#72 WHATEVER WORKS, PART 2

My latest painting “Cool Leaves” was a joy to paint. My palette ran out of room with so many interesting colors!

From the very start of this illustration blog, I have been transparent – and not just with watercolors. I celebrate my honesty, though I realize that sharing invoices, backstories and unusual career shortcuts might be a bit cringe-worthy.

An example of one of my earliest shortcuts was when I sent off finished assignments that were completed with markers. I’m sure my clients might not have been thrilled to hear that, but when deadlines were tight – it was an efficient way to create finished art quickly.

Recently, I joined a watercolor group on Facebook and shared some of my old paintings. My illustrations were very different from the other paintings on that site. Aside from the intense photorealism, my use of vivid dye colors intrigued many other artists.

The downside of using dyes was discussed immediately. Brilliant dye colors are fugitive and will fade when exposed to UV light. But as a commercial artist, my paintings were for reproduction and I never displayed them. It’s been decades and my paintings in storage are still as bright.

I’ve been painting new imagery over the past few years, and have wondered whether I might be able to sell my original dye paintings. The benefit from joining this group was that I learned about some new and interesting ways to seal my paintings and protect them.

Most comments I received were very positive. But one comment was puzzling.

Tracing is cheating a little but so many artists trace from photos it seems. Your painting skill is amazing though.

 I replied:

Thank you for your compliment on my painting skill. I don’t agree that tracing is cheating. If you’re looking for immediacy, then it’s just not the same technique. Even Renaissance artists used tools. It’s the end result that’s the beauty of art.

This is a moody old watercolor of mine.

I don’t consider myself to be a traditional watercolorist. But when I was learning, I loved dropping paint into wet areas to see where it would go. I even painted a few watercolors on the beach. But I far preferred painting watercolors that were very tight. I like to call myself an “inch by inch” artist.

I shared some of my old paintings with this group, replete with tracing paper, reference photos and even an abandoned “painting in progress.” Many people thought my paintings were photographs, so it was important for me to share those attachments.

I worked with tracing and graphite paper for over 30 years. If the person who wrote “tracing is cheating” read what I’m about to share, I would definitely be disqualified as an artist. I’m a little nervous that if I share this with the watercolor group, my art will be dismissed.

For the last 15 years, I have painted over lightly printed layouts, rather than trace and transfer.

Fifteen years ago, I had a clever idea while working on a rushed assignment. I inserted watercolor paper into my inkjet printer and printed out a faint under-painting for my job. It worked very well!

My job layout for the Arbor Mist wine cooler label.

My first time using my “paint over light print” technique.

Creating a “light layout” definitely involves thoughtfulness on my part. Of course, the main layout is my baby. It can involve countless photos and reconstructions of them with Photoshop.

The light layout has to be just right. If it is too dark, it interferes with my ability to build up transparent layers. It must be so light, that it is almost imperceptible.

Once I am satisfied with my light print, I wet the back and cover the edges with gummed paper tape. Then I staple it onto a wooden drafting board. When it’s dry, I cover the entire image with a sheet of Graphix high-tack frisket film. I use a #2 pencil to draw onto the frisket all of the lines I plan to cut.

With sharp tweezers I peel away the areas I will paint. Sometimes, I will cover an area again with masking film once it has already been painted (my camellias, for example). Even with the risk of leaking, it is usually easier.

My Epson Stylus Photo R800 printer is very old. The reason that my shortcut works is that the printer ink for this model is not water soluble. I tried on two occasions to replace my printer with a newer Epson model. But as soon as I wet the area with my brush, the ink dissolved into a muddy mess. Unfortunately, my printer isn’t working well and the inks aren’t easily available anymore. I wonder what I’ll come up with once my R800 dies.

My faint print gives me adequate contour information and painting over it works perfectly for me. I’ve been spoiled, because I’ve been spared countless hours of tracing and transferring. Cutting frisket is tedious enough.

Because I solve all of the compositional, contrast and color issues ahead of time on my computer, I am eager to start painting. I delight in creating beautiful colors and textures. With the time I’ve saved, I am able to create more paintings that I love!

I’m glad I could honestly share. I appreciate what my friend and former art professor Nancy told me when I shared my trepidation about sharing this unconventional shortcut. She said, “Well, if people think it’s easy, let them try it and see what they come up with. Your work will always be unique!”

My trusty Epson Stylus Photo R800 Printer.

Am I a mixed media artist? Or perhaps because photos are so integral to my work, am I a digital artist? Whatever artist I am, I would say that creating beautiful imagery is my entire objective.

Even though I work primarily with watercolor, my “whatever works” motto translates to using many other mediums that go along with it. I carefully choose my subject matter and set up my painting using digital tools.

What a pleasure that is! In the past, I would make photocopies and cut them up with an exacto knife before taping things back together. I have folders of photocopied line drawings that helped me compose many illustrations.

I faithfully follow my motto of “whatever works” as I go along. It can involve a crowquill with liquid frisket or a tiny drop of Badger Acrylic to add tiny details. I use Prismacolor pencils to add texture, over and under my watercolors. I will score the paper lightly with an exacto to indicate tiny veins on leaves or to create a tree bark texture. An eraser (typewriter or electric) is a wonderful tool to rough up and lighten an area. When I’m looking for a stipple effect, toothbrushes are very handy. Sometimes I’ll splatter liquid frisket, other times Badger acrylics or dyes.

I view texture as a puzzle to solve and I hope to inspire others to find out what works for them. Experiment, explore, and have fun taking chances!

Working on one of my paintings usually takes about two weeks. I’m thrilled to be freed from deadlines, because I feel like I am creating something special.

Even though my finished product looks like a photo, I’m always hoping it is better than a photo. A lot of time and energy goes into every painting. The sheer joy of mixing transparent dyes to create brilliant colors gives me pleasure.

Simply creating my art is enough for me. 

Recently, I had good quality art prints made of my work.

 I believe that what I’ve described with words, can best be understood by my sharing some of my favorite projects. (Clicking on the final art image is a link to other posts about that subject.)

My photo reference for Apple Medley.

A medley of apples that I painted just for fun.

My painting named “Camellias in Bloom.”

An example of my photo reference for the above painting. I combined different flowers and backgrounds for my layout.

I painted the camellia flowers first. Every petal was masked with frisket film.

When the flowers were finished, I covered and re-masked them before painting the background.

An in progress look as I painted my “Pomegranate Medley.”

My final painting named “Pomegranate Medley.”

A close up of my pomegranate wedge and arils.

One of my autumn leaf medleys named “Autumn Hope,” which was completed in 2021

 

My photo reference for the painting “Autumn Hope.” I first corrected all the problems digitally, before beginning my painting.

At this point, my painting was finished and I was able to add details with colored pencils.

 

My painting named “Camellias in the Rain.”

Just like my other camellia painting, I painted the flowers first. Then I covered them with frisket film and painted the background.

 

I photographed some peach blossoms to add to a new peach painting. Initially, I wasn’t at all inspired by this photo, but I’m glad I changed my mind. I definitely had to improve the leaves.

My “Peach Blossom Branch” painting in progress. I am drawn to water droplets.

My painting named “Peach Blossom Branch.”

I had to really improve my photo for my “Hummingbird & Hydrangea” painting.

What a difference photo editing made!

 

I painted the hummingbird first. In this photo, the bird is masked with frisket film.

 

My painting named “Hummingbird & Hydrangea.”

My reference photo.

My painting for my friend to memorialize her beloved cat that was killed by a coyote when it slipped out a window.