her sisters as well. Michelle's father bought a tiny cottage down the lake on the Magnetawan River, which was the main place for the five-some every summer.

Michelle searched online for artists painting Muskoka scenery and showing artwork in Huntsville, and found my web site. 

While perusing my artworks, she came across an image of In This Moment, (pictured here) which I had painted six years earlier. 

It reminded her of a small islet her family would pass by boat every time they visited her grandparents at their cottage on Lake Cecebe. 

She sent me this message last February: "Karen, I love your work. I grew up spending every summer in Magnetawan. My roots are in Burk's Falls. I absolutely love "In This Moment" and understand that it is now sold. Is there any chance you could/would be willing to do another?"

I was very happy to create a new version of this scene, and agreed to paint it for her by the spring.

The next day, she let me know that her Dad also took them fishing on Georgian Bay at least once a summer, so anything with granite outcroppings spoke to her as well.

She decided to acquire a second painting of mine, A Place to Dream, varnished watercolour on 12 x 9 inch panel, (pictured here), as a birthday gift for her youngest sister. It fit squarely in their memory of sitting lakeside and at Georgian Bay. 

The young man in the painting also looked like her nephew. Between the three sisters, they have five children who are now the 6th generation on the lake, and they love it too. 

This painting was on display at Colborne Street Gallery in Fenelon Falls, ON, so I put Michelle in contact with them to arrange the sale.

As I began working on the commission in late March, I knew the wet-in-wet sky and its reflection would be relatively high risk to paint, so I started two paintings of the same scene.

I figured at least one would work out well, and if both were successful, Michelle could chose her favourite and I could send the other one to Colborne Street Gallery to replace A Place to Dream.

Both paintings turned out beautifully and Michelle chose Northern Haven (the top painting pictured here, and also shown at the top of this post).

I kept Solitude's Embrace, varnished watercolour on 11 x 14 inch panel, (the bottom painting) for the gallery in Fenelon Falls.

In early May, I shipped Northern Haven to Michelle and after it arrived, she sent me this message:

"I absolutely LOVE the painting. First of all, it’s exactly like the Ontario lakes in my mind. Second, your style is so precise for watercolor. I’ve never seen anything like it and am extremely impressed by how you make the medium work. Thank you - I’m sure our paths will cross again."

I do love a happy ending. It makes me smile to think of this little island scene residing in the deep south, bringing joyful Canadian summer memories to several generations.

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The term 'shakedown' often has negative connotations, such as a swindle, an unwelcome search, or a radical restructuring of a company. But an Airstream Shakedown is a happy occasion - the first group camping weekend of the season by the Ontario unit of Airstream Club International.

The event is called a Shakedown because it is an opportunity to check that all systems are working properly in our trailers, after they have emerged from winter storage, and that we remember how to operate everything. We make sure any wear and tear issues are identified and resolved before extensive summer travel begins. Usually we discover items we forgot to bring with us from home, and add them to our checklists.

Sixteen Airstream trailers of all sizes and vintages gathered for a long weekend early in May, to check over our rigs and enjoy some relaxed, social time together. It was lovely to renew friendships after the winter break, and to make new friends.

Our 2025 Shakedown was held in the Richmond fairgrounds, on the outskirts of Ottawa, ON. Facilities included water and electrical connections, and access to a dump station for emptying our wastewater tanks prior to leaving. 

We enjoyed lawn chair happy hours in the sunshine (pictured above) as well as catered breakfasts and a delicious pot luck dinner in the adjacent community hall. Some of us visited area flea markets, craft shows, and yard sales and found a few treasures to take home.

One evening, my husband hosted a Canadian trivia game slide show to entertain the group, and I gave a slide show of recent paintings and the steps of making my landscape painting And Nothing Else Matters (shown here).

Coincidentally, I delivered this painting to its new owners at the Shakedown, and they proudly showed it off to the audience after my slideshow.

That presentation lead to the sale of one of my rustic Canadian flag paintings, to our new Airstream friends Patrick and Caroline (shown above), who will be hanging it in their beautiful trailer. They camp and travel full time throughout North America every summer and have a YouTube channel called @RoadTripEscapades. Patrick shared the awesome drone photos he took of the Shakedown, and allowed me to use them in this post. 

Airstreamer Jim McQuaid took the above photo of the encampment at sunset one evening. Our trailer is in the middle, with a purple entrance light beside the door. 

The Richmond Shakedown was a relaxing way to enjoy spring weather in the company of many wonderful friends, and start off the camping season on the right foot. My husband and I have arranged four awesome camping trips to various regions of Canada this summer, so stay tuned for highlights in future posts.

