Reach for the Stars

Merry Christmas and happy New Year! This Christmas we stayed home (normally we make the 1000-mile trek to our home state of Wisconsin), and it was wonderfully relaxing.  My husband gave me the most precious gift of time in the studio. Over the course of the past week, I was able to gather reference and complete a large studio piece from start to finish. Let me repeat that... I finished a BIG painting in one week's time! For my current stage of life, that's monumental, folks!  I painted it so quickly that the balloons I purchased for it are still afloat (and being enjoyed by my four year old). I love my children dearly, and they are the inspiration behind this newest work... but I'm also incredibly thankful that my husband was able to spend time with them during the many hours I needed to complete this piece.

"Reach" - 48x24 inches - oil and silver leaf on canvas

It started with a prayer. I know that sounds strange... but as I struggled this past month with my son having what seemed like a never-ending sleep regression, and my husband being incredibly busy with year-end reports for his job, and with last-minute painting commissions I had to finish up in time for Christmas... it felt like there was never any time for me to just PAINT. I mean, to just sit down at the easel and get lost in pure creation. All the things that inspired my lifelong love for painting, felt pushed to the wayside in favor of other, more important and practical demands. Dreaming about colors, textures, and shapes, is just too much of a luxury these days.

So when I shared with a dear counselor and friend about my yearning desire for a painting just for the sake of painting, we prayed about it together. And within a few days--the idea came, and I set to work.

My four-month-old son, Everett is the model. He has recently discovered his toes and enjoys reaching for them whenever he's on his back. I thought of the painting I did several years ago of my daughter Cecelia, entitled "Fledglings," where the theme is something like "learning to fly" (she was learning how to crawl at the time). I wanted to make a painting for Everett that was similar, but of course, different. It would still have an atmospheric feel to it, with some elements of whimsy, but the overarching theme should be one he might take with him for the rest of his life...  it's my charge to him. In this case, he is "reaching for the stars." No dream is too big or too impossible. I hope he will always be a go-getter (like me, haha!).

My daughter Cecelia provided the artwork on the wall behind his crib, and I tried my hand at silver leaf for the first time as the base for the silver balloon. I was thrilled with how it turned out. Even with oil paint over most of it, there are glimmers of silver that shine through in varying degrees as you look at the painting from different angles. (Keep reading to the end of this post for some technical notes my process).

As I worked for long hours on Christmas Day, I realized that the timing of this painting was very appropriate for a holiday where we celebrate the birth of a baby boy and the star that led shepherds and kings to find Him. The thought is humbling and I am so grateful for all of this... my faith, my family, and the paintings I get to make that tell my story while pointing to Him.

"Reach" (detail)

Artist, Model, and Painting together

For those of you who are interested, here are the materials I used for this painting.

- 48x24" canvas: It's actually cotton canvas, so not my usual support... but it was high quality and given to me by a friend. I gave it a coat of Holbein Foundation Gray before painting on it and it was a joy to work on. See this post for info on how I doctor canvases to make them better working surfaces.

- Palette: For the blues in the crib sheet: ultramarine blue, ivory black, titanium white, permanent mauve, and kings blue. For the skin tones: warm white, titanium white, radiant green, viridian, permanent mauve, transparent oxide brown, transparent oxide red, alizarin crimson permanent, brilliant pink, indian yellow, warm light yellow. For the background: a combination of ivory black, titanium white, permanent mauve, viridian, and transparent oxide brown. For Cecelia's artwork, I created the effect of markers by painting wet into wet with a regular brush... no tricks there. It was super fun and reminded me of this painting from a few years ago...

(A full list of my usual palette and materials can be found here)

- Silver leaf: My base coat of Foundation Gray was completely dry... this is important! I drew on the shape of the star balloon with vine charcoal, then applied a thin, even layer of Charbonnel 12-hr size. If I had been working over metal or an acrylic sized surface, I could get away with using a water-based adhesive, but because my plan was to mount the silver leaf to oil, I needed an oil-based size. I live in a very dry climate, so I didn't need to wait the full twelve hours for the size to reach tack; it was ready in about ten hours. I used imitation silver leaf and applied it carefully with cotton gloves (a must, in my opinion!). I used a very soft brush to smooth out the leaf and remove any excess. I was so happy with how this turned out, I can't wait to experiment with it some more.

I think 2019 is going to be a great year... :-)

New Color Monday: Warm Light Yellow

Today's color for "New Color Monday" is Michael Harding's Warm Light Yellow Series 2. I first discovered this amazing color this past spring when I purchased the Modern Master set at an art event where Michael and his team had a booth. (By the way... this is one of the absolute BEST ways to try new colors! Attend an event such as the Portrait Society of America, Oil Painters of America, or the Plein Air Convention, where art suppliers demonstrate and sell their products. I've discovered some of my favorite things this way. Plus you get to meet the people behind the products and they are always incredibly knowledgeable and helpful!)

So anyway, here's my take on Warm Light Yellow. I've shown it here next to Warm White Series 1 (on right) and Genuine Naples Yellow Light Series 6 (on left). All three of these colors are amazing (I'll save the other two for another time), but I've been finding more and more uses for Warm Light Yellow than I thought I would.

In the past, if I desired to get a high-key warm light, I would simply mix a tiny bit of cadmium yellow into titanium white. This is still a lovely combination, but it's not the same as the effect the Warm Light Yellow creates. WLY is quite opaque, and can be used as a quick and beautiful "lightest light" in warm skin tones, without creating the dreaded chalky or pasty look. Like the last color I featured here, I would consider Warm Light Yellow a handy convenience color. Every artist should gain a strong understanding of how to mix primaries and master a limited palette before jumping into the world of convenience colors, but once you are familiar with your palette, it's really nice to have this one lying around. :-)

In my example below on a work in progress, you can see the Warm Light Yellow pretty much straight out of the tube on the model's hip and thigh. The highlight on top of it is warm white. It's just enough of a value difference to create some beautiful subtleties.

I couldn't find a link to purchase my featured color (That just means you'll have to attend one of the events I mentioned :-p), but you can get Genuine Naples Yellow Light by clicking the image below:

New Color Monday: Sennelier Neutral Tint

I am starting a new feature on my blog and Instagram called "New Color Monday." My goal is to share my experiences with oil paints from various brands. While color has become quite intuitive for me, I do enjoy experimenting with new hues. I recommend trying one new color at a time for several weeks or months--seeing how it interacts with other paints on your palette, and deciding whether or not it will become a regular there, or just a visitor when the occasion calls for it. :-) It's also important to try several brands of the same color, as they are often completely different!

Today’s featured color is Sennelier “Neutral Tint.” I was given this to try by the awesome folks at Savoir Faire, and the color surprised me, to say the least! I expected something gray, but it's actually more on the violet side. I’ve placed it next to ivory black for comparison (mixed with white so you can see how purple it really is), but I’d say it’s probably the most similar to Payne’s Gray or Indigo in that it serves as a neutral darkening agent. This color has been fun to play around with because you can mix it with transparent earth tones to cool them down without lightening their value (in fact it will darken them), or you can use it straight out of the tube as a cool violet shadow tone.

In the examples below of a current work in progress, you can see traces of Neutral Tint in the shadows and transitions. I’m really enjoying this color for what it is: a convenience color that saves me time on mixing and keeps my shadows from getting murky.

Get this color by clicking the image below.

Visit my materials page to see my full palette!

On the Quest for "Mastery"; and Being Stuck in a Chair

This week the American Masters Exhibition opens at the Salmagundi Club in NYC, and several of my dear friends are included in the show. I feel both happy for them, and somewhat introspective as I am being nudged to up my own game. Hopefully someday I'll be good enough to be included in a show of this caliber.

I have been following with interest some lively discussions on social media about what it means to be a "master" in one of these prestigious shows. Many of the people involved in the debate are complaining that women are still very much underrepresented in exhibitions like these, while others argue that the art world has made a turn for the better and is no longer just an "old boys club".

