…or the art of failing. I’ve been dancing around this gentleman since yesterday and through the better part of this day. In the end SUS SCROFA definitely won.
The fact that distributing the values is the essential part of painting is even more painfully evident in watercolor. You cannot rebuild the inadequate part like you might with acrylics or oils. Attempt to redeem your mis-judgement and find yourself in the mud of the overworked layers of dead paint. You could say I premeditated an excuse for it by picking my subject, but no, it really was not intentional.
I meant to paint it with looser brushwork, in line with the COTTON STORY or REVEILLON, to make up for yesterday’s extra-stiffness of ACINONYX. I simply could not control the amount of water on that one and seriously muddied the vest of the archer. The belt pouch and arrows are probably the only points I kept sufficiently loose and fresh. Then I overworked the grass. At least I got to try the masking fluid for the very first time:-)
So while I did get some of the spottier brushwork back today, I keep missing the right values in the first or second pass. Which pushes me to build up layers of glazing, loosing the freshness and transparency so characteristic for watercolor. While the gloves or the blade of the hatchet go in the desired direction, the fur, and especially the ear, are solid examples of purest mud.
Back to the table, perfecting the art of failure.
Par la premiere esquisse de 2013, on voit que j’ai resussi a mettre 18 dans l’annee precedente, un peu plus que une par mois. Esperons que la cadence va augmenter en nouvelle annee.
A tous les lecteurs de ce blog, la belle annee 2013!
To all the readers of this blog, all the best in 2013! Sve najbolje svima u 2013!
Can you tell which book was among my childhood favorites?
When I saw it in the book-store, I fell in love. My parents thought it to be expensive (which it was back in those days here), and hesitated buying it. So it became the very first thing I started saving for; when my mother saw my determination, she gave it to me as a present. Although I had to sell it during the war-time period, I still can vividly remember the pages that made me dream.
Continuing with my rekindled love for watercolors, I set out to test two different qualities of paper to determine if it’s actually worth investing in the more expensive material. In one corner we have FABRIANO 200gr paper made out of 25% cotton. It’s OK, but heavier washes tend to settle unevenly and provoke back-runs; lifting out breaks the paper and leaves a bit rag-like appearance.
In the other, a DALER ROWNEY watercolor postcard, 300gr Langton Not. It’s a heavier paper with better sizing that lays smoother washes and allows for smoother lifting and glazing. The difference might not be really visible in the scanned results, but the feel while working definitely is. The latter allows more control; I only need to learn to profit from it:-)
As a side note, both images were sketched with SCABIOSA before painting. On both of these papers of more quality the ink performs even better than in the initial testing, setting deep in fibers, bleeding mildly under only the heaviest washes and providing a beautiful subdued shade, not as dominant as pure black.