Tag Archives: tips and tricks

Experimentation Final!

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2oz Glue Moistener

2oz Glue Moistener

For the past few weeks I have been posting on Monday’s Discovery about my attempts to turn a glue moistener into a large waterbrush.  Then intent was to be able to shape the sponges and fill them with the color paint I wanted to lay down quickly.  In playing with these, however, I have found another application that I rather like.  When sketching in the field with a water brush, it is difficult to lay large amounts of color down, like sky or grassy fields.  Filling one of these with a blue mix for sky, or just using it to lay the backround wash seems to work fairly well!

WCtreesIII1Last week, I cut open the cap of this sucker and packed it with polyester batting to help control the flow of water.  With out that, the water just streamed out of the moistener and washed the color away just as fast as it layed it on.  Once the rubber cement dried to hold the batting in place, this thing worked like a charm!  Being that the sponge is synthetic with no natural pits or shapes, I will have to take a pair of scissors to cut and shape it into something more interesting.  But it holds paint pretty well and it was able to lay the colors down with some interesting patterns.

I threw this together just to demonstrate it’s effectiveness.  I ran out of patience because this is the only thing between me and a beautiful road trip to Hot Springs, Arkansas on the bike!

Experimentation Part II

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WCtreesIII1

The materials for this project

And welcome to week 2 of my playing around with a glue moistener bottle to make a tree sponge.  When I saw these bottles on the rack at Wal*Mart a week or so ago, I immediately began wondering if they could be used in watercolors, specifically if they could be modified to make trees.  What I discovered last week is that the flow of water through them is too fast and floods the color right off of the sponge.  Close inspection of my other waterbrushes showed that they solved that problem by placing a small sponge directly in the flow.  I decided to place some floss in the cap of the glue moistener to see if that would slow the flow enough to make it usefull in a watercolor application.  I gathered my rubber cement, an X-acto knife, and some polyester filiment I had lying around from another project.  Since I will be using chemicals and sharp objects I would like to take a moment to discuss “Shop Safety”.  You need a well ventilated area for the rubber cement.  And you need to follow all of the safe cutting practices that are outlined in the instruction pamphlet that came with your X-acto knife.  Kids need adult supervision.  Dad’s need Mom’s permission.  Moms, dial 911 and ask to wait on hold ’til Dad finishes.

Cutting into the cap

Cutting into the cap

In violation of all of the safety precautions I just lined out for you, I begin by cutting into the cap.  I am cutting at a steep angle so there will be plenty of surface area for the rubber cement.  This little piece of plastic was actually tough to cut this way.  I think if I do it again, I will just use one of the wife’s steak knives.  Lord knows my mother has a drawer full of glued up and bent steak and butter knives from the various projects I’ve done through the years.  Mostly, butter knives because they make good impromptu screwdrivers, and once they’re bent they make good pallet knives.

WCtreesIII3What you can almost make out in the picture is the batting stuffed into the cut away cap.  This is a part I hadn’t considered and it will prove to be the ultimate challenge of this project.  To use enough batting means to over stuff the cap.  This stuff is springy so I have to be careful to get it all inside the cap and keep the cap together while the rubber cement dries.  Don’t do what I did.  I licked my palm to get some traction and rolled it up into a little ball.  It worked, but it’s gross to think about.

WCtreesIII4

Things to do while glue dries

Once the batting was in place, I brushed a little of the rubber cement onto the exposed lip of the cap.  Of course, when I went to put these two pieces together I realized just how small they were and how much trouble the springiness of the batting was going to give me.  At this point, I consider scrapping the batting and cutting up one of the wife’s dish sponges.  I decided I’m too stubborn to do that and eventually did get the them together.  I intended to use a rubber band to hold this in one piece, but the pieces kept sliding apart while trying to get the rubber band in place.  I ended up holding it together by hand while waiting for the glue to set.  As you can see, I have become quite adept at spider solitaire for projects like this.

Still waiting

Still waiting

After several attempts at this, the batting just kept pushing the bits apart.  I finally got part of the glue set.  I flooded the cracked spots with rubber cement so they would remain waterproof, placed the rubber band around it, slipped the shaft of the X-acto knife in for tension, and set it aside.  At 2:45 am, I decided to let the glue sit over night.

Why am I doing this?  The idea I have is to cut the sponges into shapes.  When I want to create a wooded landscape, I will then just grab the bottles with the right kind of tree shaped sponge, already full of the appropriate color of paint, and dab them on quickly.  It’s not any faster than a brush or a regular sponge, but it has been more fun!

