Random memory
When I got into watercolor painting, in 2004, it was like I was possessed: my furry spark blazed! It started with my wanting to bring my pen and ink drawings to life with more than just colored pencils. Watercolor theory looked so simple to apply, but what I wanted needed multiple, sometimes complicated, steps.
- I had to learn how to stretch my paper. Paper wrinkles when wet, particularly the lower weight ones. I was using relatively inexpensive 90# cold press, as well as hot press. Recommendations for stretching were many, but some materials for this were difficult to obtain. I settled on an old technique using a mounting board (finished plywood) and white glue (Elmer’s school glue). I put together a portable sink table with running water for soaking in my studio. The finished boards were set on Trix yogurt cups to dry. The result was drum tight surfaces to apply my paints to!
(All pics expand)
Boards used. The right side shows how you built up layers over time as you cut out the completed projects. The left paper is still ready to paint upon 18 years later!
- I found that drawing on stretched paper was difficult. Pencil erasures left messy surfaces. My pen would poke through the paper as layers were added. Were I going to paint my pen and ink drawings I needed to have a waterproof picture, with no corrections, on the paper before stretching and painting.
Enter the light box! Using a glass refrigerator shelf over a light source I was able to trace, with indelible ink, a finished drawing onto my watercolor sheet.
Almond, my Spirit Protector and wonderful study. This is one of two boards produced with my original draw. The original draw was a modified Xerox enlargement of a smaller sketch…. So many steps! And this is also drum tight and ready to paint after so much time has passed :o)
- Other considerations were just standard techniques that I had to learn and practice. Applying a seamless wash was one of many of these. This was all so much fun, but all so lonely work.
My last watercolor using these processes. I had considered doing a series of plush entitled The Children’s Gods, but never pursued it.
I have been cleaning 18 years of accumulated flotsam and jetsam from my studio, and perhaps I’ll give some of this another go.
- I had to learn how to stretch my paper. Paper wrinkles when wet, particularly the lower weight ones. I was using relatively inexpensive 90# cold press, as well as hot press. Recommendations for stretching were many, but some materials for this were difficult to obtain. I settled on an old technique using a mounting board (finished plywood) and white glue (Elmer’s school glue). I put together a portable sink table with running water for soaking in my studio. The finished boards were set on Trix yogurt cups to dry. The result was drum tight surfaces to apply my paints to!
(All pics expand)
Boards used. The right side shows how you built up layers over time as you cut out the completed projects. The left paper is still ready to paint upon 18 years later!
- I found that drawing on stretched paper was difficult. Pencil erasures left messy surfaces. My pen would poke through the paper as layers were added. Were I going to paint my pen and ink drawings I needed to have a waterproof picture, with no corrections, on the paper before stretching and painting.
Enter the light box! Using a glass refrigerator shelf over a light source I was able to trace, with indelible ink, a finished drawing onto my watercolor sheet.
Almond, my Spirit Protector and wonderful study. This is one of two boards produced with my original draw. The original draw was a modified Xerox enlargement of a smaller sketch…. So many steps! And this is also drum tight and ready to paint after so much time has passed :o)
- Other considerations were just standard techniques that I had to learn and practice. Applying a seamless wash was one of many of these. This was all so much fun, but all so lonely work.
My last watercolor using these processes. I had considered doing a series of plush entitled The Children’s Gods, but never pursued it.
I have been cleaning 18 years of accumulated flotsam and jetsam from my studio, and perhaps I’ll give some of this another go.