Market Baskets

My most recent painting, titled "Market Baskets" was just finished yesterday. This piece was done on 140 pound Arches watercolor paper with my layering technique (see previous entries to learn my technique).
I saw these baskets at a fruit market one day when my friend Barbara and I were plein aire painting in Eau Gallie, Florida. When I saw the light glittering through the baskets, half in shadow, half in sunlight, I just knew they would make a great painting. I ran over with my camera and shot some reference photos right away. I could hardly wait to start working on drawings. Here is the result of the work.

Students at Work

My advanced students have been learning my "Layering" technique, AKA Pouring. This is a Palm Tree Study that I did as a demonstration, and they created the same painting with wonderful, and varying results.

The color blends in this technique are just so much fun! The movement in this piece is nice also.

This is the frosting on the cake, to tweak the final piece, and making it a work of art!




This is Dawn, who is removing the masking from her painting of a surfer. Everyone watched the "big reveal" and were excited to see what happened during the painting process.

As usual with these pieces, there are a few areas that need to be warmed or cooled with glazes of color as well as darkening values that were masked too early in the painting process.

Bicycle Shadows

Introducing "Bicycle Shadows", one of my latest works. It was created on a half sheet of Arches 140 pound paper. This piece, as most of my latest work, was "poured".
A friend recently suggested that I come up with a different name for my process than "poured", as I don't really pour the paint. To create these works I use a value scale of 1 through 6, 1 being white and six being the closest color to black I can create from the colors on my palette.
I first create the drawing, trace the pencil sketch and then do a value study in various shades of gray and black marker. Then I transfer the drawing to my watercolor paper and mask the white areas. At this point I wet the entire sheet of paper with a puddle of water and allow it to soak in for a few minutes. Then, using a large round brush, either 14 or 16, I dip into the paint on my palette and dribble and stroke it gently onto the very wet paper. I use three primary colors for each application: my favorites are New Gamboge, Quinacridone Magenta, and French Ultramarine Blue. I apply the colors next to one another, not directly on top of one another, then I tip the board that holds my paper (I tape the paper to a foam core board with 2-inch masking tape) and I allow the colors to gently blend a little. The first application provides the 2 and 3 levels of value on my painting.
As I proceed through the painting I allow this to dry completely - usually overnight. Then, I mask the level two and three values that I want to save, and again wet the paper and apply the pigments. Each time I apply stronger and stronger pigments, never brushing to disturb the layers of paint below. I continue on with the process: dry, apply masking, wet the paper, apply the pigment. This continues until I reach those darkest values of deep color.
It's a fun, messy, and time-consuming process that produces colors and glow that I have not been able to achieve in any other manner.
If you have any ideas for a name for this technique I would love to hear them. My husband and I will go over the suggestions and if we pick yours, I will send you a small print of one of my paintings using this technique!
I would love to hear from you!

Another Little Palm Frond

Another Little Palm Frond

Ah, it has been too long...
This piece is five by five inches, and it is watercolor on canvas. Yes...on canvas. I've been playing with pouring watercolor, well, I splatter more than I pour, but I have been experimenting with this technique on canvas also. So much fun.

The canvas must be treated with a white absorbent ground, then it will accept the watercolor pigments and even masking fluid beautifully. Once the painting is completed it must be sprayed with a UV clear coat to protect it.

One feature I love about the completed paintings executed on canvas is that the paint drips over the edge and creates beautiful color blends on the sides of the gallery-wrapped canvas. They are too pretty to cover with a frame!

This piece was just listed on my etsy shop and I have another one there also, which is a miniature on canvas.
Enjoy: http://watercolorgirl.etsy.com

Watercolor on Canvas - Crabby

Now that the Thanksgiving festivities are completed, I can get back to a little artwork. I have taken a few diversions this week and played with beads and jewelry things, but I do have a new image to show from my painting studio.

This is "Crabby". It is a poured watercolor on canvas. The canvas was treated with a special ground to make it act like watercolor paper. Then I use the same pouring method I have been experimenting with for the past year. After the painting is completed, all masking is removed and the final touch-ups are done, I coat the painting with a clear UV coating to preserve it.
This piece is 16" by 16". The most exciting part is that the paint drips over the gallery wrapped edges and I don't have to frame it. I think the colors in this piece came out so nice.
Hope you enjoy it.

Cocoa Village Shadows - New Painting!

Hot off the drawing board! This is my newest painting which will be one of the piece displayed in the ArtWorks Festival of Eau Gallie on November 20 and 21st. This was a fun piece and the colors came out quite nice. I am finally getting the hang of this pouring technique and adjusting it to my liking. I am finding that certain subjects work better than others and I have found a grouping of primary colors that work well together. There is very little brushwork on this piece; the majority of the painting was poured. It measures 23 by 32 inches framed.
You can learn more about the upcoming show at: http://artworksofeaugallie.org/

Hope you enjoy it!

Convolution - Newest Painting

This is one of my newest "poured" paintings which I call "Convolution". This is a fun, but challenging technique based on Jean Grasdorf's pouring technique. I don't actually pour, but I apply the paint to a very wet surface. I am finding that certain subjects lend themselves better to this technique than others. I just smile when I remove my masking and see the final result of colors blending into subtle mixtures!

Graded Wash in Watercolor

I have just uploaded another tidbit of a lesson from my Beginner's Watercolor Workshop DVD. Visit the link below to learn how to create a graded wash.

Sometimes watercolor has a mind of its own, but when you learn what the medium can do it makes it much more fun to experiment with. The graded wash is an application of watercolor pigment on paper which goes from a dark value to a light value (or the opposite). If the wash is not applied correctly you will develop streaks, brush marks and/or blooms. Once you master the four basic washes, you can manipulate them a little better to create the looks you desire in your paintings.
Enjoy!
http://www.youtube.com/watch?v=ZjSnNeOtiwk

Coconut Jewels

I'm still experimenting with my pouring/dumping technique. This is the latest piece, called "Coconut Jewels". It is 20 x 28 inches and is now framed in a 26 x 32 inch gold, metal frame. You can see this piece at the Art and Antique Studio. If you are interested in purchasing any of my work please email me and I'll post the item on my etsy shop for you.
Thanks for visiting. I love hearing from you!

debbie@watercolorworksart.com

Palm Tree Completed

Ah! The final piece. Let me introduce you to "Palm Splash!" I hope you enjoyed sharing in the process of this painting. I hope to be adding more soon!

If you are interested in my classes please visit my website:
http:watercolorworksart.com/Classes

Palm Tree Wet In Wet Technique Remove Masking

Now it's time to remove the masking that has been applied in stages throughout this painting. I use a tool called a Masking Fluid Pick Up. Most art supply stores should carry them. They can cleanly lift your dried masking and will keep the paper from being touched too much. Erasers tend to leave marks, so don't use them.

Once you get an edge up, you can grasp it with your fingers and gently, slowly pull the masking fluid up from the paper. Take your time. If you pull too quickly you may tear the paper and all of your hard work will be ruined.

Now all of the masking is removed. If you would like to soften some of the crisp edges left you can wet the paper with clean water and a soft two-inch brush. Avoid over brushing as this will lift a lot of pigment and make your painting look "washed out".

At this stage you can really see the beautiful blending of the colors and you can study and decide which areas may need small repairs. You may need to lift a little here and there, and you may need to add more color to other areas.

Final repairs next...

Palm Tree Wet In Wet Technique Almost Done

The wash is completed and now it is time to evaluate whether I need another wash or if I am ready to remove the masking fluid and see what kind of magic has happened!

I believe the values are dark enough so it's time to move on. The painting must dry completely before I remove the masking.

Cactus Flower Lesson 5

I want to get some more of the flower heads established in this piece, since the flowers are my focal point. I have used Winsor Red and Quinicridone Magenta to develop some of these areas. Just as I described yesterday, vary your edges from crisp to soft. Soft transitions are made with water pushed into the stroke before it dries. Crisp edges are made by directly applying pigment to the dry paper and leaving it alone.

Let your photo reference be your guide. Look for crisp edges that can be painted directly, and then look for areas which would be appropriate for that Softened Edge Stroke (see previous post).

I have also added some more Permanent Sap Green and Hookers Green to areas of the plant that have not yet been developed. In the area on the right of my image I used a little wet-in-wet technique by laying in a wet wash of Sap Green, then dropping in Hookers Green where I wanted to add soft shadows.