Tune in next week during Monday Discovery and we’ll see how it turned out.

Experimentation Part 1

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2oz Glue Moistener

2oz Glue Moistener

As I was walking through the stationary and art supplies section of our local Wal*Mart, I happened upon these little bottles with a sponge on top.  They are for moistening glue on stamps and envelopes.  I wondered, though, if they might be used as a type of waterbrush.  I immediately began thinking about washing paint, painting wet on wet, or… TREES!  I don’t know if Bob Ross is the one who invented the idea of “stabbing” paint at a canvas to make happy little trees, but I remember watching it every weekend on PBS.  He would take a fat round brush and stab paint, then come back and create highlights with a stiff, flat brush, his knife, or just the stick end of the brush.  Then, of course, he would make some white and gray M’s in the sky and call them birds.  Happy little birds for the happy little trees.  So I bought two of them to experiment with.

wctreesii2I decided to do a quick evergreen.  I filled the little bottle up and proceeded to load it with paint.  If you decide to do this, remember that for most evergreens you stab from the top down and out in a triangle.  For most diciduous trees, start in the center of the base of the triangle and work out and up.  That may be a different lesson some day, today we’re just playing with a sponge bottle.

wctreesii3The first thing I noticed was the rapid flow of water on this thing.  Loading it with paint was a chore.  As a matter of fact, it was hard to tell if I was loading the sponge with paint, or if I was just flooding the pan.  Application wasn’t much different.  You can see that I was able to get a couple of good stabs in, but after that it just washed the paper.  Not bad if wet on wet is what you’re going for, but I was really going for stark and bold.

wctreesii4As the paint dried, I decided to try and add some branches and some highlights with my regular water brush.  This is when I decided that I should really look into getting some opaque paints.  I knew that if I tried to add another layer of green on top that this would just become mud.  Then I remembered the lifting technique that I played with last week.  So, I patiently watched Willy Wonka and The Chocolate Factory with my beautiful young bride and Girl2 while the paint dried.

wctreesii5I quickly found that the sheer flood of water coming from the sponge didn’t allow for any control what so ever, at least not in the application I had chosen.  Again, this would have been fine for wet on wet, or even just to create the wash of sky, ground, and shadow.  But, as a paint applicator I found it severely lacking. As I stared at it, though, I wondered what I could do to control the flow of water.  My waterbrush, for instance, has a bit of sponge inside the tip before the bristles are attached.  I wonder what would happen if I stuffed this area with cotton or silk to allow water through, but not a straight flow.  I also wondered what would happen if I filled them with paint and used them on a much larger application?  Let me play with it for a week and let’s see what all we can come up with.  If you have any comments or suggestions, I would love to hear about them!  Leave a comment below, or email me.

Tune in for next week’s Monday Discovery for part II.

Atmospheric perception

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College Chapel

College Chapel

On Friday, Jeff Knecht and I had a critique session in which he mentioned that the trees on the left of this sketch were difficult to distinguish.  He thought they were one tree and thought that the details were a bit jumbled.  My lovely young bride and I had been talking about that very thing just that morning and I asked her for some pointers.  She suggested that I try to distinguish the colors more and that I incorporate a bit more atmospheric perspective.  I asked her if she would be willing to write out a lesson for me to post here.  Alas, it was the last week of school for my art teaching lover, and she was too busy with clearing her room for summer.

wctreesdemoicon I did find a cool tutorial online that I thought I would share with you, along with my step by step version.  Kristen Godsey wrote has an article that is hosted at The Artistic Network called Getting Greenery Right.  She suggested that I should wash my foreground color first.  After that dries, paint in my background tree.  Once the background tree dries, then I should lift the background paint off of my foreground image.  HUH? Not to worry.  It’s not as complicated as it seems.  In her demonstration, she is lifting blades of grass to create a lighter foreground.  She uses a very stiff brush and a full pallet of transparent and opaque paints.  I use a waterbrush and a set of transparent pans.  Let’s see if I can modify this technique to work for me.

washing the foreground color

washing the foreground color

First, I use a warm green for the leaves of the cottonwood tree in the foreground.  This is strictly from memory, so you’ll just have to believe me when I tell you it is a cottonwood.  Anyway, I apply a wash in the full overall shape of the cottonwood tree.  Then I went to play on Twitter while I waited for the paint to dry.  I know that it was not very zen of me, I should have been of one mind and all that.  But seriously, waiting for paint to dry is not one of my strong suits.

