Something Different

I had taken a picture of goldfish in a pond a few years ago and liked the colors and movement in it.  This is different subject matter for me, having never painted water and fish before.  As detailed as I am, it is impossible to get every nuance of the water and its reflections.  And, as is often said, working from a photo also has its limitations.

I used the sedimentary color of cerulean blue for the water at the bottom to give the effect of sediment at the bottom of the pond.  It is a heavy paint and sinks into the valleys of the paper.  To paint the reflections on the left side, I masked the water "holes,” wet that side and dropped in dark color from the top fish lightening it toward the bottom.

However, there was a problem removing the frisket, which had never happened before.  For some unknown reason, in some small areas and one larger area, it would not come off.  I tried scrubbers and a “magic eraser” to no avail.  The only way to remove it was to scrape it off with an X-Acto knife, which of course damages the paper’s surface.  That spot took the paint and somehow seems to blend in, but it bothers me because I know it is there.  I do not have the patience to do it over, but perhaps will try a similar composition.

Overall, the resulting painting is decent, but not good enough as an exhibition entry.  At least, I am painting and learning.

Golden Pond, Watercolor, 14” x 10”, ©Johanna Cellucci

Another Opaque Watercolor Attempt

This small piece was started almost a year ago in a workshop with Martha Mans (http://www.marthamans.com/MarthaMans/Home.html) using her palette of transparent and opaque watercolors.  With nothing else planned, why not play with it.  Again, not considering myself much of a landscapist, I try to get too detailed for this type of subject.  This was worked on Arches 300 lb. rough.  It is not the type of paper I’m used to working on and found it to be heavily sized as colors seemed to lift readily.  Another observation is that this paper does not lend itself to my preferred wet-in-wet technique, and the opaque paints do not flow readily.  My favorite part of this painting is the road leading in.  Mountains and sky weren’t too difficult to achieve, but trees and grasses have always been problematic.  I’m hesitant to post this, but why not.  It is all a learning experience!

Florissant Fall, 7 1/8” x 10” watercolor, ©Johanna Cellucci

Just to Get My Brushes Wet

Having not painted in a while, I decided to try this rose in a small 6” x 6” square format just to get my brushes wet again.  This was done on my usual Saunders Waterford 200 lb. paper working wet-in-wet with mostly the Quinacridone watercolors of Coral, Pink, Rose, Magenta, Violet and Gold.  It accomplished my goal, and I am pleased with the result.

Quinacridone Rose, 6” x 6” watercolor, ©Johanna Cellucci

Using Opaque Watercolor

Back in April, I took a landscape workshop with Martha Mans (http://www.marthamans.com/MarthaMans/Home.html) using her palette of both transparent and opaque (colors containing white) watercolors.  Finally, got back to finishing two 5”x7” pieces I had started.  Although I admire landscape as subject matter, I don’t consider myself much of a landscapist.  I also consider myself a watercolor “purist,” but admit I find the use of opaque color interesting.  Examples of opaque colors are:  Holbein’s Jaune Brilliant #2, Grey of Grey, Verdirter Blue, Compose Green, Lilac and Lavender.  Below, I share my two small landscape results, both of which contain some of the opaque colors mentioned.

West Face of Pikes Peak in Fall, 5”x7” ©Johanna Cellucci

Great Sand Dunes, Colorado, 5”x7” ©Johanna Cellucci

Same Subject, Same Process, Different Result

Water Lily 2, Poured Watercolor, 11" x 11"

After not having achieved the result I thought I would get in Linda Baker’s workshop, I was determined to try pouring the same subject again.  For this piece, I used 300 lb. HP paper and a warm triad of New Gamboge, Naphthol Red and Cobalt Blue.

I intended to do more pours, but the color built up quickly.  By the fourth pouring of the darks, I felt the piece was ruined.  Had meant to do an even darker pour, but could no longer make out what I had, and the paper was already mostly covered with masking which doesn’t allow the color to flow.

I took off the masking with mixed results.  I was pleased that the painting had somewhat of the “glow” which pouring can give.  I did not like that the leaves and the flower appeared to have lost much of its color and texture, which was most likely the result of the liquid masking.  The mask also left streaking, perhaps from being applied with too much water on the brush, or from using HP paper, or a combination of both.  I’m accepting it as a different textural effect.  The painting did need a bit of finishing, which is to be expected.  It does help to use the same, or similar, subject matter to gain an understanding of how the process works and where improvement can be made.  Next time I might not mask out all the leaves, but paint in the darks to retain the fresher color and texture.  I was surprised that the HP paper had enough “tooth” to capture the granulation of the Cobalt, but it is probably not the best surface to use for this technique.

In the end, I am satisfied with the finished result and feel have a grasp of the workshop lessons.

First time I documented the stages of a painting.  It is helpful in explaining the steps and will help me remember how to approach a poured work.

Masked water droplets; applied initial color with a large brush to establish where the colors should be; masked out lights

Second layer applied with a pipette; masked most of the flower

Poured the third layer; masked the remainder of the flower and all the leaves

Poured fourth layer of darks

Removed the masking

Finished painting with edges cleaned, added touches of color and deepened areas of water

First Attempt at Pouring

Water Lily Poured Painting resulting from

a workshop by Linda Baker

Put he finishing touches on a poured watercolor from a recent  Linda Baker workshop.  Using 300 lb. CP paper, the intention was to do only three pours because of workshop time constraints...light, medium and dark.  Therefore, I poured the paint rather heavily using quinacridone gold, red and indigo blue.  The gold disappeared, the red became overpowering, and the blue turned gray on the paper.  I found that the heavy paper retains moisture for a long time.  The texture in the lower left was the result of putting the masking on paper that was still damp.

I like the pouring technique, the subtle variations of color it can create, as well as the textured effects created by using a water spray bottle to move the paint.  When the frisket is taken off, the result will always be a surprise, and the painting will need some finishing with a brush.  Pouring is still a labor intensive process, but it is fun to have a piece almost paint itself.

When trying this technique again, I would do many more pours with much thinner paint using different primaries.  In between pours, I would mask out fewer areas at a time to create more layers.

Even though this turned out looking like a “block print,” I think it has some merits.  Although it is not a “show” piece, there is something about it that appeals to me. 

Total Experience

My painting, "Peony Perfection" (bottom), with Arena Shawn's painting, "Spring Breeze" (above),

in the International Watermedia 2013 "Legacy" Exhibition at the Colorado Springs Pioneers Museum

at the Opening Reception on June 7 and hanging through September 7, 2013

As the juror, Linda Baker, said, even if one does not receive an award, being accepted into the PPWS International Watermedia 2013 “Legacy” exhibition should be considered an award in itself.  Yes, I’m always happy to receive an acceptance.  I enjoyed the opening reception on June 7, attended the very informative gallery talk the following day, and took Linda’s three-day workshop, which was the best workshop ever attended.  I learned so much from what was for me a “total experience.”