I had fun with May 6: “Draw a Scented Product.” I sketched two scented “products” — one man-made and one cat-made. The man-made is a lovely (and expensive) room perfume (Vanilla, Bourbon and Mandarin
“Draw a pine tree” was the cue for May 5. Easy…found one in my neighborhood bigger than a house and sketched it and painted it sitting in my car on a cold, foggy, windy day.
I’m experimenting with an inexpensive ($13.00) Winsor Newton Cotman watercolor palette
Stillman & Birn sketchbooks are highly rated by other sketchers so I wanted to try one but couldn’t figure out which paper to choose. I emailed the company and they sent me a packet of paper samples. On a sunny afternoon I tested them using potted strawberries and flowers on the deck for my subjects. (Then I ate the strawberry. Yum!)
The two most likely options were the Multi-Media Surface papers: either the Delta 180 pound ivory (at top) or the Beta 180 pound white paper (above). I liked the way the ink went on smoothly. The watercolor worked well if applied directly in one layer without much water. Otherwise it backwashed like crazy (see splotches above).
I liked the Epsilon paper (above) but worried that the 100 pound weight wasn’t going to be thick enough. The very smooth finish was nice for both ink and watercolor, similar to hot-pressed watercolor paper.
The 100 pound Gamma (above) and Alpha (below) vellum surface paper was probably my least favorite, although I ended up judging my impressions by how well I liked the way the sketch turned out instead of technical reasons since they all took ink and watercolor somewhat similarly.
I chose the ivory Delta paper (at top of the post) in an 8×6″ wire-bound journal because I liked that paper the best, even though it only comes wirebound. I’ve used that journal for the past month. It works well if I draw in ink and then apply a stroke of paint and leave it alone. I’ve been less successful if I add another layer of paint or try to get a smooth wash over a larger area. The paper pills, previous layers of paint lift off, or it backwashes.
I also keep getting nasty, dirty, thumbprints on the previously painted page when painting on the next page (which has ruined a couple nice sketches). But maybe that’s just me being clumsy. Or maybe I should only paint on one side of the paper even though it’s thick enough to paint on both.
I’m halfway through the journal and have found workarounds to my problems. It’s been good practice for me to be more direct and get it right on the first stroke or else. But I’d still like the option to add more washes when I need to. It’s a beautifully made journal but I don’t think I’ll buy another. I’m going back to binding my own with the watercolor paper I prefer.
If you’ve used a Stillman & Birn journal, which version did you use and why do you love it (or not)?
I wanted to learn how to get from a grisaille underpainting to a full color painting after I did the Frankie Flathead monochrome study. So I decided to set up some colored blocks as if they were a landscape, and paint them in layers, starting with a grisaille, trying to find a method that worked for me.
Above is the final painting and below is the step-by-step process that I followed.
I just sold the painting above and wanted to varnish it with a protective layer before shipping. I’ve been afraid to try traditional damar-based varnish which is prone to drips, bubbles and yellowing. I knew that somehow at least one cat hair would embed itself. So in the past I used a spray-on varnish (which has its own disadvantagse) or just shipped sold paintings without varnishing.
I’d read that Gamblin’s Gamvar synthetic varnish was easier to use and very archival, developed based on research at the National Gallery of Art. But it came as a two-part kit that you have to gently mix, every hour over eight hours. For me, that is a recipe for failure. I knew I’d get distracted and miss an hour just like when I make a cup of tea, forget about it, and hours later have to throw it out and start over.
Now it comes Pre-Mixed! Gamblin just released a pre-mixed version of Gamvar in a 2 oz. bottle containing enough varnish to cover 40 square feet. I called Gamblin with some questions that I didn’t see answered on their website. Their technical support people were on other calls so the operator connected me to their president who cheerfully answered my questions. You can’t beat that for customer service!
My questions and his answers were:
I had my iPad on the table next to me while I was watching TV, too tired to go in the studio. So I doodled these sketches while relaxing in my black leather recliner, my favorite chair for watching TV, napping or reading.
I love this red basket that I use to carry stuff between the studio and house. Today I spilled a cup of tea in it but it seems to have survived OK. It lives on a little table in my living room by the front door.
There’s something about the limited color choices and simplicity of the iPad app Paper by FiftyThree that makes everything you draw look nice. On screen the layout is designed to resemble a Moleskine notebook. Using a Bamboo Stylus
Although I studied and practiced digital painting a couple years ago, and even sold a digital illustration to an airline magazine, I prefer painting by hand to making digital artwork. But every now and then I give it another go, just for fun.
These scissors came packaged with something else I bought (but I forget what) a long time ago. I don’t know why they were sitting nearby, but scissors are always fun to draw.
Paper is a fun app, and while not nearly as powerful as other iPad drawing apps, it’s somehow easier to turn out enjoyable sketches with it.
After I did the watercolors I posted yesterday, I set up the sketch, the watercolor and my iPad displaying the photo on the table beside my easel and painted the scene once again, this time with oil paint. After a month or two of being totally frustrated with oil painting, trashing everything I made and about ready to give it up, suddenly painting was easy and I was loving it!
The entire painting worked like a charm except the foreground mount of dirt and ice plant which was the last thing I painted and which I did over and over. It kept trying to call too much attention to itself. I think I finally successfully muted that foreground while still keeping the light on it.
Then I was looking at some delightfully free and vibrant oil pastel work on Aletha Kuschan’s blog which inspired me to try the scene in oil pastels too. I know nothing about oil pastels so I quickly read a few how-to’s on the web and dug in.
BUT before I show you the drawing, I have to say that I made a fatal misstep: I chose a sheet of the totally wrong paper to work on. Instead of starting small on a sheet of white or blue pastel paper, I chose a large sheet of brown Stonehenge drawing paper. What was I thinking? Brown under a turquoise sea?
It was impossible to cover all the brown paper because even though the oil pastels got really thick in some areas—so thick that no more could be applied—in other spots they just wouldn’t cover.
Although my Holbein Oil Pastels are very old, purchased for a small project I did more than 20 years ago, they were still in good shape. But I didn’t have the right colors, and I had trouble blending. I didn’t have blending stumps, didn’t want to use my fingers and was wearing gloves which didn’t work. I tried a paper towel but it just smeared and left paper towel lint.
Compared to paint, oil pastels seems like a lot of extra work, having to fill in so much area by scribbling over and over. And it was messy; my gloves and the pastels got dirty from colors transferring onto them.
But maybe if I knew what I was doing, or had used the right paper it would have been easier or less messy? (Not to say that oil painting isn’t messy! Everything I own has paint on it!) I like the look of oil pastels done well so I’ll try another experiment with them. But on the right paper this time! Any tips?
When I was a kid I had a sock puppet that looked like this so when I saw this fabric at the store I couldn’t resist. I used a piece of it to cover a cushion on a stool about 5 years ago and then put the rest on the shelf. I needed to bind a new journal right away and was too lazy to go shopping for book cloth or to make my own. Hence off the shelf and onto the book!
For the end papers I used some lovely warm grey paper a friend left at my house from a family history book-making project I was helping her with. This was the first time I could use my case-bound journal making instructions all the way through without needing to revise them and it went really quickly.
I’ve actually been using this journal already for a couple of weeks and writing this post prompted me to name the journal which I hadn’t yet done. Calling it “Monkey Business” will help me to lighten up as I use it, to get more playful and fool around and let go of “right” and “good” which always trip me up when I get in that judgmental place when I’m drawing, instead of just enjoying the act of looking and sketching what I see.
And since it’s red flannel it’s warm and cozy–perfect for fall sketching.
When my friend Mindy sent me a fun little gift box of potato chips (which were invented in her town, Saratoga Springs, in 1853–read funny history here), I was smitten by the cute box (photo below). Then I opened the box, saw the foil inner pouch and had to try to draw it (sketch above, on a red cloth).
The box was charming, a replica of their original packaging from 1853. I remembered seeing journals created from packaging on the fabulous Make a Book a Day blog where Donna Meyer binds and posts a new book almost every day. In August she did a whole series of recycled packaging books, from KitKats and Snowballs to root beer books.
So I grabbed a sheet of Stonehenge Kraft-brown paper and the excellent Gwen Diehn book Real Life Journals: Designing & Using Handmade Books to find out how to make a pamphlet book and got started.
Along with an end of journal self-portrait, I always put an “If Found” notice and silly self-portrait at the beginning of each book (phone number erased for privacy). I started doodling something I was carrying under my arm that turned into a very fat cat (or is it a pig?) And yes, I do wear Pippi braids and bright green shirts sometimes.
Above is my new journal, covered in a piece of cloth cut from an old tablecloth, stacked on top of the last journal, now complete. I temporarily added the silly butterfly sticker as a reminder of what I intended as the front and bottom of the book. And then in my usual Jana way, I accidentally ignored it and started sketching from the opposite direction. And it doesn’t make a bit of difference.
Even though I’ve gotten the binding process down to a 6-hour project per book (when done one at a time; haven’t tried batching them yet), I was looking for a way to save time and be able to sketch without having to bind my own journals. I have yet to find a store-bought journal I like as much as my own, so I wasn’t considering that option.
I came up with the idea of using an aluminum form holder filled with individual sheets that I could later put in an inexpensive art presentation binder in order, as if in a journal. I liked the idea I could keep different types of paper in the holder and set it up to use with my little watercolor kit.
While I like this nifty system, and have used it a few times, it just felt weird not carrying a journal containing a little history of what I’ve been seeing, doing and thinking (I don’t share the “thinking” pages here). So now I’m doing both, always carrying the journal above, and when I want a variety of paper, individual sheets, and/or a convenient surface for sketching and painting, I also bring the lightweight Form Holder. Mine is a small size, but a larger one might be really super as a laptop desk.
Above is another nifty tool I had made at my neighborhood Tap Plastics for about $3.00: a little template made of very thin plastic with rounded corners that I trace around with a pencil to pre-draw borders on my journal pages. It helps me to have a window to draw within (which I sometimes ignore or erase if I want to work across the spread). Once I finish a sketch I go over the pencil line with black ink.
I drew the black lines on the template with a wet-erase marker so it can also be used as a viewer to see how and where what I’m looking at “should” fit in the drawing (though I rarely use it for that).
I neither know why, again in typical spatially challenged Jana fashion, I wrote “Top” on the template (why would it matter?), and even more perplexing, why I wrote “Top” at the bottom of the template. But it makes me laugh when I see it so I haven’t wet-erased it.
To put the finishing touches on a completed journal, I make a self-portrait for the last page. Since it was also my birthday, I wanted to incorporate my birthday flowers in the painting. So I hung a mirror with a yellow clip from one of my swing-arm lamps on my drawing table and put the vase of sunflowers between me and the mirror and then drew what I could see in front of me: the flowers in front of the mirror, with me and the flowers reflected in the mirror.
As usual for my end-of-journal self-portraits, I wasn’t willing to measure or try to draw and place features accurately but I think I did capture the feeling of me or the me as I was feeling.
In the next post I’ll show you my new journal and another idea I tried out for sketchbooking minus the sketchbook.
Jana Bouc, Artist 