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Watercolour on 140lb cold press 9x13.
Watercolour on 140lb cold press 7x10.
The black used for both paintings is an even mix of Windsor-Newton French Ultramarine and Daniel Smith Quin Burnt Orange.
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Art » WC Brooklyn Bridge
Ink and Wash painting of the Brooklyn Bridge
I had asked our teacher to go over some ink and wash techniques with us. Instead she showed us outlining as a means to "rescue" a painting we weren't happy with. I read about this technique in an issue of Watercolour magazine last year, but it wasn't really what I wanted to work on, so I struck off on my own.
The source image came from an old calendar. It has lots of spectral qualities, which is probably the main attraction of the image as a photograph. I was struck more by the structural elements of the bridge, the skyline against the horizon, and the diagonal parking area.
I was initially pretty pleased with how the inking turned out. I used a Sharpie writing pen, rather than my usual Sharpie markers. The ink was drying out with the near constant use on the very absorbant watercolour paper, so it's not nearly as I'd have liked it. Still I do like the way things look at this point.
I'm hoping I can manipulate the bridge deck to return some perspective to it and make it actually look like it's moving into the picture.
Started a new project today, a snowy church with trees around:
Other people in the class had been working on this piece a few weeks back, when I was working on the waterfall. I finally decided to put that aside and work on something else.
I decided to forgo looking at the source photo at all, and do this entirely from my own thoughts and feelings. I sketched up the basic shapes of the church, steeple, windows, ground line and trees without any guides, save the 3x3 matrix. (I still need to get those lines erased.)
The instructor said to start with painting in a graduated wash of raw sienna starting from the ground line and going up, lightest part on the top of the page. I didn't have raw sienna, so I used quin gold instead, which I am particularly happy with. I wish I had gotten a picture of it while just the gold wash was on it, but sadly, my phone was dead.
The next was to put a blue wash from the top down. I used french ultramarine tempered with a bit of cerulean blue. I tried to wait until the previous wash was completely dry, including running a hot blow drier over it, but I think the paper still had a tiny bit of moisture in it, since the sky wash didn't come out as neatly as I'd like.
While the sky was wet, I started to paint in the background trees. Unfortunately, the sky wash dried rather quickly and so I didn't get the bleeding I wanted all around.
(Cross-posted from a snowy church with trees around)