Now that I feel a bit more accomplished in some of my watercolor skills, I have taken the time to think about a few things. Specifically, what to do next. I think negative space, or negative painting, seems like the next best step. I am not sure why – it just feels right. That is how I painted my two moonlit sycamores. Now it is time to paint their leaves. Below is a photo I took the other day, which is my reference point.
I started out with three primary colors: Cobalt Blue, Cadmium Yellow, and Permanent Rose. First, I wet the paper and then made a few distinct areas for each color. Then I tipped the paper around (it’s mounted on a board) so the colors would blend and bleed. As it is probably only 90# paper, there was buckling and pooling, but decided to just let things happen. After it dried, I drew in the shapes of the leaves, and then worked around the leaves and twigs with a wash of varying strengths that combined Cobalt Blue and Burnt Sienna. The veins were a bit of Hookers, Sap, and Cobalt Green. Altogether, there are multiple layers of washes / glazes – some successful, some not. The final overlaying wash was a mixture of Carbazole Violet, Cobalt and Ultramarine Blues.
This painting has a lot of problems – too tight, too overdone – but the problems also present future solutions, which I hope to visit in the not-too-distant future. I feel like it is moving toward mud, too, which is something I always have to watch out for.
Ahhh. Frustration. Nothing like it to make you feel like crap! Or to push you past your comfort zone.
Comfort zone: Ink, watercolor washes.
Sort of comfort zone: pencil drawing.
Disaster! Warning! Alarm zone: Watercolors! We won’t even consider these at present.
There are times when a good book helps you out a lot. These are studies copied from a book by Claudia Nice. What is good about these kinds of studies is that there is detail, but not a desire to be so realistic you are going to scream, if super realism is not your thing. (It’s not mine.) Here, you will fine stippling and hatching, and cross-hatching. Each of these brings dimension and texture. Add some watercolor washes, and it can really make things pop out.
Sort of Comfort Zone
I think I mentioned in an earlier post that I have never really done any formal consideration of pencil drawing. To me it seems counter-intuitive to think about pencil drawings beyond pencil drawings of a casual quality, like the scribbles and doodles students turn in with their work. Rather, I looked at a drawing book from the library and had a deeper appreciation for the textures pencils can make. As with pen and ink, stippling and hatching are at work – but so are circles and lines in varying directions, along with lines which depict texture, such as the little hook-shaped lines at the very bottom.
Today, I filled up a palette with watercolor pigments. Now, I am slowly studying washes and wet-into-wet. I am also using a whole slough of pigments I have never used and dropping some of my old standbys. I am feeling like crap. But, perseverance. Onward.