I agree that women are still marginalized in many ways, but I also tend to think that no matter who you are, you HAVE to put in the work. Master artist Quang Ho is one of the most amazing, kind, unbiased human beings I know but he will be the first to tell you that not all art or artists are equal. The cream of the crop will rise to the top; it can't help itself. If you are truly doing excellent work, it will be noticed and rewarded. That's why I believe the women, whether old or young, who ARE in the masters show, deserve to be there. They are actually producing work of great excellence and mastery, and to me it doesn't matter that they are women. They are great artists. Of course I am still waiting for a woman to win the top awards in things like the Art Renewal Center and the Portrait Society of America and when that happens, I'll be cheering loudly... But I think each and every work of art needs to be judged by its own merit--that is, whether or not it is excellent in both form and content--long before we look at the gender or skin color of the person who created it. We are on a dangerous slope towards mediocrity if that is all we can focus on. I don’t believe in making excuses, but my own question in regards to the topic of mastery is this: is it possible for someone to become a "master" if they are unable to sketch or paint for hours every day? If they have long periods of life where they simply can't put in the brush mileage? As far as women masters... how many of the ones who somehow manage to make their way into this subjective category, actually have children, or husbands?

That being said, here I sit, wearing a robe and slippers, with a newborn latched to my breast. And while the big ideas and thoughts of both ambition and shame over not being able to paint my best work at the moment swirl around in my head--I look down at the sweet face of my baby boy and realize that he is still the only thing that matters. I think perhaps I’ll start a new a self portrait of the two of us together. Yes, it's another potentially sappy motherhood painting. But it is a picture of my life right now, and will be one of my most honest and authentic creations, as all of my paintings of my children are.

This is real life: endless laundry I can't keep up with, reappearing spots on the carpet, hungry mouths and grocery lists, walking past the studio and looking in but knowing it will have to wait.  Oh, and intentionally spending more time with the dog who, in a passive aggressive response to the newest family member consuming all my time and affection, has begun acting out by peeing in my studio. 

The swanky art openings and conferences, meetings with collectors and dinners with famous artists--these are not the everyday. They are wonderful and special, but only because they contrast so much from the mundaneness of everyday life. Such a strange thing it is to be an artist! To spend hours and hours alone in a studio or inside your own head, and then in an instant, to be thrust out into the world and expected to talk about the intimacies of your work with strangers. It's no wonder so many artists are a little bit crazy. 

When I had my daughter I was in a very different place. I worried that my art career was over and that the title of "master" was surely unattainable now that the next 18 years of my life belonged to her. I wanted to rush ahead and make sure I didn't lose a single moment of both progressing in my art and experiencing motherhood. "Don't worry," I would tell everyone, as though I had something to prove. "I'm finding time to paint whenever I can!"  

Now, seven weeks (already!) after the arrival of my baby boy, I just want time to stand still. I still remember, quite vividly, a moment when I sat in this same chair, four years ago, and the rain was tapping gently on the bedroom window, and I was rocking her to sleep. It was a moment that felt like an eternity, but it is long gone. And here we are now. My boy... well, he is growing up so much faster. He came out looking like a one-month-old, and he already wants to smile and coo and get up and go! What happened to my newborn? 

I know, this is a brain dump, but I'm sure some of you out there can relate. I feel pulled in a million different directions. I’m being told by well meaning artist friends to uproot my foundation and cross a threshold into new and challenging territory in my art, to stop being "Anna Rose Bain" as the public knows me. I’m overwhelmed by this, and keep withdrawing back inward, wondering if this is truly the only way to become a successful artist, or if God has a different path for me. I asked a wise counselor how I might effectively prioritize during my time when life is so unpredictable, and I can't seem to clear the fuzziness from my head (hello... I'm on a newborn's sleep schedule!). She said, "Ask yourself these questions: 'What brings me joy? What brings Him glory? And what am I afraid of?'" That last one is the toughest one. I know what brings me joy, and I know that painting my joy and sharing it with others brings glory to God. But what am I afraid of? Am I afraid to cross that threshold into the creative wilderness? Food for thought...

At least I know this about myself: when I’m not painting regularly I start to feel very insecure. This is the time to show myself some grace. I am frustrated with my dog and the dirty laundry, and the utter lack of time—much less quality time—in the studio, but as a second-time mom, I have been given the gift of perspective. I know how fleeting this is. I know that art is not everything; I refuse to let it be my god. I have a different path, and it is not lesser than anyone else's. Also... whatever it means to be a "master," I've decided that I'm not going to worry about fitting someone else's definition of that. I'm going to do the best work that I can possibly do, at whatever capacity I am capable of each day. That means some days I'll be immersed in my work or "in the zone" (thank goodness for those redemptive days!), while other days I won't make it into the studio at all. And that's okay. :-) 

Below: something I’m playing with in the studio, a big 48x48” canvas that could turn out awesome or end up in the trash. 🤷‍♀️  I’m going to allow myself to be patient and see where it takes me.

Four-year-old Cece during the block-in stage: “Mommy, it’s not pretty yet.” ☺️

Welcome to the world, Baby Everett!

Baby Everett Anthony arrived August 20 at 2:40 a.m.. He was 9 lbs, 6 oz. (which explains the total misery towards the end of my pregnancy!), and came out with the cutest, most kissable cheeks ever.  I can't believe it's already been a whole month since his arrival! I guess that goes to show that having a second kid really does make for more than twice the work. We are still adjusting to our newest family member, but very much in love. Cecelia has shown no sign of jealousy; she is very proud of her little brother, even though she's disappointed he can't "do" more right now. :-)

I am fitting in studio time wherever I can (family and sleep being top priorities for the time being), and there are more exciting projects in the works than I have time for. Meanwhile, enjoy these photos of baby Everett.

Above: we ventured out to art group when Everett was 1 week old. He did pretty well. :-)

All About Oil Painting Panels

If you are a beginning oil painter, the vast world of painting surfaces and substrates can be quite overwhelming, especially when your Instagram and Facebook feed are flooded with artists working on everything from acrylic-primed canvas to vellum and ABS plastic panels. 

I take a fairly traditional approach to surfaces, keeping in mind both the archival quality of my chosen supports, and whether or not I actually enjoy working on them. Depending on your painting style, surface quality is everything. I am not a heavy-handed painter, and I like to make delicate, subtle strokes with my brush, so I've come to prefer surfaces that are quite smooth, but still have a bit of texture. So please keep that in mind as you read this post; I can only give examples based on my own experience and working methods.

Several years ago I wrote an in-depth tutorial on preparing your own linen canvases. In this post I'll share some of the tricks I've learned about prepping your own wood, aluminum, or linen-covered panels, which I recommend doing in large batches several times a year to keep your inventory stocked.  I have worked with ALL of these types of panels, depending on my time restrictions and desired textural outcome for the painting. I will attempt to explain as best I can my process for making them, and the outcome I achieved in the subsequent paintings.  

Wood and Linen-Covered Wood Panels

On a Budget - Make your own: It's very easy to make your own wood panels on a budget (especially if you want custom sizes). Take a trip to Home Depot, pick out some 1/8" or 1/4" medium density fiberboard, and have a store employee cut the board down to whatever sizes you would like. A 2x4-ft 1/8" thick sheet sells for about $5, and the employees make the cuts for free. You will also need to purchase some shellac to seal the boards on all sides when you return to your studio. Sealing (or sizing) your panels is a vital step to protect the wood from moisture and rot that would be caused over time by the acidic oil in your paint. I buy the brush-on shellac to ensure I'm covering the entire wood surface thoroughly. Once the boards are sealed, you can prime them however you want (with lead ground, oil ground, gesso, etc.). Lead takes the longest to cure (3-4 months), and gesso dries within hours but is much more absorbent or "chalky" to paint on. See my table at the end of this post for a full comparison between lead, oil, and acrylic grounds.   The primer is also crucial to the process because it creates adhesion between the wood surface and your oil paint. 

Below: this painting was done on an 1/8" MDF panel sealed with shellac and given two coats of lead primer. The second coat of primer had a lot of texture in it, meaning that when I applied it I used a palette knife and a brush to vary my application. Katie Swatland describes this process for prepping lead-primed panels in great detail in her book, "Alla Prima II Companion: Richard Schmid's Materials, Tools and Techniques." ( Purchase here: https://amzn.to/2B5B99H)  I highly recommend this book!

"Spring Bouquet" - 12x24" - oil on lead-primed panel (private collection)

Great Quality - Make your own: Mounting linen to your wood panels can take them to the next level. They still need to be sealed with shellac first. Once that is dry, you can glue raw linen to the surface, or pre-primed linen. 

Mounting raw linen to panels: I'm still a traditionalist and use rabbit skin glue to size my raw linen. I start by cutting out a piece of linen that is approximately an inch and a half larger than my panel all the way around (the linen will shrink somewhat when it is glued). I prepare my RSG (see this post for how-to instructions), and use a brush or sponge to apply the glue to the wood panel. I then carefully place the piece of linen over the top of the panel, and brush on another layer of glue to saturate the linen and adhere it to the wood. I allow this to dry, then apply a second coat, making sure there are no bubbles or wrinkles in the surface. Once completely dry, I prime the linen with two coats of either lead ground or oil ground, allowing the first coat to dry before applying the next. Once the panels are fully dry, I can flip them over and use an exacto knife to trim off the excess around the edges. Though time-consuming, these panels make for a wonderful working surface and are nice and rigid (great for traveling!).

