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Tag Archives: rice papers

Shhh!

Shhh!hidenseek

I created the above paintings from photo references that my sister took of my Granddaughters while they played hide and seek after my daughter’s wedding.  Thank you to my sister for allowing me to paint from them.

I love the technique I used to create them so will share how I created the top one with you.

Shhh!2

In the first step, I toned a piece of 140lb Arches coldpress with abstract color. I had to get this layer dark enough so it would show through the rice paper I was going to glue on top of it.

Shhh!3

I then covered the entire surface with torn pieces of textured and transparent rice papers, overlapping them as I went. I mixed my glue with 1 part water to 3 parts acrylic matte medium. This created numerous textures over the surface of my abstract. I applied the glue on the underside of the papers and thinly over the top side of them with my brush, making sure I pushed any air bubbles from under the papers. I allowed this stage to dry overnight.

Shhh!4

I then drew my subject on the format in graphite. Yes. You can erase, easily, on this surface.

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I painted.

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…and painted

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…and painted.

I really enjoyed this surface. It was much like when I paint on toned Masa Paper pieces. I found I could lift and blend color if it dried too flat looking.  Some of the pigment would trail along a torn piece of the rice paper and add more texture.  Sometimes when I rubbed my brush over a dried painted area, interesting textures would show through like in the lower right hand quadrant of the second little girl, above. The glow of the original underpainting showed through in some areas, adding to the piece.

Shhh! finished painting

To finish the painting I added white gouache to the larger girl’s dress and veil. In the second painting I added the white gouache to leaf forms and tiny flowers.  I chose to fade the bottom of both pieces to show the textures of the papers and make the paintings appear significant of a memory.

I liked this technique enough to want to do more of them.

 

 

Melissa Scare4

Melissa Scare4

Ann Smith2

Ann Smith2

Alan Clayton2

Alan Clayton2

The above paintings are examples of work from the Exploring Watercolor class.  This group worked on wet-in-wet, wet on dry, and dry brushing techniques. They learned to soften edges, splatter, use wax resist, saran wrap print, sponging and masking fluid. We practiced painting trees, skies, clouds, buildings and little people. They did a great job of learning to partner with water.

Dorette Hess2

Dorette Hess2

Eleanor Wallace

Eleanor Wallace

The above paintings are a result of using rice paper collage with watercolor. This class learned several different techniques with rice paper. They worked with covering a painting with textured rice paper as well as using torn or cut rice papers before painting and after painting their pieces. This is by far the most challenging class I teach.

I send out a heart felt thankyou to all who participated. Thankyou, also, for sharing your work on this blog!

You may view the entire group of paintings in a gallery I have set up on the Student Art 1 Page found  by clicking here or by clicking on the title Student Art 1 on the top of this blog.

aquariumabstract2

I began this painting with an abstract watercolor and rice paper collage. This would serve as my background for the painting I wanted to create. I thought this particular painting suggested an aquarium-like feeling, so I went in search of a photo reference of a fish.

aquariumabstract3

Thank you to Wet canvas reference library for the photo reference of the fish. I drew the fish on a large sheet of drawing paper, first. I then selected a textured and fairly transparent piece of rice paper and traced the fish drawing onto it with a black sharpie. Any kind of waterproof ink can be used for this phase. The drawing can even be transferred to the rice paper using brush and ink.  I then cut and tore my fish image from the sheet of rice paper and affixed it to the surface of  my abstract painting. I used one part water to three parts acrylic matte medium to create my glue mixture. I was careful to smooth the image down to the surface of the paper with my brush, I brushed from the center of the image outward in order to get rid of any air bubbles trapped under the image. I waited for this to fully dry before proceeding.

aquariumabstract4

I painted many of the colors from the background through the fish rather than painting the fish to stand out from the background. It was a personal choice but brought some challenges with it by doing so. My fish appeared flat and lost in its background of colors. Had I chosen to use colors less like the background, he may have stood out better.

aquariumabstract5

I carefully cut dark strips of rice papers for my fish’s tail and fins and glued in some colored shapes along his back. I used india ink to blacken his eyes. I used white acrylic for the gills and white around his eyes and mouth. I then tore strips of textured rice paper and shaped some strands of seaweed in and around him. I hoped this would create some depth to my painting.

aquariumabstract6

After the rice papers dried, I painted the seaweed with several shades of green watercolor and acrylic white. This helped to give some depth to the painting as well as help the fish to become more visible within it.

aquariumabstract finished painting

The last thing I did was to push his head forward more and make it more visible by washing in acrylic white and cerulean blue washes under his chin and left side of his face. This helped to lighten the background without getting rid of the local color and shapes already there.

To view other rice paper paintings I have created click here.

westhighlandbull

The above painting came from using rice papers on the positive shapes in a painting, to add texture.

westhighlandbull2

I began with a painting and blocked in all the forms I wanted to include, Much like how I began the painting in the previous post.

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I covered the bull in torn strips of textured rice paper, working from bottom to top so the pieces would overlap like the hair on the bull would.

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I painted the coat following the values I saw in the reference photo. Thank you to Wet Canvas for the reference.

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To finish the bull, I glued more torn strips of rice papers on the head and painted them. I painted the light washes on the horns. I glued rice papers on the clumps of foliage behind and to one side of the bull for balance.

westhighlandbull finished painting

I finished the painting by painting the rice paper foliage and  using india ink in the hair fibers and shadows on the bull.

This is a fairly long process because the artist works in steps and gives ample time for each step to dry in between.  I liked this and will use it in future paintings where I want to increase texture.

woodsandpond

The above painting is another technique I tried with watercolor and rice paper.

woodsandpond2

I began by painting the landscape you see, above,  on 140lb Rough Arches Watercolor Paper.

woodsandpond3

I chose a piece of textured and mostly transparent  rice paper, measured it to the size of my painting and glued it on top of the painting.  I mixed one part water with three parts acrylic matte medium and applied it to the back of the rice paper and carefully laid it over the surface of my incomplete painting.  I used a large flat brush with soft bristles to apply thin layers of the glue mixture to the surface and gently push air bubbles out. A roller can also be used for this step. Handle the wet rice paper gently because it becomes very fragile when it is wet.  The watercolor paper ripples and my rice paper lifted up when it did that. I solved that by reflattening the rice paper with my brush and drying areas with a hair dryer as I did that. I allowed this phase to dry overnight.

woodsandpond finished painting

Then the work began. I repainted the original scene through the paper and added more colors as well as pushed my darks and detail. I added foreground rice paper shapes and more rice papers to the middle ground, playing with value and texture. The painting, above, is what I came up with.

You can also re-work a failed watercolor painting this way. It is very time consuming, so be prepared for that. I am going to be on the lookout for interesting textures in rice papers to experiment furthur with this technique.

My Granddaughter and I recently spent a Saturday, together, working on an art project. I am beginning a watercolor and rice paper collage class and my Granddaughter remembered that we had done this together once before.

redrockcollage2

My intent was to begin with a cruciform design created with washes of wet-in-wet watercolor.

redrockcollage3

Next, I experimented with different rice papers and tore them into strips and glued them to the surface of my paper, dividing my page into foreground, middleground and background areas. I made the glue from 3 parts acrylic matte medium stirred in with 1 part water. The glue should be runny, not thick. I am careful to not use too much glue in this process and try to keep it just on the papers. If it is allowed to pool in puddles around the papers, it dramatically changes the look of how the paint sits on untouched portions of the watercolor. paper.  I wait for the paper to dry or dry it with a hair dryer prior to moving on to the next step.

redrockcollage4

In the above step, I went back into the painting with color. I was careful to use colors I had already used in order to avoid too much muddying. I began to envision a large rock formation in the upper right quadrant. I could see a shape, in the distance, that could serve as another rock formation and enhance the depth of the landscape.

