It should be noted that procrastinating on art supply restock is never a good thing; which I’m learning all too well at the moment. I’ve shared a few snaps on the process of creating this piece below (at least most of which I remembered to do as I was painting).
prelim to painting.
The current situation with the virus and limiting shopping/delivery on art supplies of course doesn’t mean an end to creating work. It is indeed a very first world problem, but an annoyance nonetheless.
I’ve been trying to return to the habit of using preliminary drawings more, and then using a method of transferring onto watercolour paper. As I’ve been trying to improve my figure drawings, I’ve noticed that my watercolour paper does tend to get a fair bit of damage from erasing and redrawing. The fact that this can happen isn’t new too me, but in all honesty we all get lazy at times.
Happy with my drawing, I scanned the work and got ready to print. If you’re interested in the method I use, you can also check out Cynthia Sheppard’s video here, where she shows how you can go from your drawing to painting. I then realized I had run out of printer ink, as well as any graphite transfer paper…Time for the old school method. I’m talking about what we did as kids, taking graphite and going over the back of a sheet of paper covering it entirely, and then placing your drawing over it and tracing over that. Its the same concept as the ones you can buy at art supply stores. I’m a bit conservative with wasting graphite however, so I usually tend to fill my ‘transfer paper’ only on the areas I know will have outlines. Often times there’s no need to have whole sheet covered, you’ll probably end up with graphite residue on a perfectly clean watercolour paper.
Once the drawing’s been transferred there’s only one thing left to do, paint! 🙂 I didn’t have the same issues I did with my Sparks of Rebellion piece; again because I removed a lot of the surface on the watercolour paper during preliminary drawings on that one. This piece was mainly in watercolours but to get a more smoother gradient on the background I opted for some Faber Castell Polychromos, and acrylic paint highlights.
If you’ve followed the progress of my latest painting (Sparks of Rebellion) on Instagram, I’d say you already know all about my displeasure of it. But let’s start with the positives shall we? I had (in my opinion) a rather successful sketch period following this meltdown. I needed to figure out what went wrong with my painting, and I would say some things became more clear. If nothing else, the prelim. work behind the painting was one of my more enjoyable ones.
What I had excitedly envisioned for the finished piece got ruined within the first few seconds of the initial wash due to…..a brush, that required more extractions of bristles off of paper than I’ve had to do. Lets say that brush shall not haunt mine or anyone else’s dreams ever again. As the painting started to develop I also began to notice more errors in terms of figure/ form, etc. Unnoticeable to the audience perhaps but as artists will know, GLARING for us. Frustrations piled on, this painting was beyond ‘fixing’ at a certain point. With a bit of help with some coloured-pencils it regained the status of being presentable. In conclusion, more discipline I’d say on checking my tools, testing colour comps. thoroughly, and most important of all, triple-checking line-work/under drawing. Mirrors and views from a distance are once again my best friends. 😆
WIP and planning stages: the parts that were the most fun for this piece.
With this painting I really wanted to continue with the fantasy elements, but also get back to the study of sheer fabrics that I enjoyed when painting Call of the Sirens. Fabrics are always intimidating for me, because if it’s sheer or even satin let’s say…well for the most part you only get one chance to get it right with watercolours. Too much paint can mess up the piece real fast, and finding how light and skin works in whole equation is another thing altogether. I’m still learning by studying from the masters, by looking at many classical paintings; ranging from Regency to Edwardian. Although, I have to find a way to adapt those techniques from oils to watercolours, which is a fun challenge.
I liked the look of the early stages of the painting as well, making a note to experiment with even less paint in future projects. Sometimes I find it a bit hard to judge how dark I need to make a watercolour painting; as most artists in this medium will know, scanning the artwork doesn’t always get you the most flattering results in the end. There’s a certain grey/dark tone or evenness I like to achieve (which I’m not doing a good job explaining unfortunately), and scanners mess it up royally with its bright light giving unwanted contrasts across the painting. I’m lucky to have a good Epson scanner, but there are some things that can’t be fixed and I do my best with Photoshop in the end. 😄
*Update on In Fate’s Hand Painting Auction
I’ve realized I hadn’t updated the info here on my blog as I had on Instagram. The original painting of In Fate’s Hand that was for auction on Ebay, has now been moved to the shop. I had some issues with Ebay account, as it was a new one, and felt it would get better views directly in the shop. 50% of the sale of the painting will still go the Canadian Fallen Firefighters Foundation as originally planned, so please pass on the word and check it out for yourself if interested. Thanks! 🙂
The tape finally came off this one, as I added some final touches this week. Probably one of my more enjoyable pieces that I’ve done so far, as I worked at a more casual pace while working on some other things.
I also attempted to take more progress shots this time around, as more people seem to enjoy these on Twitter and Tumblr. The initial drawing was done with graphite on paper, and then transferred onto the watercolour paper from a scanned print. As I ran out of graphite transfer paper, it was the old school method of taking a 5B pencil and just filling up the back of the print. 🙂 Drawing the figures in nude at an initial stage was important, as I would be trying to create sheer fabric in the painting. I might skip this stage if I was more confident, but watercolours aren’t as forgiving when it comes to errors. 😀
*Original matted painting available for purchase. Available here on Etsy.
Weird as it is for September, I’ve been on a little binge of Christmas/holiday movies that usually come out on channels like Lifetime. Although not known for their deep or complex storytelling (you should be watching for happy endings anyways 😁), I find they always cheer me up. Princes from made-up countries, handsome ghosts, and oh yes I believe they’re called chick-flicks. 🐥
Anyways, I’ve been at my sketchbook while watching one of my favourites; The Spirit of Christmas. Thomas Beaudoin in period outfits is a bonus too.
I’m working on several pieces at the moment, for a little change in pace in the way I work. This siren piece is still in the works, hopefully to be completed by the end of the month. 🙂 I’m trying to get better at taking photos during painting (sometimes I just forget…).
We’re already 2 months in, but I hope everyone is having a wonderful New Year so far. With a slow ending to 2017 for myself, December and much of January has been a major pain to get through. However, like many artists will tell you, you just have to find a way through. So here’s to a more eventful new year, and hopefully more completed artworks to share with you all. 🙂
If you’ve been following me on Twitter, you may have seen me ready to give up on this one more than once. I’ve had very few pieces that I would consider ‘failures’, to the extent that I consider scrapping them altogether; this one definitely came close. It’s natural to encounter problems with certain projects (personal or otherwise), but it doesn’t make it any less frustrating. In the end, I decided to use this drawing more as a field for experimenting with things I’ve wanted to try, rather than let the piece go to total waste.
Moving on to painting, I decided to extend the ‘experimenting’ with a quick little piece to start off the year. Not as dark as I usually like to go, but since it was more of a sketch I didn’t mind all that much.
We’ve been getting some gloomy days in Toronto the last couple days, definitely not the best for photography… 😦 However, I’m glad to had this one up at last. ~ Sebastian Verlac from Cassandra Clare’s Mortal Instruments series, painted in watercolours.