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A PORTFOLIO PAINTING CALLED “FRUIT STRIPE.”
Illustrating traditionally has become rare. However, in the interest of sharing my outdated technique, I am going to list some materials. I am not sure how long those art supply stores will continue to carry these!
COLOR LIST FOR DR. PH MARTIN DYES
RADIANT:
Lemon Yellow – 1A, Scarlet – 5A, Violet – 10A
SYNCHROMATIC (TRANSPARENT):
Orange–5, Crimson–18B, Light Brown–6, Emerald-21, Nile Green-20, Prussian Blue–17, Ultramarine–18, Van Dyke Brown–9, Chrome Yellow–3, Sepia–10
COLOR LIST FOR WINSOR NEWTON WATERCOLORS
050 Vandyke Brown, 029 Light Red, 059 Yellow Ochre, 057 Winsor Violet, 056 Winsor Red, 014 Chrome Orange, 058 Winsor Yellow, 022 Hooker’s Green, Light, 003 Antwerp Blue, 025 Indigo
Optional, but recommended:
008 Burnt Sienna, 002 Alizarin Crimson, 024 Indian Yellow, 055 Winsor Green, 054 Winsor Emerald, 035 Permanent Blue
OTHER MATERIALS (WATER-BASED MEDIUMS) RECOMMENDED:
Two water containers
Plastic white palettes
Brushes – Sable, at least one with a pointy tip. Several sizes recommended for larger areas.
Drafting Tape
Box of facial tissue
Blow Dryer
Drafting Board (Plywood) – 16 x 20 is a good size
Stapler or staple gun
2” fumed, brown paper tape
Exacto knife #11
Liquid Friskit or plastic friskit (if it’s available)
Old brush or toothpicks for liquid friskit
Pencils – HB, H, 5H
Graphite Paper – Saral Brand
Tracing paper – Canson recommended
T-Square
Matt knife and blades
Luma – Pen White (for little hi-lights)
Badger Air Opaque Assortment
Spray mount
Metal ruler
Colored Pencils – Prismacolor
Blender pencil (made by Prismacolor) can be helpful
Electric Sharpener
Kneaded eraser
Ad Marker – Blender markers are a must
MARKERS:
Acetate
Rubber Cement Thinner
Crow Quill
Markers, water-based – Tombo
Markers, solvent-based – Ad Markers
Markers, alcohol-based – Prismacolor
Marker Paper – Beinfang “graphics” 360 – 100% rag layout pad for markers
2 sided adhesive I use: Mactec Adhesive Film 1B2107 from Montroy Supply (323) 888-2129
Illustration Board or Firm 2-ply surface to mount Beinfang paper on. (Often a flexible surface is required for scanning, so board is not an option)
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PHOTO REFERENCE FOR MY FRUIT STRIPE PAINTING (TWO PHOTOS TAPED TOGETHER)
The paintings below were stock images that were digitally selected from the much wider portfolio painting.
I have mentioned that sometimes it becomes more efficient to start over. Watercolor paper occasionally has annoying “quirks.” On more complicated paintings, I would do a test trip before starting my painting to be sure the paper wasn’t defective. On defective paper, the friskit leaks everywhere or the colors are spotting. This could be because the “sizing” that was used in making the paper was incorrect. Sometimes only a little rubbing with a kleenex can cause a hole on wet paper. On the example below, I struggled to put down what is there. That abandoned painting below probably represented about ten hours. However, when I started over on a paper without problems, everything worked out much fresher and quicker. I thought it would be helpful to share the process of how I work with this partial painting. I darkened the line drawing to show it (digitally). Normally, my line drawing is almost invisible.
I have actually done work for many candy companies, and may have a post on all of those jobs later on. The candy used for this painting was Brach Candies; I remember well the Neopolitan flavor.
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MY PORTFOLIO PAINTING CALLED “CANDY MEDLEY”
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A PAINTING I ABANDONED BECAUSE THE PAPER HAD ISSUES.
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PHOTO REFERENCE FOR THE PAINTING CANDY MEDLEY.
© Judy Unger and www.foodartist@wordpress.com 2010. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Judy Unger with appropriate and specific direction to the original content.
