Aquabord Surface testing

To my complete enjoyment, this month I have had the opportunity to "test" the new aquabord surface produced by Ampersand Art. (Thank you Andrea and Elaine!) For me...joy in painting not only comes from the art of creating, but also from the science and products used and explored.

Painting is much more than simply using some random pigments and applying them to a surface. The 'scientist' in me spends a great deal of energy...and enthusiasm...in choosing pigments...those properties and qualities that will not only lend themselves to a harmonious palette, but also enhance the longevity of the painting. I apply similar considerations when choosing a painting surface. 'Knowing' your paints, brushes, surfaces all enhance the integrity of the process...and I believe, the integrity of what is produced.

Blind Date

Watercolor on Ampersand Aquabord

For the past 2-3 years, almost exclusively, I have preferred the textured clay surface produced by Ampersand. Below are a few of the elements and findings in "testing" the new surface along with my favorite characteristics of the surface.

Surface Properties:

Durable and reliable support…with beautiful texture effects as a result of air bubbles trapped in the surface that are released with water.

Stands up well to graphite and erasing without noticeable surface damage. Graphite erases more easily and more completely on newer surface. Pencil mark remains visible and clear when wet

The ‘white’ of the surface I would describe as a neutral or subdued white (almost warm) Ivory color when compared to a standard white… that lends itself well to complement pigments/ pleasing color. Similar in color to most ‘rough’ or cold pressed heavy weight watercolor papers, particularly Arches. Coarse and assertive, somewhat ‘gritty’ texture.

Paint went on smooth with even drying of flat and graded washes, resulting in less backruns and blossoming.

Even when saturated, backruns and blossoming were minimal.

Pigments (even staining pigments) lifted cleanly. I would need to test using heavier glazes to compare lift ability.

Pigments maintained their color and intensity…and compared to paper the intensity, value, and chroma are enhanced on this surface.

More "testing" to come...and the excitement of a new and improved surface...

Between Paintings

While most everyone I know is fervently creating "small works" for holiday shoppers, I have found myself committed to 2 large (for me), involved paintings; working one pastel (18X24) at home and a watercolor (22X30) in the studio at LibertyTown...and I couldn't be happier.
It might take me a month to finish each, but for weeks, I won't have that unsettling feeling of being between paintings...that short time before the beginning of a new work, where I am idol in planning, allowing time for indecision and self-doubt. I am content in the day knowing just where to start and what to work...no time for dilly-dally.

What could possibly be the same about these two paintings?... repetition of shape and pattern and trapped dark spaces... we'll see how it all works out...in 2010.

Three Apples Up on Top

Three Apples Up on Top
Sold
17X18 Framed
Pastel on Paper

Apples, In Progress

Apples, Apples, Up on Top

One apple at a time...

Not Oranges

I have put in a few of the darkest darks and worked one of the fruits to completion (at least for now). After having one done, I am more confident that I will be able to make the painting work. Even at this stage, I like how the repetition of circular shapes create a visual harmony in the design.

Apples, Oranges, or Tomatoes?

I am beginning a pastel for the Maryland Pastel Society's monthly drawing challenge. The challenge... to choose 3 fruits or vegetables from the food market and use them to construct a still life painting "creating the illusion of 'rounded' objects in perspective focusing on the background, the surface the subject is resting on, and the shadow areas."

Let me just say, the thought of buying fruit, staging a still life on some fabric or other surface, and fixing some light to create interesting shadows crushes my enthusiasm for painting almost to the point of irritation. Not that I don't appreciate a good still life painting, I just don't have the vision to muster the excitement to create one. However, I greatly enjoy catching the sun at just the right time of day at the corner farmers market, as shadows cast across the fruit, and unscrambling an interesting composition from the randomness of the patterns and mingle of color; just as you would see them (or overlook them) in everyday life. So, I am accepting the challenge (though modified a bit) and engaged.