Painting in the background tree OVER the foreground wash

Painting in the background tree OVER the foreground wash

Next, I use a cooler and darker green for the cypress tree in the background.  This is kind of the confusing part for me because usually if you want something to stand out in the foreground you make it darker.  But this type of tree actually is darker.  You can tell, I am easily confused.  Anyway, that’s the point of using the cooler color to give it a little push to the background.  That’s where the atmospheric perspective comes in to play.  Less detail and more subdued colors move an item to the back or off to the side out of focus.  If I had wanted this in the foreground, I would have used bolder colors but still less detail so that the focus would have remained on the cottonwood, and subsequently the chapel (remember the chapel?).

"Lifting" the foreground

"Lifting" the foreground

“Lifting” the foreground is especially simple with a waterbrush.  The constant supply of fresh water easily lifts the pigment off the paper.  The only thing I had to be careful of was lifting off the foreground color as well.  Also, just like with a regular brush, after you pick some paint up, you have to remove it from your brush or you just keep redistributing it.  So unless you want to lay that same color back down on your painting, best to wipe your brush off after every lifting stroke.

Re-apply warmer foreground

Re-apply warmer foreground

Almost finished now.  I have reapplied the foreground color.  I’ve added a little more heat to it (a little red and a little sienna) and brushed it around the whole of the area of the cottonwood.  Also, I’ve used it to define some of the shading on the tree.   It has already made a distinction and now I’m excited to see how it’s going to turn out.  I’m off to play on Twitter while the paint dries again.

details

details

Finally, I went back in and added the tree trunks, branches, highlights on the leaves, etc.  This time, I think it’s quite obvious that they are two different trees.

I’m eager now for a chance to try this in the field.  It is supposed to be beautiful weather all week so I may ride down to a creek by my day job and try this out on location.

I hope I can twitter from my phone while the paint dries, though.

Book Review: The Watercolorist's Essential Notebook

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The Watercolorist's Essential Notebook

The Watercolorist's Essential Notebook

As I cruise around the interwebs, I occasionally (everyday, sometimes twenty times a day) come across a book that interests me.  While perusing Russell Stutler’s site, I noticed his book list of recommended reading.  Among them was The Watercolorist’s Essential Notebook.  Having bought and explored the book, I decided to share my insights with you, my friends.

The Good:

First, I would like to say that this book is just chopped full of valuable tips and tricks!  There are tips on everything from how to compose the painting to how to create your own palette from a used styrofoam meat package.  Gordon MacKenzie has taught watercolor for many years and this is a collection of the handouts he has given his students.  The illustrations and instruction are very well done and easy to follow.  As a stack of handouts, you couldn’t ask for better.

The Not-So-Good:

MacKenzie’s handouts are truly informative, especially in a classroom setting.  As a book, however, they don’t lend themselves well to a sense of order.  That is, there really is no beginning or end to them.  If you are a beginning watercolorist, there is no clear cut place to start.  The first handout in the book discusses topics that won’t be explained for 100 pages.  Every section is written with the assumption that you are already familiar with certain aspects of watercolor, or that the information you are lacking will be readily available from an instructor.  This makes for a difficult read, especially if you are like me and read these books cover to cover before attempting the practicals.

Recommendation: ♦♦◊◊◊ 2 diamonds

If you are looking for an introduction to watercolor, this is not for you.  If you consider yourself at least a little knowledgeable on the subject, there are a lot of demonstrations and examples for you to learn from.  If you are advanced, or are teaching, this book has a great many resources for you and your students.  If you are going to make copies for your class, however, please remember to contact the publisher for permission.

This book is worth buying, regardless of your skill level, but you will get more out of it if you are of intermediate or advanced skill.

EDM 118: Draw some rocks

EDM 118: Draw some rocks

EDM 118: Draw Some Rocks

I picked these rocks up in the yard where I work.  I carried them around in my pocket for almost four days.  Every night putting them on my dresser and every day putting them back into my pocket, intending to draw them when I had a chance to stop.  When I had a chance to stop, I found that I was not interested in drawing the rocks.  Lately, I have been imagining much grander things for the EDM challenges.  I get an idea, like the portrait of one of my high school friends, and then get frustrated when I have trouble relaying that idea in graphite on a 3.5″ x 5″ sketchbook.  It took me a couple of days to get back around to the idea that it’s the celebration of the everyday matters that make every day matter.  So tonight, I drew the rocks.