Transparent Watercolor

Richard D. Burton:Pappy's Break
Richard D. Burton: “Pappy’s Break”~Watercolor (16″X22” on paper)

“Watercolor has an action all its own, it moves, it crawls, and it fights back.”~John Pike

Instead of using the term technique one uses when painting transparent watercolor, it should be considered tricks. It’s hard pressed for one to learn the absolute fundamentals of the craft, the reasons why watercolor behaves the way it does, and what we can do about controlling it. Remember, you can read forever about how to do something, but you learn only by doing. This is double true when painting with watercolor.

What is watercolor? Any pigment soluble in water, a type of paint made of powdered color or dye and some form of glue to form a paste that can be thinned with water.

What is transparent watercolor? Watercolor that is transparent. Enough said? However, these are unique among water based paints. Imagine different colored transparent plastic strips that when laid over each other create different colors; such as, a yellow strip over a red strip creating an orange strip. In other words the “trick” is to use a compound build up as each color underneath affects the next wash or color you put on. You actually see through all the layers of color. Learning to make it turn out exactly the way you want it is the “doing” rather than the “reading” part of the exercise. As an artist, you will make many wonderful disastrous mistakes…which some will turn out to be in your favor (which is an entirely other blog post).

Winslow Homer: Fisherwomen (Watercolor on paper) 1881
Winslow Homer: Fisherwomen (Watercolor on paper) 1881

The secret of painting with transparent watercolor is to learn to plan your “whites”. Remember, there is white watercolor paint, however, it usually is opaque and not transparent. A pure transparent watercolor painting does not use white, instead the artist must plan the use of white by painting around the white area leaving the white paper to be the only white. Imagine the thin line of reflective light outlining the ridge down the nose of an individual you are painting. This must be planned and painted around. In any painting there can be hundreds of reflective spots and dashes in a painting. The planning of a transparent watercolor alone is the thrill of the art.

Richard D. Burton: "Segment of "Woman in the Field"
Richard D. Burton: “Segment of “Woman in the Field”

Whatever your watercolor technique, style, or form that you wish to use is your own free choice, however your experience will always be more rewarding if not being defeated by the medium.

Once you are past the “tools of the trade,” you’ll find that painting is an endless return to nature. You’ll find new thoughts, new shapes, and new ideas.

Transparent watercolor is said to have limitations. There is the perimeter of what has already been done. A great challenge for you is to see what you can do to penetrate new and exciting territory. Good luck and have fun as you experiment with this tricky medium as it moves, crawls, and fights back.

Be sure to join our newsletter (upper right-hand side).

Check out the galleries (above).

Be sure to check out the Great Opportunities page (above)

If you want to learn more about protecting your artwork, check out the sight to the right.

Check out my Facebook page and “like” it if you do. (right)

 

 

 

 

 

 

 

Posted in art, painting, Transparent Watercolor | Tagged , , , , , , | Comments Off on Transparent Watercolor

When It’s Finished, It’s finished…But When?

Richard D.Burton
Richard D.Burton

With me, it’s not the technical aspects of how to paint, nor to fix a flawed painting, but when to stop and say it is over…it’s finished. Let’s face it, you can’t keep adding another drop of paint or another brush stroke to a work that is screaming, “stop already.”

I think it is more psychological than not when an artists keeps having the nagging feeling to keep working on a piece of art long after it is complete. And I don’t think I’m the only artist that suffers from this dilemma, the need to make a decision of two choices: stop or keep painting.

original doodle sketch of "Pappy's Break"
original doodle sketch of “Pappy’s Break”

When is the beginning, and when is the end? Most (what I call) doodle sketches are either tossed in the trash, or filed away for future reference. However, the one on the right began a longer than necessary journey to a finished project. Now that it is finished, I gave it a name: “Pappy’s Break”. It has had several posts on this blog sight since I began what I continually called a “work in progress,” and thought it would remain as such, forever.

The painting went through several near metamorphic stages, yet just as I decided it was ruined, it kept coming back alive. Halfway in to its completion, the three-quarter inch solid board I used to stretch the work broke from the pressure. The paper buckled and inspired another blog post bemoaning the situation. Miraculously, I saved the paper from being permanently buckled, reattached it to a new board. However, disillusioned, I put it aside for a few months, letting it rest on the easel, doubting I’d ever go back and finish the pestering watercolor.

Artist's Studio
Artist’s Studio

My wife kept mentioning that I ought to finish the work. For some reason she seemed to like the dashes and splashes of color in the work. I kept saying, “someday.”

One day she said, “Why don’t you put me in the painting as one of the characters?”

The idea sort of inspired me to get back to work on the painting, and I dabbled around with the composition, trying to find where I could fit her in. Finally, I realized their was a position on the left hand side of the painting (the platinum blonde approaching the fruit stand), and sure enough it was the catalyst that helped finish the work. Thank goodness! Now I can say it is finally complete. Below is the finished Painting. I hope you enjoy it.

Richard D. Burton:Pappy's Break
Richard D. Burton: “Pappy’s Break”~Watercolor (16″X22” on paper)

 

 

Posted in art information, Artist, finished painting, painting, watercolor | Tagged , , , , | Comments Off on When It’s Finished, It’s finished…But When?

The Artist’s Studio

Richard D. Burton
Richard D. Burton

It would be great if all of us could afford the perfect artist’s studio filled with expensive furnishings, and have the luxury or means to create the ideal work area. However, where ever an artist sets up an easel is that artist’s studio for the moment. The important goal is that no matter where you decide to paint, it must be conducive to your creativity. You have to have a place spacious enough for your easel and paints and other needed paraphernalia where you can work, see, and think

The main reason I began painting with watercolor is that the medium does not require a large work area. At the time, I barely had more than a large closet from which to work. I’ve learned that even when painting in a large studio, I do most of my work in the corner. For a water color artist, a studio doesn’t need to be a large space unless they are painting exceptionally large paintings. Proper storage is probably the most important consideration when planning a studio. It can be very distracting to not be able to put your hands on exactly what you need while water or paint is drying on paper. A good size drawing table, a sizable work surface, file cabinets, bookshelves, and a storage are all needed for a comfortable studio.

Artist's Studio
Artist’s Studio

Ask any artist, and they will tell you that no matter where you work, proper lighting is the most important ingredient to accomplish a successful painting. It helps if the studio has windows that allows north light entrance, because it stays consistent longer than light coming from the south, east, or west and has cool highlights with warm shadows.

Since not all areas are capable to have a steady north light, there are ways to create lighting that stimulates natural daylight. A few manufacturers produce bulbs that have a temperature, rendering, and brightness close to that of the north light.

Wherever you decide to work, successfully painting requires a tremendous amount of concentration. I can only speak for myself, but I need a quiet place to work for several hours, devoid of distraction.  Most of my creativity is inside my head, not with brush and paint. A great portion of my effort is spent contemplating and concentrating. Sometimes it’s hours of studying art books for inspiration, and sometimes it’s practicing something I think might enhance my painting and sketching it out on a separate side pad, instead of the painting itself.

Posted in art, Artist, Artist's Studio, painting | Tagged , , , , | Comments Off on The Artist’s Studio

Why Paint People?

Olivia: Untitled (graphite pencil)
Olivia: Untitled

Recently, my grand-daughter, Olivia, sent me a Facebook message mentioning she was ready to get back into her art, now the wedding was over and she was back from her honeymoon. She asked if I had some suggestion of what she might want to concentrate upon as a subject to depict. My answer: PEOPLE. Why paint or draw people?

Overall, an artist’s depictions of people will end up being the ones done with meaning and closeness of personal connection. Having an interest in drawing or painting people opens up a plethora of rewards. The possibilities are endless.

Imagine the endless poses, combinations of colors and lighting conditions that might be employed, each one resulting in a different painting. Just the slight change in a tip of the eyebrow or tilt of the head can strikingly alter the mood of a drawing or painting.

Segment of Pappy's Break Richard D. Burton: Watercolor
Segment of Pappy’s Break
Richard D. Burton: Watercolor

Remember, there are few professions offering entrance into so many different ways to meet interesting people as that of an artist. If you would like to spend your time experiencing the world in a much more personal and fulfilling manner, spend the time painting the people around you. I’m not discussing portraits here. Although, that’s a wonderful art pursuit if it’s your passion. No. I’m talking about painting people in their environment in a fine art way.  If you have the talent to paint portraits, that’s fine. However,  creating scenes that have people in them make wonderful paintings. Painting or drawing people around you helps you see how other people live and think. It can offer you a unique personal and fulfilling opportunity to experience the world.

James Frederick: "The Squirrel Hunter"
James Frederick: “The Squirrel Hunter”

 

 

 

When considering the complexities of the human head, you find it to be an endless array of interesting shapes, textures and colors. There are an unimaginable number of poses and possibilities for artistic expression. Textures such as wrinkles, beard stubble, hair, and props such as glasses, pipes, and clothing make for visual interest and narrative to a painting.

Olivia: The Face
Olivia: The Face

It helps if you are intrigued by people, their unique and diverse characteristic, the passion of exploring the endless and exciting possibilities  of capturing humanity on paper. Over my life I’ve spent hours roughly  sketching different scenes with people in them. More than not on napkins in restaurants. It usually comes when I see anything that intrigues me. I may never use the sketches for a finished painting, but I’ve made a habit of filing  them under the description of what prompted my inspiration. They may just become a part of a painting someday. An example of this is the different people I used as part of the crowd in the painting in progress: Pappy’s Break (not shown in the segment of the painting above).

Once you’ve established yourself as an artist in your community, it will surprise you how many people, friends, and family members are willing to model for you. You will also have the opportunity to meet many different people in your lifetime. Some who may also be influential and inspirational in helping establish a professional art career.

sketch"a work in progress"
sketch: “a work in progress”

Whether your art work hangs on the walls at your house, or in galleries and other public places, you will be creating your on legacy. You will be leaving behind proof of existence, of having lived a rewarding life, a life of passion punctuated with engagement. As artists, we are continuously engaged in using our “special gift” we’ve been given to interpret the world around us into a definable image made of paint or graphite on paper or canvas. It is a remarkable privilege.

Remember, the world is filled with all types of living creatures that deserve to be painted or drawn. Of all of these, my favorite is people. There is little else that can compete. That’s why I prefer to paint and draw people interacting with the world around us.

"Mural of Artist Painting a Mural"
Lynn Burton: “Mural of Artist Painting a Mural”

Be sure to sign up for the Art Center Newsletter (Upper right)

Check out the galleries at the top of page.

 

 

 

Posted in art, Artist, Lynn Burton, OLIVIA, painting, PAINTING PEOPLE | Tagged , , , , , , , | Comments Off on Why Paint People?

The Importance of The Impressionists

Richard D.Burton
Richard D.Burton

“Everything painted on the spot has a strength, a power, a vividness that cannot be recaptured in the studio.”~Eugene Boudin

There are some great arguments and discussions about the importance of painting in open air rather than in the studio. My brother, artist Lynn Burton, loves it when the weather becomes warm and the blue bonnets are blooming along the Texas roadways.

“It provides me with a direct approach to nature, giving me the opportunity to paint precise effects of light and weather,” he explained.

Texas Artist, Lynn Burton
Texas Artist, Lynn Burton

“You learn to work fast when painting in nature, because working outdoors comes with its own set of problems. Conditions can change so fast that what you’re trying to capture can disappear in a matter of minutes,” he continued.

The early impressionists found that by going into the landscape they were able to paint nature with a fresher depiction. Before the nineteenth century, paintings were mostly done in the artist’s studio. Artists had to mix their own paints in small batches which dried up quickly. This was not conducive for painting outdoors. However, with the availability of zinc paint tubes, the conditions to transform their working methods changed. The result of the commercial production of synthetic pigments were more affordable and allowed the artists to capture the intensity of color created by strong sunshine.

Lynn Burton: Unknown~oil on canvas
Lynn Burton: Unknown~oil on canvas

At the time the impressionists began exhibiting their paintings, they were received with disgust. People were used to seeing paintings where the most minute detail was realistically depicted. However, the angry attitude was short-lived. It wasn’t long until the public adjusted to “the impressionistic” style of painting, recognizing it as its own style of art.

Fortunately, for all of us artists, the impressionists opened doors for even the realist painter. To be accepted, no longer does everything have to be perfect down to the last detail. Also, because the impressionists redefined what art is and can be, it opened the artistic doors that spawned most all movements and art isms.

Claude Monet: Temera on canvas
Claude Monet: Tempera on canvas

We have to truly appreciate the works of some of the original impressionists; such as, Claude Monet, who taught the world to paint with short brush strokes to convey form, and graded tones to suggest perspective. Monet, and his fellow impressionists, tended to condense everything to its simplest visual form. They seemed not to labor over the physical appearance of a tree or house. Instead, they were more passionate about how light and color in nature were constantly changing.

“Take, for example, trying to depict ripples and reflections in water, or sunlight filtering through trees,” Lynn Burton says when asked to discuss his technique of painting.

Lynn Burton: Segment of "Swan Lake Reflections" Showing hard and soft edges
Lynn Burton: Segment of “Swan Lake Reflections”

 

 

Be sure to sign up for the Art Center Newsletter (Top Right).

Check out the Galleries at the top of page.

Check out the opportunities page at the top.

Go to the Art Center Information Facebook page and LIKE it (at the right)>>>

If you are interested in how to properly protect your artistic works, click on the article on the right>>>

 

 

 

 

 

 

 

Posted in art information, Artist, Claude Monet, Impressionist, painting | Tagged , , , , , , | Comments Off on The Importance of The Impressionists

What Art Fad is Next? The World Waits.

Pablo Picasso: "Compotier avec fruits, violon et verne" (collage)
Pablo Picasso: “Compotier avec fruits, violon et verne” (collage)

“Suddenly, Abstract Expressionism pooped out, and New York was full of shadowy has beens and fallen kings. What fad was next? The world waited. The answer came. The Figure. Did we realists get our hopes up? Perhaps for a few months. Then it became clear that the figure depicted must appear destroyed in some way – representing in short a cry of anguish over the Human Condition.”~Robert Vickrey*

Ah, but do we artists enjoy the trending of the fad?  Yes, and no! It only depends on what end of the fad we’re on…right?

I guess the beginning of a fad is the work more of a promoter than an artist. Take for example the abstract expressionists – the great “dribbler” himself, Jackson Pollack. I personally like and enjoy his work, but I must admit that the only thing that makes his work so valuable is because someone said it was, and it wasn’t Mr. Pollack. The fringes of his sanity probably became frayed because he spent so many  years studying a more realistic style of art that he could not (and did not) sell, but when he dribbled a few drops of paint on substrate, he helped create an entire new movement. Wow! What strange world we live in.

Segment  of work:Jackson Pollock: Blue Poles (1952)
Segment of work: Jackson Pollock: Blue Poles (1952)

So what does it take to be considered somebody in the art world? It helps if you can start a fad. Sadly, it probably isn’t the artist that starts a fad, but it’s the promoters. And in the world of social media, the internet, the umpteen dozens of television channels which keeps the least among us informed, the probability of a fad lasting any time at all is very unlikely.

My recommendation for artists is to not concern themselves about style, technique, or movement of what is hot and selling at the moment, but instead, do what is hot for them. They should find their own passion. Paint what they love, and do it with fever in the style and technique that turns them on.

Pop Art followed. Abstract Expressionism wore its heart on its sleeve, but at least it had a heart. The new style was heartless. Ugly flash photos were copied with care. Billboards were presented with mock seriousness. Enlarged comic strips supposedly ripped the mask from the face of our shallow contemporary emotions. Dada was back, but instead of being a rebellion, it was the new official art.~ Robert Vickrey*

I can’t help but feel the emotion of Mr. Vickrey’s words when reading them. In a few words he completely defines that which all of us artists feel when wondering how certain movements completely takes over the art world with thundering passion. I tend to scratch my head and simply say with confusion, “It’s a wonderment!”

*Robert Vickrey: Robert Vickrey Artist at Work

Be sure to sign up for our newsletter, and enter the free drawing for a coffee table art book.

Richard D. Burton: The Old Woody (Acrylic on Board)
Richard D. Burton: The Old Woody (Acrylic on Board)
Posted in Art Fads, art information, Artist | Tagged , , , , , | Comments Off on What Art Fad is Next? The World Waits.

Simplify Your Subject

Andrew Wyeth, "Christina's World" (1948)
Andrew Wyeth, “Christina’s World” (1948)

When you consider some of the really good artists and their works, you often wonder what they have in common. In many cases, an art critic might point out that it is the ability to simplify their subject. This, of course, is not entirely true, but there is a tendency to do this, as if they work hard at it.

Ask yourself this: do you paint what you are seeing? Or do you paint what you want your viewers to see? If you do the latter, then it takes careful planning of the composition. This means simplifying what you are seeing, unless the scene you are seeing is already void of anything but only the necessary ingredients for the perfect picture. Does that tree grow too close to the house? Should it be moved to a more picturesque location? or should it be removed from the scene entirely? I think you’re beginning to get the picture…right?

Robert Vickrey's Book: Artist at Work
Robert Vickrey’s Book: Artist at Work

I’ve always enjoyed studying the works of artist. Two of my favorites are Andrew Wyeth and Robert Vickrey. They both were masters at the egg tempera technique, which is complicated enough, but they often painted pictures with a great many details. However, they manged to simplify their compositions by allowing only the details to remain that mattered.

For example, when painting Christina’s World, Wyeth worked months painting the hill of brown grass (which takes up the majority of the space on the canvas). Christina (the subject of the painting) is in the field. The Olson farm is in the distance, and is painted in a manner not to compete with the subject. There it is…one, two, three. A big space of grass, a person alone in the field, and a farm house and barn in the distance. It’s simple…right? Perhaps simple, but a lot of hard work.

If you study the beautiful and intricate works of Robert Vickrey, you see the effort he expended to simplify very complicated compositions, allowing only the bare necessary details to create the picture. An example of this is seen in the painting used as the cover of his book: Robert Vickrey~Artist at Work.

The illustrations depicted on this page are intended for educational purposes only. They are low resolution photographs that can not possibly represent their true value or worth.

Be sure to join our newsletter (upper right).

 

Posted in art information, Artist, painting, Simplifying Art | Tagged , , , , | Comments Off on Simplify Your Subject

Two Tips: What Should an Artist do? Sketch? or Photograph?

Sketch? Or Photograph?
Sketch? Or Photograph?

Should you sketch or take photographs to capture your inspirations as an artist. If you’re an artist, and sketching does not come spontaneous and rewarding, don’t concern yourself, it soon will. It’ll become a natural habit as you find yourself unconsciously reaching for graphite and substrate. An artist needs to continuously  sketch, so let not your heart be troubled, you soon will find yourself massaging this need as your life becomes sketch full. However, as important as this endeavor is, this artist recommends you keep a camera nearby.

In the past, there have been many discussions (and sometime heated arguments) as to whether an artist should use photographs for their artistic works. I think by now, the conflict is settled. Most artist of today feel anything it takes to successfully bring forward an artist’s talent to their personal satisfaction is acceptable by the majority. I do both. Often, I sketch from the natural scene while taking photographs. I also print the photographs and rearrange them, move the different parts around, paste them in different places, and then sketch using earlier sketches and photos to create a composition. It works for me. I also photograph myself.  Why not? I am my favorite model in many cases.

Artist, Richard D. Burton posing for "Grinding Gears of Time"
Artist, Richard D. Burton posing for “Grinding Gears of Time”
Photograph of artist (study of shadows)
Photo of artist Richard D. Burton posing – study of shadow shapes for future painting

For example, these two
photos of me were very helpful in two different pictures.

The one on the left is used in a work I lovingly call “a work in progress,” since it is not finished (shown below). The photograph on the right is posing for my work I call “Grinding Gears of Time,” an 18″X24″ graphite drawing. This is also shown below.