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This past winter, a Facebook friend sent me notice of an upcoming international online art competition. 

I don't often take the time to enter these competitions, which are offered by organizations all over the world, because it takes a lot of investigating to determine which ones are legitimate. 

This competition caught my attention, however, because it was offered by the Society of Canadian Artists, a prestigious, well-known, not-for-profit, Canadian arts organization.

After learning their mandate is "Fostering the visibility and stature of the visual arts in Canada", I decided I wanted to support this national organization in its efforts to promote professional Canadian artists and their artwork. 

I joined the Society in February as an associate member, and entered three paintings into their 2025 Open International Online Juried Exhibition.

In March, I learned the good news that my painting The Windy Shore, pictured above, was one of 167 artworks accepted into the show, out of 1180 pieces entered by 425 artists from around the world. The online show runs from April 1 to June 15 this year. View the award winners and other accepted works here.

Later that month, the Society announced their spring call to apply for Elected Membership Status. They outlined all the benefits such as eligibility to enter their annual shows and qualify for over $30,000 in prizes, as well as being permitted to use the prestigious “SCA” designation after one's signature on paintings.

I spent a whole day preparing my application to become an Elected Member. I chose images of ten recent paintings representing my best work (including those pictured in this post) and outlined my professional development over the last 40 years. 

That summary included my exhibitions history, gallery representation, public/corporate/VIP collectors, awards, and publications. I added a list of my contributions to the artistic community, such as teaching watercolour classes for 15 years, publishing my award-winning art instruction book Watercolour Toolbox, and coordinating art shows and studio tours for many years.

I concluded my 15-page application with this statement:

"After 40 years of study and exploration, I feel like I have arrived at the heart and soul of my artistic expression, focusing on the wild landscapes of Canada. Being able to bring peace and joy to people all over the world, especially during these troubling times, is a privilege and a blessing I will never take for granted.

"I am applying for Elected Membership because it will give me an opportunity to support and celebrate Canadian art and artists, something I have always done enthusiastically. I believe artists should encourage one another and applaud each other’s accomplishments. As our nation faces an existential threat, and we all are becoming more appreciative of our country, artists and arts organizations can help define and celebrate what it means to ‘be Canadian’.

"Several artist friends of mine are members of different arts organizations. I have considered applying before, but I wondered if I would fit in, as a self-taught artist. When I read about the Society and gathered the information for this application, I realized I have a vast amount of ‘in the trenches’ experience to share, and I hope you agree."

Apparently the Society did agree, and I was extremely pleased and honoured to receive this email notice from them today: 

"On behalf of the SCA," it read in part, "it is my pleasure to inform you that your application for Elected Membership status in the Society of Canadian Artists has been successfully accepted!! You will receive an official paper certificate by Canada Post in the upcoming days. Thank you very much for your outstanding application!" After a long list of membership features and benefits, the email concluded: "We are delighted to welcome you as an Elected Member of the Society of Canadian Artists!"

It feels amazing and surreal to be recognized by this remarkable organization that was officially founded in 1972 (although germinating since 1957), and "born to foster and celebrate the visual arts in Canada". 

The Society subsequently published these interesting details about this round of elected membership: "This spring the Call for SCA Elected Membership received entries from 59 artists and ~600 pieces of art were submitted for jurying... As with our SCA Exhibitions, the depth and breadth of the submissions were remarkable – the majority of whom were from accomplished professional artists with a prestigious array of previous awards, recognitions, and gallery shows. The jurying process was very challenging and filled with numerous agonizing decisions. In the end, a record number of 38 artists were accepted for SCA Elected Membership."

This is the second major arts organization that has recognized my artistic accomplishments.

Two years ago, I successfully achieved Signature Membership Status in Women in Watercolor, an international organization based in the USA, by winning an award in their Annual International Juried Competition three separate years within a six-year time period. (The competition had been running for four years at that point and I had won a total of nine prizes by then. I always was an over-achiever.) This designation means I can use the initials "WIW" after my signature. 

I guess I will have to write smaller when I sign my paintings, so I can fit in all those extra letters! ;-)

I am profoundly grateful to live this artist's life, being able to share with the world my soul-deep connection with nature and the art it inspires. Having someone acquire one of my paintings is the highest compliment I can imagine. Being recognized and welcomed by my artistic peers is icing on the cake.

