Getting into the groove of this ground October 18, 2020 21:57
I'm starting to find my way with these grounds. This is a work in progress on the Daniel Smith Watercolor Ground, which I applied to two 16 x 20" Fredrix Pro Dixie canvases. I have no title for this one yet, although I'll probably finish it tomorrow. This is Dr. Ph. Martin Payne's Grey, cobalt teal, DS Iridescent Gold, and titanium.
I love how this stuff paints. I have been doing a lot of lifting in order to create the light areas and then highlighting what I want with Guerra's titanium pigment dispersion plus either Cheap Joe's gum arabic solution or QoR's watercolor medium. Lifting and then adding white is allowing me to do all sorts of stuff with glow and light. I've focused on that before, but I never realized how helpful lifting could be along those lines. I think I will extend the central part that's extending from the main shape and then do something with the top of the shape along the right-hand side. Not sure yet. This one is taking me quite a while to do.
I guess you can tell I am really liking working with darks. :) Have a lot more dark paintings planned. The other night I lay in bed and had a ton of ideas along those lines.
Experimenting with different grounds September 17, 2020 14:48
I felt a bit stuck with that semi-landscape painting on watercolor ground on canvas. I couldn't get anywhere with it as a landscape and thought maybe it was because starting it as a landscape had been my entry into the box canyon. So I changed it up a lot, trying to push it into something abstract, but still felt like I was getting nowhere. And I thought it was just plain ugly. Bleh.
I think part of the reason was that I just didn't feel well. Had some kind of non-COVID thing for weeks. Plus I have thalassemia, a genetic blood disease, and its accompanying anemia can cause depression and anxiety. I sure was being hit with that. And I can't paint when I'm really down. Wish I could! Instead, I just get kind of paralyzed.
I started up a different painting on another canvas I'd prepared with watercolor ground, but I ended up being stuck in that one as well. So I chose to mess around with some Ampersand Clayboard that I forgot I had bought to experiment with egg tempera (which I once again had learned I do not have the patience for). I found them sitting in the bottom of one of my oil painting supply carts, so I took one out and painted way too many layers of watercolor on it. These are just little 6 x 6" panels, but I did learn that yep, they are totally usable for watercolor as long as you like lifting--that is, removing paint with a wet brush. I actually have been using that as a technique after being frustrated by it for years. I always preferred to glaze, which lifting interferes with, being kind of the anti-glaze. But then when I began using dark paint and white (often not allowed by traditionalists) in watercolor, I began to see how useful lifting can be. I still have a lot to learn along those lines. This is just an experimental mess. Up in the right-hand corner, you can see where I put on so much paint that I ended up with "bronzing," as it is called--a sort of sheen that some watercolor pigments take on when you use them too thick. OTOH, you could think of it as a feature instead of a bug if you had done it on purpose. But I hadn't. However, perhaps next time...
Then I went back to the second one I'd started to see if I could pull it out of the ditch. That was this. I had tentatively named it "Arrival of the Spirits." When I give a painting a title, that usually means that I see possibilities in it--that it might actually turn into a finished painting--although it's not infrequent that I give a work in progress a title only to abandon it and usually paint over it. I am thrifty about my supports. It's only when I can't manage to re-use a support that I just throw it out.
But this wip just kept sitting on my easel not doing anything because I couldn't figure out where to go with it. I like to use contrast in my paintings, and I had been working on that in this one. But there were so many things wrong with it. For one, I had tried to incorporate a blue iridescence that was too green. Etc.
So it sat.
I finally did get back to it yesterday and decided to try some drybrush on it. I first started using that when I was working mostly in casein. You dip the ends of your brush in the paint and then squeeze most of it out--in fact, it feels like you squeeze all of it out, but it turns out there is still a lot left. Then blot it on a towel. Then you kind of sweep the brush on the painting, back and forth like a cartoon house painter. It gets drier and drier but keeps on placing pigment for a long time, and even then, you can still kind of shape what's been laid down. I really like this technique. It's great for adding all sorts of shadowy depth or layers of color to a section but also good for making glow. I mixed a primary yellow with some titanium and ended up with this.
I think it's moving toward something I will finish now. Still needs more contrast and some shaping of the light parts, but it's getting there.
Vessels Series: Moon Vessel Finished December 6, 2016 18:46
I like the vibe of this painting as somewhat like a tarot card. I'm really glad that I started this series. It is much more to my taste than anything else I've done recently. It gets my imagination going and I feel like I am producing much more interesting images. Read more...
Vessels: Moon Vessel November 20, 2016 19:35
Aquarius Moon is an Asshole + Finished But Not September 18, 2016 15:59
I finished that painting, which became the somewhat odd "Nymph and Her Children." This was my first real step into surrealism, if I can call it that. Since then, I have set off boldly in the surrealist direction. Read more...