Another painting on the reverse of another, again employing dampening the paper before commencing. More hake brush wet-in-wet. I wanted to catch the brilliance of the land beneath the storm as spots of sunshine break through a fast moving storm. In the Southwest, this is common and exciting to see – sometimes the landscape shifts in seconds.
Another painting done primarily with a hake brush.
This painting was done on the reverse of a previously painted piece of Arches 16×20 CP 140#. I wet the paper initially, taping it only in the corners, and was rather pleased to see how the paper relaxed once wet. I moved the tape as needed to keep the paper flat.
Anyway, the work here was themed on wet-in-wet, use of an excessively large brush (for me!), and standing up, rather than seated. The results were interesting – standing up allowed for more freedom of brush stroke. Getting the paper wet and letting it set a bit before starting the washes also helped.
Compositionally, I think it is a bit bland – really very little to lead the eye. However, this was not my focus here; rather, I wanted to use the hake brush to create sky and foliage as well as broader swaths of color. The nature of the soft brush allows for thin lines, rough splotches of color with white or underlying colors to show through, as well as washes of subtle beauty. From there I used a rigger to create branches, trunks, and some more calligraphic and suggestive lines.
Today was a day of “firsts.” I decided to paint a big painting for me – 16×20 inches. I also chose to use a more professional paper than I have been; here, 140# cold press Arches.
I wanted to test out how Arches handles water – lots of water. Hannema is the master of the wash and wet paper approach. His current paper is Saunders Waterford, which is different, of course, from Arches. I think the Arches handled the water really well. I, on the other hand, still need to master my washes. Blooms are visible here and there, and I need to learn how to control those or eliminate them if I find them later on.
The palette of colors I used was initially what Hannema used: ultramarine blue, alizarin crimson, burnt sienna, and raw sienna. Because I did not like greens I was getting, I threw in some sap green. If I had used yellow ochre, perhaps my greens would have been more satisfactory – something to make a mental note of to try next time around.
I always learn from a video. As I have mentioned, water is one thing I am working on, along with buildings. Today, I wanted to just work with a new paper and a lot of water. The study was successful altogether methinks.
Below is Edo Hannema’s painting tutorial: