tag:blogger.com,1999:blog-36550673369190122312024-03-13T20:26:43.935+08:00Karen Sioson WatercolorsPaintings in WatercolorsAnonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-3655067336919012231.post-11185244692138597032015-02-14T04:08:00.002+08:002015-02-14T04:08:46.295+08:00DIY Styro Fruit Box Watercolor Paper Stretcher<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMmfLxKoxnH1LkGHF4lkdDWWQikBRG244Q3iTF2E33_SFDhhZbJ2R7GqFTsurRk4Va8r_9GqtGMtHSQvyKlQWIieZVfzAADzpI8KU6pZYc0mNsCOisj2BsOTEC7HoaRDgAhS4xHpdGJn31/s1600/IMG_2921.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMmfLxKoxnH1LkGHF4lkdDWWQikBRG244Q3iTF2E33_SFDhhZbJ2R7GqFTsurRk4Va8r_9GqtGMtHSQvyKlQWIieZVfzAADzpI8KU6pZYc0mNsCOisj2BsOTEC7HoaRDgAhS4xHpdGJn31/s1600/IMG_2921.JPG" height="240" width="320" /></a>I have a lot of styrofoam fruit boxes lying around from my hydroponic lettuce project. These are the containers most grapes come packaged in. Most fruit stands will be happy to sell them to you for Php 20. I did a bit of research a while back on whether styro is safe for use in hydroponics and from what I had read realized that I may have a use for it even in watercolor painting. Learned styro does not have acid or base properties. It is also basically inert or stable. Perfect material for making watercolor paper stretcher support. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWIyotZd1DEjz7SCtg0Y23goAgOffELFhh_RnAGx9q8xWRDgWAcfNT4qFpfHDfsfu5Zk570U6Lw2r_ZiDcWnvBjMuWLz-_LZJB3dYwxYiGfB5lQhgfJ2jc78QYB1HhzuUi5FZzxZQQlqXZ/s1600/received_840607065992120_1.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWIyotZd1DEjz7SCtg0Y23goAgOffELFhh_RnAGx9q8xWRDgWAcfNT4qFpfHDfsfu5Zk570U6Lw2r_ZiDcWnvBjMuWLz-_LZJB3dYwxYiGfB5lQhgfJ2jc78QYB1HhzuUi5FZzxZQQlqXZ/s1600/received_840607065992120_1.jpeg" height="180" width="320" /></a>You will need a sharp cutter and a metal ruler to cut out the rectangular panel on the bottom and top of the box.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi259DZvNw6GIn4X2YGsimA-xo15Q1zlElGN-V_paeXe6-Ys9QzAmcgQxW96nlzI6fqvC8v0Xg_-tZ_0okmVbsCzxQhvbq17Nx_bks3pboKmhNVwKps2uaOa39mb6yXkPSYLa8OOPL7IVUw/s1600/DSC_0070.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi259DZvNw6GIn4X2YGsimA-xo15Q1zlElGN-V_paeXe6-Ys9QzAmcgQxW96nlzI6fqvC8v0Xg_-tZ_0okmVbsCzxQhvbq17Nx_bks3pboKmhNVwKps2uaOa39mb6yXkPSYLa8OOPL7IVUw/s1600/DSC_0070.JPG" height="180" width="320" /></a><span style="text-align: right;"><br /><br /><br /><br /><br /><br /><br /></span><span style="text-align: right;">I was on a roll and finished cutting this many boxes. You can see where to cut the styro box to get the biggest possible panel. </span></div>
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<span style="text-align: right;"><br />Kuya Ric asked for the castoffs when he saw it. He said he was going to melt them and use to patch up their tin roofing. </span></div>
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You will need to wash the styro panels thoroughly with water and detergent. I used a soft scrub brush to clean the surfaces of dirt and any fungicide that might have gotten to it when the grapes were sprayed with the chemical to make it last longer. (I saw a sticker warning on the box about the fungicide spraying.) Dry the panels thoroughly. Place them on a table under the sun. </div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgdZyzdKeCPtRxWNKioTJ1qHXVnV0_12RbBm-NaaChvYQHL8_Ua1p6GwdWa9SJ3KGVaua_ZZNz7vtD5KOGft6H98OzqNTNEuOC1sHfV-09F5OKgTG4vyr4S4Nh62V6PErUxXaBzXW9JgG/s1600/received_840608592658634.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgdZyzdKeCPtRxWNKioTJ1qHXVnV0_12RbBm-NaaChvYQHL8_Ua1p6GwdWa9SJ3KGVaua_ZZNz7vtD5KOGft6H98OzqNTNEuOC1sHfV-09F5OKgTG4vyr4S4Nh62V6PErUxXaBzXW9JgG/s1600/received_840608592658634.jpeg" height="180" width="320" /></a><br />You will need to glue two pieces of panels together. One panel would easily give way to the forces exerted by the shrinking paper but two would be sturdy enough to withstand the pull forces. You can use Elmer's glue or if you can find styro glue like the one shown on the right, that is even better.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvmucBQc73nBAuoZ50kBqej0WsioIdaxeSA8Xny2nDldhzCjFPEejTSVPxt4Lh4brEpaK4KajBff_Mp7hoPeYsJuv9jXuo5kcDdch-pWeeBNZHp6bVdOd158gFCfQk-6A-zmAek5L9b-S/s1600/received_841095692609924.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvmucBQc73nBAuoZ50kBqej0WsioIdaxeSA8Xny2nDldhzCjFPEejTSVPxt4Lh4brEpaK4KajBff_Mp7hoPeYsJuv9jXuo5kcDdch-pWeeBNZHp6bVdOd158gFCfQk-6A-zmAek5L9b-S/s1600/received_841095692609924.jpeg" height="196" width="320" /></a><br />
Weigh the panels down with books on top to get a better bond between the panels. Set aside and come back to it the next day.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigXWxIP7BcCX1oZkkrAkvNqHLraMtXb_Yr5rXMUxriQ8RKkMu8MHAh08QUmzO41T70ILoDhJIKPiroLdCL7yaLPy98fqR5bSKFiBd3n7hEV3mcssBRM-s7mZlAQGu_zZTDrMMMUV2xjKrd/s1600/styro.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigXWxIP7BcCX1oZkkrAkvNqHLraMtXb_Yr5rXMUxriQ8RKkMu8MHAh08QUmzO41T70ILoDhJIKPiroLdCL7yaLPy98fqR5bSKFiBd3n7hEV3mcssBRM-s7mZlAQGu_zZTDrMMMUV2xjKrd/s1600/styro.jpg" height="320" width="182" /></a>With sandpaper I wrapped around a box of soap, I smoothed the surfaces and sides of the stretcher. Even did a bit of beveling and rounding of sharp corners. Wear a face mask when you do the sanding. You would not want to get styro dust into your respiratory system.<br />
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I coated the surface with gesso. You can skip this part. Not really necessary except that I had some leftover gesso lying around. Much later though, I noticed the gesso somehow helped protect the panel by making it easier to lift the gummed paper tape off the surface with little or no damage left behind. Run water over the surface and get rid of any gunk left behind. I dried the board under the sun. Looks good as new and ready for stretching again. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyzEbku1m-igJkp25Ovm8bk74ITyNQAevXn5s9hyDUtPREojzX09AzGECit0VA0FbnSQ3m2M8T0mXsjcUbthl_tKdSTqdUOWPbIg4NQ7cCnJsij0Q0maFDSnptD0d0a652hW0wDm9f6Aj/s1600/DSC_0017.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyzEbku1m-igJkp25Ovm8bk74ITyNQAevXn5s9hyDUtPREojzX09AzGECit0VA0FbnSQ3m2M8T0mXsjcUbthl_tKdSTqdUOWPbIg4NQ7cCnJsij0Q0maFDSnptD0d0a652hW0wDm9f6Aj/s1600/DSC_0017.JPG" height="225" width="400" /></a></div>
Not bad, eh? It took in staples well. Does not hurt the wrist as much as when stapling on wood board. Gummed paper tape also adhered to the styro well. Stretched papers were very flat.<br />
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Thank you for checking in to read this article. As always, feedback or modification ideas welcome.Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com0tag:blogger.com,1999:blog-3655067336919012231.post-47490925974935840192015-02-13T05:07:00.002+08:002015-02-13T16:02:31.231+08:00DIY Archival Storage for Unframed Watercolor Paintings<div class="separator" style="clear: both; text-align: center;">
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I sometimes get asked how I store unframed finished paintings. The usual problems that come up when storing watercolors are insect damage, yellowing, spotting and fading. I had the same problems before but through trial and error, I seem to have stumbled upon a possible solution.<br />
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Materials needed:<br />
cardboard sheet<br />
gesso<br />
cutter/scissors<br />
clear tape<br />
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clear plastic (medium thickness book cover, or thicker)<br />
ribbons (optional)<br />
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To make an archival envelope for the painting, I first made the envelope using a cardboard sheet folded and cut to make an envelope with unglued sides. Put a layer of gesso on the parts that will touch the painting. Take away the painting first of course. Make sure the painting is placed in a safe place where it will not accidentally get gesso splatter when you prepare the envelop. You need this gesso buffer between the cardboard and watercolor paper to prevent the paper from yellowing or spotting in the future because of contact with non acid free cardboard. Putting the painting in the envelope will protect it from light which causes fading. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihslBFnOKd_l533OmImxGlTzbs5dVNXCfO4dZ8dc03Kaxc4WCs5q0z28fLhjgRNq-i2NqTA-n4TEY8d9H9OhHotvqdVOY4FbgMyPiWQ_2wG5q3o1HzP7OPK4Gqv6uYoou5kGkwHYHH5YuW/s1600/DSC_0088.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihslBFnOKd_l533OmImxGlTzbs5dVNXCfO4dZ8dc03Kaxc4WCs5q0z28fLhjgRNq-i2NqTA-n4TEY8d9H9OhHotvqdVOY4FbgMyPiWQ_2wG5q3o1HzP7OPK4Gqv6uYoou5kGkwHYHH5YuW/s1600/DSC_0088.JPG" height="180" width="320" /></a></div>
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I would then wrap the envelope with two sheets of Manila paper. This extra layer would act as added protection for the painting against moisture and heat that may get through the plastic casing. Yes, hard to believe, moisture can get through the plastic but somehow it happens. Learned in science class of how plastic despite seeming to be waterproof is not completely impermeable (plastic, starch and iodine science experiment). This may be one reason why during the rainy season when the air can get very damp, watercolor paintings stored in plastic casings still may develop mildew/mold despite being completely encased. The additional Manila paper buffer seems to do a great job keeping any moisture getting in from reaching the gessoed envelop and painting so I continue the practice to this day. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvoG59VIT838X9B1N9JgGSg7_Kht74y9dJE4EgB2Tw-9jHiFY-j9Ih2QdtitnGSr7DwluqB52UtwwnsbINJ7v4JguoSz4l67qdLAdGtUOviL0XGu4RStlYZqzFIy2JzmfwfFy6a96ZnHCG/s1600/DSC_0086.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvoG59VIT838X9B1N9JgGSg7_Kht74y9dJE4EgB2Tw-9jHiFY-j9Ih2QdtitnGSr7DwluqB52UtwwnsbINJ7v4JguoSz4l67qdLAdGtUOviL0XGu4RStlYZqzFIy2JzmfwfFy6a96ZnHCG/s1600/DSC_0086.JPG" height="180" width="320" /></a></div>
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Above pic shows the plastic casing I made for the pack. I use plastic sheets (book cover plastic bought by the yard) found in school supplies store locally. Try to get the thicker kind, they are less prone to becoming brittle. I would then tape all openings with clear tape except for one side for which I would leave enough plastic that I can fold several times over (for locking). I then would create a ribbon fastener. Just tape an end of each ribbon fastener onto the plastic with clear tape.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3uCa0k0UIxwsTkUeQyxIFYokMw0Mk9rKIH-ACajQ2ddmtydASinZO12XAr2EM1ateMZyC5pJvTjiwcJSyBGHS8XCheaYR0ZSGY79Omm2BMnm9w7q9ltho_SZH1oRbtP-1Q1YO3ZYO8JUd/s1600/DSC_0091.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3uCa0k0UIxwsTkUeQyxIFYokMw0Mk9rKIH-ACajQ2ddmtydASinZO12XAr2EM1ateMZyC5pJvTjiwcJSyBGHS8XCheaYR0ZSGY79Omm2BMnm9w7q9ltho_SZH1oRbtP-1Q1YO3ZYO8JUd/s1600/DSC_0091.JPG" height="180" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisbCeaSzWb1xuevOfAK7l6mjwoAJXROtBUcdOq-EeDgbFm7zY32_a06ftjjc8Rc7iF91rjNa9HmT4CQSK32yV0x9HyE6YeMmHfOgwmvMKPVWrsThVqweKTucgxc_aHwXZ3BnY5jqW-6Foa/s1600/DSC_0089.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisbCeaSzWb1xuevOfAK7l6mjwoAJXROtBUcdOq-EeDgbFm7zY32_a06ftjjc8Rc7iF91rjNa9HmT4CQSK32yV0x9HyE6YeMmHfOgwmvMKPVWrsThVqweKTucgxc_aHwXZ3BnY5jqW-6Foa/s1600/DSC_0089.JPG" height="180" width="320" /></a>The plastic casing is a good barrier against insects, moisture, and dirt. When termites got to my stuff (was storing my supplies and old paintings in a cabinet), it was this plastic casing that saved my old practice paintings (late 1990s). See pic to the right and bottom. I like thinking it broke some termite teeth. They were not able to get in. The casings were dirty but it took only some wiping to get off the sticky gunk and I was happy to learn the paintings were okay. <br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPhtoVGrgdetekiUHdMVeepOu8BxWXXGsTlfktQrswgZDGur2k9nYtiIIZ6Myb5mX6npuThrz4ZfA3ZqJp11kt8SJF_dXQY2DqxINPUwjXNQK5dk_oOVt8SUxWx2KDEyf6eSSG9UYvAQ_P/s1600/DSC_0090.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPhtoVGrgdetekiUHdMVeepOu8BxWXXGsTlfktQrswgZDGur2k9nYtiIIZ6Myb5mX6npuThrz4ZfA3ZqJp11kt8SJF_dXQY2DqxINPUwjXNQK5dk_oOVt8SUxWx2KDEyf6eSSG9UYvAQ_P/s1600/DSC_0090.JPG" height="320" width="180" /></a> </div>
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Now, seeing as how the paintings fared well over the years with just the plastic casing, why bother with the Manila paper and the gessoed envelop? Brace yourself, another nerdy moment. Ahaha. I learned in a food packaging seminar (Seminar was free and I love free learning experiences) that not all plastics are the same. Some are food grade, some not. It is safe to assume some are archival and some also are not. (I was able to buy some archival portfolio plastic sleeves online before so I know the plastic used for artworks is different (label said so)). While the book cover plastic available locally seems not to yellow, some plastic packaging do. Some friends have told me they found stored unused paper yellowing despite leaving them in plastic packages. They noticed only the paper surfaces directly in contact with the plastic had yellowed. Since we do not know if the book cover plastics are really of archival quality, I make sure the paintings I store now do not get directly in contact with the plastic.<br /><br />I have been checking the paintings I stored using the new process every few months. Some I get to check after a year. Seems to be doing great. This also lets me air out the paintings every now and then. <br /><br />For those who will try this DIY, feedback is always appreciated. This is also a learning experience for me.<br /><br />As always, thank you very much to readers and supporters for looking in. </div>
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Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com5tag:blogger.com,1999:blog-3655067336919012231.post-88745992126414287302014-02-21T09:29:00.000+08:002014-02-28T15:22:35.873+08:00Young Artists International Watercolor Society Contest 2014What a great turnout for the 2014 IWS Contest. Around 600 artists from 69 different countries participated in the contest. Congratulations to the winners and to all who participated.<br />
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<b>THE WINNERS OF THE INTERNATIONAL CATEGORY<br /></b><br />
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<b>THE WINNERS OF THE NATIONAL CATEGORY</b></div>
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<b>THE RECIPIENT OF THE HIGH SCHOOL ENCOURAGEMENT AWARD</b></div>
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All entries are available for viewing at the <a href="https://www.facebook.com/groups/126112630840187/" target="_blank">2014 IWS Contest Page</a></div>
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<b>MEET THE JURY</b></div>
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<b>WATERCOLOR BIENNIAL</b><br /><br />IWS cordially invites all to join the International Watercolor Painting Biennial to be held on May 5-8, 2014 in Cappadocia, Turkey. For more details, click on the picture link below.</div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.facebook.com/events/481099328670416/" target="_blank">Travel and Paint in Turkey</a></td></tr>
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Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com0tag:blogger.com,1999:blog-3655067336919012231.post-73727991041622298462013-01-25T04:03:00.001+08:002013-01-25T04:10:54.657+08:00Sunset DemoA bit of a break from my flower paintings.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMuC5hbFQZZ_i_wixhAUl9HlrpehitenA0owq0ATwoBFxn1fEQtTM9rcRV-TU3coD-NeqpZa0LT_aiBzV2RTqOg0v4fwxlMo8fobNrt5aYPStmxlTOHIgjbkRbsz_pF3CXcRsa2PVnAcDn/s1600/IMG_0461.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMuC5hbFQZZ_i_wixhAUl9HlrpehitenA0owq0ATwoBFxn1fEQtTM9rcRV-TU3coD-NeqpZa0LT_aiBzV2RTqOg0v4fwxlMo8fobNrt5aYPStmxlTOHIgjbkRbsz_pF3CXcRsa2PVnAcDn/s320/IMG_0461.jpg" width="320" /></a></div>
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Sun / sky paintings are great for demonstrating traditional watercolor techniques. That is when you use the white of the paper to lighten your colors instead of adding white pigment. Transparent watercolors are used and the color white is created by leaving the paper unpainted.<br />
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The reference photo for this demo was provided by my friend Rhona Limcangco. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyu8B0HZJjpnFHaaGMJPpe_ibVOtLCDHowqwr1HXi8SDFAZH8qB5vhyarph2SyKnLNurFvpweKWRm1ujAYfdZOmCLnBLwpu7khQeCk_bloziTldqKzZdQdQMzC46KTXWXYEh4IEa-I7x7R/s1600/neg+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyu8B0HZJjpnFHaaGMJPpe_ibVOtLCDHowqwr1HXi8SDFAZH8qB5vhyarph2SyKnLNurFvpweKWRm1ujAYfdZOmCLnBLwpu7khQeCk_bloziTldqKzZdQdQMzC46KTXWXYEh4IEa-I7x7R/s200/neg+1.jpg" width="200" /></a></div>
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I drew my guides lightly with a pencil. I placed the horizon line lower, the sun moved to the left (off center) and marked where the reflection of the sun hits the water. The blocked area of the sun will remain unpainted throughout the demo.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQmq13lwBbi7Av2rniiGNoad26xofqHukBWxUxeamzAVdd_fRJ4ExMe2FAQRqUDNNxxCR12zUe5dDMmpsctKCwLf5jXiVHj5mR718UZcjIi09z7h1hH93u5eUswY0aucJvRKw8VsNd_1aH/s1600/with+color+guide.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQmq13lwBbi7Av2rniiGNoad26xofqHukBWxUxeamzAVdd_fRJ4ExMe2FAQRqUDNNxxCR12zUe5dDMmpsctKCwLf5jXiVHj5mR718UZcjIi09z7h1hH93u5eUswY0aucJvRKw8VsNd_1aH/s400/with+color+guide.jpg" width="400" /></a></div>
I am using a limited palette for this demo: French ultramarine blue, cerulean blue, raw sienna, burnt sienna, Winsor yellow and towards the last part, some ivory black.<br />
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I started by painting around the sun outline with a very pale wash of raw sienna and Winsor yellow. My initial washes are usually very, very light and just enough to define the guides. I intend to erase all the pencil lines as soon as possible. Graphite can dirty your colors. Specially when using yellows, I find that pencil marks can become almost impossible to erase if glazed over with yellow paint. The success of the illusion of a blindingly bright sun depends a lot on you being able to erase the pencil mark around the sun. I got this idea while we were travelling one afternoon. I often use the time when I am not the one driving to look for possible subjects for paintings. I try to puzzle out how I can paint the objects and scenery that catches my fancy. Always with a camera ready on hand, I was trying to take a picture of the sky with the sun peeking through the clouds at about 2 or 3 p.m. Directly pointing the camera at the sun scene though only registered a big blob of light, no details. Probably something you can shoot better if you have the more sophisticated cameras and the time to tinker with the controls. But as I was using a point and shoot camera in a moving vehicle, the result was a light blinded picture. So I did the next best thing. Back to good old reliable observation with the naked eye. Squinting, I could see the sun as a white hot disc with its shape defined by a still bright but less so sky. And as I moved my attention farther from the source of light, the sky color gradually transitioned to its normal color. Er, of course, I paid for this constant staring afterwards spending the next twenty minutes seeing violet afterimages wherever I look and had difficulty seeing when we finally got to our destination and gone indoors. Staring directly at the sun is something I would not recommend to others as you can really damage your eyes but the lesson of the story is firsthand observation is still the best. The knowledge gained from that experience I can now use when painting a better sun and sky for this demo.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYadcT35FRrjnEM9-teQtLvkx1TKsUAVDWVduHWlTvdrOZR6jcNSJnfQSugWvOW1rPGdnYskwlBHmLIO3WDp4qQXcY1RsENIsgJ2Jgyfjz5-cKDsjiczxOqQL1vbWirR-DQsuKXacQAHjU/s1600/no+pencils.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYadcT35FRrjnEM9-teQtLvkx1TKsUAVDWVduHWlTvdrOZR6jcNSJnfQSugWvOW1rPGdnYskwlBHmLIO3WDp4qQXcY1RsENIsgJ2Jgyfjz5-cKDsjiczxOqQL1vbWirR-DQsuKXacQAHjU/s320/no+pencils.jpg" width="320" /></a></div>
Pencil marks removed. <br />
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Using the same colors I used for the sky but in a slightly darker shade, I placed a wash of color to define the water and beach areas. Soften some of the edges by blending the colors in the areas together. Take note of the beach area and water line specially on the left side.<br />
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To further enhance the brightness of the sun's reflection on the water, lighten the part of the horizon line directly below the sun.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDl_dB9sU2QNlWje1vouSYFzvA2CVW1rjGgltnwfwHLwyTbnC1iBtlLFihQDc-xzXvXFS1ljW85TaHzHeALoQGXLyRGUQ8jnCMoMIeR0bu-Acrh6bhGcM_mqNxbl-VFv4TH7ybQHdodxOX/s1600/cloud+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDl_dB9sU2QNlWje1vouSYFzvA2CVW1rjGgltnwfwHLwyTbnC1iBtlLFihQDc-xzXvXFS1ljW85TaHzHeALoQGXLyRGUQ8jnCMoMIeR0bu-Acrh6bhGcM_mqNxbl-VFv4TH7ybQHdodxOX/s320/cloud+1.jpg" width="320" /></a></div>
For the clouds, I used a mixture of french ultramarine blue and burnt sienna to create the cloud shapes. Nearer the sun, I made the clouds lighter in color. Go darker as you move away from the sun. The "silver lining" or halo around the clouds you can create the illusion of by painting an outline with a thin margin of space around the clouds using the base color of the sky in that area. Above the clouds, I used cerulean blue, darkening around the cloud outline and blending with clear water towards the sun to create a subtle transition. Below the clouds and near the horizon line, I darkened using Winsor Yellow to warm the area nearer the sun.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBhpGqW_4G3NswN1j_XcY02Mik9cbKHS3suJrdZlX86mGAV9TrIXcuDpzOl-s29Ln972IyKei2XHHou0QwDU9jAl0IUHoo5dzeFuEpvDPK_ENqLdw3BWXndhUHcVbxqePQo7VB0n4eM03U/s1600/glaze.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBhpGqW_4G3NswN1j_XcY02Mik9cbKHS3suJrdZlX86mGAV9TrIXcuDpzOl-s29Ln972IyKei2XHHou0QwDU9jAl0IUHoo5dzeFuEpvDPK_ENqLdw3BWXndhUHcVbxqePQo7VB0n4eM03U/s320/glaze.jpg" width="320" /></a></div>
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I dry completely between applications to keep my wash passages from disturbing the earlier paint layers.<br />
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Two methods for darkening the sky: One is applying french ultramarine to the top and sides and then blending it with clear water to lighten it as you go towards the sun area. The other method is what I used. I applied clear water on the sky area, making sure to work around the sun spot and the clouds' silver linings, and then dropped darker colors at the outer corners. This takes timing. I usually wait for the water to be absorbed to the point where only a very thin film of water remains on the surface of the paper. This sheen is more apparent when you look at the paper's surface from a certain angle. You can see this "sheen" in the picture on the right. Instead of using the brush to guide the colors, I use gravity to direct where I want the colors to go to. Yes, you can paint by tilting and moving your paper about. It will even give you a softer gradation of colors than if you were to use a brush.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTDM7MYEQR6WKys-qLM3Nwv1elNlKUtGgjiomuR3SPM5D-T7dV5sgA-81orSkY9aBaiRQf2qLQA-VbqADccZpPAHfqEMwOnM1JbDPSEsTpFKL87ptqkWBL6mR8CIh0gU9GEV8ZMafjVopt/s1600/water+n+beach.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTDM7MYEQR6WKys-qLM3Nwv1elNlKUtGgjiomuR3SPM5D-T7dV5sgA-81orSkY9aBaiRQf2qLQA-VbqADccZpPAHfqEMwOnM1JbDPSEsTpFKL87ptqkWBL6mR8CIh0gU9GEV8ZMafjVopt/s320/water+n+beach.jpg" width="320" /></a></div>
Added more yellow to the water and darkened the water areas using more french ultramarine and ivory black. Used the reference photo as a guide when placing the wave lines. Beach area also darkened with more burnt sienna grayed with french ultramarine and ivory black.<br />
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Defined the clouds some more by darkening outer clouds. <br />
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Horizon line was softened by darkening the sky above the horizon and graying the leftmost and rightmost areas with ivory black.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCtGucP_f8a6u8kMYO_FfWuFm7MnjlK9Ha8JNI5yIoxrge2ejmTmRWemXwybDjNu6KAjjix16EpnqNpNQjyghdubwBfTyPtCfRDKWOuaek7YtWbppXwVZnHRkD0QNh2mVhbepuoCOBhcXS/s1600/finished.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCtGucP_f8a6u8kMYO_FfWuFm7MnjlK9Ha8JNI5yIoxrge2ejmTmRWemXwybDjNu6KAjjix16EpnqNpNQjyghdubwBfTyPtCfRDKWOuaek7YtWbppXwVZnHRkD0QNh2mVhbepuoCOBhcXS/s400/finished.jpg" width="400" /></a></div>
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Finally, people and boat silhouettes were added using ivory black. I decided to do away with the viewing hut as it will surely compete for attention with the sun if left in place.<br />
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Does looking at the sun in the painting make you want to squint? It still is just the white of the paper. :D<br />
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Thank you for looking and reading.</div>
Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com4tag:blogger.com,1999:blog-3655067336919012231.post-85358213612050237702013-01-04T17:23:00.000+08:002013-01-07T14:25:03.543+08:00<div class="separator" style="clear: both; text-align: center;">
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Purple Rain<br />
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14.5 x 24<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVgJcoiBcLxPY2MO5XPtoiqT4Mmb5PNeC8s-sNs8Z_siq5hwWsqWBoUkUztXjygC86IHBYRUUW1FfXx0Np7h3FqtikKfwCR8LAraqScunC5FI_d9OYu3N1ESF2EVWNMqtiLRUp4wydM_l/s1600/Untitled-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVgJcoiBcLxPY2MO5XPtoiqT4Mmb5PNeC8s-sNs8Z_siq5hwWsqWBoUkUztXjygC86IHBYRUUW1FfXx0Np7h3FqtikKfwCR8LAraqScunC5FI_d9OYu3N1ESF2EVWNMqtiLRUp4wydM_l/s320/Untitled-1.jpg" width="204" /></a></div>
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<br />Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com2tag:blogger.com,1999:blog-3655067336919012231.post-2856174579093647562012-07-17T17:34:00.001+08:002013-01-25T14:16:36.008+08:00International Watercolor Society<span style="background-color: white;">What a treat I got in the mail. A packet from Turkey arrived and it contained my copy of the IWS Catalog and a certificate of appreciation too.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwi-G8r1xPbYVuimzE2dJipEDQ8F4QqzeYvhlruONgXsEBh9fyJSwkT6IJdkj3DYxWEvXU-7gyeNqE3RxttFClqsWz2OW5P8NAaTAFDEBNWj1yvYkI4GDSRHnhyv8GBGXFYbTp3gflQAZ/s1600/IMG_3743.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwi-G8r1xPbYVuimzE2dJipEDQ8F4QqzeYvhlruONgXsEBh9fyJSwkT6IJdkj3DYxWEvXU-7gyeNqE3RxttFClqsWz2OW5P8NAaTAFDEBNWj1yvYkI4GDSRHnhyv8GBGXFYbTp3gflQAZ/s320/IMG_3743.JPG" width="320" /></a></div>
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Thank you very much IWS. What a great honor for me. Thank you not just for the experience but also because I met and gained new friends who share the passion for the medium.
