District 12 at Mrs. Dalloway's Bookstore, Ink & watercolor
Since I’d read, and surprisingly enjoyed, The Hunger Games, Suzanne Collins’ first book in her dystopian futuristic trilogy, I understood why this display was in the Mrs. Dalloway’s Bookstore window: it was advertising the third book in the series, Mockingjay.
The Hunger Games trilogy is about a boy and a girl struggling to survive an annual contest where teenagers from 12 impoverished districts are forced to fight for their lives in the ultimate televised reality show, with the winner bringing honor to her district. When a reliable friend recommended this young adult novel, I was highly skeptical on so many levels. But I found it to be a good read (or listen really–I borrowed the book on CD from the library).
Goorin Hats, Berkeley
Before sketching Mrs. Dalloways, this little brown craft-paper sketchbook from the UC Davis college bookstore (a gift from my friend Pete Scully) was perfect for warm-up sketches with a brush pen. College Avenue is full of interesting, upscale little shops like this hat shop.
This previous sketch of Mrs. Dalloway’s is one of my favorites. It’s a wonderful bookstore with a special focus on books about gardens.
This is the cover of the journal I’ve just filled. I name my journals and I’d planned on calling this one “Rosie” because I started it at the same time my roses started blooming like mad in June. But given the struggles I’ve gone through, written about, and resolved in this journal, I named it “Not So Rosie” instead.
If you wonder what those weird white bumps are on the rose bud, when I put the tiny rose bud under my magnifying lamp to draw it I discovered it was covered with aphids. Yick! I enjoyed drawing it anyway until I noticed an aphid jumping ship and landing on my drawing table. I declared the artwork and the journal done, dumped the roses and spent a little time admiring my newly bound journal (below), its blank pages full of promise.
This is the fourth case-bound sewn-signature journal I’ve bound. With each one I’ve made fewer mistakes and learned more. I’ve continued to update my illustrated instruction sheet I wrote for myself, simplifying and correcting it. So many people have helped me that I wanted to share what I’ve learned in case it might help someone else. If you’d like a copy, it’s available to download on my website’s “Comments & Resources page.
Meanwhile, my sketch kit has been shrinking. A friend brought back a tiny, $13 watercolor travel palette from a recent journey to Minnesota that included a stop at famous Wet Paint. I had to call them and order one for myself.
Mini-Palette and Sketch Kit
The palette is 2 1/2″ x 3 1/2″ and has a ring on the bottom for easy holding. I found it a little hard to open and so super-glued 2 little wedge-shaped pieces of a rubber washer on the front edge of the lid and base which gives me a better grip to snap it open. Another customization suggested by Cathy was gluing an empty watercolor pan inside for holding water (sticking up on the right side).
My favorite pens are (from the front) a Micron Pigma, a Lamy Safari fountain pen filled from a jar of Platinum Carbon ink (waterproof and safe for fountain pens), a Pitt Artist Brush Pen, a Papermate Titanium .07 pencil with F lead, and a Niji Waterbrush. All of this fits nicely in a little zipper pencil case, including the palette.
Newly Bound Journal and sketch kit ready to go
This little water container is surprisingly spill proof, and about the size and shape of a film canister. I can actually do just fine with the water in my water brush and/or the bottle of drinking water I carry around. The tape on top of the palette is a list of the pigments I’ve filled it this time.
Early Morning at Kaiser Garden, oil on canvas, 20x16"
I think I’ve finished this painting (but then I thought that several times before). The last time I thought I was finished, I looked back at the notes I’d written opposite my journal sketch about what interested me in the scene and my goals for the painting. I saw I’d missed a point or two and worked on it some more.
Now I’d really appreciate some honest feedback:
Do you think it’s finished or does it still need something, and if so, what do you suggest to improve it?
This was painted with Holbein Aqua Duo water-soluble oil paints. It’s such a joy to oil paint without odor, to thin paint to a wash without solvents, and to mix water instead of turpentine with the Duo linseed oil to make painting medium. The pigment quality, drying time and consistency is identical to regular oils.