Below: a beautiful surface: raw linen sized with two coats of RSG and primed with two coats of titanium oil ground. 

Mounting pre-primed linen to panels: Again, make sure your wood panels are sealed first. Then, cut out a piece of linen (my go-to is Claessens #13, which you purchase by the roll) that is just slightly larger than your panel. Using a foam paint roller, apply a coat of book binding glue or Miracle Muck to both the surface of the panel, and the back of your linen, paying special attention to corners and edges, as these are the first to "lift" if you miss a spot. Carefully smooth the linen down onto the panel, using your hands or a rolling pin to gently roll out any air bubbles or wrinkles. In my experience, the larger the panel (or the thicker the linen), the trickier this process. It helps if you start at the center of your panel and slowly work your way out and towards the edges, much like rolling out a pie crust. I recommend weighing down your linen panels with something flat and heavy (I use my heavy art books :-)) while they dry to further avoid bubbles and wrinkles. 

Buy it Pre-Made: You can buy pre-cut, smoothly sanded wood panels from various art suppliers. Some of the kinds I have tried are Richeson Gessoed Hardboard panels, Ampersand value series artist wood panels, and--my particular favorite--Art Boards natural maple panels (I like them uncradled). Since the Richeson panels are already gessoed, these are great if you're in a hurry and just need a sturdy but inexpensive surface to take on the go. The others still require sealing and priming if you plan to use oil paint on them.

Below: this painting of my daughter was done on an Art Board natural maple panel. I sealed it first, then applied two coats of lead ground (each coat was brushed on in a different direction than the other). I allowed a couple of months before doing the painting. This was one of those paintings that seemed to paint itself--every brush stroke just fell into place. I love when that happens... and it all starts with a great working surface!

"A Fleeting Moment" - 8x6" - oil on lead-primed maple panel (private collection)

Aluminum Panels

Quality - Prepare your own: I am fairly new to working with aluminum. I have yet to venture out and have them custom-cut for me. But, there are many pre-cut sizes available on the market; I use the AlumaComp brand sold by Jerry's Artarama, which has both a smooth side and a lightly brushed side. The advantage to aluminum is that it will not warp or react to humidity the way wood can, and you don't need to seal it before priming. I use a poly-foam sponge brush to apply two coats of lead primer to the brushed side of the aluminum. I apply one coat from left to right, and the second coat from top to bottom, creating a subtle perpendicular or "plaid" brush stroke pattern. 

Above: this 12x6" plein air was done on lead-primed aluminum. I liked the slight grip/tooth of the surface (but still slick enough to push the paint around), as well as how lightweight it was for traveling. Plus, no risk of dents or tears!

Buy it Pre-Made: If you want to splurge, try Artefex's Custom ACM panels. They are a wonderful surface and I can't recommend them enough!

"Doctoring" Store-bought Panels

If you're REALLY on a budget and don't want to go through the hassle of making your own panels... This is where you can start having some fun! Try buying some of those cheap canvas panels from Michaels or Hobby Lobby. Then, play around with different foundations, applied over the top of the canvas. I love using these for guilt-free plein air painting and my weekly figure studies. Here are some that I've had great success with.

Start with one of these:

Apply a coat of Holbein Foundation Umber, White, or Grey. This stuff instantly transforms your surface from dull and boring to slick and professional! Apply it in a well ventilated area with a putty knife (you can vary the texture and thickness this way), and be sure to wear latex gloves, as it is lead-based. Allow a couple of weeks to dry before painting on it. The longer it cures, the better the working surface. I also find that this product is amazing for covering over "failed" paintings" and repurposing them. 

Try Rublev's Transparent base, a fast-drying underpainting that comes out of the tube like a gel. I also use a putty knife to apply it and vary the texture. This stuff performs much differently than the Holbein Foundation colors; because it is an alkyd, it dries very fast and you can start working on it within an hour. However, it is more absorbent than the Holbein colors and you will find yourself needing to use more paint, or extra medium, to make sure your oil colors (darks especially) don't "sink in."

