Lake Lundy is a lovely area in the Eastern Sierras of California. Colors, water, and stunning mountains make for a wonderful place to visit!
I tried to capture the sense of mist rising from a lake in the early morning. Dry brush seemed to be the best solution, but I think I sort of missed it (hahahaha). I used a square, flat brush, moving up and down and sideways. The thing is, it wasn’t really foggy and blurred, but rather defined in the image.
Feels good to be painting again!
California is not all joyful sunshine and playing on the beaches. Fog is a large part of the coastal environment. It is known as “May grey” and “June gloom.” This morning I woke up to it . . . . inspiration for a foggy lake in the frozen (or not so frozen) north.
I’m still focused on water. Today I wanted fog and water and hoped to use very wet paint thinned to mostly water. I also wanted to work with wet-in-wet in the attempt to catch the softening of edges, increasingly more blurred and colorless, to denote distance. A dull, muted foreground with intense color to add to depth of field. I think it all worked out pretty good.
Fabirano 25% cotton paper, 9×12, neutral tint, sap green, Hooker’s green, phthalo green, Payne’s grey, quinacridone gold, yellow ochre, ultramarine blue, burnt sienna.
I wanted to give this a romantic name, like Last Light Before the Storm, but the fact is, this is just a disaster! The only thing I like are the bright trees and the sky’s gloom, but altogether, it is overworked and definitely not very good.
Wetness in watercolor varies. There are times when a very dry brush on dry paper is necessary to give sharp, clear edges to an object. Then there is wet-on-dry wherein washes are applied to dry paper with a lot of water. And finally, wet-in-wet, where wet color is applied to wet paper. As the paper dries, the color behaves differently. There is so much to learn in watercolor!
Of late, I have been painting with a lot of water and a lot of color. It’s a challenge, but daily painting is yielding better results overall. Not every day, but overall! Yesterday, I watched a number of videos, and did two studies based on videos by Rick Surowicz and Edo Hannema.
This one is from an early video by Surowicz. He used some frisket, but my bottle was not working, so I painted without it. I really needed it as his style is not just wet, but sopping wet! He uses a fine mist sprayer to scoot paint around. The result can be quite nice as you build layers of colors on layers of color. I did this painting on Strathmore 400 paper, a paper I don’t especially like, so I was quite pleased with how it handled all the water. The palette consisted of three colors – sap green, indanthrene blue, and a bit of Indian red.
Edo Hannema is a master of the wash. I enjoy using his videos as study guides. The above painting is my favorite of the two I did yesterday. The palette was limited to raw sienna, burnt sienna, cobalt blue, ultramarine blue. The green was a mixture of cobalt and raw sienna. One thing I really like about Hannema’s videos is he tells you when he thinks he makes a mistake, or needs to fix something in his painting, as well as tips on using colors. It’s rather like eavesdropping on the artist.
I decided to look at mists and soft edges because the other day Rick Surowicz posted a video about mist rising below a mountain ridge – Overlook:
This was a good video to watch on how to create a mist or fog. He also has another one called Misty Lake which was the one I used in my above studies:
Edo Hannema is a master at wet-in-wet techniques, which are great for fogs and soft effects. The horizon of this painting video demonstrates this quite well. The thing that is especially fun about the video below is the fact he took a painting he did of this scene in the summer and converted it to winter:
I find using practice videos helpful in learning techniques. They are also helpful in thinking about how I paint versus how I want to paint. Like many beginners, I put in far too much detail, and my own impatience impairs final results far too often. Letting the paper dry is important, and I am learning to do that – my hair dryer is hanging within easy reach! Leaving white paper is getting more “natural” in feeling, so I am thinking ahead as well.
Nowadays, I find I am plotting out paintings in my head. Daily painting is another big step forward as I now have the time to spend on it without a million other things demanding my time weighing me down with guilt – chores and duties or the pleasures of a hobby.
This morning I saw a photo of a shoreline at dawn. A lake. A sunrise. Twigs. Grasses. Mountains.
I have spent the last two weeks making Christmas presents, sewing mostly, but also baking fruit cakes (brandied and bourboned), and shopping for this or that. Today I have more sewing scheduled, and a few “must do” things.
The fact is, while I love sewing, I love other things as well. I have done little if any drawing or painting.
Why do we get caught up in the “must do” so easily, so easily that the simple pleasure of an hour spent with paper, pen, and ink becomes something of a crime, one so self-indulgent that our Puritan ancestors shake their fingers at us? Pleasure? Nay!
But, I gave in! I’m happier for it!