I was feeling so proud of myself for finally setting up a compost bin for food scraps and thought tonight’s red bell pepper contribution looked pretty enough to paint. After I drew the contents in ink, I grabbed what I thought was a spray bottle of water and sprayed all the colors in my palette to wet them. Then I smelled the bleach.
Refusing to believe there could be bleach in there since I remembered emptying the bottle and washing all the bleach out, I sniffed the contents, and stupidly even tasted the end of the sprayer tube, convinced it must be water. Nope, it still had bleach in it and now I have the taste of bleach in my mouth, even after a cup of cinnamon tea.
Finally I remembered that I’d “temporarily” re-filled the spray bottle with a bleach/water mixture again when I needed to spray something to de-germ it, and that time, hadn’t emptied it.
The next day
Although I painted this sketch with the bleachified paint, I decided it wasn’t worth taking the chance to continue using the paint. I soaked my palette overnight in the sink, and then used paper towels to soak up and scoop out the big blobs of paint remaining.
And now I have a nice clean palette, filled with nice fresh watercolor paint. And I used the spray bottle of bleach mixture to clean the sink afterward. The sink is nice and white. And the bottle is now marked “BLEACH!”
I got inspired to try water-soluble (aka water-miscible) so researched which brand had artist quality paints made with real, archival pigments that performed most like regular oils. From my reading, Holbein Duo Aqua Oils was the answer.
I bought 3 colors (Cad Yellow, Napthol Red, and Ultramarine Blue) and white and gave them a go with this happy little painting above from a photo and watercolor sketch. I really, REALLY enjoyed working with them.
Indeed they worked exactly like oils, but with no solvents, no odor, and brushes clean up with water! To thin the paint you can use a little water or Duo Linseed Oil. The consistency was nearly perfect but I used a tiny bit of water because I like my paint smooth. Next time I’ll try the oil.
After working with the Golden Open Acrylics for several months I became frustrated with the way they dry darker and how sometimes the paint gets tacky or dry in minutes (outdoors) and other times stays sticky for days.
When I paint, I like trying to match the colors and values I see, so I’m disappointed when I paint with Open Acrylics and the painting dries to look completely different. Supposedly they only shift 10% but I just don’t seem to be able to guess right when mixing (and don’t want to have to guess!)
With the Duo oils I loved being able to mix colors and have them not change, and to not worry about the paint getting sticky during a painting session. I spent about 2 hours on the painting above last night and it’s still wet today. And, because I could clean the brushes with a swish of water while I worked, I only used a few. Clean up was quick and easy, with a little Masters Brush Cleaner for the brushes and a spritz of water and a paper towel across the palette.
Holbein Duo paints are more expensive than the other water-soluble brands because of their higher pigment load and use of more expensive pigments. Their prices are about the same as regular artist-quality oil paint. From my research and my first experiment with them, they’re worth it. I’ve ordered a few more colors and look forward to trying them out for plein air painting too, where I think they should be ideal.
P.S. I know you can use regular oils without any solvents, and that you can clean up regular oils using walnut oil followed by soap and water. But it means painting with thick paint and spending even more time in the clean up process.
I was listening to Ruth Reichl‘s book “Not Becoming My Mother and Other Things She Taught Me Along the Way” while I sketched on a rainy Sunday, feeling a bit mopey. That book was the perfect antidote to mopeyness.
After her mother’s death, Reichl finds her mother’s journals and discovers the story of how her quirky mother tried to make sure her daughter wouldn’t suffer the unfulfilled life she’d had, restricted by the roles available to women of her generation.
The book is full of humor, love and amazing stories. I’m grateful that my public library has great audio books available to download for free. It ends with this great quote:
…and the most important thing I learned is that you are the only one who can make yourself happy. It is never too late to find out how to do it.” ~Ruth Reichl
I drew the frog above (from a photo on my monitor) to practice before I drew the frog on the cover of my journal (below) which I’ve named Froggie:
Froggie Journal, India & gold gel ink
The Legion Multimedia Aquarelle paper the book is bound with is holding up even better than I expected. It’s nice and smooth for writing and drawing with ink from various pens, and accepts watercolor beautifully and even allows for lifting off and repainting and other kinds of abuse.
I love spending time with my journal which is like a dear friend, a place to come for solace when I need to write and sort things out, a library for recording visual and emotional discoveries, ideas, thoughts, and experiments.
This month’s Virtual Paint-out is taking place in Norway. When I picture Norway it’s always snowing—silly me. I was amazed to wander the roads and see the beautiful summer light and perfectly maintained buildings and fields. There was so much gorgeous scenery it was hard to pick, but I couldn’t resist all the different greens in this scene.
Here is the original scene from Google Earth. I used Windows 7 cool “Snipping Tool” that lets you select an area of the screen to copy and save:
Original Google photo
If you click to enlarge the image you will see the address of this farm in the top left. I played around in Photoshop to compose and crop the scene. Then I used the “Content Aware Scaling” feature in CS4 that allows you to compress a scene without distorting elements such as buildings or people. I wanted to fit the image on a 9×12″ canvas:
Cropped/Scaled in Photoshop
What’s really exciting to me about this painting is that I used Golden Open Acrylics to paint it. I am in love with these paints! [SEE less enthusiastic UPDATE AT BOTTOM]. They have all features that I love about oils and acrylics with none of the features I don’t like. I’ve been struggling with both those mediums for months and was going through an artistic crisis, considering giving them both up.
The problem with acrylics
I couldn’t stand working with regular acrylics because I like to layout a palette of paint and work intuitively, mixing as I go. Acrylics dry too fast to do this. (Yes I know you can mist the paint regularly and that there are special stay-wet palettes but I found they turn the paint to soup and smell bad after a couple of days). I also like to blend colors on the canvas and to be able to wipe off a passage if it’s not quite right. None of this is easy to do with regular acrylics.
The problem with oils
Because I try to use solvents as little as possible with oils due to their toxicity and smell, I can’t start with juicy washes for the first layer as I like to do when sketching out the composition with oils. And even with the minimal use of the least toxic odorless solvent (Gamsol mineral spirits) I found there was an odor (probably from linseed oil going rancid that was left in the solvent) that bothered me anyway. And then there’s the cleanup up dozens of brushes after a painting session.
Why I love[d] Golden Open Acrylics
Golden Open Acrylics do not smell, stay workable about as long as oil paints [update: they don’t really], can be diluted with medium and/or water, clean up with water, do not dry on brushes (for 24 hours at least), blend nicely and are just a dream to work with. When I quit painting last weekend I stuck a small, damp sponge on the palette, and closed my Masterson “Palette Seal” box. I opened it today, a week later, and the paint was still in perfect working condition, better than oil paint would have been.
While I admire thick, expressive, brush strokes in paintings, it’s not really my thing. I prefer working more thinly and that’s just the way Golden Open Acrylics are meant to be used: in layers less than the thickness of a penny. They can also be mixed with regular acrylics to modify the texture or the drying time. Or they can be combined in different layers, although it’s suggested to use regular acrylics as the first layer(s) before adding the Opens or waiting for the layers of Open Acrylics to thoroughly dry (2 weeks) before applying a layer of regular acrylics.
I think these paints are also going to transform my plein air painting. [update: they didn’t work for plein air; got tacky too quickly] I won’t need to bring solvent or a slew of brushes. I haven’t figured out what to carry for a water container or how much water I will need to carry for brush washing between colors.
Our first plein-air session of the new season is next Friday and I’m looking forward to playing with my new medium in a Non-Virtual paint-out too.
UPDATE June 30, 2010
After working the Golden Open Acrylics for three months I’m considerably less enthusiastic about them. The deal breaker is that the paint dries darker (about 10%, varies between colors) which requires guessing when mixing paint how much lighter to make it and makes it impossible for me to try to match colors I’m seeing . Other problems are the drying time which depends on the humidity and wind which makes painting outdoors with them next to impossible in my area. Unless there is no breeze and high humidity, even indoors, you have to work quickly before the painting starts getting tacky within an hour or so. But then it can take a really long time for the paint to dry completely. When trying to glaze on top of a seemingly dry layer, I’ve ended up lifting the previous layer instead and had to give up glazing.
I’ve now switched to Holbein Duo Aqua water soluble oils and so far and am finding them the best of all worlds. No color shift, artist quality pigments and pigment load, no toxics, no smells, easy clean up. I write about them here.
I used random items from my junk drawer as still-life subjects to test paper for binding my next journal. The paper I’ve chosen is Legion Multimedia Aquarelle 300 gsm (a little thinner than 140 lb). An employee at my local Artists & Craftsman store suggested it when I was unsuccessfully seeking the Fabriano Soft Press 140 lb recommended by Shirley of Paper and Threads.
Legion Test #2
Legion Multimedia/Aquarelle
I was delighted to find that the texture of the Multimedia/Aquarelle paper is perfect for writing on with the finest of pen points (unlike my current journal’s Arches CP paper). It took watercolor washes and multiple layers of glazes beautifully without buckling, pooling, or pilling. Color lifted off easily when rubbed with a damp brush.
The paper is nicely sized to prevent the paper from soaking up the paint, but not so extremely sized as the Arches 90 pound cold press that practically resists the ink.
It has two deckle edges and is relatively inexpensive. The Legion Multimedia/Aquarelle paper cost $2.69 a sheet at my Blick store while the Fabriano Soft Press 140 lb paper was $4.99 a sheet. Unlike the Fabriano, this paper is also available in 90 lb weight which I will try next, but I think that will have to be a special order through Artists & Craftsman since Blick only carries the 300 gsm paper.
“Use any painting and drawing media you choose on this fine quality, crisp white paper! Multimedia/Aquarelle Paper consists of 100% cotton fiber, is acid-free, and has a neutral pH. The paper is 140 lb (300 gsm) weight, and has an uneven textured surface. Available in two different surfaces — Cold Press and Rough. Cold Press is available in sheets and pads, Rough is available in sheets only, and comes in 200 lb (380 gsm) weight.”
I tested the paper for grain direction and it runs the long way, making it possible to tear it down for a journal just the size I like: 5.5″ x 7.5″, with no waste, which is not possible with the Fabriano whose grain runs the short way.
I finally was able to buy a sheet of Fabriano Soft Press (which has a similar surface texture, between hot press and cold press) and tested it too:
Fabriano Soft Press 140 lb: Test #1
Fabriano Soft Press
The Fabriano Soft Press paper had some things in its favor but ultimately the cons outweighed the pros in my mind. It seems like good sturdy paper, and the paint lifted OK without surface damage, but it was slightly less pleasant to write on with a fine-point pen, even though the surfaces of the two papers are very similar.
Since the grain runs the short way (which means the pages will need to fold the short way) you either end up wasting some of the paper or have fewer size options for the book. Also, the paper is thicker and stiffer, which means fewer sheets per book or a thicker, heavier book. And it is more expensive.
But what bothered me the most was the sizing. According to Blick:
“Fabriano papers are synthetically sized both internally and externally so that no animal by-products are used.”
In fact, Fabriano uses an acrylic sizing as opposed to the organic sizing (gelatin) that other companies use. I found that juicy washes on this paper took forever to dry and I assume it has to do with the non-porosity of acrylic sizing.
Fabriano Soft Press Test #2
Despite waiting and waiting and finally using a hair dryer before adding the next layer of glaze, the paint still wasn’t dry and glazes bled into each other.
I also tested the Arches 90 lb Cold Press in my journal (below). Washes, glazing, lifting worked fine, but just isn’t pleasant to use with a fine point pen.
90 lb Arches Cold Press test
I’m looking forward to binding my new book and then giving the Legion Multimedia Aquarelle paper a true test of its journal-goodness and whether it really is the “perfect” watercolor journal bookbinding paper for me.
Warm sun, green hills, blossoming trees and a great Peet’s cappuccino to sip at an outdoor table while sketching was made even better by a pen that actually worked in my sketchbook. After struggling to find a pen that would not skip, scratch, smear, show through or bleed on the Arches 90 lb cold press paper I’d bound in my journal, I discovered that my Lamy Safari fountain pen was just right.
Pens
All of the pens I normally use were giving me problems. The Sakura Pigma Micron skipped, scratched over the textured paper when drawing, and was even worse for writing in the journal, whether I used my favorite .01 or a fatter-tipped .05.
Pitt Artist Pen and Sharpie tests
I tried using an Ultra-Fine Point Sharpie since it would at least produce a strong line (above). But I found that the ink flowed too quickly, bleeding and spreading if held in one spot and worse, showed through to the other side. I also tried the Pitt Artist Brush Pen on this page, which worked OK but was a thicker line than I like for general sketching. The black ink in the finer-point Pitts seemed paler than the Microns, but it might also be that they resist the sizing on the paper more.
Testing Prismacolor .05 Pen
Prismacolor Illustration pens are similar to the Sakura Pigma Micron and Pitt Artist Pens and are very nice and comfortable to hold. But they too performed poorly on the Arches CP. In the sketch above I was trying to do a contour drawing of what I saw on the BART train but my lines were barely visible until I redrew them with a Sharpie.
Testing Noodlers & Carbon Platinum Ink
Then I tested my Lamy Safari F-point fountain pen and was delighted to see that it was a pleasure to write and draw with on the Arches CP paper.
Ink
I’d last filled the Safari with Noodlers Black Bulletproof ink, which is supposed to be waterproof but actually bleeds a fair amount when a wash is applied after it’s dry. I used a dip pen to test Platinum Carbon Ink and it held up better, barely bleeding at all.
So I squirted out the remaining Noodlers in my Lamy and refilled it with the Carbon Platinum ink. I’ve been a happy sketcher ever since. The ink is a rich black, doesn’t bleed, is great to write with on this bumpy paper, and is comfy to hold. Yay!
Paper
Now that I’m halfway through my journal it’s time to prepare for binding the next one. I’ve been testing papers and I think I’ve found the one. When I finish my tests I’ll post them. I have a feeling I might have found the perfect paper for ink and watercolor journaling.
Signs of spring were sprouting everywhere on my walk and I couldn’t resist stopping to sketch and paint. But I stopped so many times that before I’d gone half a mile I was so hungry I had to return home for lunch before heading out again.
The sketch above graces the first page of my new sketchbook, bound with Arches 90lb cold press watercolor paper. It’s quite different from the Fabriano Venezia sketchbooks I’ve been using the past year.
Princess flower bush blossoms, ink & watercolor
I’m really enjoying the way the book opens flat, it’s size (7.5″ tall x 5.5″ wide) and weight, how comfortable it is to hold and to hold open for working across the spread, the texture of the paper for painting and the way the pages don’t ripple, pill, or show through to the other side. The paper takes a lot of abuse and layering, which is both a good and a bad thing. Good because it holds up, but bad because it allows endless diddling around which isn’t really the point of sketching (but is a bad habit of mine).
Peets people, ink & watercolor
And what’s a nice walk on a spring-like day without a stop at Peets for a Cappuccino at a sidewalk table and a bit of sketching/painting. I’m still finding my way with this paper, trying to get a sense of how much paint to use, and which pens work best with it.
One thing I’ve determined for sure is that I prefer painting on site when I go out sketching, as I did with these, and not just drawing on site and adding paint later as I did last week with my sketching group. I just spent the evening painting the drawings from last week’s outing and it just didn’t have the zing that painting from life on site does.
You can make many more sketches and have more control of the paint when you save the painting for later, but then you either have to work from memory (of which I have too little) or photos (which never capture what you really see in person) or by using a pencil to softly write “Y” in areas that are yellow, “B” for blue, etc.) While I loved those “paint by number” kits when I was a kid, I’m not crazy about painting by letter now.
Jana Bouc, Artist 