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Tag Archives: Crescent coldpress illustration board

YAY!    This is my last painting on masa paper adhered to coldpress illustration board.  I did have fun with this one. It was similar to painting the previous landscape with the Belgian horses. I concentrated on shapes and values rather than trees, meadow and moose. I found the reference for this photo on the Wet Canvas image library.

I had painted one moose, prior to this, several years ago here.

The above painting came from a reference photo that I took one evening (several years ago) about four miles north of where I live.  There is a large Amish community in this area and I was out and about gathering photos of scenes I wanted to paint. The “Holstein” painting I posted, last year, came from this excursion. This was painted on toned masa paper glued to the illustration board. Yay! Only one more, adhered to illustration board, and I am running back to glueing my masa to Arches coldpress. 🙂   What I have learned is that I have to know where I am going with the illustration board. It does not accept the layers and the colors that the Arches does. Think two layers and I am OK, but these paintings do look different.

*Note: Recently, my free time has been eaten up by other matters. Free time is when I paint. For the time being, my time online is limited but I will post when I have something new to share and will visit all of you at that time and look forward to the time I can pick up speed once again!!!!   🙂



I have always wanted to try a wave crashing along a rocky shoreline. I found the reference photo for this painting on the Wet Canvas site for artists and stashed it away for awhile, intimidated by the abstract quality of it.  Everything was pretty much like painting any other painting as long as I was mindful of the values. The splatter was added, first by tapping a #4 round loaded with titanium white around the crest of the wave and then rubbing the bristles of a toothbrush in some creamy titanium white and aiming it at the wave and drawing my thumb back across the bristles (creamy white consistency or it will drip) like pictured below:

Be sure to place paper over the areas of the painting that you don’t want spattered.

Yes. I am becoming more comfortable using white watercolor in my paintings. The more I read, the more I see it documented. There is nothing that compares with the glow of white paper showing through but, sometimes, using white enhances certain paintings. Some rules I follow when using white are:

1. I use a different waterglass to rinse my white brush in. It is so opaque that it can contaminate other colors.

2. I usually use it towards the end of a painting as it bleeds into other colors and lightens them more than is desirable

3. I only use it in paintings where I want an opaque white appearance or can’t determine how to save the white of the paper.

   click to enlarge

The above painting is of a view of a home behind my house, while peering through the branches on my large maple tree. There are other homes in my subdivision, but you would not think so looking at this piece. Painting this caused me to think of how an artist can control imagery to create a different feel of an area than what is actually there. I like that. I framed this scene in by making a four sided viewfinder with my hands, thumbs and index fingers touching. I moved that home-made viewfinder around until I found this view.  I set these items to my masa paper with a graphite line drawing, first, and then defined the scene  by trying to replicate the lights and darks I saw in it.

I must note that I used toned masa paper to paint on and I tried something new. I glued the masa to coldpress Crescent board. I wanted to try this surface as the board is sturdier than the 140 lb coldpress Arches I usually use. I will not use this support after completing three others that I have already glued down. The illustration board does not take the pigment with ease and I had to work painstakingly with my layers to achieve my darks. It does offer up a different look than my other masa paper paintings, however.  I am thinking the coldpress paper on this board must not have been very thick nor very absorbent. That is my best guess. …but someone just starting out with the masa paper painting might abandon the technique very quickly with this support as it requires a lot more patience and diligence to work on  than  Arches 140lb coldpress paper.

I will reserve the Crescent illustration board that I have remaining as a support for my citrasolve collage work.

How to prepare masa paper here.