Sisters Cassandra – Watercolour Painting

Sisters Cassandra, watercolours & mixed-media, 11×14″, 2020

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.

I tend to use tracing paper as it’s the thinnest, but you could use whatever paper you prefer.

Once the drawing’s been transferred there’s only one thing left to do, paint! πŸ™‚ 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.

This painting is also available for purchase as prints and the original. You can find all the info by heading over to Shop.

When in Doubt, Back to the Sketchbook

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. πŸ˜†

Sparks of Rebellion, watercolours & coloured-pencils, 11×14″, 2020

WIP and planning stages: the parts that were the most fun for this piece.

Alexsandr Kallus: SW Rebels, graphite studies on sketchbook

Giant Slayer – Watercolour Painting

 

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Something that was meant to be a fairly quick painting/study, but inevitably capturing my interest and thus more of my time. I did enjoy it…although I might take a break from looking at this many skull references for a bit. πŸ˜… This will be the last post for this year; so I’ll be wishing you all the best for 2020, and I can’t thank you all enough for supporting my work. πŸ™‚

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Giant Slayer, watercolours on paper, 8×10″, 2019

[Now available at the shop & print store.]

Process/WIP.

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Team-Bradley References & Sketchbook

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I’ve been really enjoying working in my new mixed-media sketchbook from Stillman & Birn. On the other hand, getting back into doing life-drawing studies/sketches is easier said than done, as I sometimes find myself bored of typical poses that you find online; in terms of reference photos. Aside from my general admiration of their work, artists Noah & Rachel Bradley have come out with a bunch of reference photo packs on their website (which I’ll link below) that have been quite helpful. If you’re looking for some quality references I highly recommend you check out their photography.

Noah & Rachel Bradley Reference Photography Sets

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Also, colour & hair studies for a new painting I’m working on; plus a few demons and horns.

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markers and graphite in Fabriano sketchbook

In Fate’s Hand – Painting & Charity Auction

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This painting has been a bit puzzling for me. Although I’m not unsatisfied with the results, the composition and I suppose just the piece in general was a bit out of the usual for me. I admire artists whose pieces involve lots heavy background work; sceneries, forests, water, etc; but somehow I had moved away from it entirely since university days.

If you follow my work, you may have noticed that nowadays I prefer to work with a mostly a minimal backdrop (white usually). It’s just something I have come to like in my art. There are elements of this piece that I plan on using in the future, although I might not necessarily go this route again in terms of trying to create a full on classical painting. I still find painting nature, trees and such quite interesting; in terms of texture, foliage, etc, but I prefer to incorporate them in the composition without going too heavy on the background. What do you think? Do you think this type of piece wanders too far from my usual style? πŸ˜„

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In Fate’s Hands, watercolours on paper, 11×14″, 2019

Although I mentioned I prefer not to go the route of a full classical painting, most of my favourite artists would fall under that genre. πŸ˜… For this painting for example, I was inspired by the work of the French painter Bouguereau. I love how he paints children in particular, because for myself it’s an absolute nightmare. If you follow me on any of social media you’ll have seen me trying to figure out the alien proportions when it comes to kids. 😁

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AUCTION SUPPORTING CANADIAN FIREFIGHTERS.

*UPDATE.

Auctioning on Ebay didn’t go as planned as I had to create a whole new account for the one painting and I feel it may have impacted how many people actually got to view it. So instead the painting is now available for purchase at the shop. The charity support will stay the same; I’ll still be donating 50% of the sale to the CFFF (just not using Ebay).

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This auction will be contributing to a Canadian charity that supports the brave men and women and their families, who don’t get nearly as much recognition as they deserve. 50% of the sale from this painting will be going to the Canadian Fallen Firefighters Foundation. Please feel free to share with anyone else you think might be interested. Thankyou.

More info on this charity at http://www.cfff.ca/

 

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