Pre-Made Linen Panels I Recommend

I have several favorite brands for professionally manufactured panels and linen panels. My go-to is Raymar Art: I use both their Claessens 13 double oil-primed panels, and their L64C (this is a total splurge! Great for commissions. As smooth of a surface as I'll work on.).   I also use Centurion linen panels, which are a more affordable option, as well as SourceTek, New Traditions, and Artefex.

I hope you found this post helpful. Let me know if you have any questions or comments!

Anna's Comparison Table Between Lead Ground, Oil/Alkyd Ground, and Acrylic Gesso

	Lead Ground	Oil or Alkyd Ground	Acrylic Gesso
Pros:	Smooth and silky surface that you can customize to be smoother OR more absorbent depending on the amount of linseed oil in your mixture. You can also customize for texture; for example, “sour cream” consistency will allow for some interesting surface texture if you apply it with a palette knife rather than a regular brush. Natural Pigments Rublev brand gives you the option of buying a ready-to-use lead ground, OR a lead ground paste that is fully customizable. The more coats you add, the smoother and more luxurious the surface becomes.	Depending on the brand (I like Williamsburg), oil ground goes on smooth and silky much like lead, and dries a bit faster (2-3 weeks). The more coats you add (with sanding in between coats), the smoother and more luxurious the surface becomes. Cheaper and easier to find than lead ground Alkyd ground is thixotropic, so the the brush strokes will level out over the course of drying.	Fast drying time Inexpensive and available at any art store Water-based; easy cleanup (soap and water) Can be applied directly to raw canvas, paper, wood, or other surfaces without needing a size or protective barrier. Makes a good initial base if you wish to add a coat or lead or oil ground over the top to save on drying time. Both acrylics and oils can be used over acrylic gesso.
Cons:	Expensive. Also, you have to be wary of the brand you purchase, as some add too much marble dust as a filler, which compromises the textural quality of the surface. Requires a size or protective barrier before application to prevent the oil from rotting the substrate. You can’t sand between coats (it’s not safe!). Lengthy curing time (3-4 months for best results) Fumes/danger of ingestion. While not technically dangerous to breathe, the fumes do cause headaches for some people. Apply lead ground outdoors or in a well-ventilated area. Lead is toxic if ingested or applied to an open wound. Requires mineral spirits or solvents for cleanup Acrylics can not be used over lead primer.	Pricier than gesso Requires a size or protective barrier before application to prevent the oil from rotting the substrate. Usually has quite a bit of marble dust in the recipe, so not quite as smooth as lead ground. There is still a long-ish wait time for curing, depending on the humidity levels of your studio. Fumes. If you easily get headaches, a mask is recommended, or working on batches outdoors or in a well-ventilated area. Alkyd grounds sometimes feel “sticky” or difficult to brush on even when applied straight from the can. Requires mineral spirits or solvents for cleanup Acrylics can not be used over oil primer.	Highly absorbent. This means that if you use oil paints on this surface, the gesso will “suck up” the linseed oil from at least the first several coats of paint, causing the colors to look dull and lifeless. Requires many coats (at least 4) with light sanding in between to avoid support induced discoloration (SID) and to get a smooth surface. If sanded too smoothly, oil paint may not make a secure bond. As it stands, oil paint does NOT create a chemical bond with acrylic gesso. Brittle, especially cheaper brands. Not recommended for raw stretched linen, as it is likely to cause support induced discoloration (SID).

Home Stretch

Just a couple more weeks until we meet Baby Boy... and I am trying to work like crazy, while showing myself grace and patience. The weather here in Denver has been in the 90's for most of June and July, and it is slowing me down; it's like being in one of those bad dreams where you are trying to run but your legs are stuck in sludge.

That being said, my body has required a lot more sleep during this pregnancy than it did with my first; perhaps it's because I have a very chatty four year old whose incessant talking--though adorable--wears me out. Or perhaps it's because I'm still doing Crossfit several days a week. Or... maybe it's because I said I would "slow down" in June and July, and that's not actually what happened. In fact, June was an incredibly busy month. Just a few days after my Lincoln portrait was unveiled (see previous post), I headed up to Steamboat Springs for a week to participate in the Oil Painters of America National Convention and Wet Paint competition. My husband and daughter joined up with me a few days into the trip, to enjoy a mini family vacation together, and it was a wonderful week of art, community, and family time.