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<span style="font-size: large;">About IWS - International Watercolor Society</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzdKo6xuVskm4s-zvvdDA0Kpmth9Vi2LgBm8XdQvgAm_ir1tJclvTQqQ2T87aZOVDKCk_VmvQjpm92-pNp9zk7CerfMLz8-2HASOx96U2Y6YXg9ySQyCaaGecIYVhGmZwWuiqQDNwFo1dr/s1600/246487_194173810705891_1936658340_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzdKo6xuVskm4s-zvvdDA0Kpmth9Vi2LgBm8XdQvgAm_ir1tJclvTQqQ2T87aZOVDKCk_VmvQjpm92-pNp9zk7CerfMLz8-2HASOx96U2Y6YXg9ySQyCaaGecIYVhGmZwWuiqQDNwFo1dr/s400/246487_194173810705891_1936658340_n.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1il2UwFM3-iXT-XMRaQFrKQs_sda3yLuKjPDzq9yoCSJaM-kF0QXB8_wglWgscmASoLb73sF6DAbJz5VMWGYc3wLycTr3WAveZ5pxAHH5PKIkaKAoCm1eLm-59I6oRBz-THXsQhwCQ6bc/s1600/389616_194173964039209_308664261_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1il2UwFM3-iXT-XMRaQFrKQs_sda3yLuKjPDzq9yoCSJaM-kF0QXB8_wglWgscmASoLb73sF6DAbJz5VMWGYc3wLycTr3WAveZ5pxAHH5PKIkaKAoCm1eLm-59I6oRBz-THXsQhwCQ6bc/s400/389616_194173964039209_308664261_n.jpg" width="400" /></a></div>
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<a href="http://www.internationalwatercolor.com/" target="_blank">Official website of International Watercolor Society</a></div>
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<a href="http://www.facebook.com/groups/126112630840187/" target="_blank">International Watercolor Society Art Contest on FB</a></div>
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The catalog is not yet available for ordering but is available for viewing online. Catalog cover pic will take you to the fb album. A bit of correction. The 2013 is not yet out. This is the 2012 IWS catalog.<br />
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<a href="http://www.facebook.com/media/set/?set=a.465127973551616.111063.248127571918325&type=1" target="_blank"><img alt="IWS Catalog" border="0" height="154" src="http://i1156.photobucket.com/albums/p570/Karen_Sioson/IWScatalog.jpg" width="320" /></a><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipNVQtl3TXjpK1yUQBbgCHxr-bMm3cKyCQOwHk08X3hEpGcrF2OqUV5GC2tHL9PqCHm1qJlSSMYdpHXsHOmC9vXlcem-5pWhkcyS91jI5xokSGwbWT3yXqgk3xgPSdbl7UzIM2DLl4af52/s1600/2010+gumamela+FB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipNVQtl3TXjpK1yUQBbgCHxr-bMm3cKyCQOwHk08X3hEpGcrF2OqUV5GC2tHL9PqCHm1qJlSSMYdpHXsHOmC9vXlcem-5pWhkcyS91jI5xokSGwbWT3yXqgk3xgPSdbl7UzIM2DLl4af52/s320/2010+gumamela+FB.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My painting that got included.</td></tr>
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Before I go, let me share with you this video collection compiled by IWS from participating artists all over the world. Watercolor is really a very expressive medium able to accommodate a multitude of styles.<br />
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<a href="http://www.youtube.com/watch?v=L0vDZnVey2s" target="_blank"><img alt="2012 IWS Jury Committee" border="0" height="251" src="http://i1156.photobucket.com/albums/p570/Karen_Sioson/YOUTUBELINK.jpg" width="320" /></a><br />
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<br />Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com2tag:blogger.com,1999:blog-3655067336919012231.post-87790281986350457312012-06-30T11:44:00.001+08:002012-06-30T15:14:48.274+08:00Red Hibiscus… With Girl<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHBCMvyfi9gX29N2wfwdY56uvDS6HjeTJ6oZUP6dmJORUh2W0qjJiK43tXA3xqIqkQTD0lELuB19rfFr0winz55qemqDlUlqd5WMnjCTshEcjsWpaFu4egkO3AGpy6qoVHGt0g1PYrK0l/s1600/M1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHBCMvyfi9gX29N2wfwdY56uvDS6HjeTJ6oZUP6dmJORUh2W0qjJiK43tXA3xqIqkQTD0lELuB19rfFr0winz55qemqDlUlqd5WMnjCTshEcjsWpaFu4egkO3AGpy6qoVHGt0g1PYrK0l/s320/M1.jpg" width="320" /></span></a></div>
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<span style="font-family: inherit; font-size: xx-small;">KS00087</span></div>
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<span style="font-family: inherit; font-size: x-small;">12.5 x 15 inches</span></div>
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<span style="font-family: inherit; font-size: x-small;">watercolor on paper</span></div>
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<span style="font-family: inherit;">Kidding! Haven’t
decided on the painting’s title yet. Was
just playing around with the article title and thought I probably should
acknowledge that I am aware some of you may be thinking that I am stuck on
hibiscuses with them being mostly my output lately. Partly true.
Could not help myself. I had not
realized there were so many color varieties for this flower that it makes me want
to experiment with the color mixes whenever I get my hands on a new variety. The second reason is because I get requests
for hibiscus paintings. Win/win for
me. I get to paint what I like often.</span></div>
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<span style="font-family: inherit; font-size: small;">ABOUT THE PAINTING</span></h3>
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<span style="line-height: 115%;"><span style="font-family: inherit;">Let
me introduce you to Morgana, my niece.
She was accompanying me around their garden as I scouted for
flowers when the reference photo for
this painting was taken. Not many are
probably aware but perfect reference photos do not usually just happen by
chance. Most blooms have a mind of their
own and usually pose themselves so that they stand out like divas from their peers. Perhaps a quirk of evolution... survival of
the prettiest. More often than not, as I
like painting flowers in their natural setting, I would find myself fixing and
posing the flower/s on the spot. I was
doing exactly that with the red hibiscus here.
The flower was quite large and looked velvety red. it was also the sole bloom at that time from
that particular plant. So when my niece suddenly
placed herself in front of the camera and pulled on this bloom, my first
reaction was to panic. I have just spent
several minutes tucking this branch here, this leaf there, and I thought she
was going to snap the flower off thinking to help me by just handing the thing
to me. So I was saying…no…no…no… and
then realized she was carefully posing with it.
Feeling relieved, I took her picture.
When I looked at the camera display, I realized, wow... she’s quite a
photogenic kid. The lighting seemed
perfect too. Sunlight was coming from
behind the foliage highlighting her hair in places and there was a lot of
reflected colors. It is a good thing
she’s not shy around the camera and was game when I gave her instructions… look
this way, hold, now smile when I tell you to… the kid is a natural model. I exercised artistic license though and later
changed her ornate headband to a plain white one when I painted it. She was also wearing a black top with a
checkered green and peach pattern which I changed to plain unadorned white for
two reasons: To make sure the outfit
would not pull attention from her face and also because the lighter color would
suit a child better. Originally, I was
planning to use a very simple background for this painting. So it would be just Morgana and the red
flower. But as I started to put the
initial washes for the arm that she was holding the bloom with, I realized her
body position and gesture would look unnatural and strained if I did not
include into the painting a hint of why she is posed like that. So I included the leaves and the upper part
of the plant that the flower is attached to.
At the same time, I was aware that if I made the plant too detailed, it
may compete for the viewer’s attention.
I used more definition for the leaves specially the one on top that was pushing
against her hair. I just hinted at a
branch and some leaves on the lower right side just to suggest an anchor for
the rest of the plant. Subtle enough not
to lead the viewer’s eye out of the painting.</span></span><br />
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<span style="line-height: 115%;"><span style="font-family: inherit; font-size: small;">PAINTING MORENA</span></span></h3>
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<span style="line-height: 115%;"><span style="font-family: inherit; font-size: small;">I finished the sketch for this portrait and had the drawing already transferred to the paper months ago. But I only put paint to paper two weeks ago. It was because I was at a loss as to how to paint our skin color. Most instructional books have color suggestions for fair and dark skin but not our race's usual color which is "morena" - a sort of golden brown. I have just finished another painting, Red Hibiscus, when I noticed I still had a lot of clean colors left over. It made me remember a conversation I had with my friend Erika who is also an artist. She shared her morena color with me. While what I had on the palette was not exactly the colors she shared with me, I got the concept from it. I remembered Morgana's drawing and decided if I was to swim in cold water (having painted my last portrait so long I feel like I've forgotten everything), better to get over the initial shock by jumping right in.</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit; font-size: small;"><br /></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit; font-size: small;">The idea is a basic brown mix to which you add blue, red, or yellow depending on whether you will use it to highlight, darken or just to add a glow. This method may also remind you of Jan Kunz's method and you are right. She is one of my earliest influences. I received my knowledge about crevice darks, reflected colors, highlights and general watercolor knowledge from her books and videos. I highly recommend her instructional books and videos. Back to my color mixing. I made my basic brown mix from cadmium orange, french ultramarine blue and permanent alizarin crimson. I used for my yellow, red and blue mixing colors cadmium yellow, permanent alizarin crimson, french ultramarine blue. But have fun experimenting with different colors. I am reserving Erika's exact trio for my next portrait painting. Thank you Erika!</span></span><br />
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<b>RED HIBISCUS</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8-kz1Sep2HQNVxTvSgwtC_6AUf9Epqg95q-B1-Iv_HG4ryHrygqXatUkUpr7rTUWZV7csOnHiUcGV7pCCIcSSQh_2Yft1iWrNgyRjDFDYkr_yF_IrX8MPp34Nl8O0YI_UyFY9iS7iAVVs/s1600/assumption+gumamela.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8-kz1Sep2HQNVxTvSgwtC_6AUf9Epqg95q-B1-Iv_HG4ryHrygqXatUkUpr7rTUWZV7csOnHiUcGV7pCCIcSSQh_2Yft1iWrNgyRjDFDYkr_yF_IrX8MPp34Nl8O0YI_UyFY9iS7iAVVs/s320/assumption+gumamela.jpg" width="318" /></a><span style="background-color: white; font-family: inherit; font-size: small; font-weight: normal;"><br /></span></div>
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<span style="font-size: xx-small;">KS00086</span></div>
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<i>Red Hibiscus</i></div>
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<span style="font-size: x-small;">8 x 8 inches</span></div>
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<span style="font-size: x-small;">watercolor on paper</span></div>
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<span style="font-size: x-small;">Framed</span></div>
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This red hibiscus will be auctioned off this September for a cause my high school batch is supporting. Batch 88, Assumption College.</div>
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<b>COLOR PALETTE</b></div>
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<span style="font-family: inherit;">Colors used for Morgana's portrait and for the Red Hibiscus are: Cadmium
yellow, cadmium orange, permanent alizarin crimson, French ultramarine blue,
permanent sap green, ivory black, winsor violet, and winsor green.</span></div>
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<span style="font-family: inherit;">My colors were a combination of
transparent and semi-opaque colors. The
trick for not producing “mud” is
patience. I dry completely between
layers.</span></div>
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<span style="font-family: inherit;">Another thing I noticed is that some of the colors
look different on the photograph. When
viewed in real life, the flesh tones in the painting look very soft and well blended. However, in the photograph, I can see color patches with distinct edges overlapping. I am already
aware that some colors like Cobalt blue behave this way in front of the
cam. This probably is related to some
colors being transparent and some opaque.</span></div>
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<span style="font-family: inherit;">Well that is it for now.
Til next.</span></div>
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<span style="font-family: inherit;">Erika Nelson’s blog<br />
<a href="http://artbyerika.blogspot.com/">http://artbyerika.blogspot.com/</a></span></div>
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<br />Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com1tag:blogger.com,1999:blog-3655067336919012231.post-83764070162157596962012-04-05T16:30:00.001+08:002012-04-06T01:27:57.811+08:00Up For A Challenge<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRkm8cYQTDi5HsaM53-g5WFJIv4x9beKkjnI9bf5YfsA85DMXikE9aY3IlnBwnpgjVXJ0hvIo_3qUNOgtmqgg-1BCiKvEaeXQeqpYK0fgzFcLba9_jlshjOk_OiawX6NiYk0g9tQ4_ZHH/s1600/red+jade+vine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRkm8cYQTDi5HsaM53-g5WFJIv4x9beKkjnI9bf5YfsA85DMXikE9aY3IlnBwnpgjVXJ0hvIo_3qUNOgtmqgg-1BCiKvEaeXQeqpYK0fgzFcLba9_jlshjOk_OiawX6NiYk0g9tQ4_ZHH/s640/red+jade+vine.jpg" width="480" /></a></div>
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<i><b>Red Jade Vine</b></i></div>
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<span style="font-size: x-small;">KS00085</span></div>
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</span><br />
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12 x 16 inches</div>
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<div style="text-align: center;">
watercolor on paper</div>
<div style="text-align: center;">
Collection of Librada Dela Fuente</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitjp3QEq1lUJ1s6behk2cW6a5ihDObnsOqP36SGYRKjFX0Z8vwZoJGR_26SN6Fq3qC1gbRRctNJ2G6iHVt2kdrshrKU03iFOLewEi297_jh51cmifIkeXMBbcroKmPJ9u_IxxeVU7GlPOk/s1600/P1040584.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitjp3QEq1lUJ1s6behk2cW6a5ihDObnsOqP36SGYRKjFX0Z8vwZoJGR_26SN6Fq3qC1gbRRctNJ2G6iHVt2kdrshrKU03iFOLewEi297_jh51cmifIkeXMBbcroKmPJ9u_IxxeVU7GlPOk/s400/P1040584.JPG" width="400" /></a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXJIF0FJ318J8b0_TkcP2kSEdyWFMqxoBCDlJ_X3htEi378jvH0rGV4fLsm6SqcdwPYv2ujUu69wdzPNUztu-3IdCZn9RqnU0PN8R8xKjIX8LS6TOZx3_CkudcukUNgKfbHGqhOcL93ja/s1600/jade+vine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXJIF0FJ318J8b0_TkcP2kSEdyWFMqxoBCDlJ_X3htEi378jvH0rGV4fLsm6SqcdwPYv2ujUu69wdzPNUztu-3IdCZn9RqnU0PN8R8xKjIX8LS6TOZx3_CkudcukUNgKfbHGqhOcL93ja/s200/jade+vine.jpg" width="150" /></a>The name is actually a misnomer as the red jade vine is of a different species (<i>Mucuna bennettii</i>) from the jade vine (<i>Strongylodon macrobotrys</i>). Beautiful and not so commonly found, both are sought after by garden enthusiasts. These type of flowering vines are most often used to fill and decorate shaped frame structures for walkways. They provide very good shade.<br />
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We have both the jade vine and the coral vine (another name for the red jade vine) now in our garden courtesy of Kakang Badeng (grandaunt) who is a collector. It is from her garden that I get some of my more unusual flower references.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI1InspLfnVWJJRKjtzXMlvRP10FbsYoShufibZGus4CFLDJYIBsjmGHXqyv38OYRtqIWyztQDWr7ukBHc8pey-_GSkpyflPBZEw5qVtttBC9JOhHG-7S0gFqTrJ5OMu1MB5AcIfwW7-Vg/s1600/IMG_0360.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI1InspLfnVWJJRKjtzXMlvRP10FbsYoShufibZGus4CFLDJYIBsjmGHXqyv38OYRtqIWyztQDWr7ukBHc8pey-_GSkpyflPBZEw5qVtttBC9JOhHG-7S0gFqTrJ5OMu1MB5AcIfwW7-Vg/s400/IMG_0360.JPG" width="300" /></a>Painting this coral vine was quite a challenge. It was several months in the planning. First, because it is a seasonal bloomer. When Kakang Badeng asked me if I could paint it from a picture she took, I said I will have to see the coral vine closer up and in the natural setting. This is one of those blooms whose color cannot be captured by photographs well. The red orange coloration is so bright that the camera perceives the individual blooms to be almost one solid color. It becomes difficult to distinguish individual structure and detail. The chandelier-like formation of the combined blooms also can be limiting in that you are more or less stuck in having to show it hanging down otherwise, it might not become recognizable. I was able to take home a flower cutting the next time it bloomed. Lola had one of her gardeners climb and get a sample so we can see it closer up. At home, my sister had to hold the stem with a forceps because the stem has spicules. Not a very nice feeling when you get the sharp, tiny spikes in your fingers. I had to use masking tape to get mine out. But see how bright the coloration is. It is even more beautiful "live" because you see subtle differences within the orange color - hint of red, green, yellow and even violet.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM91qzdM3gsVtjLxwm6WwVXKsjgu-z7OebSh8oLPvtrfwZFAaXmsKIt8F65K172wRShtgKjfHMnPYQpMsdjEyRYvjJFedMmUp-klCUkj3-WyBujANdYhrsscuInU01X5NDGJZ95fAN4q7c/s1600/IMG_4887.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM91qzdM3gsVtjLxwm6WwVXKsjgu-z7OebSh8oLPvtrfwZFAaXmsKIt8F65K172wRShtgKjfHMnPYQpMsdjEyRYvjJFedMmUp-klCUkj3-WyBujANdYhrsscuInU01X5NDGJZ95fAN4q7c/s320/IMG_4887.JPG" width="240" /></a><br />
As I was studying the coral vine and making notes, I realized it would be easier composition-wise if I placed it in its natural setting. I can use the background to add more interest. I mentioned to my lola that I need more information. I will need to see how the flower is attached to the vine, how the leaves are oriented, etc. (more from curiosity and the need to see it - orient it logically in my brain than the actual need to paint details). And that is how I found myself atop a tall aluminum ladder the next time me and my sister visited. Be careful what you wish for, you just might get it. :D When we got there, this ladder was already in place complete with an assistant who would make sure it will not topple over. As I was climbing the ladder with my knees shaking not just from the height but the feeling that the ladder might not take my weight, I looked down and saw Kakang Badeng. She was so confident I could do it that it convinced even me. So who says there is no thrill and adventure in painting. This passes for the equivalent of bungee jumping when you get to my age. :D<br />
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A BRIEF INTRODUCTION TO COMPOSITION, THE OLD SCHOOL WAY<br />
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How I planned the painting itself can be summarized by this simple illustration.<br />
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I placed the subject (large orange oval) off center, left and higher up. The smaller orange ovals add interest but don't detract from the main subject. The function of the satellite ovals is to add interest but at the same time it also acts as a pointer or reminder so that your attention is brought back to the more dominating large oval. To make the background more dynamic, I angled it. The green zone is for the vine branches and leaves. Blue zone for the sky. The large white area at the bottom which I will leave mostly blank will reinforce the illusion that the bloom is hanging.<br />
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WORKING WITH PHOTOS<br />
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Here is how it looked from the top of the ladder. You have vines crisscrossing, some as thick as my wrist, others thin as a finger. The greenhouse has a metal framework which the vine uses for support. The leaves are mostly outside and on top of the greenhouse. Sunlight pierces through gaps and you can see glimpses of sky in the spaces. See how photographs are great tools for memory or recollection. Now to paint as if you're doing it plein air, don't get too caught up in the photo but distill the essence or principle of the thing and use it to suggest realness.<br />
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I had fun when creating the background dropping in colors and creating ghost branches. I had so much fun I forgot to photograph the process in between these two stages. Sorry. Sometimes you get too caught up with an idea, you forget about documenting. But the idea is to leave spots of areas lighter in color among the branches. Later, I would color these the same blue as the sky. The branches were semi-detailed in some spots and vague in others. Some areas, I covered with varying degrees of green. I debated against painting realistic detailed leaves because it will compete with the blooms and also because I wanted the illusion that you're viewing this from a distance. At that height and distance, either you would focus on the bloom or on the leaves and vines. That is how the normal human vision works. I want the viewer to think it was his idea to focus on the blooms so I left the detailing mostly on the flower itself. Try it, see how even when you consciously try to walk your eyes around the painting, you would find your eyes straying towards the main flower. Last, on the finished painting, you would notice that I signed my name very lightly with the same blue I used for the sky. I wanted the signature to be as unobtrusive as possible. I was thinking of not putting it in at all but because I will not be supervising the framing of this painting, I have a feeling that the framer might crop the large white area thinking to save space. Putting it in this way, they would feel compelled to include the signature. If this blank area was shortened, you will lose the feeling that the bloom is suspended high up.<br />
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So that is one way to do the old school way of composition. These days, we do not really adhere to the "rules" but sometimes it is good to know the basics.<br /><br />Thank you for dropping by.<br /><br /><br /><br /><br /><br />Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com7tag:blogger.com,1999:blog-3655067336919012231.post-1286609637368219932012-02-17T16:23:00.000+08:002012-02-17T16:23:20.266+08:00<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-size: large;">"Saging-sagingan"</span></i></div>
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<span style="font-size: x-small;">KS00084</span></div>
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10.5 x 13.5 inches</div>
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watercolor on paper</div>
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Gone green lately. Have been a bit busy in the garden. And congratulate me, only half the plants I have repotted keeled over. That is quite an improvement from my 007 status in the plant world. I also got bougainvilleas in multi-colors so you can probably guess what my next projects will be. And yes, the bougainvilleas are expected to survive 100%, I was only allowed to watch when they were being replanted in the bigger pots. :D<br />
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About the painting's title "Saging-sagingan", literally translated it means mock bananas or fake bananas. It is the local name for the plant <i>Heliconia psittacorum (also known as false bird-of-paradise, parrot's beak). </i>I noticed ever since being told the local name, I can't see the parrot's beak anymore but keep seeing bananas, bananas. The leaves of the plant also look like banana leaves growing upright from the ground.<br />
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For this painting, again, I used a limited palette and used the whiteness of the paper to get lighter colors. One advantage of using a limited color palette is it makes it easy to achieve cohesiveness in your paintings. For example, to get a darker green I added a bit of violet to the sap green. For other parts of the leaves, I added orange or red to the green to get different shades of green. For the shadings in the "bananas", I used mixtures of green and blue. The red got darker or lighter with the addition of violet and orange, etc. Even though the colors look distinctly blue, distinctly green, distinctly red or yellow, they have parts of the other colors in them that later when you take it all in together, you know the colors fit.<br />
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My palette for this painting:<br />
(W&N) permanent rose, Winsor yellow, Winsor orange, permanent sap green, Winsor green, cobalt blue, cerulean blue and Winsor violet.<br />
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Thank you for dropping in.Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com7tag:blogger.com,1999:blog-3655067336919012231.post-29613764461631599882012-01-14T22:57:00.001+08:002012-01-14T23:07:59.393+08:00Make Your Own Watercolor Stretcher Board 2Ever wished you can order gator boards in custom sizes? Love those boards but they come only in fixed sizes. I have cut some of them to make it more convenient for me when painting in smaller, non-standard sizes which I find myself repeatedly favoring. But how to add two or more together to get a bigger surface to stretch on, that is a challenge. The problem is you would get a ridge where two board edges meet and that might cause a permanent indentation on your watercolor paper. These boards also have more noticeable bending or bowing the bigger you go (due to the paper pulling as it shrinks) so added support will be needed if you plan to make bigger stretcher boards out of them.<br />
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I have been experimenting over the last months using whatever materials I have around. I dared not use the gator boards for the experiment because they are a bit expensive here so I used instead foam core boards. At first I used illustration board as a backing to the foam core boards with the result that the first time I tried stapling paper on it, I ended up yelping. The staple ends poked through the foam core board and the illustration board and into my palm. Back to the drawing board. Well, after trying on different supports and testing them out, I have come up with this final design. So far, so good. Will give you my review on how it performed at the end of this article.<br />
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Materials for this watercolor stretcher board:<br />
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<li>Plywood (at least 6 mm thickness).</li>
<li>Paper tape.</li>
<li>Elmer's glue (carpenter's glue).</li>
<li>Foam core board.</li>
<li>Acrylic Gesso.</li>
<li>Brush for gesso application.</li>
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Directions:<br />
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Cut the foam core board and the plywood that you will be using as backing to your desired specifications. I find it best to measure and cut the plywood first and then use that as a template for cutting the foam core later. Easier to trim foam core than to trim excess plywood.</div>
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This is optional but I like giving the plywood backing some finishing. You can use paint, sandpaper or treatments you can buy from the hardware to give the backing some finishing but my preference is paper tape. One reason is when you do a double layer of it at the back, it sort of softens the backing. I have appropriated our seldom used dining room at the main house as my studio because I get good lighting there. I'm very conscious of abrasive, hard, sharp surfaces because they may scratch the glass top of our dining room table. With the paper backing, I am not so afraid to rotate the board while I am working on it. I like how the paper backing also prevents me getting splinters from the wood<br />
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<tr><td class="tr-caption"><span style="font-size: small;"><br />Shown in the picture (above,right) strips of paper tape applied side by side onto the plywood. I cut them longer than the length of the plywood so I can fold them over and get a neat paper covered edge. After this layer dries, I place another layer of paper tape but position them perpendicular to the first one so I would get paper covered edges also on the last two bare sides. (If first layer is lengthwise, apply the second layer crosswise). Allow the paper tapes to dry completely and then turn the board over.</span><br />
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<span style="font-size: small;">Put a liberal amount of glue on the inside surface of the backing board</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWB1y9721R6AyCI7K3CwApWH40GLF6uP8aBe4bUwo8oOD0u4fM0HEkihzi4I9M_hZhmTnOeZbFSn30JbWUgspi7JDlRB45XROqb3QF0MYTah-6mL960LPbMyZDGjKvNDJLWKvPky1A8fyc/s1600/P1070791.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWB1y9721R6AyCI7K3CwApWH40GLF6uP8aBe4bUwo8oOD0u4fM0HEkihzi4I9M_hZhmTnOeZbFSn30JbWUgspi7JDlRB45XROqb3QF0MYTah-6mL960LPbMyZDGjKvNDJLWKvPky1A8fyc/s320/P1070791.jpg" width="320" /></a></div>
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<span style="text-align: -webkit-auto;">Spread the glue evenly. One reason why I keep some of the used prepaid phone cards. They are very handy when you're spreading glue.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsj3jSc-ZCNPJAqSr2EdDYyJvoa8AuA6x2vIa6e2ybc4fub-jT6Na39XJN9-GTpLCs80JTkOwxfOCNxnovEzsJQRSVyIfHPjUt4-00QvxQnWDB9aaBLxOdX7e2yAP3geDljo2Gj38E4jUd/s1600/P1070794.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsj3jSc-ZCNPJAqSr2EdDYyJvoa8AuA6x2vIa6e2ybc4fub-jT6Na39XJN9-GTpLCs80JTkOwxfOCNxnovEzsJQRSVyIfHPjUt4-00QvxQnWDB9aaBLxOdX7e2yAP3geDljo2Gj38E4jUd/s320/P1070794.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8DbUBSvAvZHsrD2Q_1V4kKE4lHybLbVCXu4WexIGw6eKUUhtTiY_kxi6x-vn7R3pgGQGGPahhtPAzWU9dGL8_lPcusdyWVvuRU-0hD2V4p4vfnE7ly0EVMCtgH0m6M-shAC2H1f7yi480/s1600/P1070810.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8DbUBSvAvZHsrD2Q_1V4kKE4lHybLbVCXu4WexIGw6eKUUhtTiY_kxi6x-vn7R3pgGQGGPahhtPAzWU9dGL8_lPcusdyWVvuRU-0hD2V4p4vfnE7ly0EVMCtgH0m6M-shAC2H1f7yi480/s320/P1070810.jpg" width="320" /></a>Place the foam core board onto the backing board and let dry overnight. For better adherence, I would turn the board over, making sure that the surface I am putting on has nothing that will mar the foam core board's surface. Then I use heavy books to weigh it down. I forgot to take a picture when I did it so I recreated the scene but used fewer books. There were a lot more books than these but they were heavy to lug around and I have already put them back. But you get the idea.</div>
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Last, put several coats of gesso on the surface of the foam core board and on its side to seal it and make it water resistant (depends on how many layers of gesso you put on). Do not forget the sides. Gesso acts as a protectant or buffer against the elements and your foam core board would last longer if its inside is not as exposed to air and water. It also is acid-free so even when you place wet paper over it, you will not be exposing your watercolor paper to acid you normally do when you get your paper in direct contact to wet wood.</div>
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Close up of the board's side showing why you need to cover it up with gesso too. The exposed part will turn yellow and brittle over time. The gesso will hopefully delay this a bit. The board should give you extra years of service when you take precautions.<br />
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Tada! With paper stretched on it. Ready for painting. (Of course, I let the gesso dry completely for several days before stretching on it.)</div>
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The review:</div>
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What is good about it:</div>
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<li>You can custom make it almost any size. Foam core is available at size 30 x 40 here so you can make a stretcher board as big as that.</li>
<li>With the plywood backing, it is not as prone to bowing. This board I just made is 40 x 18 inches. When paper I stretched on it started drying, I only got slight bowing... almost negligible.</li>
<li>It is reusable. You only need to invest time in it once, when you make it. Although I did put another coat of gesso on a previous one I've just taken a painting off to plug the holes left behind by the stapler. Still it looked pretty much intact and the surface was even despite the holes.</li>
<li>Not so expensive although quite time consuming.</li>
<li>The foam core layer took in the staples better. I did not get that much shock on the wrist stapling on it.</li>
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What needs improving:</div>
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<li>It is heavier with the plywood backing.</li>
<li>Not sure if it is due to the wet weather last month but I noticed that I needed a longer drying time in between sessions of painting. Clay surface versus gessoed. The clay surface of gatorboards seems able to dry the underside of watercolor paper faster. This needs investigation. I'm hoping maybe if the correct thickness of gesso is achieved, this will improve. </li>
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I still favor using the commercially prepared gator boards when the painting I'm planning to do fits its dimensions but for the unusual formats, I think I did good with my DIY board.</div>
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Now if all of these seem very labor intensive and you have money to spare, you can always get thicker paper that will not need stretching. :D</div>
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Thank you for reading.</div>
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</div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com7tag:blogger.com,1999:blog-3655067336919012231.post-67339339574682919532012-01-04T23:47:00.000+08:002012-01-04T23:47:37.398+08:00Sunlit Yellow Hibiscus<div>
Finally, regular internet service is back on. Thank you friends for waiting with me. It has been quite a while but I am hoping to make it up this year with all that I have promised to do. Thank you for the patience.</div>
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Finished this hibiscus early December last year but could not post it or the painting progress online. Aside from losing internet service, this painting was to be a surprise gift for my friend Cathy from her husband. I usually do not do the same color flower in a row but when Noel and I were discussing what kind of flower Cathy might like and at the same time what would compliment the color scheme of their house best, we agreed on a yellow hibiscus. It helped that the last time they were over at our place several months ago, Cathy liked the yellow hibiscus I just finished for Gigi. <div>
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Sunlit Yellow Hibiscus</div>
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19.5 x 16.5 inches</div>
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watercolor on paper</div>
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Thank you very much Noel and Cathy for the support and for letting my work be part of your new home.</div>
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</div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com5tag:blogger.com,1999:blog-3655067336919012231.post-39319054508246311612011-12-09T02:56:00.001+08:002011-12-09T03:11:31.990+08:00<br />
My apologies for the long interval between my last post. It took some time for me to recover from the loss of my faithful sidekick, muse and studio companion - Doodle, my pitbull daughter. She died last July. She lived to be more than twelve years old, around 62 in dog years. A very old age for a pitbull, I was told, but little consolation to me as I was hoping she would live to be a hundred. To say that I was devastated by her passing is an understatement. I started and threw away many paintings in the weeks and months that passed. Somehow, my paintings were ending up either too dark or too sombre, and it was adding to my depression. But weird how sometimes it takes a tragedy to bring some focus. I have been putting off writing my artist statement not because I do not know it but because I could not put into words what I was feeling and thinking. The alone time forced me to do a lot of introspection. I can work on the statement now.<br />
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To combat grief, I busied myself scouting and sketching possible subjects. I made studies for portraits and landscapes. I also got busy experimenting and thinking up tools to help me with painting and framing. I had to make myself go out into the garden because for the first weeks, I could not. My dog was always accompanying me whenever I am out taking pics and so it was hard remembering. Later, I entertained invites to visit relative's gardens. It was partly to remind myself that life is still beautiful. It was also in acknowledgement that while I could not paint then, I knew I would get back to it eventually. The love for painting is always there and so I continued collecting references and continued to be on the lookout for unusual plants. I also learned a new skill with my sister, medical transcription. A backup in case I don't ever get my painting mojo back. Met a lot of good people and made new friends :D<br />
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I am back to painting again. Almost finished with two new ones. Anyway, just wanted to say hello and to give a little explanation for the absence.<br />
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A preview of what's to come. An improved DIY watercolor paper stretcher using locally available materials (Philippines). How to "wick" your frames to improve protection against damp. As well as the usual painting projects.<br />
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Again, my heartfelt appreciation. Thank you very much for sticking around.<br />Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com5tag:blogger.com,1999:blog-3655067336919012231.post-39539563628196270102011-07-06T00:56:00.001+08:002011-07-06T01:00:52.094+08:00Troubleshooting Paper Problems: When The Sizing Goes Bad.Was rummaging through my old stuff and saw this discarded painting. Perfect illustration for explaining stale sizing.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUSjSP3-oJJVyftwvb2kytGEO1pc2TeOG59mYrkFWzloWYJFB9KN3csFyMV0jbaDCAns6E3gAQZbV5n1gTmnP1StznKMwWNhonuTAu_Ly9kFYXZAQ5wvnZUiFPjw-_5BxKfjQzvjHykWfD/s1600/whole+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUSjSP3-oJJVyftwvb2kytGEO1pc2TeOG59mYrkFWzloWYJFB9KN3csFyMV0jbaDCAns6E3gAQZbV5n1gTmnP1StznKMwWNhonuTAu_Ly9kFYXZAQ5wvnZUiFPjw-_5BxKfjQzvjHykWfD/s320/whole+painting.jpg" width="288" /></a></div><div><br />
</div><div>I have this habit of setting aside half-finished paintings when I get that feeling that something about it is off. "Aha!" moments sometimes come when you've stopped obsessing over something. Sometimes it would take me days or weeks before I would get back to a particular painting. This one somehow worked its way to the bottom of my pile and I forgot all about it. Almost a year has passed since I last touched it. When I tried working on it again to finish it, spots started appearing wherever I wet the paper.</div><div><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQM4qKACGBBGr_v-1KNGJPRZFWX8hz4pRJX1hOXtNiQ928EWFFrIVqzeJyKuZFIwyWqO2f3RviL10dvYdMsfRDargj2aN6G9VPRAC8m_8jajB-vHjnNXYWixnm__XZIrG9IftSqWEboi8/s1600/stale+sizing+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQM4qKACGBBGr_v-1KNGJPRZFWX8hz4pRJX1hOXtNiQ928EWFFrIVqzeJyKuZFIwyWqO2f3RviL10dvYdMsfRDargj2aN6G9VPRAC8m_8jajB-vHjnNXYWixnm__XZIrG9IftSqWEboi8/s320/stale+sizing+1.jpg" width="320" /></a>Reminded me of salt effects. This one however, is caused by sizing gone bad. We have touched a bit on sizing in a previous post. <a href="http://karensiosonwatercolors.blogspot.com/2011/03/water-color-papers-and-sizing.html">(Watercolor Papers and Sizing)</a>. But basically, the idea behind sizing or the addition of gelatin to watercolor paper during its production is to make the paper more workable with watercolor. Sizing allows you better control over your watercolor as it decreases the tendency of the paper to absorb liquids and paints like tissue paper. Between the paper pulp and the gelatin, the gelatin would be the first to go stale with old stock paper. Signs of this would be the appearance of spots that don't go away after a wash or after an application dries. Another would be when you discover areas that resist any application of paint you put down on it. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkY4qt-p6a8vfJy9Zo_qYJBi67f54e5enAm04JNc0qKbdxul5XJCaR3rB7QPWiVt7ryWRwuGM0XvbS2HyrbAXVD2lk_QhC1q6g9WXzlo7d3d7mW6j3rxrJh8YfcKXiD6K7CJYUtpkc3KJZ/s1600/IMG_4256.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkY4qt-p6a8vfJy9Zo_qYJBi67f54e5enAm04JNc0qKbdxul5XJCaR3rB7QPWiVt7ryWRwuGM0XvbS2HyrbAXVD2lk_QhC1q6g9WXzlo7d3d7mW6j3rxrJh8YfcKXiD6K7CJYUtpkc3KJZ/s320/IMG_4256.jpg" width="320" /></a>There are several ways to hasten the deterioration of the sizing. As demonstrated in this ruined painting, one way is by wetting a painted watercolor that has lain undisturbed for months. You can also hasten the deterioration of new paper using the same principle. The moment you wet a watercolor paper, its sizing gets disturbed. Maybe water acts as a catalyst. This is the reason why you are advised not to stretch paper in big batches. Stretch only what you think you will be able to use within 2 or 3 months. That's just my estimate. In our weather where heat can be more than the usual, it is always more prudent to stretch only what you think you will use. The window of usability may be different in your environment and you should let experience guide you. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBaLA-8YBudRtYRg3WLYz_5sD6FDoW-fMlYcxK96IqC-vgxwMc3peLpxDEHkgv8rHwDSWAyiv_qJLYjkAzc-P-7SohC79n6DfZVrc7ZHN_nCQosiM7UpDx9tVCWMexOng7RLNr_nAxVA6W/s1600/undamaged+portion.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBaLA-8YBudRtYRg3WLYz_5sD6FDoW-fMlYcxK96IqC-vgxwMc3peLpxDEHkgv8rHwDSWAyiv_qJLYjkAzc-P-7SohC79n6DfZVrc7ZHN_nCQosiM7UpDx9tVCWMexOng7RLNr_nAxVA6W/s320/undamaged+portion.jpg" width="320" /></a>A sign that this was not bad paper to begin with is how the undisturbed, previously painted part is free of spots. Check the picture. You wouldn't know that the paper's sizing has gone bad if you do not re-wet the paper. When you find yourself itching to touch up a painting years after it is finished, remember what happened here. </div><div class="" style="clear: both; text-align: left;">Not all old stock paper go bad. I use Arches cold pressed watercolor paper in rolls. One of the most economical way of buying paper is by buying it in rolls. Because you cut to size, you minimize wastage of excess paper. As long as you do not get the roll wet and observe proper storage, the paper stays usable for years. Proper storage includes storing it in its original wrapping and in the box it came in and with the crumpled paper fillers still inside. Do not put this container/box in an area prone to dampness such as near windows, bathrooms, basements. Also keep it away from direct heat or sun exposure so the paper inside does not get heat-baked. <br />
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<div class="separator" style="clear: both; text-align: center;"></div>You do need to recognize what stale sizing on paper looks like, specially when you like to take advantage of art supplies on sale. Some stores put their older stocks on sale just to move the items and to make way for newer supplies. Some of these discounted paper will still be good for use but many might have sustained handling or storing damage. For this reason I prefer to spend on paper and get new stocks. You're not really saving on money if you get bad paper. But sometimes good bargains are hard to resist so if you must, at least learn to discern the appearance of stale sizing to help you shop wiser.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioc9z1IZ5uUkzntTJ5O-dGMCuDMVmXv4LfkWDrOSyAxk3NLYXnL60uloryagDpOprkcT_6Pcf8rnm_B32CQIUjRK3zQCjDOfLc8h7_AO0l2jRc4oVFA-I9WLt8tiRH16gRAJUTBNwhpBoq/s1600/old+paper.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioc9z1IZ5uUkzntTJ5O-dGMCuDMVmXv4LfkWDrOSyAxk3NLYXnL60uloryagDpOprkcT_6Pcf8rnm_B32CQIUjRK3zQCjDOfLc8h7_AO0l2jRc4oVFA-I9WLt8tiRH16gRAJUTBNwhpBoq/s320/old+paper.jpg" width="320" /></a>I wonder if you can see the very pale yellow spots. That is how spoiled sizing looks on paper that has never gotten wet. Just turned bad over time. (<i>I keep samples of everything.</i>) But don't go hunting for spots where there are none. Even new paper looks a bit uneven because of how the lighting plays off against the hills and valleys of the paper. The surest way to check is to wet the paper. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2yxf5iNlfVI_gU11w7dy2WXXrrFeLk-lfvxoH3pPegiKE2SrtUcwNXSLfL0XJNl7DoZTC1gy6D_oQ4gBd4fNiOSOoreZ2HC0EyyJ1DHlYfxX0Vk8VO4NpW4_8lOoiLVRSNx45PhWE2ph/s1600/wet+sizing.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2yxf5iNlfVI_gU11w7dy2WXXrrFeLk-lfvxoH3pPegiKE2SrtUcwNXSLfL0XJNl7DoZTC1gy6D_oQ4gBd4fNiOSOoreZ2HC0EyyJ1DHlYfxX0Vk8VO4NpW4_8lOoiLVRSNx45PhWE2ph/s320/wet+sizing.jpg" width="320" /></a>This is the same paper, now wet. Some new paper may have this tendency but on a very mild scale and if the paper dries without any marks, your paper is still good. For tips on how to minimize this tendency, check out my previous article <a href="http://karensiosonwatercolors.blogspot.com/2011/03/water-color-papers-and-sizing.html">Watercolor Papers and Sizing</a><br />
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There are times when you would come upon a defective batch of paper. The best way is to contact the seller and if no action there, the manufacturer to see if you can get a replacement. Might be wise for you to do a little sleuthing online to see if other buyers have been complaining about certain batches. You will have a stronger claim if your paper is from the same batch. But do not be too quick to blame the suppliers. Sometimes we may be unaware that we are doing something that harms the paper.<br />
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</div><div class="" style="clear: both; text-align: left;">You can artificially ruin the sizing of the paper by soaking it too long under water. Prolonged immersion may be the culprit why some sizing coagulate in spots. This used to happen to me when I was a beginner. Thinking more is always better, I would leave watercolor paper soaking for as long as 20 or 30 minutes before stretching it. The suggested submerging time is only a few minutes. Only long enough for the paper fibers to get wet. If you soak it too long, even before you staple it down, you can tell you've ruined the sizing by the appearance of slightly darker spots on your paper like in the sample above. <br />
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Also, not all paper that develop slight spotting when wet are damaged paper. Even new and undamaged paper may develop these slightly darker spot discoloration when wet. But these would tend to disappear as the paper dries. If you can't tell any spotting on the dried, stretched paper, your paper is good to paint on. <br />
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That's it. Thank you for reading. </div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com45tag:blogger.com,1999:blog-3655067336919012231.post-8135162922393983152011-06-26T15:19:00.001+08:002011-06-27T21:15:48.022+08:00How To Paint Bougainvilleas, Part 1<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-g6JW5X3R__nQOC8N7qE40oXsY-c95kbX6up8SxGyJ5OXx3hJypnfLXHE2Yq1Emwdni1ogDOfY1KEJlmGiEqSnxRaZBVV4sd0_Du6-iGS7wlE-Fjl9Bx79h_1x21OKYHB1vA7i15UPbQr/s1600/finished.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-g6JW5X3R__nQOC8N7qE40oXsY-c95kbX6up8SxGyJ5OXx3hJypnfLXHE2Yq1Emwdni1ogDOfY1KEJlmGiEqSnxRaZBVV4sd0_Du6-iGS7wlE-Fjl9Bx79h_1x21OKYHB1vA7i15UPbQr/s320/finished.jpg" width="320" /></a></div><br />
Bougainvilleas are a favorite subject of mine. I'm attracted to the color possibilities and the detailing one can go crazy with. I would admit that part of the reason I started painting it was because of the challenge. It looked so intimidating to paint that I felt compelled to unravel the mystery. <br />
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Whenever I find myself facing an insurmountable task or project, my first course of action is to chop things up into manageable pieces. If something looks complicated, I try to simplify. It also has to do with a learning limitation I have. I have difficulty with memorization. But I'm good with concepts and once I get the rationale behind something, my recall is good. That's part of the reason why I take so long to do things the first time. For plants and flowers, I go nerdy and do surgery. I like to see how things work or how things are put together. Seems excessive just to draw a flower. Time consuming, yes. But I think of it as time well spent because it helps make successive paintings using the same subject easier. If you've heard of the story of how an old master taught his students to paint by making them traverse five flights of stairs between their easels and their subject matter, then you might realize it is not really about memorizing the details but getting the concepts that should help them recreate something. If you do the stair challenge yourself, you'll find that any detail you've tried committing to memory will have evaporated by the time you reach second floor. Trying to catch your breath and keeping an image is a hard feat. The objective is not to develop a photographic memory but to exercise the ability to synthesize the essence of something. So for the bougainvillea lessons, I'll be familiarizing you with how the flower is put together in nature and at the same time will be posting the step by step of the painting process. Hopefully, I succeed in imparting the essence of it. Mine is just one way to tackle the bougainvillea, I hope it helps make it easier and fun for you too.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi09r1AhfO5R75VcmY3q1BZbfttImwJC7R81q4Nua57hmTx_iln9n3R8tHl-3DARHpOm7zwNNoS4EIG8Tn2HaP12PMfgwg99QvK-mHt2D2gz91_2Cf4X3yRtwxMHujSjm3Hfb0oriRHYrpE/s1600/outline.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi09r1AhfO5R75VcmY3q1BZbfttImwJC7R81q4Nua57hmTx_iln9n3R8tHl-3DARHpOm7zwNNoS4EIG8Tn2HaP12PMfgwg99QvK-mHt2D2gz91_2Cf4X3yRtwxMHujSjm3Hfb0oriRHYrpE/s320/outline.jpg" width="320" /></a></div>Here is the drawing outline for this bougainvillea demo.<br />
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This is the basic unit of a bougainvillea cluster. You have three modified leaves (often mistaken as bougainvillea petals because they are colored brightly like a flower's) that have mini flowers on elongated thingies. One mini flower per colored leaf. When formed well, the flowers' bases are erect and plumped up with a slightly cinched middle and hard ridged edges. The ones that look like spent matchsticks are flower bases that have sustained damage and twisted as they developed. The three leaves are joined at the base by their attachment to a single stem. That will be shown on the next demo.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyCMGTp0bLZOXMsgzY530UB4dbz6mlhLptCI19qEmdovbIrcWxDHhC2jxa4luMx-ud7ZZMNuIBTq9RZ1qwVXpHoAnbNJQt5rzdKlQzGB6Qw8TFVRVK4F4rWh03Fu7VdxX9t8xzIEUC1RNs/s1600/first+layer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyCMGTp0bLZOXMsgzY530UB4dbz6mlhLptCI19qEmdovbIrcWxDHhC2jxa4luMx-ud7ZZMNuIBTq9RZ1qwVXpHoAnbNJQt5rzdKlQzGB6Qw8TFVRVK4F4rWh03Fu7VdxX9t8xzIEUC1RNs/s320/first+layer.jpg" width="320" /></a></div>My first objective is to define the areas using very light washes of local color. I do this because I intend to erase the pencil guides as soon as I can. I do not like pencil marks on my watercolors (not because I'm mean and like making my viewers guess how it was put together (grin!)) but because I find my colors are brighter and clearer when they are free of graphite residue. Remember to use a soft white eraser to minimize damage to the paper's surface.<br />
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If you're interested in the colors I used for this demo, they are rose madder genuine, permanent sap green, winsor lemon, cerulean blue, permanent rose and permanent alizarin crimson. (Winsor and Newton). You may use other color substitutes. I only picked them because I happen to have small leftovers of the colors from past paintings. For serious paintings, I always use a clean palette and fresh colors but I save leftovers from finished paintings for practicing with.<br />
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The ridges of the leaves are yellow in color but because yellow and pencil marks are a no-no, I left the areas where I picture the ridges to be blank. Any yellow over pencil marks would make the pencil mark almost impossible to erase. A phenomena observed by most artist. So as a rule, using yellow for mapping is to be avoided if you intend to erase your guides later on. <br />
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I applied the rose madder genuine to the pink areas using mostly the tip of a no.6 round brush. As if I'm dabbing spots on and leaving spaces in between. The pink defines the areas but because they were applied unevenly and spottily, it will help with the illusion of convex textures on the modified leaves' surfaces.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3GC2tSFYrhkQqWFjIu1aFlUGeX09Rpe1zlI8LxMeF6hGkhgS2IdfMvUjJ5lL7RcIbkZ3dUscqjfg7UqViDFluIV2sd2cV8Y-fGdwOIQ_Z50-vK4Lo5VUMNsZ6_iHxh7crKJelvqK6FWE-/s1600/second+layer.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3GC2tSFYrhkQqWFjIu1aFlUGeX09Rpe1zlI8LxMeF6hGkhgS2IdfMvUjJ5lL7RcIbkZ3dUscqjfg7UqViDFluIV2sd2cV8Y-fGdwOIQ_Z50-vK4Lo5VUMNsZ6_iHxh7crKJelvqK6FWE-/s320/second+layer.jpg" width="320" /></a></div>When you apply the second wash over the entire leaf's surface, this will soften any hard edges you may have had in the first step with the spotty paint application. When this layer dries, because we used transparent watercolor, the texture underneath would show but would look more natural. I also use this second wash to enhance the leaf's bending or foldings. While the layer is in that state between wet and almost dry (when you tilt it, it still has that sheen or film of water), I drop in warm and cool versions of the local color to enhance the bending effect. When it is almost drying, (state when you know your next paint application will have a limited spread but will still soften, I would add the yellow ridge lines. That's because I imagined the central and radiating lines (the leaf's skeleton) to be yellow for this painting. But if you want it to be another color, use your preferred color to define the leaf's framework. In the picture, I used a liner brush. You can see how I am able to add the line but at the same time it is soft enough in some places. The lost and found lines make for a natural looking painting more than the severely defined lines you see most beginner's tend to make. <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD3XXYhsvHjgt5dVIzMRFj75dQ77s2bmKlx3w_OBROgsFjYybUxSyr9XRkcvia8pT55-tiwwTGJDIVbQvqb52X7UFXsetkffgs3X0S5qiYHmHM71ByddLO-OugpaG26UNgaQiPB8tZDt5e/s1600/finished+2nd+layer.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD3XXYhsvHjgt5dVIzMRFj75dQ77s2bmKlx3w_OBROgsFjYybUxSyr9XRkcvia8pT55-tiwwTGJDIVbQvqb52X7UFXsetkffgs3X0S5qiYHmHM71ByddLO-OugpaG26UNgaQiPB8tZDt5e/s320/finished+2nd+layer.jpg" width="320" /></a><br />
When you've finished putting the second layer on, your three leaves should more or less look like this. Notice specially how on the leftmost leaf, the convex textures are almost forming itself.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjuTSW80C-ChhFnTPDpH7m8vYSfc1gKJ7sIBK8AYWDiofbx4MajKxzKxzdM6NCmQEnk8uye-3VKjS1O9a7-zTXZ7cGoljHqaShktqqj9YEz9NO_hzdcmJnPcM0qa0-XGp7YUyArJwbp708/s1600/3rd.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjuTSW80C-ChhFnTPDpH7m8vYSfc1gKJ7sIBK8AYWDiofbx4MajKxzKxzdM6NCmQEnk8uye-3VKjS1O9a7-zTXZ7cGoljHqaShktqqj9YEz9NO_hzdcmJnPcM0qa0-XGp7YUyArJwbp708/s320/3rd.jpg" width="320" /></a></div>After the previous layer has dried completely, I would now work on enhancing some of the shapes that emerged. For the leftmost leaf, I applied just a slightly darker version of the pink to some of the edges on the "found" textures. Check out specially the part nearest the flower. It looked as if a lot of work went into creating the creases but that was just a few additions of defining paint. Again, try not to use single hard lines but use the broken or "lost and found" line defining technique. At this point, I've only used the colors rose madder genuine, winsor yellow and cerulean blue. RMG for the local color. The WY for the leaf framework (mixed in with a bit of RMG to warm it), CB dropped in on the wet RMG to simulate areas reflecting the sky. Also a bit of the permanent sap green earlier for the flower stalks. I started coloring thh right-most flower with a mixture of RMG and WY. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS4QAONFP2XBk_7-DCVRdL3SkPfgY4j9IZSZwsvRZ4VUaJsc185eHwmAX-Ha8xcm6oUTIkDU1Nng5F9e1Z6S2VxzbRvoG8AZqq4UY2W-UKjN9dDeD0ZLRJnDcZ_LwvbhqTDwy1hxqrawjp/s1600/4th.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS4QAONFP2XBk_7-DCVRdL3SkPfgY4j9IZSZwsvRZ4VUaJsc185eHwmAX-Ha8xcm6oUTIkDU1Nng5F9e1Z6S2VxzbRvoG8AZqq4UY2W-UKjN9dDeD0ZLRJnDcZ_LwvbhqTDwy1hxqrawjp/s320/4th.jpg" width="320" /></a></div>Now we start using Permanent Rose and Permanent Alizarin Crimson. I start defining the flower stalks using PR mixed in with RMG. I also used PR to add some defining lines to the leaf skeletons. Again, use the broken line technique. And if you're enhancing a previous broken line application, you enhance only 3/4 of that one's length. The missing parts are supplied automatically by the viewers' brain as it tries to digest what it is seeing. That's what we're stimulating by the way. The human brain is a remarkable organ, it is always trying to be efficient. We are able to process a lot of information because for some tasks, the brain has devised a way to process things faster. For vision, it stores a lot of information. We can take advantage of it in painting. It creates solid lines out of broken lines. Complete textures on areas. Even mix colors - something the impressionists realized and took advantage of. Etc. Our aim is to stimulate the brain enough so that by the time you finished painting, the subliminal part of your viewer's brain is on hyper mode and it will be hypnotized into thinking this is a busy and stimulating painting... it is beautiful. I like it.... I want to buy it. Ok... ok... I haven't figured out how to compel your viewer into buying yet but someday, we'll get there. (evil laugh!) :D <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihvQ0_IfSM3OF1iZSEqG3qTnv_oXwFBz7VnJGtecQ676Zptbne_VTCayPuBNmPlJezUcCjEgEEF2m7OjK7OZ7ffBJaCvnAqBZ5bbMVAo7DYtYf9BGEv4q9MhMagCrSuTgKhznHjjevjcjT/s1600/finished.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihvQ0_IfSM3OF1iZSEqG3qTnv_oXwFBz7VnJGtecQ676Zptbne_VTCayPuBNmPlJezUcCjEgEEF2m7OjK7OZ7ffBJaCvnAqBZ5bbMVAo7DYtYf9BGEv4q9MhMagCrSuTgKhznHjjevjcjT/s320/finished.jpg" width="320" /></a></div>As you near completion, you would notice, you're tweaking the painting less and less. My last touches were made with permanent rose and alizarin crimson. Just minute enhancing on the leaf's skeleton and more definition for the flower stalks.<br />
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If this is a painting with a background, my next step would be on how to integrate the bougainvillea into the background. We'll get to that in future demos. <br />
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I hope you enjoyed this one. Thank you for looking.Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com9tag:blogger.com,1999:blog-3655067336919012231.post-56605130940002016032011-06-04T02:47:00.003+08:002011-08-16T23:08:45.880+08:00Bougainvilleas<div class="separator" style="clear: both; text-align: left;">It has been awhile since my last post. I have been busy the past weeks taking advantage of the last days of the summer. Very hot days with temperatures reaching as high as 36 degrees Celsius (96.8 F) in the shade. Despite the heat, many trees and plants are in bloom. Bougainvilleas are aplenty. They seem to thrive in the heat.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnhSjnhob8F53DpKOAbCPEb8FAGujpqrBVc-BIgRnGUKlWQjIsjcLsRGYnHQdSsPwT-BRUYDhMiFqw5ALbZ8plLBaUuZShwWEL5HuCvIiM-HqW7TmCc65NS_AXSWHTboJOWUqKijhGFGj/s1600/KS00081.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnhSjnhob8F53DpKOAbCPEb8FAGujpqrBVc-BIgRnGUKlWQjIsjcLsRGYnHQdSsPwT-BRUYDhMiFqw5ALbZ8plLBaUuZShwWEL5HuCvIiM-HqW7TmCc65NS_AXSWHTboJOWUqKijhGFGj/s320/KS00081.jpg" style="cursor: move;" width="317" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><i>Fuschia Bougainvillea</i></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: x-small;">KS00081, </span><span class="Apple-style-span" style="font-size: x-small;">8 x 8 inches, </span><span class="Apple-style-span" style="font-size: x-small;">watercolor on paper</span></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Common colors of bougainvilleas are white, red, pink, fuschia, lilac, and orange. The colored parts of the plant are not actually big petals but are specially adapted leaves. People often mistake these colorful leaves to be the flower. Not exactly, but close. The bougainvillea flower can be found at the end of the colored stalk that protrudes from the colored leaf. Yes, the very small white bloom. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">While the bougainvillea plant looks very chaotic and busy, there is actually an order to things. People sometimes tell me I'm crazy to want to paint bougainvilleas. They require so much detailing. But you know, once you see the logic of its construction, it becomes do-able. And it does not require as much detailing as you think. Will do a step-by-step project of it one of these days.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This fuschia bougainvillea is from our backyard. I hope the orange and the very dark fuschia bougainvilleas my father got for me take root. We are well into the rainy season now. I'm seeing more green leaves than colored ones last I checked. Maybe that is their way of coping with rainy weather.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This painting has been sold. </div>Affordable prints of it may be had at <a href="http://fineartamerica.com/featured/fuschia-bougainvillea-karen-sioson.html">FineArtAmerica</a><br />
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</div><div class="separator" style="clear: both; text-align: left;">To see more of my completed works:</div><div class="separator" style="clear: both; text-align: left;"><b><a href="http://www.karensiosonwatercolours.blogspot.com/">Original Watercolors</a> </b></div><div class="separator" style="clear: both; text-align: left;"><b><a href="http://karensiosonwatercolor.blogspot.com/">Original Cloisonne Paintings</a></b></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Back to painting now. Thank you for visiting. </div><div class="separator" style="clear: both; text-align: left;"><br />
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</div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com5tag:blogger.com,1999:blog-3655067336919012231.post-43219343173700218872011-04-27T09:13:00.017+08:002013-01-29T00:47:55.196+08:00The Right Side Of A Watercolor Paper Roll<div class="separator" style="clear: both; text-align: left;">
"Right Side" is probably the wrong term but that is what many of us use when we search online for instructions on which side of a watercolor paper roll is intended to be painted on. There is actually no right or wrong side to paint on. Today's watercolor paper is designed so that both the front and the back surfaces may be used for painting. One side usually comes smoother or rougher than the other. There is only the matter of preference. My paper of choice is Arches 140lb cold pressed and I usually pick the side that looks rougher (the side facing inwards) because it has mild properties of a rough paper but still maintains the subtlety of the cold pressed paper. Never had a problem with it until I opened a new paper roll. </div>
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I was painting plumerias when I noticed something was odd about how my paint applications were behaving. When I do a more watery wash, the boundaries of it started running in a linear pattern. I was having a bit of trouble keeping my edges defined and my background was also getting this linear pattern to it no matter how carefully I lay down my washes. I thought I may have received a defective paper. I continued the rest of the painting using dry brush just to see if that could be a possible solution for salvaging the rest of the new paper roll. At the same time, I was searching online if others were having the same problem with new paper rolls. If it proves to be a batch problem, then there might be hope for a product recall and replacement. I learned a lot by just reading through the complaints and how the paper maker's company addressed them. Turns out, sometimes when the felt for the roll presses for the machines are new, they may leave behind a more rougher surface. This is the reason why some cold pressed watercolor paper may appear rougher than normal. I wish I took note of all the sites I have been directed to. But two sites stood out that I found most helpful in making me realize what the real problem was. I will provide the links at the end of this article under recommended readings.</div>
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It was seeing the screen pictures at BruceMacEvoy's handprint.com site that was my first <i>Aha!</i> moment. The linear marks on my painting could be explained by it. After I read the article, I felt very very enlightened. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-uP3tUhABGTtghmRguIDhlx8tnrHBeMjU92F6PR3PmF__wDXltdkyketoQ8umSACd-M3cwFLEXN41wGfvZ8Q-Z3woijvzSK24-expcb-d1_jNRxslwvic42ApwZvLJTQuhdawO9QVVO3t/s1600/IMG_9747.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-uP3tUhABGTtghmRguIDhlx8tnrHBeMjU92F6PR3PmF__wDXltdkyketoQ8umSACd-M3cwFLEXN41wGfvZ8Q-Z3woijvzSK24-expcb-d1_jNRxslwvic42ApwZvLJTQuhdawO9QVVO3t/s320/IMG_9747.JPG" width="320" /></a></div>
Everything made sense after that. Second Aha! moment came after reading through Char's article, a compilation about watercolor paper. Every other article that came up on google would explain the wire and the felt side but never which side of the paper roll the wire or felt side is, only Char's did. <br />
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Now I get why the paint was behaving that way. I have been painting on the wire side all along. Not only am I getting the impressions from the felt, but also the linear impressions from the wire. I don't have a defective paper after all. But I'm probably being incoherent jumping to the conclusion like that when I'm supposed to be making the explanation easier to follow. Let me walk you through my epiphanies, thanks to all the online help:<br />
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Your basic ingredient when making watercolor paper is plant cellulose. It undergoes mechanical and chemical treatment that results into it being made into pulp. Paper pulp, which comes suspended in water, is shaped into sheets by the use of molds (whether the process is handmade or machine-made). Paper molds are like flat rectangular strainers that drain the water that come with the pulp mixture. The cellulose fibers left behind are allowed to settle and adhere to each other. That is how you get the shape of the sheet. There is still water within this cellulose fibers and so either they are allowed to dry by themselves or rollers are used to squeeze the water out and hasten the drying process. The surface that is facing the mold is called <b>the wire side</b>. The surface settling against this side will acquire the texture of the wire. Which is why if air-drying is used, the side facing the wire is still the rougher of the two surfaces. The settling of the fibers into the mold impresses the texture of the wire or screen into that surface of the paper. When the roller method is used, the mold with the pulp is sandwiched between two felt sheets before it gets pressed by the rollers. The wire side now gets its texture not only from the wire but also from the felt sheet it comes in contact with. The opposite surface, the side that gets in contact with only the felt acquires the descriptive name <b>the felt side</b>. The newer the felt, the more pronounced the texture it impresses on contact. Because the felt side receives texture only from the felt, it would appear textured but will appear to be much smoother compared to the wire side. The<b> side facing inwards of a watercolor paper roll is the wire side</b>. The <b>side facing outward is the felt side</b>. If you've pre-cut the paper and are now confused as to which side is facing inwards or outwards, Char's advice would come in very handy. To determine if the felt side is the side that is up, check the corners. If they are angling down, you have the felt side up.<br />
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Instead of using "right" side as our search word, we should have been using the terms, felt side or wire side. As both side is usable, you cannot go wrong. As for me and the linear spread, after a little water loading adjustment, I got my control back. I like how the finished painting turned out. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBnDWxnUInazj6IcMe1d3LmQMvOCDqr9KwnUpL65a4kU8iBihGLmNma3rRSRMWvIlybEbcsxVGVTdmR3O-hEx-5YefHGFKu6c6ja8hM4l6n0bFBf3lsejx63TO1THrCmq2XAr_NOCrsbc6/s1600/plumeria+s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBnDWxnUInazj6IcMe1d3LmQMvOCDqr9KwnUpL65a4kU8iBihGLmNma3rRSRMWvIlybEbcsxVGVTdmR3O-hEx-5YefHGFKu6c6ja8hM4l6n0bFBf3lsejx63TO1THrCmq2XAr_NOCrsbc6/s320/plumeria+s.jpg" width="241" /></a></div>
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<i><span class="Apple-style-span" style="font-size: x-small;">Pink Plumerias, Blue Background</span></i></div>
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<i><span class="Apple-style-span" style="font-size: x-small;">10 x 13.5 inches</span></i></div>
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<i><span class="Apple-style-span" style="font-size: x-small;">Collection of Maureen Pascual, U.S.A.</span></i></div>
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Thank you Char for the big help and also for the tip about terra skin. I'm looking forward to getting my hands on this new material. <a href="http://www.wetcanvas.com/forums/showthread.php?t=348562">forum thread featuring Charlene McGill's compilation.</a><br />
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Thank you also to Mr. Bruce MacEvoy for creating handprint.com and for sharing what he knows. Very nice fellow and he does answer his own emails as said in the main page of handprint.com. Thank you, sir. Highly recommended readings for those who wish to understand watercolor and the other materials you will be handling when you work with the medium.<br />
<a href="http://www.handprint.com/HP/WCL/paper1.html">Bruce MacEvoy's handprint.com site</a><br />
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Also got a tip from one of the coolest artists that I am following, Mr. Nicholas Simmons: "<i>I've been buying rolls for years, no problem with either side. Work larger and small defects won't matter</i>." * <br />
A very wise observation. Probably, the clue to very passionate paintings. You can concentrate more on expression if you do not get too caught up with particulars. Thank you, sir. <br />
The links to his latest art and book projects can be found in his blog. <a href="http://nicholassimmons.blogspot.com/">nicholassimmons.blogspot.com</a><br />
<span class="Apple-style-span" style="font-size: x-small;">* Reposted from his comment to me on facebook.</span><br />
Also, don't miss out on his video, <a href="http://ccpvideos.com/product/innovative-water-media-nicholas-simmons">Innovative Watermedia</a>. Out now.<br />
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<a href="http://karensiosonwatercolors.blogspot.com/2010/09/protection-from-damp-suggestions-on-how.html">Additional protection you can do yourself for your framed watercolor paintings</a></div>
Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com13tag:blogger.com,1999:blog-3655067336919012231.post-40307839670168967602011-04-20T10:31:00.004+08:002011-05-22T00:05:28.333+08:00Pencil To Paper<div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="text-align: left;">Drawing directly onto your watercolor paper can be tricky. While it makes for a faster start (as you wouldn’t have to transfer the drawing onto the watercolor paper after drawing it on another surface), using pencil directly onto your watercolor paper requires developing some skill. It requires a soft touch and confidence in your drawing skills. A light hand is needed to avoid gauging or damaging the delicate paper fibers. The lead of the pencil may seem soft but it can be hard enough to damage paper fibers especially if has a sharpened edge. Pressing the pencil too hard on the paper can also cause permanent depressions. Deep depressions can affect how your paint would behave on your paper. Your paint passages will have a tendency to go towards the deeper indentations on the paper and you might find marks appearing where there should be none. Erasures should also be avoided or minimized because the abrasion caused by the eraser may be enough to disturb paper fibers which can also affect its ability to take in paint. If you cannot help the erasing, use the very soft white erasers. I favor Staedtler’s because it is the softest I have tried so far among what is available locally but there are a lot of soft erasers out there you might want to try. White eraser is preferred because some colored erasers leave stains behind. I also would advice getting kneaded erasers. These pliable gray erasers are perfect for picking up loose graphite. Don’t rub it on (it can be abrasive to the paper this way) but just sort of roll it like a log on the paper’s surface. Knead the eraser when its surface gets dirty.</div><div class="MsoNormal" style="text-align: left;"> </div><div class="MsoNormal" style="text-align: left;">Some artists opt to leave the pencil marks on the paper instead of erasing. Most often seen on architectural and landscape watercolor paintings, pencil lines can add to the illusion of solidity and stability to structures. It also can add definition to florals, portraits and still life. There are also some, like me, who prefer to erase all traces of pencil from the paper. Because I desire brighter colors, I try to minimize anything that would lessen the brilliance of my colors. Leftover particles of graphite on the paper can dirty watercolors when it gets disturbed by passages of the brush. Whether you leave the pencil marks on or off, is a matter of personal choice. </div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;">While drawing on a separate piece of paper and later transferring this to the watercolor paper may seem time consuming, it does have certain advantages. For somebody like me who likes to think with the pencil in hand, not worrying over erasures allows me to really explore all my ideas and see the physical outcome. If I draw with the same abandon on the watercolor paper, you can imagine how abused the paper’s surface would be. Part of the reason I’m very meticulous with the drawing or painting preparation is because artist grade materials are twice as expensive when I get them. If I rush into a painting and later realize something about it is putting me off, most probably that attempt will end up in the trash and I would have wasted not only materials but also time already spent on the painting part. Much preferable to make the mistake while still drawing on cheaper paper. </div><div class="MsoNormal" style="text-align: left;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiolik8eg-bVcsH6NX55oKqtzec96-3p_Rbpx73sIz-ZUJf3f1wD_tTNeYr_5cLmUZ_rFdEtPU6qNRzJ3HidvhQzFb8tAso0ApGzbfbu0nYi6L82YyB2VVUn-Voz8_abFqb9t9WVvlj_ue8/s1600/IMG_5729.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiolik8eg-bVcsH6NX55oKqtzec96-3p_Rbpx73sIz-ZUJf3f1wD_tTNeYr_5cLmUZ_rFdEtPU6qNRzJ3HidvhQzFb8tAso0ApGzbfbu0nYi6L82YyB2VVUn-Voz8_abFqb9t9WVvlj_ue8/s320/IMG_5729.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><i><span class="Apple-style-span" style="font-size: x-small;">Picture above shows my drawing template for the blue water hyacinths. Days after I thought I am finished already with the drawing, I had second thoughts about some areas and I reworked it and defined the changes with a black marker.</span></i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="text-align: left;"><b>How to transfer your drawing</b></div><div class="MsoNormal" style="text-align: left;">There are several ways you can transfer your drawing onto the watercolor paper. Among some of these are the use of graphite or transfer paper, use of projector, and light box. </div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;">The projector works by throwing an image of your drawing onto the watercolor paper. You then trace the projected lines with pencil or paint. You can also use the original reference photos on the projector but sometimes, too many details can be distracting. </div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;">The light box allows you to trace the drawing on the paper through back-lighting. Works by sandwiching the paper with the drawing on it (outlines preferably darkened with marker) between the light box and the watercolor paper. Even though watercolor paper is thicker than normal paper, the light from the box is enough to make the drawing discernible on the watercolor paper on top of it. You then trace the lines that you see. You can also improvise and use a glass table and a portable lamp instead. With both methods, you have to anchor the papers securely to keep them from moving around. On sunny days, you can use your windows for tracing. Pick a window that is getting a direct light hit and a room that has a dark interior. Clean the window first. :D </div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;">As for transferring using graphite paper or equivalent. You can either use a commercially prepared one or you can make your own reusable graphite transfer sheet. Mine is over a decade old and still functioning well.</div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><b>To make the graphite paper</b>, you will need tracing paper, clear tape, number 2 pencil, lighter fluid, cotton ball and tissue paper.</div><div class="MsoNormal" style="text-align: left;">1. Put clear tape on the border of the tracing paper. The clear tape would prevent tearing of your tracing paper which can happen from much use. Place the tape only on one surface and try to position it flush to the four edges of the paper. I try not to let the tape wrap over to the other side because tapes can sometimes leave sticky residue behind and I do not want these on my watercolor paper. </div><div class="MsoNormal" style="text-align: left;">2. Turn the tracing paper over and then cover the whole area with pencil marks. Try to be cover all spaces. </div><div class="MsoNormal" style="text-align: left;">3. Moisten (not soak) a cotton ball with lighter fluid (be careful) and use this to blend the pencil marks together. The lighter fluid evaporates fast and will not have enough time to buckle your tracing paper much. </div><div class="MsoNormal" style="text-align: left;">4. Then use the tissue paper to lightly wipe this graphite side. This will pick up excess graphite particles. You now have your own home made graphite transfer sheet. </div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><b>Graphite transfer sheet works just like carbon paper. </b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOi_gPca6wt-C_G2wZSpfo53lFNBZF25CNaXaDhi1r7YtJsAo6Uea0SiMnduofTBFZkTz15xzPvPFubM6FmqmxQcbKEZmp132HazM3NKrUXi3_CH8wyX3pykQqtAYl-cE_DSyWY1fNez_4/s1600/IMG_5999.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOi_gPca6wt-C_G2wZSpfo53lFNBZF25CNaXaDhi1r7YtJsAo6Uea0SiMnduofTBFZkTz15xzPvPFubM6FmqmxQcbKEZmp132HazM3NKrUXi3_CH8wyX3pykQqtAYl-cE_DSyWY1fNez_4/s320/IMG_5999.JPG" width="320" /></a></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;">Position the drawing on your watercolor paper, tape it, and then place the transfer sheet in between. Make sure the side with the graphite is facing the watercolor paper or else you would find you have managed to transfer your drawing on the back of the same paper. Over the drawing, I would put tracing paper (not shown here) This is optional, by the way. Even without this top paper, you can already transfer the drawing by tracing on the drawing itself. I do the tracing with a ballpoint pen. I like to put an additional tracing paper on top so even if I forget to be gentle with the tracing, the multiple layers of paper cushions against too heavy pressure. </div><br />
