Sorry for my long absence. I will slowly be getting back to visiting all of you and hope to post more frequently.
The above two paintings were done by using the gouache resist technique that I have outlined for anyone to try by clicking here. I have always enjoyed this process, even though it is lengthy. I like the rustic block print-like look to them. Some of them, I have liked in the black and white stage and choose to not color them in with watercolor.
Another painting I worked on was one that I combined waterproof black ink and watercolor to create. I initially splattered the surface of the watercolor paper with white acrylic gesso and waterproof black ink ( I use india ink). I then drew out my composition and used two separate techniques to lay in the inking. I drew and scraped in the mane on the foreground black and blue horse with a razor blade. I also drew some of the fine lines on the background horses with the tip of the razor blade. The larger black inked lines were drawn with an eye dropper and spritzed with a fine mist from a spray bottle.
The last painting I completed was a self portrait of me with my new rescue dog. This is painted with watercolor, first. Then I added numerous paper collage. The dog is mostly rice paper and watercolor. The dark creases in my sweater and the bit of blouse under my chin are citrasolv collage papers.
Again, I apologize for my long absence and will be around to play catch up and see what you all have been working on.
The above painting was created on a gessoed surface. I mixed some water, acrylic matte medium and acrylic white gesso together to make the juice. I roughly follow a formula that Kathleen Conover outlined in an article in Watercolor Artist magazine. However, I have found that I may ad a bit more gesso than she outlines. I probably use a bit more gesso to make the mixture thicker. I pour a dollop of the mixture onto the watercolor paper (140lb Coldpress Arches) and spread it with a credit card, swirling it and making slashes in the mixture so as to texture the surface. I have even added torn pieces of rice paper and sometimes sprinkle craft sand into the wet mixture. All of these things make for a nice textured surface to paint on. I allow the surface to dry and then draw and paint on it. In order for the pigment to respond well on the slicker surface, I use a bit less water. In some areas, where the gesso is thinner, the pigment sinks in. In other areas, it slides off the ridges created by the credit card. Where the gesso is the slickest, you can lift and change the washes and the whole creation begins to take on a life of it’s own. Because so much of the painting is created on top of this harder surface, I have to allow them to dry and then spray the entire painting with a good matte fixative.
If you would like to try painting on a surface like this, I have a step by step tutorial here.
The above painting began as an abstract. I applied alternating color washes and torn pieces of rice papers, allowing each layer to dry. After each layer dried, I rotated my board and looked for something realistic in the patterns that were created by the washes and papers. When I located the whale, I began layering and painting to bring that imagery forward. It is one of my favorite ways to work. Here is the one I did last year.
The above painting began with a detailed drawing of the Bateleur Eagle but took several layers of watercolor and rice papers to bring the image to completion. The head feathers, face and yellow beak are watercolor. The wing and back feathers are torn pieces of rice paper with watercolor painted into them. I thank wet canvas for the reference image for this collage painting.
I love painting “Little People” !
My watercolor and collage class just ended . This is probably the most time consuming, creative and experimental class I teach.
The above collage paintings were created using watercolor and Citrasolv collage papers that we made from treating National Geographic photos with Citrasolv. If you would like to know how to make these papers, click here.
Next we created abstracts by experimenting with the different textured rice papers we had purchased and layering watercolor and rice papers, one atop the other. We payed attention to elements of design as well as attempting to create a center of interest. The purpose of this assignment was to get used to the use of the papers, pigment and glue.
The next week we began much the same way with layers of pigment and rice papers and searched our compositions for something representational and developed it to portray what we saw. Both of the first exercises were free of any reference material until we saw something begin to appear. If we needed a reference, it was only to be used to help us bring what we saw forward.
For the final week, we created something realistic with watercolor and rice paper collage.
If you would like to view all the watercolor collage paintings created by this class, click here or scroll to the top of the page and click on the page Student Art: Watercolor and Collage.
These are the most recent two paintings I have finished. The tree frog has a saran wrap print background that I returned and painted in each abstract shape by following the pattern that the saran wrap left. To get that print, I wet the entire background with juicy watercolors. I was careful to not wet any portion of the frog. I then took large sheets of saran wrap and crinkled them atop the washes, covered it with another drawing board and added the weight of several books atop the board. I left this overnight for the pigment to dry before removing the saran wrap. If you remove the saran wrap too soon, the water will soften and sometimes disturb any design. The background came out too light, so I repainted each individual section wet on dry and wet-in-wet.
The rice paper abstract began with a grunge background like I explained here.
I layered in some watercolor I wanted to use for this abstract and allowed it to dry.
I select various rice papers with textures and colors I think might go with what I already have and begin glueing them to the surface of the paper. I use a mixture of acrylic matte medium of one part water to four parts matte medium. I blot each paper as I glue it on so there is little glue residue left on the surface of the paper. I allow that initial layering to dry and paint or add gesso splatter and marks, more watercolor and ink marks and allow that layer to dry.
I alternate layers of media, in this manner, until I feel I have developed a center of interest and decide I am done.
Here is a another post that describes this process.
The artwork, above, are three of the paintings created by students who just finished a class on working with painting on masa paper and using rice paper collage with watercolor.
If you would like to view many more of these paintings you can click here or scroll to the top of the page and click on Student Art: Masa and Rice Papers and Watercolor in order to access the page.
This is a new abstract using the rice paper collage with watercolor. As I worked on it, I saw a dove appearing in the upper right quadrant. I couldn’t help but to bring that dove forward and let it be about her, or him.
I began, as usual, working toward abstract washes and marks and allowing the watercolor to mingle.
I glued some torn rice papers on the surface with glue made from one part water and three parts acrylic matte medium. You can also make a mixture of water and PVC glue or acid free Elmers glue. All three work for these. I waited for the glue to dry and painted some more. As I work these stages, I prop the painting up on my mantle and move away from it and study it as I wait for it to dry, sometimes overnight. I will turn the painting all different ways and search for imagery in it, especially areas where I can develop a center of interest.
I began to see an image of a dove appear and started darkening the shapes around her by adding more papers and painting around and through them.
As the dove came forward, I felt it time to begin balancing the red of the sun and describing the background just enough to suggest a few things like a horizon line, a watery landscape and maybe a bridge, trying not to get too detailed. I want to let the viewer see their own story in this so I just concentrate on guidelines of composition like values and contrast of shape and line and color combinations. I like it that these pull out a viewer’s imagination.
To finish the painting, I darkened and textured the the blue water behind the dove and carried that darker color over to the left. I added a rice paper that had little silver bits in it to the waterway under the bridge and softened the abstract shapes under the dove by adding some more stringy rice papers there.
These are fun!!!!!
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: