Tag: Watercolor

  • Watercolor Life Study Transformed into Oils

    I see that there is a direction. The direction is to first use watercolors and capture the moment. The images I create with watercolor can become studies or elaborate notan imagery for a more comprehensive oil painting. This happened with the watercolor below. It was rendered in the studio life study that the BCAC offers 2 times a month with a live model. Winsor & Newton Professional Watercolors used: Rose Madder Genuine, Scarlet Lake, Genuine Alizarin Crimson, Lemon Yellow, Raw Sienna, Burnt Umber, Viridian, Hooker’s Green, Cobalt Blue, and Antwerp Blue.

    Life Study
    Watercolor Life Study

    The next image is the result of using the above watercolor to broaden and reimagine it with the use of oil paints. This work can be done outside of the rigors of the group setting with time constraints and comfort levels lifted from the structured limits of a class. The artist is freed to explore a more open interpretation of the subject. Colors used with oils are Winsor & Newton’s Professional Artist oils: Permanent Rose, Cadmium Scarlet, Indian Red, Cadmium Lemon, Cadmium Yellow, Yellow Ochre, Burnt Sienna, Winsor Green (Phthalo), Winsor Blue (Red Shade), Prussian Blue, Ivory Black, and Titanium White.

    Oil Figure
    Figure done in oil paints
  • Life Study Face

    Life Study Face
    Face done in life study session

    This life study was complete at BCAC (Broome County Arts Counsil) initially as Alla Prima, but after some thought the work was forwarded on towards completion in the studio. I really enjoy the bold colors. I was also very pleased that no pencil preparatory work was done to establish the beginning drawing for watercolor painting. Instead, the work was initiated and completed using watercolors with brush exclusively. The colors used are, Winsor and Newton Professional Watercolors, Scarlet Lake, Alizarin Crimson, Lemon Yellow, Raw Sienna, Cobalt Blue, Viridian, Hooker’s Green, Burnt Umber and Antwerp Blue. Please enjoy this work.

  • So Glad I Paint

    I am glad I paint because it gives me the strength to continue. That sounds so clique to my ears, but once the experience is over the reality of peace sets in. I worked on a watercolor portrait tonight that was started weeks ago in our Life Study at the BCAC (Broome County Arts Council). The piece was bold in color, bold in strokes with energy to boot. Too much energy. I wanted to tame it but not lose the energy. I believe I achieved my balance.

  • QoR Semi Traditional Palette

    I’ve been contemplating transitioning my Winsor & Newton Professional Watercolor Gum Arabic binder palette to the newer Aquasol binder with QoR Watercolors by Golden Artist. Those colors would be, Quinacridone Violet, Permanent Scarlet, Permanent Alizarin Crimson, Nickle Titanate, Raw Sienna (Natural), Burnt Umber (Natural), Viridian, Hooker’s Green, Cobalt Blue and Prussian Blue. These colors would be either an exact match to my current W&N Professional Watercolors or the equivalent.

  • Grounds

    I am fascinated with absorbent grounds that are specifically suited for watercolors. The two grounds I am currently experimenting with are Golden Artist’s Absorbent Ground, which is more like a white gesso and Golden Artist’s Watercolor Ground, which is more like a hot-pressed watercolor paper. The experiment is ongoing. I will be applying Golden Artist’s QoR Watercolors to these surfaces in order to judge the results.

  • QoR Watercolor Ground

    The completion of the inking of the original graphite drawing is done. The next step is to reduce the intensity of the contrast back down to the graphite drawing. The overall reason for this, because the drawing was done on D’Arches 140 LB. CP., is to prepare for QoR Watercolor painting. Each step has been done to optimize this endgame with QoR Watercolors. It was just a natural result that the QoR Watercolor Ground would reduce the inked illustration back toward the original graphite drawing.

    Inked image
    This is the image used for QoR Watercolors
  • Five Color QoR on Sized Mi-Teintes Paper

    The first stage of this experiment was very successful. The Mi-Teintes paper stretched wonderfully and took the rabbit skin sizing well. Thus far the surface should theoretically take watercolor well. The fundamental concept is still holding together. If this works, I am excited to work on many different colored papers all made receptive to watercolor.

  • Large Watercolor

    Full sheet 22X30 D’Arches 140 CP. In 4H pencil work out the composition (Golden Mean). Draw a figure from, Robert Beverly Hale’s book. Next do your landscape using muck colors.

  • Watercolor Preparation

    Use my Blick W/C block and halve the long side of the sheet with a pencil line. Complete the John Fabian Carlson’s sky colors on the sheet 2X. Have a portion masked off with frisket in the generic shape of a human. Let this dry in anticipation of Tuesday night. This will be the preparation for the Tuesday Life study.

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