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Today, I am telling the creation story of And Nothing Else Matters, varnished watercolour on 16 x 20 inch panel. This piece is the latest in my Northern Journeys series, which features iconic canoes on northern lakes.

The painting was inspired by this photo I took of an island while on a 1000 Island cruise last summer. The moment I caught sight of this tree-covered chunk of weathered rock in the St. Lawrence River, I knew I had to paint it. When I saw that my photo had captured clearly the rippled reflection, I decided to take on the challenge of featuring this difficult painting aspect as well.

Before I started the painting, I already knew its name. 'And Nothing Else Matters' is the title of one of my two favourite songs by Metallica, but also refers to the idea of escaping the cares and concerns of everyday life by returning to the peace and tranquility of Nature. It is ironic that I should name this quiet, serene scene after a heavy metal song from the 1990's.

Without further ado, here are the sequential steps of creating this intricate artwork:

DAY 1: I have finished the 16 x 20 inch pencil sketch on 300 lb watercolour paper. So this artwork would fit my Northern Journeys theme, I decided to add to the foreground of the composition a rocky shore with a canoe resting on it. This gives the viewer a sense of happy anticipation of the wonders of Nature that await discovery.

DAYS 2 & 3: Using masking tape and masking fluid, I masked out all shorelines so I would be able to paint the water quickly using a wet-in-wet technique. 

After wetting the upper half of the scene and painting the sky, I blotted out colour where it overlapped the tree shapes. Then I wet the lower half and added the base layer for the water. After drying overnight, I painted a second layer on the water. 

I don't often paint reflections on rippling water, so I am feeling my way gradually, trying to create complex wave patterns that make sense and draw the eye towards the island.

DAYS 4 & 5: After completing five layers of paint on the water, (enough that I am confident no more wet-in-wet paint application will be needed), I let the painting dry fully and removed all masking from shorelines. 

The blue sky reflections on rippling water are not complete but are starting to look more realistic. Work on the tan and green island reflections has begun.

DAY 6: The island's reflections are mostly done, and I am very happy with the effect. 

The first layer of colour on the foreground rocks is on and salted, and I have begun applying the 'grisaille' (monochromatic values) layer to the island rocks, to lock in the shadow and crevice shapes.

DAYS 7 & 8: The island rock is mostly done, and I am very happy with the effect. I have revelled in painting the rocky places of Canada for almost 40 years and thoroughly enjoy portraying their quiet strength and majesty in watercolour. 

I have begun the grassy patch in the foreground, which is causing me some concern as I experiment with this section. Working from my imagination on this bit brings risks and challenges.

DAY 9: I have started to paint the trees on the island and this section of the painting is going well. In the early decades of my art practice, I had great difficulty painting masses of foliage. I kept observing and practising, paying attention to shapes and shadows, and eventually developed a successful method for this type of subject. 

Adding more dark greens to the island reflection has made the lighter areas representing the rock reflections 'pop'. I didn't know if I could manage to create realistic water reflections, but I finally can say the water is done and I am pleased with the result.

I have added shadows and contours to the rock in the foreground, but I am not happy with the section to the right of the canoe. The line where the rock meets the blue water looks awkward. I now realize I extended the imagined shadowy crevices all the way to the upper edge of the rock - a rookie move. I will have to think about how to redo this section.

DAY 10: While considering my options for fixing the problematic foreground rock shadows, I switched to painting the canoe. Some would call this procrastination... :-)

Then I tried lifting excess paint from the rock shadows using a stiff wet brush, but the paint had stained the paper and wouldn't come off. Time to bring out the big guns!

After the paper dried, to the right of the canoe I masked off the water where it touches the foreground rock. I used torn strips of masking tape, to create an irregular edge. 

I then used a wet Magic Eraser to scrub off paint everywhere I wanted to recapture the feeling of sunlight on stone. This erasing process removed the upper layer of paper along with the paint, creating a rougher paper surface; however, since the subject is rock, having a rough texture is no problem. 

Once the paper was dry, I painted on new, smaller rock crevices and texture, and I think the rock looks much more realistic now.

DAY 11: Here I am in my studio working on the island scene. I finished painting the trees and thought the painting was complete. 

While reviewing the whole composition, I realized the tidy patch of grass under the canoe was illogical. It should look more like the island, covered in tree debris. 

So how to change course? The green pigments had stained the paper and could not be removed with a wet brush. 

Solution: I covered the green grass with three coats of absorbent ground medium. This created a white area the precise shape I needed, with absorbent properties resembling virgin watercolour paper.

DAY 12: I painted on dried leaves and twigs under the canoe to finish the scene... finally! Once it was fully dry, I mounted the painting onto an archival wood panel and protected it with seven coats of UV-resistant varnish. (To see my full process of framing watercolour paintings without glass, click here.) 

There was barely time to frame the finished painting before it was acquired by one of my collectors in Ottawa, ON. Everyone is delighted that this master work has found its forever home.

I hope you have enjoyed this insider's view of my painting strategies. There is so much more to planning and executing a painting than most people think. For more details about And Nothing Else Matters, click here.

I am profoundly grateful to live this artist's life, being able to share with the world my soul-deep connection with nature and the art it inspires.

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Canada holds profound beauty in all its regions and seasons, and I am immensely grateful to live here. I have been painting the unique rocks of this country since the 1980's and they remain one of my favourite subjects to portray in watercolour.

In my latest painting series, I include a collection of rosy pink pebbles and a red maple leaf resting on a weathered board. Together these represent my rustic interpretation of the Canadian flag.

The concept for this series came from a daydream about the red pebbles (pictured here) that I was using as reference for a stone circle painting seven years ago.

I imagined adding a red maple leaf to the centre of the circle, and that lead to another idea: if I changed the shape to a rectangle it could resemble the Canadian flag. 

Then I pondered which light coloured, straight-sided, natural object could I use to represent the white part of the flag. I decided a weathered piece of lumber, such as one might use to build a dock or a deck, would be suitable, and add a 'cottagey' feel to the composition.

I sketched out my idea on watercolour paper, masked out the leaf and painted the weathered wood. After removing the masking, I painted the leaf. Then I masked out stripes on certain pebbles and painted them in various hues of soft reddish colours.

I thought the resulting painting Canada Rocks! #1 (shown here varnished and mounted in a black wood frame) was patriotic in a fun, outdoorsy way and it sold to a collector shortly after.

I intended to do more in the flag series but life (and a pandemic) took me on a different artistic path for several years.

Fast forward to 2025. With threats of annexation by the current leader of a neighbouring country, Canadians have experienced a profound rekindling of our national pride. Witnessing this huge wave of Canadian solidarity brought to mind my flag painting and I felt compelled to continue my series.

Click on the photos below for more information about these paintings.

The first version I completed this winter is shown above, Canada Rocks! #2, varnished watercolour on 6 x 12 inch panel.

Pictured above is the next version, Canada Rocks! #3, varnished watercolour on 6 x 12 inch panel). 

I keep all my painting references and preliminary sketches in an archive so I can refer back to them if needed. This habit came in handy for my flag project. 

The shapes of the leaves in this flag series are taken from actual maple leaves that I pressed and traced onto paper thirty years ago. At that time, I was using them in preparation for a collection of maple leaf paintings I created between 1997 and 2000.

I had such fun creating these whimsical little paintings that I came up with a few ideas for other versions of the flag. I'll be working on those in the next few months, so it you want to join the wait list please contact me. And if you have a suggestion for another rustic flag painting, I would love to hear it.

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Spring is busting out all over here in Ontario and brought with it sunny tidings on the artistic front. I have two pieces of happy news to share with you.

My recent painting of Georgian Bay titled The Windy Shore (watercolour on 20 x 16 inch panel, private collection) has been accepted into the Society of Canadian Artists 2025 Open International Online Juried Exhibition this week!

The Society of Canadian Artists (SCA) is a national, non-profit artists’ organization founded in 1972 and dedicated to fostering and celebrating the visual arts in Canada. 

The SCA reports that 425 artists from 12 countries submitted 1,180 paintings and sculptures to this year's international competition. 

This is the first time I have applied to an SCA event and, to my amazement, The Windy Shore was one of 167 artworks accepted into the online exhibition.

I am thrilled to have this honour and send my humble appreciation to the SCA and their panel of judges. I also send hearty congratulations to all the artists whose work was accepted.

Click here to view the show which runs until June 15.

The other exciting news is about my painting Moonglow (watercolour on 20 x 16 inch panel, private collection). 

Last month, I was thrilled to hear it won a Viewer's Choice Award in the Women in Watercolor Members Only Online International Exhibition 2025. 

There were over 300 entries and the winners are shown below: 2 from Canada, 1 from Iran, and 3 from USA.

Congratulations to all the award winners, and thank you to all my fans and followers who voted! 

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". 

Click here to view the online exhibition of watercolour paintings from all over the world.

After many decades spent navigating through this roller coaster artist's life of mine, I still feel as thrilled as a little kid when good things like this happen. I feel incredibly fortunate to be able to visit and paint the places I adore, and then share my paintings with people all over the world. I often think to myself "Pinch me, somebody!".

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We have lived in our Lindsay house for a decade and this winter finally made time to refinish the original floor in my art studio, office, and gallery space, which are in the basement of our home.

I designed a new layout that reversed positions of my office zone and my painting zone. Shown above is my new painting setup and I am delighted to be settled in and creating art again.

The panorama shown above is how my L-shaped art space looked a few years ago, viewed from the stairs. The brown carpet was glued directly to the concrete floor with no additional insulation, and had been in place since the house was built 25 years ago.

The gas fireplace that we added 10 years ago made my art studio very comfortable in winter, but I always thought the dark brown carpeting made the space look dark, and its busy pattern drew too much attention. It was also showing its age.

This winter, my husband and I got underway with the flooring project that took 6 weeks. He did most of the work and I assisted where possible. We ripped up the old carpet, laid a sub-floor, and finished it off with commercial grade carpet tiles.

Shown above left is the gallery space just before we began, and on the right is the same room with carpet and baseboards gone, and sub-floor being installed.

Since the sub-floor and 20-inch carpet tiles are modular, we were able to shuffle furniture around and complete the work in one area at a time. Then we moved furniture to the completed section and worked on another section. It was like a big Tetris puzzle.

Once all the new carpet was laid, we refinished and reinstalled baseboards and moved furniture to its final placement. I love the neutral colour of the carpet, as it will go with any wall colour I may choose in future. We wanted to find a Canadian-source carpet and the grey one we finally chose was made in Quebec.

Shown above is a wide angle view of the refurbished gallery space. The subtle random pattern of the flooring should stay looking nice forever, and if any carpet tile gets stained or damaged, it is easy to lift it up and replace with a spare tile. 

Shown above is the before and after view from the gallery space. In the old layout, my office desk and computer are by the window. In the new layout, my painting setup is by the window.

The photo above shows the view from the fireplace, looking towards the gallery space and stairs up to the main level. The black steel flat file on the left is one of my favourite furnishings in my studio. Those ten drawers provide an amazing 60 square feet of horizontal storage, where I have organized all my watercolour paper and other art materials, current art projects, future art projects, art card supplies and office supplies. 

Shown above is the view of my painting zone from the stairs. I appreciate the spaciousness of this area. When needed for projects, or when my artist friends come over to paint with me, I have several 2 x 4 foot folding tables that I can add to this area.

The big white cabinet has seven shelves that provide 35 square feet of horizontal storage. They hold paint palettes, painting supplies, brushes, backing supports, art panels, frames, and binders of reference photos.

To the right is a black filing cabinet holding my painting records, office files, documentation of shows and art competitions, and other important paperwork. I have two fireproof safes below my painting desk that hold backup copies of my photo archives.

Tucked into the far corner of my studio is my office desk and computer. This is where I write my blog posts and newsletters, post to social media, manage emails, edit photos and videos, and keep on track with accounting and other administrative tasks. Out of that window I can see the farm next door, complete with a vintage red barn.

I ordered extra carpet tiles so I could extend coverage into our utilities room. This space also provides efficient storage for my art business archives, shipping supplies, varnish,  Watercolour Toolbox books, and art card supplies. These tiles are laying on concrete and can be used as replacements in the studio, if needed.

I feel very fortunate to have this beautiful, bright, cozy, clean, quiet, inspiring space in which to create my art. Much of my life is spent here, and I couldn't be happier.

I hope you have enjoyed your virtual tour of this latest version of my art studio. Perhaps I will see you in person here at some point in the future. Visitors are welcome by appointment, or during an Open Studio event.

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

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In my last post, New Works: Misty Lakes and Canoes, I introduced four watercolour paintings in a new series called Northern Journeys. 

They all depict peaceful northern lakes with a canoe or two, creating stories of exploration and discovery, and prompting memories of happy adventures in the Canadian wilderness.

Today, I am sharing the creation steps involved in one of those paintings, titled Mystic Shoreline. Whether you are an art student, or just someone curious about how things are made, you will enjoy this behind-the-scenes story.

This piece was painted mostly in the traditional manner, starting with the soft hues of the sky and background, and then working in layers towards the darker foreground details. 

However, this painting had a change of direction mid-course, that I think made it a better composition and a more pleasing final result.

Have a look at this 90-second video to see what I mean:

I hope you have enjoyed this insider's view of my painting strategies. For more details about Mystic Shoreline, click here.

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