Quick sketch, followed by a more careful approach.
Under painting, just like the masters of old would do it….kinda.
A blog about my carving, sketching and watercolor journey
I have ruined many nice contour drawings with my paints.
It’s hard to have a fresh idea in the internet age. I used Google to search for “Watercolor Wednesday” and never found my blog. After 12 pages I gave up. I will not be sounding the horn about Watercolor Wednesday anymore, but I will still be trying to post on Wednesdays. Thank you for your interest in my blog.
A fun day on the river turns into a photo op and from there it became several paintings.
I used several different techniques here. The painting in the upper left side was done mostly wet on dry, on 140 lb soft press Fabriano Artistico. For the painting on the right, I tried something new. I masked out the highlights and details and then poured paint onto the paper, cold press Fabriano.
The larger painting was a combination of the two. I did not use masking fluid, but I did pour, throw and spatter paint onto the paper. I used a wet on dry approach for the reflections and ripples in the water, mixing colors on the paper. I carefully painted around the highlights of the boat and figure, but as things spiraled out of control I had to go back in, after the paint dried, to reclaim lost highlights with my trusty pocket knife. The large painting was done on Fabriano rough press, my new favorite surface for many subjects.
I’ve been Working on my soft skies this week. “Wet on wet” can be difficult to control. I think a lot of paper has to be wasted, a lot of attempts must be made. The paper must be wet enough to create a soft effect, but not so wet that the paint spreads out of control. If the paper is too dry there will be hard edges, so things must be perfect. Things are not perfect this time, but I paid attention and so next time things should be better. I enjoyed painting the negative shapes of the buildings in this painting.
Harrison street, 2:00 pm.
I used a limited palette for this one. French Ultramarine blue, Perylene maroon, Quinacridone gold and a touch of Cerulean blue mixed with the F. ultramarine in the sky. This restricted pallete has hopefully helped balance things out a bit.
It’s rather boring, but perhaps I’ve captured the essence of the scene. It is Russellville after all.
I began whistling an old Rolling Stones tune as I drew in the figure with his hands on his hips. That theme also works for the character sitting on the sidewalk in the foreground.
“Waiting on a friend” is the largest painting that I have made. It is on a Full sheet, 22X30. Transparent watercolor.