"Layer on Layer"

(unavailable.....4" x 6".....on 300 lb. CP)

"Growth is layer on layer." In an instantaneous world...no one likes to realize that growth in any area happens layer by layer. There are so many nuances to everything that it is impossible to learn all of them at once. But oh the joy, when things do come together in a pleasing way.

This small piece represents me practicing my techniques again. And literally, the glazing technique in watercolor is layer on layer. Just to recap...the layers must be dried after each one. That's the most important thing to remember.

I did begin by sponging both sides of this 300 lb. CP (Arches) with water. That thoroughly wets the paper and removes the sizing. I then painted three horizontal lines across the wet paper with neutral tint and a tiny bit of Cobalt Violet (Turner Brand). This may not seem to be an important layer, but creates foundational values that can be seen through the transparent layers. It is best at this point to go talk a walk, throw some laundry in the washer, or make the beds, etc. and let the water and pigment do what they're going to do. If you use your hair dryer too quickly, the effect will be ruined.  Come back to the piece after about 15 or 20 min. and then finish drying with a hair dryer.

My only reference here was a plant in my studio. And I simply took the shapes of the leaves as my jumping off point and changed the colors to lighter values. After painting each leaf on dry paper and losing the edge with plain water on one side, but not with every leaf, I dried it with a hair dryer. It doesn't take long for the pigment to do what it's going to do when glazing on dry paper.

You can see that I kept the colors light and overlapped them to create an abstract contemporary look. I also used a mechanical pencil (without the lead exposed) to make lines and write in a few of the leaves while they were wet. There happen to be (11) leaf layers in this piece.

Finally, I wrote the quote in pencil running up the side vertically. This is an important technique to get under your belt if you like contemporary watercolor.   And there you have it...just a few more things to think about.

"Variegated I" (draft 1)

(image 1)

(image 2)

The word "variegated" has always fascinated me. It reminds me of variegated embroidery thread and some of the work my mother enjoyed stitching onto pillow cases. Of course, I haven't seen an embroidered pillow case in years, but the memory will never fade.

After hosting a  contemporary watercolor workshop this past weekend with Mandy Gregory, I am, of course, now very involved with watercolor. So what you see today is two 8" x 8" pieces with two glazes and a bit of penciled lettering.

I began two pieces just in case one of them doesn't work out. But I also used different techniques with each one. In (image 1) you see the color applied to the wet paper by floating the watercolor on glass and laying the paper in the paint to create a mono print. The first layer in both pieces was a dilute portion of Neutral Tint Watercolor (Daniel Smith Brand)

In the second image, I used a mop brush to apply the dilute color to the paper with only one pass of the brush for each shape. After the first layer dried, I rewet the paper on both sides (lightly with a flat brush) and used a very dilute portion of Alizarin Crimson Watercolor (Daniel Smith Brand).  And after the second layer dried completely (bone dry), I wrote the word "variegated" with pencil on both pieces with a different placement for each.

My inspiration for this piece is coming from an "Angel" plant that has variegated color on the top of the leaf and deep red purple on the underneath side. The most important thing to know about glazing with watercolors is to lay down the color with as few strokes as possible and then leave it to dry naturally (bone dry) before laying down another color. If these two principles are not followed, the luminosity that is the primary characteristic of watercolors will be lost forever.

It is also a good idea to leave some of the white of the paper showing through or at least a very pale wash showing through. The last "take away" is to go from light to dark (most of the time) and build up the values gradually, making sure the paper is completely dry in between glazes.   And there you have it...just a few more things to think about.

"Textured Layering"

(unavailable)

"Textured layering with transparency creates depth." Technically speaking, all art is layering, but there is something about transparency that gives it more depth and more mystery.

This, of course, is another mixed media piece. Yesterday, I went into detail about the basic steps of how this particular process was created. Today I would like to touch on the particular techniques that create transparency. 

The most obvious transparency has to do with the materials. Rice paper is a wonderful paper because it was made for printing techniques and it has a wonderful translucence that can turn into transparency by gently rubbing over the surface, especially if it has just been glued to the support. There is just enough moisture in the top surface to "pill" off as you gently rub it with your fingers. 

The silk tissue paper (gampi) is also a beautiful material because it is totally transparent as you can see in the line engraved print of the leaves. Unusual color notes can be achieved by placing mono printed rice paper over the background, followed by the printed tissue paper. 

Deconstruction is also a way of achieving transparency by brushing gel matte medium over an old text page or a mono printed rice paper and then placing it over a section of the piece. Letting it sit for a minute or two and then removing the paper will leave behind an imprint of either the color or the text. It can be taken a step further by also rubbing over the deconstructed text and removing even more of the paper to create the transparency seen in the leaves and in the green color notes at the bottom.

This is a richly textured surface and even more can be achieved by working larger and introducing a more varied range of mono printed papers. It's extremely addictive, but I heartily recommend it as a way of show casing your personal drawings by printing them on silk tissue paper and including them in this type of mixed media setting. And there you have it...just a few more things to think about.

"Ivy and Berries"

($40.00......mounted on a 1/8" depth clayboard panel)


"Ivy and berries illustrate the visual power of small things repeated incessantly." Repetition not only creates visual power, but creates power or success in any area of life. Nothing is learned without repetition.

Slowly, but surely, I am contrasting realism (as in photography) with sketching and drawing. This is becoming part of my layering process and it will be exciting to see where it ends. Certainly a sketch or drawing can stand on its own, but the "mixed media" part of me always wants to combine techniques. For me this is what process is all about.

The "sketchiness" of the lettering is also a reflection of the ivy that was sketched.  Mark making, erratic, lines, and spontaneous processes of any kind are absolutely compelling because they reveal the impulse of the artist. The way you learn to draw is by drawing anything and everything. Process in any area is all about repeating it over and over again until the skill is learned. My encouragement to all fellow artists is to "stay calm and carry on". Don't be overwhelmed by the process. Just keep comparing, analyzing, and doing....repeatedly. This is something we should all think about and then do.

Please contact me personally to inquire about this piece.

"Aspens (3)"

($40.00.....mounted on a 1/8" depth clayboard panel)

"Up close and personal, aspen leaves are beautiful in form and color." Close up shots of anything in nature can create texture and in some cases look very abstract. I call them outdoor still life shots. It's almost December so enjoy some up close and personal observations of the remaining days of fall.

Yesterday I talked about the difference between writing on this type of surface covered with acrylic paint and medium as opposed to unprimed paper. If you do make a mistake you can get a stiff brush, dip it in water and remove the lettering. (It's almost like a "dry erase" board.) However, there are times when there may be a residue of the lettering still left. In that case, just dip the brush in alcohol and do what I call the "brush and blot" technique. You must blot immediately after wetting this surface with alcohol because it will get sticky and the kleenex will stick to the surface. The reason for this is because alcohol breaks up acrylic paint and mediums.

You can also use rubbing alcohol to break up the paint and then brayer over the surface, lifting some of the paint and creating a different texture. It really looks cool if there's a different color beneath the top coat.

You will notice how the haze of the Titan Buff Acrylic plus the Pouring Medium left an "old photograph" look in the upper corners. This particularly shows up well on dark backgrounds so if you like that look, you will want to keep that in mind when you do the photography. Refer to the November 22 posting for application of the paint / pouring medium followed by spritzing with water. Just a few things to try or think about.

Please contact me personally to inquire about this piece.

"The Poetry" ($60.00)

($60.00......mounted on a 1.50"depth clayboard)

"The poetry of the autumn landscape is a call to embrace beauty." It takes intentionality and time to enjoy beauty. Otherwise, we could all lose sight of the positive things in life.

Even when composing a serene and quiet piece, texture is still a provocative design element that adds complexity to a piece without clutter. Gesso, molding paste, crackle paste, pouring medium, erratic lines done in pencil, palette knife applications, brush strokes, etc....are all ways to add texture. Of course, you don't need to do all of these things in the same piece, but it is a way to give the viewer something more to look at than a single image on a blank sheet of paper. With the vast volume of imagery that crosses our eyes everyday, it is imperative to have depth and visual interest. Knowing how to do that is a lifelong pursuit, but ever so rewarding.

Layering is the logical process of achieving complexity. And the case could be made that all art is layering. I like to think of it in the same way that it is done in Photoshop. Every time a change is made, there is a new layer. It is not necessary to cover the entire piece with a new layer of paint or texture to have a new layer. The subtlety comes when the artist is very selective about where to add additional elements or techniques. Just keeping a journal of one or two techniques is a great way to keep your hands on art everyday. Just something to think about.

Please contact me personally to inquire about this piece.

"Variety and Repetition" ($40.00)

(adjusted price.....$40.00)

"Leaves are a never ending visual of variety and repetition." Trees are everywhere and it seems they provide more variety than any other thing in our created world. Most of us can walk out the front door and see an endless variety and repetition of leaves, especially this time of the year. It is good to enjoy them and be thankful for this never ending visual.

Several weekends ago the first layer of this piece was created in a color workshop with gesso, lines, and lettering. By accentuating some of the shapes with additional color and Liquitex Pouring Medium in the second layer, the form of the piece began to take shape.

The color provided the inspiration to end up with leaf shapes. The only problem with using one color in several tints and saturations is the lack of variety or too much harmony. By adding just one green leaf with the edges beginning to turn, the necessary contrast balanced out the warm red tones.

Complementary colors not only satisfy the eye's search for the complementary, but it also gives the contrast between warm and cool. Remember that the eye is always searching for the complement of any color...even when it is not present. So there is an unsettled feeling that something is missing unless it is included.  It does not always need to be this obvious, but simply mixing a bit of the complement to "gray down" a color will also be pleasing to the viewer. Just something to think about.


Please contact me personally to inquire about this piece.

"Fall Landscape" (unavailable)

"Aspens flicker like golden lights in the fall landscape." The drive from Durango Colorado to Silverado is known as the million dollar highway. The name is not describing the cost of the highway, but the brilliance of the aspens littered across the mountains. The leaves in this piece were collected in Silverado last fall.

Great form plus multiplicity is a good way to describe an aspen tree from a design viewpoint. By including the actual leaves from one of these trees, the viewer can recall their own experience of this spectacular display. When gathering leaves, it is best to press them in an old phone book until you have an opportunity to spray them with Spray Acrylic Coating (Krylon). That will retain the color for a long period of time.

Liquitex Pouring Medium was brushed onto this piece with a sponge brush. The leaves were pressed into the medium.  They were dried with a hair dryer and then brushed with one or two more coats. The leaves are then embedded into the piece.

Of course, it also helps to have a dynamic background of random shapes in the right colors. These were created with gesso and diluted acrylic. Just something to try or think about.