I went through quite a process making little birthday paintings for my granddaughters whose birthdays are two years and one week apart. I think of Madeleine as a little butterfly, always happy and amused. Strong but delicate.
First I looked at reference photos of the different critters and flowers, then sketched them as if I was doing scientific illustration. I transferred my sketch to watercolor paper and painted it. Then I realized it was a terrible composition.
So I started over, deciding that they didn’t need to be scientifically correct. I let my whimsical side come out, recomposed and redrew and painted it again. This time I was happy. I hope she will like it!
My granddaughter Sadie can swim like a fish, so for her birthday I painted a little undersea scene for her. I’ve always been intrigued by seahorses so it was fun researching, drawing and then painting one.
Growing up in Southern California, I’ve always felt at home in the water, whether just spending the day in the sun and surf or scuba diving.
If I were ever to marry again (unlikely) I want a scuba wedding. I wonder if guests would be willing to come to a “destination” wedding when the destination was underwater.
I recently spent a couple weeks working through a Proportions and Rhythms of the Head portrait drawing class created by Bradwynn Jones. I watched him do the demo drawings (mostly while working out on my rower) and then sketched them myself. When I finished all the drawings I transferred them to watercolor paper and started painting them. This is the first one I painted.
I took an immediate dislike to this model. She was pretty but mean-girl looking to me. I decided to experiment with a triad of colors on her that turned out to be equally unpleasant.
Cobalt Violet has very low tinting strength and just sits on top of the paper, so it came right off if I tried to glaze over it. It is both opaque and granulating, causing an unpleasant texture for skin.
The QOR Nickle Azo Yellow also had low tinting strength and when mixed with the violet made a yucky brownish color for shadows. The QOR Paynes Grey combined with the yellow made a gross greenish-gold of her hair.
I didn’t really care because, like I said, take that, mean girl!
Also, Payne’s Grey; I’ve never understood why people use it. Most brands make it from black and ultramarine blue and sometimes a bit of violet. I guess it’s a convenience color, but one that would be so easy to make, though I prefer not to use black paint in watercolor.
Do you use Payne’s Grey? If you do please tell me why and which brand you like.
We sat around her on the funky carpet in the former chapel, and listened raptly as she read and spoke about her life’s journey so far. At that time she was the first ever African-American best-selling author and like me, was living in Berkeley.
I used the photo reference above from around that same time for my preparatory sketch below.
I painted her twice, using a limited three-color palette of DS Quinacridone Gold, WN Perylene Maroon, and DS Indanthrone Blue. Below is the first (failed) painting attempt.
In the painting (above, Yuck!) I made her skin too dark and too orange, plus when I added Rose of Ultramarine for her dress and Winsor Blue to a gold background, I made a green that clashed with the purple dress.
For some reason this snippet of her talk 50 years ago has always stayed with me. She said:
My grandmother always told me, “You don’t always get what you pay for, but you always pay for what you get.”
Every time I’ve tried to paint a portrait on a block I’ve failed. I became convinced it’s because the cold press blocks are rougher than the sheets, too rough for me. But Arches’ website and Google say no, “they are exactly the same.”
Today I figured it out–I’m right–and I’m mad! And that’s why I’m posting this little PSA post. I hope others will find this when they’re questioning their sanity after being told they’re the same.
The two sides of Arches 140 pound cold press paper are different. When they are pressed in the mold, one side is pressed against a wire screen and the other side is pressed against a felt mat. The latter produces a smoother surface for painting.
Theoretically, Arches watermark/logo is on the side that is meant to be painted on, since if it shows in a painting, it should be readable, right? That side is the smoother side and it’s the side on which I’ve always painted.
But blocks, which are glued on all four sides and to a hard cardboard support on the bottom to prevent buckling, can only be painted on the top exposed surface. And they are bound with the ROUGH side up! Also they have no watermark.
Therefore, they ARE DIFFERENT! It’s not me, it’s the paper!
I guess I will save the blocks for landscape paintings, or peel a sheet off and use the back when I have used up all my sheets.