Grinding Gears of Time
Richard D. Burton: Grinding Gears of Time
Watercolor: "a work in progress"
Watercolor: “a work in progress”

 

 

 

 

 

 

 

So, as you can see, sketching can be very important, and so can a camera. Both methods of capturing your needs to complete your work is important. The Grinding Gears of Time was more simple than the street scene in “a work in progress.” I sketched, as well as, took many photographs for this one.

photog: "a work in progress" colorful foliage
photog: “a work in progress” colorful foliage
sketch"a work in progress"
sketch: “a work in progress”

From sketching pieces and parts of the composition, to studying photographs of foliage, trees, and even bicycles, this is why I call the work a “work in progress.” I always find something in the sketches that I want to add, or take away. It doesn’t sound too professional of me, but I don’t care. I’m driven by a different motivation. Don’t ask me what it is, for I do not know.

Tip# 1: Photographs are a great guide for factual information, but it should be used seldom for color composition. It tends to be monochrome or tonal. Remember, the digital colors are in a mixture of cyan or magenta and a paint pigment can not pick this up accurately. It is always best to mix your colors with nature as your guide, outside in the true atmosphere. When time and ample supply allows, when sketching and photographing a possible composition, it helps to mix some colors that you are seeing and experiencing at the time (if it’s what you want to capture). Make some color swatches from the colors you imitate from nature.

Tip# 2: When drawing people, approach the subject to suggest they are alive. Try to draw their body language to suggest any moment they might change their pose and move about. The quick sketch of the woman at the top of the article seems as any moment she might move. She’s a bit dramatic, but the pose is for emphasis. However, we all know she can’t stand like that forever. We also know the artist that is sketching her will soon drop his arm and begin drawing or painting her.

Posted in Photograph, sketch | Tagged , , , , | Comments Off on Two Tips: What Should an Artist do? Sketch? or Photograph?

Watercolor: a Work in Progress

Snapshot of Studio
Snapshot of Studio

Sometimes it does good to let a watercolor set awhile until you have a little more motivation. A perfect example of this is the painting (a work in progress) that has been sitting idle in my studio.

At first, I thought it had been ruined because the board it was attached to broke from stretching the paper. This happened after painting a good portion of the painting. When the board broke, it caused the paper to buckle. However, after cutting it back a bit, I was able to salvage the paper and flatten the buckle, and then I taped the paper onto a different board. This was fortunate because to begin the painting all over again was questionable whether it was worth it or not.

Again, you can almost always salvage a painting, even a watercolor. You just can’t always have it the way you originally thought it would be, but if you “keep the faith,” use your creativity, and apply all your knowledge, you just might save that which you thought was ruined.

In my experience of painting, I’ve picked a few tricks that may be worth passing on…

Watercolor in progress
Watercolor: A work in progress

Painting on a solid white background has always had, at least for me, a somewhat lackluster quality about it. I’m especially thinking of the large white areas in snow paintings, expansive whiteness of skies, and water in misty and foggy pictures.

I prefer to cover the entire paper with clear water and then drop in areas of the three primaries. In this instance, I used scarlet lake, Windsor yellow, and cobalt blue. I allowed the different colors to work around creating a mostly non-white background. I created all the colors in the  painting by using combined mixtures of these three colors. I can still make use of accidental whites which can help emphasize edges, they just are not necessarily pure white. Although, they will appear as such even if they are faint scarlet lake, Windsor yellow, and cobalt blue.

Be sure to sign up for the Art Center Information newsletter.

 

Posted in watercolor | Tagged , , | Comments Off on Watercolor: a Work in Progress

Act 3: Texas Red Barn Wedding

100_2370This is the third act of the Texas Red Barn Wedding. It is the desire of this author to finish the story of his visit to the oldest city in Texas to attend the marriage of his grand-daughter Olivia.

Top of the wedding cake
Top of the wedding cake

If you have not read the first two episodes of this ongoing saga, I encourage you to do so before reading this entry (you will see them listed at the lower right hand side of this page. All you have to do is click and go). The reason for this is that it will prepare you for this article.

