9″x12″, ink on watercolor paper, probably Hahnemuhle Bamboo
The above is my favorite, but I’m also fond of the Claybord version, which is more stylized.
8″x10″, ink on Ampersand Claybord
(If you look closely at the above piece, you may be able to spot a Blue Crab in the water.)
My goal was to depict a family of Whooping Cranes. I used three different reference photos I had taken, all of the same bird. Another goal was to use what’s called a mother color to create a harmonious color scheme. Instead of relying on only one color to add to everything else I used, I created a triad “mother color” group with three primaries, and I added a small amount to everything. The paper version was all around more successful with that experiment, as the paper absorbed some of the intensity.
I’m challenging myself to draw more freely and not rely so heavily on photos. I always use my own reference photos and generally draw with my laptop in front of me, referring to the image and zooming in to analyze details. Some part of me has had enough of that approach, however, but I know I’m not an imaginative artist and prefer references. So, I went back in time, thinking about film photography and considering using references that are small. Perhaps they capture the composition, the season, a particular mood, but they’ll leave room to improvise and loosen up a bit. I’ve leaned toward this more and more this past year with my drawings, but I decided to test myself.
I bought an Instax wide instant camera, and now I can take photos that can’t really be blown up to obsess on detail. The quality is mediocre, but the process is delightful. Having the photo develop right in front of you creates a certain kind of nostalgic magic. Although some photos turn out very nice, especially with bright lighting, most are kind of crooked and murky. I know I could also rely upon a plein air sketch, but I’m not quite that ambitious. Yet.
With this particular drawing/painting, I put down a coat of Gac100 as a sealant and then a coat of black gesso so I’d have a dark layer. I covered everything with a moody layer of oil pastel and scratched out my drawing. Everything that’s dark is scratched out.
I love the idea of using the scratchboards that come with a pre-applied layer of black, but that process is to scratch out highlights. I’m more interested in scratching out the darkest areas. I’m now in a period of exploration. What’s coming in the mail? Water soluble beeswax paints.
I’ve used watercolor, colored pencil, soft pastel, oil pastel, charcoal, graphite, and ink, but never oils. I bought five R&H Pigment Sticks in blue, red, yellow, black, and white, not knowing what to expect. I knew they act like oil paint but in a stick form so can be used a little more like a pastel. However, all the examples I found of oil sticks were bold and abstract while I knew I wanted something more realistic. I gave it a try with the first coat going on heavy and the rest with brushes and clay shapers. It turned out okay for a first try, although the trees were less than stellar.
I think sometimes when I’m in a slump, I do something unusual, like this large canvas board drawing/painting. I don’t really care for it, but it was a fun process–lots of layers and the fountain pen kind of bumped along the canvas and did its own thing.