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I knew I needed to develop a foreground and middleground for the distant rock formations. I mixed a dark from the greens and reds I’d used for my initial washes and began to carve out the lower edges of the rice papers. I did this in strips, thinking about the striations of rock.  I allowed this to dry before moving on.

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I painted in the two rock formations in the background and darkened the the greens between them. I decided the foreground area was too large and bland and needed something to enhance depth. I glued down more textured rice papers in abstract tree or shrub-like shapes. You can see them, faintly in the foreground and middleground of this step. I again waited for the paper to dry.

redrockcollage finished piece

For the final step, I painted these shrubs and trees using my darkest darks, created from the reds and greens I’d used for lining the striations.

My Granddaughter liked many of Gerald Brommer’s compositions she viewed in his book on this subject. She decided to draw a distant house and paint and create a pretty colored foreground to the house.

houseinfield2

She drew her house and stream and painted large washes of greens, various shades, into the foreground. She painted her blue wash for the sky, and while the wash was still wet, dropped in some yellowy-green wash behind the house to attract attention to it.

houseinfield3

She then glued down all types of rice papers in torn shapes and glued them to her foreground green washes. She had more fun choosing all the different papers and glueing them down. She was pressed for time, so she dried this with a hair dryer.

houseinfield finished piece

Then, she painted her foreground area with colors she chose from my palette. She painted in her stream and used colored pencil on her house in the background. Oh! She outlined the house and the windows with a black sharpie.  My Granddaughter is seven.  I am always amazed by a child’s ability to create.

The above process takes time, so don’t rush yourself if you should try this. I enjoy the freedom and the shove to explore that the rice papers bring to a painting.

More posts using rice papers can be found here.

My sister has recently joined our blogging community here on WordPress.  I announced here, the release of her book on yoga for the special needs child in 2009. She has continued to offer workshops, lectures and demonstrations for educators, physical and speech therapists, doctors and parents of special children. She also shares with her private clients, helping them to grow and experience the gifts that Yoga can offer them. I find her work fascinating and her perceptions new and innovating. She brings a breath of fresh air to everything she does and an element of the spiritual always comes through.   One post I really liked was when she wrote of her daughter and the rescue of a little dog, Bella. You can visit her new blog here.

Welcome to WordPress, Nancy!   :)

 

Another class has ended. We had a great time exploring watercolor and Rice Paper Collage.

Nancy Longmate 3

We began with abstract and getting a feel for the different rice papers and how they accepted the pigment.

Dianna Burt

Next we created something from our minds in rice paper and watercolor.

Andrea Andis

Then we worked from a photo of a building and created a landscape out of our mind around it.

Sue Mendenhall

Then we worked from a photograph.

John Kelty 3

The last exercise was to take an old painting and turn it into something new.

A heartfelt thank you to all the participants in this class. You amaze me. To view other examples of the student work in rice paper and watercolor collage click here.

 

This is “Yellow House” the first version.  I posted it earlier on my blog.

…and this is “Yellow House2″, a do over.  As you know, my class has been working in watercolor and rice paper collage for a few weeks, now.  This week, each student is taking an old painting that they think could use something extra to give it a little more appeal and using rice paper collage in it.  Some of these papers are opaque enough to allow for compositional changes such as my adding the slab stairway in this one. Some of the rice papers have textures that compliment the textures found in nature.  I will let you be the judge as to whether this is an improvement on the original.  Just something new you can do with your old paintings. :)

I takes me a great deal of time to create these. They are never what I set out to create. They happen on the paper.  I am still in the process of learning about the different rice papers and what the pigment does on them. I like going along the edges with my brush and a dark color, most evident in the top painting. I also like washing a transparent color over what I have created to accentuate a mood, most evident in the second painting.  As I worked on this I tried to finish them toward the vision I saw coming from the design on the paper. The first one I titled Glacial Remnants and the second one, Canopy.  I love this way of working. It is as though I am immersing myself in the art and the materials and allowing them to help me work a vision forward.

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