A nifty discovery October 2, 2020 18:41I recently tried some Light Dimensional Ground from QoR. I prepared two 12 x 12" canvases with it. I made one canvas very textured and the other much less so. The highly textured canvas was a problem when it came to finishing it with cold wax; the buffing tore off a couple of sharp points of texture. But I think the less textured canvas will be a success. There's only one bit that might be too sharp, and I will sand that down if necessary. Or just cut it off.
The texture, though, is gorgeous, IMO, so even though too much texture can be a problem in itself, I really want to find a way to work with it. Because look at this--> This is as good as texture I could get with impasto oil paint or acrylic, but no waiting several days for it to dry, no smells, and watercolor is easy cleanup.
It does act differently than paper. It's very prone to lifting, which I am trying to work with instead of resisting it. And so far I have not seen it run the way some pigments do on paper with misting. That's something I will try on the next painting to see what happens.
Because of the easy lifting, it can be difficult to glaze, but glazing with dry brush is a cinch. You can see that I've used it with the light metallic paint here. What's really nice is getting the pigment caught in all the creases--just magical! And it feels a lot like happy accident time like when doing wet in wet.
So I was all gung ho about this ground, having decided I could work around the excess texture issue, but there was also its price. A 4 oz jar is $11 + shipping and I used up 2/3s of it on those two small canvases. So I wrote to QoR and asked them if they were going to make larger sizes of the Light Dimensional Ground available.
They said that was especially marketed to watercolorists, but they had the same thing by another name: Golden's Light Molding Paste. And that comes in a 32 oz jar for $28. Heck, it comes in a bucket. Hell yeah!
I have plenty of supports lying around that I can apply this stuff to, ranging from 5 x 7" to 40 x 40" canvases and panels and boards. This stuff is so nice to spread with a palette knife too (finally I have a use for them other than mixing paint)--very sensual, like cake frosting. It is so nice not to have to worry about cutting paper to the right size to fit a standard frame and to produce works that can even hang as is, with not only no need for glazing but no need for a frame at all, if people want it (although I personally like a frame and feel like it does its job of protecting especially the corners of a support).
So I've got a ton of this stuff now and am really looking forward to learning to work with it.
Light Dimensional Ground on Canvas September 19, 2020 12:34
I got some of QoR's Light Dimensional Ground and applied it to a couple of 12 x 12" canvases I had sitting around. The stuff was easy to spread with a big palette knife, but I used up 2/3s of the little jar on two canvases. I don't know if I just used too much or what. I like oil paintings with a lot of texture, and I thought I might be able to capture that effect with this stuff, so I went to town. You can see the amount of texture I ended up with.
This stuff is not as smelly as the regular watercolor ground, but I still let it dry out in the hall during the day, and since we have hooligans coming into our building at night to fuck around, I took the canvases in and put them in my window to complete drying overnight. As long as it doesn't rain or freeze, I think that's going to be a good place to let stuff dry.
Today I could hardly wait to try out these supports. One technique I use a lot in watercolor is apply some paint and then mist with a hair mister to get it to run and to encourage particles of pigment to settle in the texture of the paper. I find a hair mister works many times better than a regular sprayer. You can do tiny puffs of mist just where you want them or quickly mist the whole thing to encourage granulation. I was hoping that I could do that with this ground, but I wasn't sure, since I kept reading about how it was spongy. A spongy surface might just sop up the pigment and not allow it to run. In fact, at least one review said that.
But that's not what happened with my paint. I used Daniel Smith's Green Apatite, Winsor Newtown's Prussian Blue, Daniel Smith's New Gamboge, and Winsor Orange. The apatite settled out a dark purplish brown color different from the green that dominates it. It fell into a lot of the creases and rumples and showed up as wonderful specks. It doesn't photograph well, but the photo above shows a detail.
Here's the whole painting. When you get close to the support, it does have the look of grainy paper, but the texture reminds me of acrylic, like modeling paste. The paint isn't shiny in any way. It's completely matte. I didn't feel much of a difference between this and painting on CP except that it lifts much more easily. I tried using that to my advantage to create limbs and trees in the background, but they ended up being overworked. I also tried some highlights that way, but it looked like too-vigorous lifting. So I think I might try lifting and then painting another color over the lift area, like zinc.
I'm not sure if I will add more to this. It might look better with some blue added, especially my beloved cobalt, but OTOH, I'm eager to go ahead and seal it with cold wax and see what happens. I asked the manufacturer if they thought it would be okay to use cold wax on this, because of the spongy thing. They said they didn't know but sounded kind of doubtful. That might be because no one has tried it yet.
This stuff has a lot of possibilities, but I am not sure how much I am going to use it because it is pretty expensive in terms of how far it goes. They produce it only in a small 4 oz jar. :( However, it might be possible to use Golden's molding paste and then either use watercolor on it or spread some of the regular watercolor ground over it.
However, I did just order some of Golden's Crackle Paste to try for texture as well. I didn't realize it could be used with watercolor, but on a hunch, I thought if light dimensional ground could be used that way, so might crackle paste. I can hardly wait to get my hands on it.
I am sensitive to acrylic, but I did okay with these grounds and I don't anticipate hovering over the stuff like I used to do with my paints. I will also allow the supports to dry out in the hall and/or in the window, so I think I will be okay.
I know some people might say, "Why are you trying to get texture with watercolor?" I know it's not "traditional," although in the 19th century, British watercolorists used aquapasto in their watercolors, which can produce low dimensionality with watercolors and is made from gum arabic and silica gel (that is treated in a way that makes it safe). I've used that in the past. It can give you brushstrokes similar to a not-too-heavy Impressionist style. I still need to play with that more.
But as for why insert texture into a watercolor painting, why not? There is no reason why oils and acrylics should get to have all the fun. Texture really expands watercolor and doesn't change its fundamental nature.
Lots of possibilities!
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.
Supports: Wood Panels June 5, 2017 11:45 2 Comments