Last night I came across this photo of a watercolour of a pelican which I did a year or so ago using the same process mentioned in the previous post. This one sold rather quickly but I had intended to do a seies of birds in this manner. As often happens other things took over. Maybe this time if I find a good, appropriate place to have an exhibition I will be inspired to produce a collection of these. I do so enjoy the process and the bit of mystery and movement of the end result. Satisfies both my love of careful rendition and drawing…. my Science/Biology background…. and my love of playing with paint effects in a fluid and creative manner…. my “wild”, emotional art side.
I started this watercolour by drawing then painting (initial washes) the bird in flight. I then used masking fluid on the bird to protect it so I could work freely on the background. Next the 3 cool primaries were poured on the randomly damp surface. Dropping extra paint, wet-into-wet, the paint was blown across the surface with short sharp blasts of air directed with a drinking straw. Some areas were sprayed with water and on occasion a very soft, damp, Chinese goat hair brush was gently touched to the surface in places to guide and blend some of the paint. After drying the masking fluid was removed. The bird was re-worked and the branch described in a loose manner. The final step was adding my signature chop which I chose rather than conventional western style signature as I felt it fitted with the style of work… the Zen influence.
For the past week with my art classes we have been enjoying using cling wrap to create exciting textures in watercolour. With practise one can have a degree of control over the patterning but as with many of the techniques I prefer, part of the art creativity is the serendipity of it, and working with what happens. My starting thoughts for this particular painting were sunlight and forest. I chose a lemon yellow, cyan and a little red (all transparent), put bold colour on the wet paper, arranged the cling wrap then left sitting for a while before drying with the hairdrier (in a class I often need to hasten drying of my demo works). I then worked quite extensively into this “base” letting the patterns suggest the evolution of the piece.
Can you see the remnants of the cling wrap patterning? I do not like such techniques to be too obvious. They should enhance the painting not be the primary focus.
We will look at this again in classes this week so if you are able to attend a session on Tuesday or Wednesday evening (7.30) or Friday afternoon (1p.m), you will get instruction in this. (I can provide gear).