Above and below: a couple of my paintings from the week (8x10 and 8x8). It was absolutely delightful to paint for three days straight with zero interruptions! :-)

With my painting "Winter Gaze" at the opening reception for the OPA National Exhibition, hosted by the Steamboat Art Museum.

Some family fun playing putt-putt in Steamboat (Cece's first time!).

Visiting Fish Creek Falls in Steamboat Springs, CO

A week later, Steve and I went to visit some dear artist friends in Pennsylvania. It was another wonderful art-centered weekend, and I came back very much inspired by the gorgeous rural setting, and all the great conversations we'd shared about painting and life.

Great friends, art, and conversation. Oh, and those rhododendrons!!

Above and below: a couple small studies I did while in Pennsylvania (12x12 and 6x6). I plan on doing a larger version of the floral piece.

(Let me just say... I am thankful for grandparents who were willing to fly in and babysit/house-sit while Steve and I were traveling! Cece enjoyed her time with them as well... she was actually upset when Steve and I came home because she knew it meant having to say goodbye to Grandma and Grandpa!)

Two days after our return from PA, we left for a 5-day trip to Banff and Jasper National Parks in Alberta, Canada. This was my "last hurrah" before baby... We decided to splurge and make it both a baby moon, AND a celebration of ten years of marriage (has it really been TEN??!). Wow!

I do want to give a shout-out to my life partner of now 10 years. Steve has always been my biggest supporter. He is my favorite adventure partner. When we travel together, we just sync perfectly. Even though we are complete opposites in more ways than one, we challenge each other to try new things and experience life from different perspectives. Ten years may seem long to some, a piece of cake to others, but for us I can say it is a huge accomplishment. It shows that our vows really mean something. By God’s grace, two stubborn, independently minded people somehow survived the major transitions of their 20s together, discovered the joys and struggles parenthood, and now prepare to become parents for a second time. I am thankful for what marriage has taught me and look forward to learning and growing together in love and maturity for many years to come...

Okay, that's enough sap for one post. Here are some pictures from the trip.

Painted somewhere in Jasper National Park. 8x10.

There were lots of spectators and gawkers invading my space while I worked at the popular Moraine Lake, but this little girl was the sweetest. :-)

This part of the world is unbelievably beautiful!

My 12x6" plein air sketch of Mount Tonsa at Moraine Lake. One of the "Valley of the Ten Peaks." 

Proud to have done a fairly challenging hike at 32 weeks pregnant! This was up to the Lake Agnes Tea House, a 4.5 mile round trip hike with a 1300-ft elevation gain. I overheard another couple say as we passed them: “If the pregnant lady can do it, we sure as heck can too!”

"Sunrise at Lake Louise," 10x8" -- Painted from our hotel room at the Fairmont Chateau, over the course of two mornings. There was only about a 20-minute window of time each day where the light looked like this, so I had to work quickly (and get up EARLY!). Totally worth it.

I woke up even earlier on the last morning of our trip to get some epic maternity photos in front of Lake Louise at sunrise. It was only about 40 degrees outside, but I really love how the photos turned out. :-)

Canada graced us with a fabulous parting gift. A mama bear and her two cubs had been hanging out by the hotel for the past week eating dandelions, and Park staff carefully roped off their area to make sure some stupid tourists didn’t try to approach the wildlife. Tuesday morning though, the area was no longer blocked off, as it appeared the family of bears had moved on. We found them... eating dandelions just a mile or two down the road! I got this shot from the safety of our car. It will most likely be (let’s hope!) the closest I ever get to grizzly bears in the wild.

One last shot by Castle Mountain before departing for the airport. Thankful for the sweet memories we made on this trip!

Since the travels are all over, July has felt like a really long month, but I'm trying to make the most of it. I'm enjoying these last few precious weeks with Cecelia as an only child. I've hired models and started a brand new body of work that I'm really excited about. It's good to know that while this new baby is napping, I'll still be able to sneak into the studio and get some painting in.

By the way, all the recent small works are available for sale, so please email me (annarosebain@gmail.com) if you are interested. I'm also planning to do some larger paintings from the studies and hundreds of photo references we took while exploring these beautiful places. More to come!