Once again, my class is working with watercolor and rice paper collage. I always encourage them to create an abstract for their first assignment. We use the same glue (acrylic matte medium with a little water mixed in so it is not so thick) and tear our rice papers or cut them and glue them to our painting. We, then, go back in and paint some more as each layer dries.
Above are some examples of rice papers I use.
We begin by choosing a color palette and making marks on our watercolor paper in abstract patterns. This phase can include drips (by turning your wet painting several directions), splatter, light and loose washes and marks with different brushes. I always advise my students to keep some of the white of the paper and ask my students to look for potential areas to work toward a center of interest on or near a “sweet spot”. In the above painting, it is that area that is so dark near the upper right sweet spot. I wait for this initial wash to dry and then begin tearing and cutting different rice papers and adhering them to the paper with the glue I made. Make sure you use only enough glue to adhere the paper. Too much glue dries thickly and interferes with future applications of watercolor. The above photo has some rice papers already glued into it. I try not to think too much in the first layer. I am always working toward the area that I think will become my center of interest. I try to allow the painting to tell me what it wants and try to not get too dark or muddy in the first two layers. The gluing phases of these creations always takes longer to dry, so I try to have two paintings going at the same time and alternate between the two.
The above image is what my painting looked like after three layers of rice papers and watercolor painting. My center of interest was still not strong enough and I wanted to add more gold and some of that lime color to make it pop some more.
In the above, you can see I added those greens and golds to grab the viewer’s eye. Then, I chose a rice paper with some shiny silver things in it and designed a moon-like image on my sweet spot. I chose to lead the viewer’s eye there with some torn strips of that sparkly paper. After that dried, I took a small round brush and darkened some lines and shapes leading to the moon with diox violet.
Here is one I created last year.
I really like that I never know what I am going to get. It allows me to relinquish some of my control and let the values, lines and shapes draw me into what is forming on the paper. No two paintings are ever alike and there are endless possibilities!
In my recent composition class, I gave an assignment asking the artists to create a tree like no tree they had ever seen before and include a number and a word or words. There were so many interesting paintings that came from this assignment. You can see some of them on the Student Page here.
The above tree is my rendition. It is a combination of watercolor, ink, rice paper collage and collage. The entire background was created, first, last year. I had wanted to do an abstract painting that resembled bark and had torn pieces of fibered rice paper and glued them to the surface using a two parts acrylic matte medium, one part water glue. I then painted the bark-like forms with browns siennas and olive greens. I pulled this bark-like thing out of my stow-aways (unfinished things) and drew a humongous trunk of a tree and reaching branches on it using waterproof ink, which I spritzed with water, before it dried. It caused the ink to spread and follow various fibers and the edges of the torn rice papers, enhancing the bark-like look and feel. I let that dry overnight. I then painted into the tree trunk with darker tones of siennas and greens and browns and let that dry overnight. I found the word “Major” running across the trunk and darkened the rambling letters with ink. You might make it out if you study it carefully. The letters are wiggly and ghost-like starting with an “M” at the base of the trunk on the left and the tails of the “R” end at the figure’s leg on the right. I added the ghost-like figure, next. May I mention that this became all-consuming as I created and I enjoyed every minute of the time it took to ramble around this tree? There is a huge figure of a woman kneeling, made up of the left side of the trunk and spreading arms of two of the large branches. Her nipples are quite distinct as knotholes on that side. It is as though her head is tossed back and she is rejoicing in the light of day. Enlarge the piece, stand back and look for her. You may see her, too!
I found words in a magazine that I wanted to include in my tree. There are four eyes in this tree and a bird (colored black like a silhouette). Can you find them? I chose blue and gray citra solv papers to cut the leaves from and glued them on. I wanted them to have a shimmering effect. I don’t know that I achieved that, but tried. I so enjoyed working on this and wish every painting I ever created was this much fun. I felt like the imagery was giving back every bit as much as I gave to it as it changed on the surface of the paper. By far, the most enjoyable mixed media I have ever worked on.
The above painting was a result of an accident. I was just working away at creating another abstract using rice paper and watercolor. I was paying attention to my color choices, values and areas of interest and not trying to come to much of anything of an image. In fact the image I was working on was this one:
I took it outdoors in the sunlight and photographed it. I had already planned to title it “Torque”. It looked twisted and sort of like a landscape in turmoil from wind or avalanche or fire. So much of this that we hear on the news.When I came back in from doing that, I set it, turned a quarter of the way around, quite by accident. When I turned to look at it, I saw this:
Immediately I saw the figure in it and the guitar, the hooded jacket or sweatshirt he was wearing. How exciting. The whole time I’m telling myself, “Don’t ruin him.” I like this idea of working with the elements of composition and arriving at something new. It is as though the mediums and the artist come together and work together, one influencing the other. It is so much more fun!
I put a few finishing touches to it and called this done:
The above three paintings were created in the Exploring watercolor class, this spring. They worked on the basic skills and techniques from learning the different brushstrokes, some basic techniques (wax resist, salt, sponging) and basic color theory. They created paintings of foliage and trees, little people, buildings, and a scene that was backlit.
Leslie Vrchota3 Masa Paper
Sue Mendenhall3 Abstract Rice Paper Collage
Jan Reche3 Realism Rice Paper Collage
These last three paintings were created in the Watercolor Masa and Rice Paper Collage. We spent the first two weeks learning how to tone, affix and paint on masa paper. The last four weeks were spent on learning how to use rice paper collage in our watercolor paintings. I think it is one of the most difficult techniques to learn and everyone did great. They began by creating abstract rice paper and watercolor collages and gradually moved through them into incorporating collage into realistic images.
More student paintings from these classes may be viewed by clicking here or clicking on Student Art: Spring Classes in the pages bar at the top of the blog.
Thank you to all my students for sharing your work here.
I learned a new word, ensorcelled, which means to bewitch or enchant. I found it in a poem written by Pen titled “Effigies”. Thankyou, Pen!
I think I was so intrigued with the new word, it was part of what went into the above abstract. Also, there was a lot of talk about the “blood” moon this past month and I must have picked up on some of that while creating the above painting.
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It all began with this image, created in watercolor.
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Then came a layer of rice papers that I tore in abstract shapes and glued to the surface. My glue was made with one part water added to two parts acrylic matte medium. I devote two old brushes( one large, one small ) in order to attach the papers to the surface. Even though I clean the brushes following each use, they still get stiff and gummed up. I am very careful to not apply the mixture thickly or allow it to run onto the non-rice paper portion of the surface (this will affect and distort later applications of watercolor).
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I then go back and paint again, paying attention to what I see appearing on the paper. This is the most fun part of the painting. I am still learning how to let go and create from what I see appearing in the colors and the shapes. There is always an element of the unknown with these because I use different rice papers with textures running through them and they all accept the paint differently. My partner becomes the materials I am using and the imagery that presents itself on the surface. In otherwords, I never know what I am going to get when I start one of these.
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In the above step, I tried to pull the painting together by adding darks in and through the forms. I defined the orbs more. I gave it a promise of spring by adding some spring greens.
To finish, I darkened the upper orange and yellow strip at the top, allowing for the suggestion of two more orbs or moons. I went back through the branches and, with little pieces of fiber strings I pulled from one of my ricepapers, I textured those gnarly branch-like forms. I also added fibers to the leafy greens, mid left.
For other posts with rice papers click here.
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.
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.
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.
I then drew my subject on the format in graphite. Yes. You can erase, easily, on this surface.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
The above painting came from using rice papers on the positive shapes in a painting, to add texture.
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.
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.
I painted the coat following the values I saw in the reference photo. Thank you to Wet Canvas for the reference.
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.
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.
The above painting is another technique I tried with watercolor and rice paper.
I began by painting the landscape you see, above, on 140lb Rough Arches Watercolor Paper.
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.
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.