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...

Ambiguity

Beginning the new year, my satisfaction has waned with the ultra-real paintings...those in which all the information is given. Where else in life is all the information detailed perfectly in order for you to exactly see the situation, draw the right conclusions and make the right decisions, and predict the future responses?...almost never...Similarly to the ambiguity in life situations and the excitement of not always knowing the outcome, curiosity and intrigue is created through an abstract arrangement of elements...visual elements in a painting that allow for exploration and personal interpretation.

For me, however, there is a point where patience is lost to the vague ambiguity, as is the case with completely abstracted paintings. Visually, I prefer some representation, allowing for degrees of abstraction in shape, color and edges. I need a few answers, some plan...some information...but not everything.

Untitled (for now), Pastel on Ampersand Pastelbord, 16x20

And so, I find myself drawn to these pastel landscapes, responding to the watercolor foundation; those accidents that occur naturally when water and pigment react to the dry, pumiced surface of clay. Subjects still 'representative' but not quite fully developed, interpreted...standing just outside the rows of vines...seeing the vines, but not every leaf...appreciating the balance between the order and disorder of things...given just enough information to draw my own conclusions.

Goodbye colors of fall

Goodbye to fall...warm greens, golds, reds replaced with cool whites, blues, and browns...always in transition...and colors that reflect the transitions in life.

Colors of fall

Pastel on Ampersand Pastelbord

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Blessings of joy, peace...and warmth...this holiday season!

Watercolor Workshop: The Planning Phase

Switching gears from pastel, my focus this week has been on preparations for the upcoming "Intermediate Watercolor Workshop". Having taught many workshops over the past few years, the topic for this class is design and composition, featuring simple still-life subjects and cast shadows. Though I realize, pigeons represent more of an un-still life subject. However, the principles still apply for the purposes of this class.

The challenge...finding a unique, unusual perspective of the subject, possibly even abstracted, considering composition design structures, interesting value shapes, positive and negative space shapes.

One method I use for doing this is to simplify the reference, focusing on the areas that draw my attention, catch my eye, or trigger an emotion. I will often squint my eyes to minimize the shapes so I can see the simplified values and shapes...walk around the subject, using a viewfinder or camera to crop the image...and the finally, sketch various compositions.

These small sketches will serve as "tests" for the design and composition. Here I am considering how I will you break up the space, what is the most interesting and pleasing arrangement or perspective of the positive and negative shapes, am I going to use a design structure for my composition, how does the light move across the forms, etc.

The "test" is where most of the decision making gets done...if something doesn't work...no worries...I'm not committed or married to the composition...just trying it out.Workshop participants are welcome to work through a few of these sketches prior to class. We will spend a good part of the morning looking at your subjects, finding interesting compositions and considering design elements. Below are a few other examples of subjects that work well for this challenge or follow the link to see some examples from a similar class earlier in the year.

And for those of you in class who just love to paint florals (as I do)...another example.

Happy Planning!

Less Blogging, More Painting

Closing out the Thanksgiving week, I am reminded that 'Thanksgiving' is not just a holiday...but thanks giving is a state of mind that should be carried with us every day. I am thankful for many things this week...most notably, my friends and family who uplift and enrich my life.

Serendipity

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Pastel on Ampersand Pastelbord

'Tis the season for small works... perfect for me, stripped down to the essentials of time, no time for large works, delay, analysis, procrastination...self doubt...only time for the fervor of work, and creative energy. In this fervor, I am finding a flow and rhythm in landscapes (that until now, I have unintentionally avoided), responding to the watercolor underpainting with a deeper sense of expression and intimacy... and with an efficiency that comes from the pressure imposed by time.

A few of these landscapes will be on display for the "Small Works" exhibit opening

Friday Dec 6th at Liberty Town Arts in Fredericksburg.

Paintings will also be on exhibit in December...

The Workhouse Arts Center at Lorton

Merger of Art and Design: MAD Artist! Designer's Choice Exhibit

Nov 22nd-Jan 4th

as well as

The Fredericksburg Center for the Creative Arts

Small Wonders National Juried Exhibition

Dec 6th- Jan 28th

Happy Thanks Giving today and every day!

Southwest Art Top 50 Finalist

Secret Places

Watercolor on Aquabord, 22x30

As an ode to my southern Texas roots, I entered this painting in a juried competition with Southwest Art, entitled "21 over 31" for their November magazine issue. Though the scene for this painting came from a small Virginia town, the image seems to transcend location, recalling those places in so many small towns...that draw in curiosity and the potential of undiscovered treasures.

Among the company of over 3000 entries, "Secret Places," didn't quite make the "21", but was selected as one of the top 50 finalist. To see the winners and some amazing "runner-ups," visit their website.

And finally...after many trips here and there around Virginia, "Secret Places" is "home", on exhibit in my studio at Liberty Town. If you are in the downtown Fredericksburg area, stop by and check it out.

Poetic energy of underpainting

In pastel, my comfort in painting leans toward what I would term "ultra-realism" . I typically work spatially completing section by section, piecing together lines and shapes, that when completed, works as a whole.

Challenging myself for a looser interpretation (as I often see a landscape), I wanted, instead, to respond to the poetry of the underpainting, the poetry of shapes and mingled color. I began on white (which I almost never do) ampersand pastelbord that can handle alot of water, pigment, and pastel. Considering the harmony color, temperature, and with the goal of creating luminous contrasts of blue and gold, I began to add color...no worries about mess, details or representation, simply looking for a response to the energy of the landscape.

The watercolor "underpainting"

As a watercolorist, I found myself tempted to approach this underpainting as I would a finished watercolor, working light to dark, wet-into-wet, glazing layers...but then this will be a pastel, on pastelbord. The underpainting will only serve to create a base (mostly covered with pastel) of warmth and value and give direction to the pastel that will come later... hopefully a loosely interpreted poetic landscape.

The "later"... untitled

Pastel on Ampersand Pastelbord

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