I have been looking through my watercolors and rediscovered more work. I usually store my small watercolors in clear plastic file envelopes. As much as I like the envelopes, the work can easily be forgotten because only the top image can be seen through the envelope. I have been taking all this work and retaining the best paintings and drawings. or the work that seems most important to my process. Then, it goes into an Itoya portfolio book. I can store a lot of work in them for very little space. Storage is always an issue if one makes work consistently.
In looking through all this production I can also see how my work has changed. The earlier pieces on masa paper are looser obviously wetter. I had decided to work on this paper on a whim and fell in love with it. I wet it thoroughly and work on the wet paper. It gives me all kinds of soft atmospheric effects and unexpected bleeds and blooms. It puts me exactly where I need to be. I am forced to work from the general to the specific and, then, only as the paper dries, can I refine until all the details can be added.
If you enlarge the above image you can see some tiny blooms on the lower right of the image. You can see small snowflake-like shapes. That is from the sizing on the back of the paper. If I soak the paper, the sizing is disolved from it and I can eliminate those little blooms. So I can be selective from piece to piece. There is a certain element of surprise that I like in not soaking the paper well. I just don’t know where or which random effects will occur so I have to take whatever comes. Sometimes I like it. Sometimes I don’t. It doesn’t matter in any case. It’s just part of the process. It’s all part of the play and practice of making art.
I have about a dozen of these rediscovered watercolor on masa pieces that demonstrate much of what I like about the paper. I will bring all those things to your attention in each posting. So, dear reader, there is much to anticipate in the weeks to come.
It has been since last June that I last posted on this blog. I have been posting work to my painting blog for most of that time. I just decided to do more drawings and I also went through my sketch book and found all kinds of drawings to post.
Also, since I became a Grandma, I am in thrall to my adorable grandson. He has taken much of my creative attention. I have been sewing baby clothes for him. He doesn’t need much now so I am making larger sizes for him. Besides, I just can’t help myself.
Sometimes it’s good to go back to basics. Drawing is foundational to an observational artist. When I draw all I need to worry about besides a certain stylistic naturalism is value range (light to dark). When I paint I have to keep track of hue, color temperature (cool, warm), in addition to value range. That’s a lot more to juggle. Without the complications of color I can concern myself with just structure. The structure of this is merely the structure that communicates a particular female form. I would rather that it had included an indication of context but the time allotted and the circumstances of the drawing environment precluded any of the surroundings.
I have often invented a context in previous works but they don’t seem satisfying. The contrivance seems to be too obvious. So viewer, take them for what they are. Fast studies. Having limited time is beneficial as it encourages a swift execution which forces one to just observe and draw. With no time for the inner critic to interfere with the process, the drawing can just happen.
More to come.