Hi everyone - couldn't get onto the Net this morning, so this is the first chance I've had to catch up after last night's fiasco
Anita - I have most of the thread in Word, but last night I wanted to upload extra, so it was all 'off the cuff' - that'll teach me.
Hi Zoe - please add anything you can - you know it'll be welcome.
Wayne, I know exactly
what you mean about 'yet more mediums' - some of us don't have iron wills
But hang around anyway.
Hi Dewi - glad you're here.... you can always keep this bookmarked for when the inks do land on your doorstep
Margaret - welcome, and try inks when you can
Anita - thanks for the link about the offer - same inks, just slightly different size bottles and selection of colours, but good bargain all the same.
Haven't tried these on portraits - not really a portrait person, but maybe I should try!!!!!
Hi Della - glad you can join us and please post any of your work in inks - I love the eyes in the cat - brilliant, and I'm sure we're all waiting for more.
June - hello again
- I think you'd have a wow of a time with these - they'd suit much of your work and you could bring lots of creativity here, so I hope you get some soon
Diahn - I still love that rooster - and I'll post one of mine to keep it company!
I like the background too- did you enjoy using this method? What did you think of their use in the flowers? I know you'll have your hands full in the next few weeks - but at least with the inks, you can do a little at a time .... they're pretty lightfast so won't spoil by being left!!!!!!
This next piece of work is from a WDE a couple of weeks ago; the reference is a photo by Valri Alexander - 'Seaweed'
This is on Bockingford 140lb, NOT, quite a textured paper, approx 11 x14 ins.
(I should have known better and stretched it first – I hoped it would be OK, but it buckled, so I did have to stretch it after all!)
The first image is after the first stage had dried.
I sprayed the surface and dropped in Mars red and Delta violet, tipped and tilted to make the colours run while trying to retain some light, almost untouched areas.
Then I put cling film over the entire surface, moved it to the kind of shapes I hoped would work for the subject – and waited.
(Upon drying, the buckling was still there, even though both sides of the paper had been soaked and taped, so I re-soaked completely, re-taped and dried it flat.)
You should be able to see how the film creases provide the light marks and the paint pools where there is contact..
It’s great fun to experiment with this – I’ve used it with watercolour to create woodland/leafy effects ……….. play around and see what happens
Sometimes I introduce paint/ink down the creases using a pipette.
Stage two is picking out shapes suggested by both dried marks and the reference; I used Process cyan and the violet for this.
It now definitely needed more colour!
This is where you can see the effect of using a ‘lighter’ colour, Process yellow, over the ‘darker’ colours of the blue, red (magenta colour) and violet. The yellow warmed some areas and cooled others ………. If mistakes are made, I live with them!
I’ve added shapes consistent with the subject but not necessarily with the ref. – this is there as an inspiration and a guide only.
Stages 2 and 3 are all brushwork
I continued to develop some of the shapes and balance the tones by using more layers, allowing the existing shapes to ‘lead’ me.
There were interesting ‘string-like’ shapes in the reference which bound the other shapes together and originally I had wanted a ‘cloisonné’ effect and considered gold, but this painting just kept saying ‘RED’ to me!
I needed something stronger than the Mars red, so mixed Mars red with the scarlet – this actually gives a beautiful vibrant red, but on top of the other colours, it’s knocked back a little.
This is the finished result, scanned and ‘stitched’ because the photos were too pale. The colour here is fairly accurate to the original.
Here's the rooster to keep Diahn's company - I found the ref in the Image Library - what a resource! He was done for the Postcard Exchange Project and has flown to the Philippines, where I'm sure he has a good home
Lots of layers of pure colour in this. He was drawn with a sepia Pitt pen, first.