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Watercolor Workshop with Allan Servoss

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Once again I traveled to the Heyde Center for the Arts to take another three-day Allan Servoss workshop, this time in watercolor.

His watercolor work is amazing, and I left with a better understanding of design and color as well as a creative process that feels refreshing and, well, creative.

He had five main lessons with paintings that got progressively more challenging. We moved from brushwork to shape to negative painting, the entire time discussing color choices, paper, brushes, etc.

Notice the turtle in the painting above? I couldn’t help adding it. I could see a turtle so there it is.

The painting below of the ravine ended up being the one I did quite a bit of work on when I got home, and as a result, it looks as much like a drawing as a painting. I gave in and tuned to watercolor pencils for the details that I just had to add—tree trunks and roots and more trees.

We also had a chance to try painting on a varnished, textured surface. The paint sticks in a different manner, more like Yupo. For this project, we did our own designs, and I ended up with birds and a busy background. No surprise there.

It was a great workshop, and I am once again fascinated with watercolor.

Sparrow

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I haven’t felt much like sketching or painting until the past few days. We discovered a new park, and I snapped a photo of what I think is an American Tree Sparrow. My photo was a little blurry, but I had enough detail to finish this drawing.

This is in colored pencil—Pablo and Derwent drawing—on a background of Neocolor II. I used Pastelmat in a yellow orange color.

Kingfisher from The Virtual Instructor

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I followed along to a tutorial by the virtual instructor, Matt Fussell, to draw this Kingfisher in colored pencil. I think it was the first time I totally focused on creating a finished-looking colored pencil portrait, and I’m really pleased with it.

As always, I struggle with perspective. My bird has a few issues, but I won’t dwell.

I used Strathmore 500 Bristol and a variety of colored pencils, mostly Caran d’ache and Derwent. He used Prismacolor, and the few I have are nearly gone. The course is called Three Little Birds, and there’s also a Bluejay and a hummingbird.

Claybord Ponies

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Like the bunnies I drew last week, I spent all my art time this week working on another Ampersand Claybord. This time, ponies!

I’m fascinated with Claybord and how both the Golden High Flow Acrylics and the Derwent Drawing Pencils work on the surface. What seems far too vivid and strong with the acrylic paint at first, mellows into a rich and earthy palette once I add the Derwent pencils. Adding the scratching gives it an old-fashioned look, something I didn’t even know I wanted.

I start with a rough sketch on paper, sample it again on mineral paper and add in some scratching to see how it works, create a background in the Claybord panel (6″x6″) with acrylics, and then lightly draw in the subject, swapping back and forth between pencils and scratching until it feels done. I didn’t plan any background with this one but let it develop from the colors, lights and darks. I had no idea these two little ones would be in a meadow when I started out.