Candy Dish Lesson 12

The remainder of work on this piece is just to refine the details in the candy dish, continue with various glazes of wet, transparent colors on the candies and to lift and soften areas that need either lighter values or softer edges.



I used a number six round Silver Black Velvet brush (cheapjoes.com) for the detail areas. I used the colors from the candies and shadows to pull this together. I kept a close eye on the reference photo to indicate where the details were necessary - if they aren't necessary don't put them in!!!

Candy Dish Lesson 11

It is time to remove the masking that was applied at the beginning of this project. I like to use a rubber cement pickup. You can purchase these at any art supply store and also at Cheapjoes.com. They work great! You can really scrub this tool over your paper to pick up every last bit of masking without worrying about damaging your paper. If the edges of this tool get black and crumbly in appearance, simply use a scissors or razor knife to scrape down to a clean edge.
Now that the masking is off you will see the sparkling white of the paper. I chose to soften some of these areas using a number 4 Fritch Scrubber brush. This is a small, stiff-bristled brush that I dip into clean water and gently brush over the edges of the masked areas. Then I quickly press the area with a paper towel to lift the moisture and scrubbed pigment. Be frugal, don't over-do this technique or you will loose your whites. The direction of the scrubbing motion will determine how the lifting looks, so be conscientious about the direction you push and pull the brush. Use your photo reference as a guide for where to lift and soften. One thing to note, this DOES chop up the paper somewhat, so only do this in areas where you do not plan to add any more color!!!

Candy Dish Lesson 10

Today I wanted to paint the chocolate-coated candy. In my painting there is only one! I used Burnt Sienna as an underglaze, then I used VanDyke Brown to glaze over that to create more of a chocolate color and some of the deeper shadows. French Ultramarine Blue was used for the deeper shadows in this candy - but each color was applied after the other glazes had dried.

I also used French Ultramarine Blue and some of the other, previously used colors, to develop the shadow areas around the candies that are in the dish. Be sure to check your photo reference to capture the value, shape and color scheme of each of these little shadow areas. This is a good time to correct some of the candy shapes if they are not quite perfect!

Still Life With Cherries Lesson 18

The final touches! I used Van Dyke Brown and Perylene Maroon to add some very dark details to the cherry shadows. I used the Van Dyke Brown, fairly wet, to run tiny shadows along some of the stem areas.

Move your piece to another room or in different light. Step back from the painting so you can see it from a different perspective. Hold it up so that you can see it in a mirror. Note anything that you may want to change and let it sit for a while. After some time, go back and make the changes. This is an important time to remember not to overwork your piece. I was once told, if you think you are ALMOST done - STOP!

Still Life With Cherries Lesson 15

Now it is time to step back and take a good look at this painting. I want to be sure I am not overworking some areas. I like to keep the painting at the same stage of development throughout.

As I study this piece I can see that I can add some darker values to the jar. I painted some of the warm colors used earlier in to the details of the lettering on the jar, saving the whites for where the light is hitting it directly. I added some Prussian Blue to some of the darker shadow areas around the piece including the bottom edge of the white dish.
It's starting to come together!

Still Life With Cherries Lesson 13

Today I am using Prussian Blue to develop some of the shapes on the jar lid. Again shape is so important. I am painting the shadows, not the bumps. I am painting around the light areas.

I used Prussian Blue to develop some more shadows in the jar also. I used it around the bottom of the lid, along the left edge, around the darkest shadows in the lettering, and at the bottom of the jar. It is really beginning to take shape!

Still Life With Cherries Lesson 12

Quinicridone Gold and Burnt Sienna are the colors of the day! I am using them to add some gold cast to the glass jar, especially at the bottom where the colors are darker because of the way the light is hitting the objects. I used a touch of this color at the top of the jar lid also. Notice the soft edges inside the jar. Some areas of glass will have crisp lines where the shadows are deep, like at the edge of a shape in the glass (notice the letters). Other crisp edges of color can be found around where the light hits the glass directly. All of the other areas will have soft transitions of color by using clear water. Wet edges are soft edges. Dry paper will create crisp edges.

As you look through glass, it will change the values and shapes of objects behind and under the glass. Notice how the jar is a bit darker than the wall.

I guess I have been saying "notice" a lot. Think about it this way: you should look 90 percent of the time and paint 10 percent of the time. The more you LOOK, the more you will see accurately. Then you will be able to create the impression of something realistic.