Guests seating in  anticipating of the ceremony
Guests seating in anticipation of the ceremony

Ushers began seating the members of the families, alternating from those kin to the bride and those kin to the groom. After the guests were seated, it wasn’t long before they were craning around to see the bridesmaid being ushered in to take her place to the side of  the officiating platform. The crowd tended to relax, knowing that the wedding was in action and soon to arrive.

After some time, all those participating in the ceremony with the bride and groom stood in their places awaiting the bride to arrive. The beautiful little flower girl lead the way, gently swishing flower petals in the path of the bride with an uncanny confidence and self awareness.

Father gives away the bride.
Father gives away the bride.

Soon the anticipated sounds of  Wagner’s Bridal March began to tone. All turned toward the back to see the bride with her father. Like a well rehearsed dance, the two approached the front where father and daughter stood arm in arm as the preacher asked “who gives this woman.”  With a slight pause and gravity, the father gave his daughter away. He then helped her upon the platform to face the groom. After this, he turned and joined his wife on the front row to become part of the audience.

With patience, Olivia and Cody stood staring into each others eyes as the preacher performing the ceremony meticulously tied binding knots in the expectations of their future, weaving a blanket of certainty enough to last a lifetime. Soon the bride and groom read their promises to each other, and the rings were exchanged. The question was asked of each, and the response of “I do” was promised. Finally, as the expecting audience anticipated, “you may kiss the bride,” was spoken. The wedding was over. The two were one flesh. Now, it was party time!

The newly married couple
The newly married couple

 

John, Olivia, Cody, and Andrea
John, Olivia, Cody, and Andrea

For the next time or so the participants and relatives posed for the wedding pictures. I do not have the ones the professional took after the wedding, but here are a few I snapped. We did nothing but take pictures for about an hour, then the food and drinks were prepared and the reception began.

Olivia and Cody surrounded by my three grandsons~Luke, Trent, and Shane.
Olivia and Cody surrounded by my three grandsons~Luke, Trent, and Shane.

I took a few more dozen pictures, and accidentally found myself near the drinks. Here, I took a brief time off from my shutter snapping to enjoy the revery.100_2411

When the wedding cake first arrive before the wedding, it stood (somewhat leaning) on a platform undecorated. in jest, I called it the leaning tower of pizza because it reminded me of that great architectural feat.

 

 

The wedding cake
The wedding cake

 

 

Snap of reception partu
Snap of reception party

When it comes to food and drink and a little revery, the father and mother of the bride excelled. There were guests of all ages attending, and there was not a thing forgotten to the benefit of them. All had been planned and performed well,and the more I imbibed, the more I agreed.

At one point, Shane (Sib#1) flew his drone over the wedding, taking motion pictures of the ceremony. It may be hard to see, but as I was on the veranda off the children’s second floor den, I realized the drone was above me, I tried snapping a picture of it. If you look real hard at the tree leaves, you will see a small red light which is the camera of the drone.100_2430

Finally the food was served, and the wedding party settled to more serious matters; such as, eating. After the food diminished, it began a slight drizzle of rain. The guests worked their way to the great room of the house. Here, we had champagne or sparkling grape and toasted the bride and groom. It was a good time for those who wished to publicly make a toast to do so, and they did from one of the top stairs of the staircase. It wasn’t long until the  drizzle subsided, and the guests worked their way to the tent for music, frivolity, drink, and dance. The father of the bride welcomed his daughter for the first few dances.

Father and bride dance
Father and bride dance

 

The could have danced all night
They could have danced all night

 

 

 

 

 

 

 

 

 

100_2474 2After the father and daughter dance exhausted, others joined in and began dancing.

Sig #2 with his "Special Lady"
Sib #2 with his “Special Lady”

 

 

 

 

 

 

Sibs # 1 and #6
Sibs # 1 and #6

 

 

And the beat goes on! Shake it loose…make it happen!

Sending off the bride and groom with Chinese lanturns
Sending off the bride and groom with Chinese lanturns

 

Get down!!! Sock it to me!!!
Get down!!! Sock it to me!!!

 

After a while it was time to turn off the music for a short time, and send the bride and groom off with Chinese lanterns.

 

 

 

 

Posted in red barn wedding | Tagged , | Comments Off on Act 3: Texas Red Barn Wedding