Peeling Paint: Wash

...and here's the wash. I shall tie in the two main objects using the shaded water reflection. And I'm not sure, but I may make the sky a little stormy--but then, that will change the water reflection...maybe not a good idea...must think on that...


Anyway, I can't wait to define all those boat innards. Makes me think of the research I did on boat building... 

No, I Haven't Forgotten How to Paint!

I know, we all thought I'd given up on painting! I haven't--I've just been preoccupied with editing my novel (yay, UNCHARTED is going to be published in October 2012). Anyway, I've been looking at a painting* I found online of a young woman who looks exactly the way I imagine Marlena from the story. As you all know, I need an image to work from and so I thought I'd try my hand at a watercolor interpretation of Pascal Gentil's painting* that portrays my Marlena so well. Normally, I post my progress as I go, but this time I was feeling rather insecure about pulling it off, so I finished it first. I'm still going to post it incrementally, but if you can't stand waiting a few days, you can get a sneak preview over at my writing blog. Next week, I'll post Gentil's oil painting.*
For now, here's the  wash. (I would have included the sketch as usual, but it turned out too light.)


* Edited to say that I just found Pascal Gentil's Photography Website only to discover his "painting" is in fact a digitally enhanced photograph, which takes a great deal of talent and in no way diminishes my esteem of his work. Oh my, how I'd love to paint many of his subjects! And in a way, it makes me feel all the better about my work.

Eggs, Linen & Glass: The Wash

Well, most of it is 'washed', however I couldn't really 'wash' the cut glass. All those facets--well, each one is its own peculiar shade of gray and umber. At least you can gather the color scheme.

This will be more of a study in texture rather than color, and an exploration of backlight and reflection. It will be tricky going--I may even need to don the magnifying goggles, but I shall prevail!

Reading & Writing: The Wash—Sort Of

Technically, this isn’t exactly a wash on account of the black India ink. After my recent ink mishap, I was a little nervous, but decided that I should lay the ink early on--that way, if I ruined it, I could easily start over without having invested a lot of time.

I'm happy to say, all went well…

Toy Boat: Wash

There’s not a whole lot to the wash in this one—just varying shades of blue and greenish-blue, with a bit of varnished mahogany. The background will be the labor-intensive part.

…ooops, I missed the tiny hatch on the deck, oh well, I’ll fill it in later…

Spring Orchard: The Wash

Here’s the wash—as usual, it’s not much to look at but does provide a color scheme.

Also, it’s at this point that I actually feel committed to a project. (Of course, if you could see my small stack of unfinished paintings, you’d realize that a wash does not always guarantee that I will finish it—however, with this one, I have a little more motivation.)

The Wash

The wash is the easiest part. It’s just a matter of laying down the lightest tone of each hue. It gives a little definition and a hint of what the color scheme will be. The biggest challenge here will be the hair and grass. If I were a less meticulous painter, I’d simply include just enough detail to suggest hair and grass; but I won’t be able to help myself when I see each blade and tress begging for its place on the paper.

The dress (an original, by the way) is the part I will most enjoy rendering: silk chiffon—one of my least preferred fabrics to sew (although it's way better than polyester), but, by far, my favorite to paint. The facings and narrow french seams actually become part of the design and the challenge.

Moorings

This is indeed tricky business; I’ve never been too good at large-scale washes—not that this is large scale per se, but it’s more than I usually do with blending hues, and I’m real uncomfortable with it. (Perhaps I just never learned to do it ‘properly.’) I keep telling myself that it doesn’t have to look exactly like the photo—it’s the feel of it that I want. That is, after all, the reason I chose it. So, here are the first two steps: the drawing and the wash. (The sky wash is a little further along than I usually do at this stage, but it should be worked while it’s all wet.)

At this point, the hardest part is overcoming that angsty feeling that this is going to really suck—that I’ve taken on more than I can do well. I'm not happy with it, but if I overwork the sky at this point, I'll completely botch it. (No perfectionism there!) Of course, I’ll stifle that junk and forge ahead, ‘cause, well, I’ve posted it—and then there’s that wasting paper thing…I’d rather flop than waste a perfectly good sheet of paper. Besides, if it turns out poorly, then you’ll get to see both ends of my artistic spectrum.

The Wash

Okay...that wasn't so scary...

 And I think this one should be a little easier than the last portrait because the face won’t have as drastic shading.

In case you’re wondering, the background will be all black…(and I really hate that this won't fit on my scanner; my lighting is going to be all over the place on these posts...Oh well...)

Giving It a Wash

Thought I’d better post this before I get too carried away.

I thought I was done with the gradations of color on the windowpanes, but decided to add a little glaze (you probably can’t even tell…). Then, I gave the shingles a grayish wash, and next, I’ll jump around, painting individual shakes, building up the detail as I go.