<div class="separator" style="clear: both; text-align: left;">Another method that is similar is directly putting the pencil layer on the back of the drawing paper. No need for lighter fluids and clear taping. Just shade the back of the paper. When you place your drawing on top of the watercolor paper, it would function like a carbon paper too. Use less pressure when you trace this way because you only have one layer as a buffer between you and the watercolor paper. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><b>To erase and retain the guidelines</b></div><div class="separator" style="clear: both; text-align: left;">I would paint a very light wash of watercolor like Rose Madder Genuine over the pencil lines using a liner brush. RMG is perfect for the purpose because it lifts easily and is non-staining. It disappears by the time I have worked on the painting enough and have established my bearings. Let this dry completely before erasing the pencil marks. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">You can use any color for making the watercolor guidelines but watch out for colors that stain. There are also colors like some (most) yellows that when painted over pencil marks, may make the pencil almost impossible to erase.</div><div class="separator" style="clear: both; text-align: left;"><br />
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</div><div class="separator" style="clear: both; text-align: left;">Thank you for dropping by. Enjoy painting!</div><div class="separator" style="clear: both; text-align: left;"><br />
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</div><div class="separator" style="clear: both; text-align: left;"><b>Related articles: </b></div><div class="separator" style="clear: both; text-align: left;"><a href="http://karensiosonwatercolors.blogspot.com/2011/04/right-side-of-watercolor-paper-roll.html">Watercolor paper roll: which side to use</a></div><div class="separator" style="clear: both; text-align: left;"></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="color: #660000;"><a href="http://karensiosonwatercolors.blogspot.com/2011/03/watercolor-paper-weights-to-stretch-or.html">Stretching guide: understanding watercolor paper weights</a></span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://karensiosonwatercolors.blogspot.com/2011/03/water-color-papers-and-sizing.html">Understanding sizing: guide to wetting your paper</a></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="color: #660000;"><a href="http://karensiosonwatercolors.blogspot.com/2011/03/troubleshooting-paper-discoloration.html">Troubleshooting watercolor paper discoloration</a></span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://karensiosonwatercolors.blogspot.com/2011/03/how-to-make-your-own-stretcher-boards.html">Affordable and easy solution for unprotected wooden boards used for stretching watercolor paper</a></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="color: #660000;"><a href="http://karensiosonwatercolors.blogspot.com/2011/03/gator-boards-stretcher-boards-that-dont.html">Gator Boards</a></span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://karensiosonwatercolors.blogspot.com/2010/09/protection-from-damp-suggestions-on-how.html">Additional protection you can do yourself for your framed watercolor paintings</a></div></div><br />
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</div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com3tag:blogger.com,1999:blog-3655067336919012231.post-27771451701591146262011-04-19T02:04:00.001+08:002011-04-19T03:50:33.214+08:00An Afternoon With A Master ArtistI was privileged to have been invited to another artist's home this summer. Melencio Sapnu, Jr, veteran painter and friend was taking a breather from his hectic schedule in Manila and was in the area. He was working to finish a collection for an upcoming exhibit and because of a timely chance meeting in facebook that day, me and my sister were lucky to have been invited in his studio. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3r4WFTDnQwPinMkWsgEKksECQRU7rAegvxwOgNx0kqNeY4WUXsk7SQX02QqxWOHojav_b8PFvDIuzQyQHybgYBFhA6rdpRcuypdyl7mZlm8hASx9mSruC1-UFGrkXKq0EstgHGAt7Lmo/s1600/IMG_7284s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3r4WFTDnQwPinMkWsgEKksECQRU7rAegvxwOgNx0kqNeY4WUXsk7SQX02QqxWOHojav_b8PFvDIuzQyQHybgYBFhA6rdpRcuypdyl7mZlm8hASx9mSruC1-UFGrkXKq0EstgHGAt7Lmo/s320/IMG_7284s.jpg" width="320" /></a></div><br />
I first met Mang Melencio through my cousin Rochelle who is classmates with one of his children. At the time, I was just beginning to immerse myself in watercolors and really had no idea about the other side of painting - the career side. When I learned that we had an artist living in our subdivision, I was ecstatic and also afraid. At the time, my idea of what artists are run more on the eccentric and moody types and I was sure he would be intolerant of beginners like me. Well, blame it on the movies. Nothing could be further from the truth. I was surprised at how genial and humble the man is. He was working on a painting by the side of their house when Ate Leng, his wife, let us in. Instead of getting distracted by the intrusion, after the introductions, he went back to painting and filled us in on what he was doing. A natural teacher, he was in his elements. From him, I learned how important drawing is and how even when he was little, he knew his life would revolve around art. He used everything he could get his hands on to practice rendering and would even draw with a stick on sand or soil if he didn't have any implements with him at the time and he was seized by an idea. No wonder he's very proficient in all of the mediums. I have seen one of his watercolors hanging in the municipal hall. His numerous pastels and oils grace many buildings both here and abroad. Beautiful works, one and all. When he showed me and my sister what he was currently working on, I couldn't speak because even though I had an idea of his later works through the pictures I see in his facebook albums, I really wasn't prepared for the actual beauty of the pieces. The camera could not capture the colors and do justice to the textures. Perhaps because I'm very partial to the Impressionists, I was captivated by his use of pure colors.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisEP1LTVZJ4A4sLWs58_ntbBA-drCVfvDzOZdi93Uy0ANKAOEJ73ikRq1Uw1MqDcGz4Z3XTeRxTjanOtCwkIp8hSaCZz_4uCdYycoHIMX9WbffgLCoJRoQgcl5av0xYtbMl0FK6ak-jHHF/s1600/orange+boug+close.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisEP1LTVZJ4A4sLWs58_ntbBA-drCVfvDzOZdi93Uy0ANKAOEJ73ikRq1Uw1MqDcGz4Z3XTeRxTjanOtCwkIp8hSaCZz_4uCdYycoHIMX9WbffgLCoJRoQgcl5av0xYtbMl0FK6ak-jHHF/s320/orange+boug+close.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Yf_-oheqhom7-Z_O_rrfW1_1Wfe7ups3tKjmpdHTdhEuKwrhCMEqJyZtDQO-trll6rJb1dIsUWzipHK7Kc6q8fy7i2jiZV-jAIHXWkYwR-tVs7yV3lcFHVq8J3sWG5lDmj5kuX6gYsZc/s1600/red+boug.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Yf_-oheqhom7-Z_O_rrfW1_1Wfe7ups3tKjmpdHTdhEuKwrhCMEqJyZtDQO-trll6rJb1dIsUWzipHK7Kc6q8fy7i2jiZV-jAIHXWkYwR-tVs7yV3lcFHVq8J3sWG5lDmj5kuX6gYsZc/s320/red+boug.jpg" width="163" /></a></div><br />
Just to show you some of what I'm talking about. These are just small portions of his latest oil paintings. Masterful brushworks. I will not spoil the surprise of the future exhibit by showing the paintings in entirety (except for the one the artist posed with). But for those interested in his works, he has some of his paintings hanging at Galerie Y at the Megamall. Galerie Y also has a website. Interested collectors may inquire directly. Link to the site provided at the end of this article. <br />
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Some of his works were featured in a compilation book of notable Filipino artists. I should have remembered to ask him how interested collectors may get a hold of it. I promise to get back to you on this one.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnBLKn6TTwrZIt1quPO0sKCpieyqcaQbj-abhJkSI07Svt-RqcnEGW3RVCQfpxi_-7fEFf3mpsx_OszTiZx0t8scMPeKn63yEl6JwnFP3iOeL2z3BNVmGa4vfPDGpdSJwKN5uQ_pac0QJ/s1600/IMG_7292.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnBLKn6TTwrZIt1quPO0sKCpieyqcaQbj-abhJkSI07Svt-RqcnEGW3RVCQfpxi_-7fEFf3mpsx_OszTiZx0t8scMPeKn63yEl6JwnFP3iOeL2z3BNVmGa4vfPDGpdSJwKN5uQ_pac0QJ/s320/IMG_7292.JPG" width="320" /></a></div><br />
I am also going to ask our post office if they could still get hold of some of the Philippine stamps featuring his work.<br />
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I think it funny that despite being encouraged by Ate Leng to call him Kuya, we still refer to him as Mang Melencio. For non-Tagalog speakers, "Mang" when attached to the first name of a person is form of addressing somebody with respect, an honorific. I guess it is in deference to the man and the artist. <br />
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Plans for the future include another trip abroad for an international exhibit. He has recently taken part in an international exhibit in China. And if his schedule permits, free oil painting lessons for the children in our Barrio. He's always keen to share his blessings and delights when he sees artistic potential in people. I asked if "older" children are allowed. I'm hoping me and my sister could sign up for the lessons. He thought I was kidding until I said it is not always that we get a chance to learn from a master. Good thing I kept all my oil painting supplies. <br />
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Click link below to see available paintings of the artist. <br />
<a href="http://www.galeriey.com/category/gallery-artists/melencio-sapnu-jr/">Melencio Sapnu Jr at Galerie Y</a><br />
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Thank you sir, for letting us visit in your studio.Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com1tag:blogger.com,1999:blog-3655067336919012231.post-91051629296745915092011-04-17T00:14:00.000+08:002011-04-17T00:14:34.022+08:00Watercolor: The Right And The Wrong Way Of Painting With It.<div>Of all the mediums, watercolor generates the hottest debates on how it should be used. In all of the painting community sites I have joined or visited online, the topic inevitably comes up. On one side, you have the realists and detailist who are after the most accurate renderings and gaining the most control over the medium. On the opposite side are the impressionists and the artists who are advocating the paint fast and loose method. To a beginning watercolor painter, choosing the right style can be very confusing and very stressful too. To learn a skill is both an investment in time and money (two resources one can not afford to squander so easily in these trying times). Which style to choose to ensure that you are painting in watercolor the right way?</div><div><br />
</div><div>It is very interesting to read and consider all the points that come up in such an argument. You can learn a lot if you would just try to keep a level head and not get too emotionally involved, specially for artists who are already favoring a certain method when they work with watercolors. I've often wondered how it all started. Over the years, I've read a lot, asked a lot and have somehow come up with this attempt at explaining it. Please bear in mind though that the following are just my musings and that I am sharing in the hope of encouraging tolerance for each school of thought. <br />
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</div><div>Before the advent of photography, the only way you can immortalize a scene or event with pictures is by painting it. Artists paint either on site (<i>plein air</i>) or in their studios using their memories or perhaps aided by references that they drew on the scene. For on-the-site drawing or sketching, the tools of the trade were paper, pencil and ink. Later, when the very portable and easy to use watercolors were made available, they also became regular materials for the on-the-go painter and as study tools for the studio painter. Watercolor paintings back then were still not considered proper paintings but were just temporary things. Good only for the purpose of aiding the artist as he or she strives to come up with a more acceptable rendering in oil paints. Part of the reason it also was not taken seriously was the short life span of watercolor renderings. The early watercolors were not as lightfast and the papers were not as durable and as readily available hence its lesser popularity than oils. Watercolor was also considered a hard medium to master then . Oil painters who were used to working with opaque oil paint probably found the transparency of the medium to be unforgiving. You can cover mistakes made in oil by dabbing them off with a rag and painting on top of it but not so with watercolor. The transparency of watercolor and some pigments' tendency to stain paper made mistakes obvious and permanent. The fluidity and solubility of the dissolved watercolor in water may also have been difficult to manage. Hence, to be able to paint as realistically as in oil paintings, one had to master the control of watercolors. I'm surmising that this is the same difficulties that today's painter of realism in watercolor finds so challenging. We all have different drives for painting and maybe being challenged by something is one of them. It took a long time, a lot of improvements material-wise and several great artists to demonstrate how paintings in watercolor can be beautiful and complete in their own right. The issue of whether watercolors can be as good as oil has been resolved and at the same time it may have left behind the thinking that control of the medium is the thing to strive for.</div><div><br />
</div><div><div class="MsoNormal">If there is anything constant in this earth, it is change. Traditional painting has lain unchallenged until the advent of the Impressionists. At the time, the proponents of Impressionism were laughed at but history would show they emerged triumphant in the end with Impressionistic paintings not only influencing the changes and opening the gate for the other styles to emerge but also because later on they were among the most sought after by collectors and thus ensured that they would be fashionable for all time. Perhaps we owe it to watercolor’s versatility as a medium that it also was perfect for painting in the manner of the Impressionists. While realism can be achieved by total control, the medium also has qualities that make them perfect for the fast and loose style. Depending on how much you dilute it, you can control how fast or how slow it would dry. Instead of avoiding "accidents", the practitioners realized the quality of the paint itself lends a certain beauty and produces beautiful surprises and they saw the vast potential in it. Watercolor became less rigid and freer. It was a perfect tool for catching impressions. When photography also entered the picture, many said the days of painting in realism was over, a belief still held by many today. Well, that's just one reason of many why some think watercolors should be used with less abandon. It is about using watercolor to its full potential and about capturing something other than just the exact likeness of the subject which the camera can do better.<br />
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So which is the right or the wrong way? The best answer is probably NA. The parameters are <i>Not Applicable</i> as you cannot say one is right or better over the other. Choosing a style is a matter of personal choice. Finding the right style requires a lot of introspection. You have to know yourself, know what you want, and have your own vision. Once you have considered all these, choose the method of painting that would help you show others what you see... your version of the world. Choose your teachers and acquire the learning materials guided by the same considerations. Let your own judgement dictate your choice. There is no one "in" style. If history has taught us anything, it is that styles evolve constantly and that fashion comes in cycles. What may be fashionable now may not be the in thing later and what may be considered passé may become a favorite once again. There is also no rule that states you can not combine both styles nor is there one that says you can only paint in the style you started out with. You are the only one who can limit yourself. I think it also fortunate that artists in our lifetime enjoy the most freedom. Perhaps we also owe it to the sophistication of today's collectors. Most rely on their own judgement and collect art that reflect their own sense of aesthetic values. They do not let a single entity or art authority dictate what they should collect or not collect so why should you. Paint your bliss. <br />
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</div><div class="MsoNormal">And oh yeah, there is a wrong way to use watercolor. That is, if you mix it with oil. </div></div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com0tag:blogger.com,1999:blog-3655067336919012231.post-52616146918637188842011-04-07T00:24:00.001+08:002011-04-11T04:21:18.240+08:00unusual plants<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;">I'm still working on the article I'm supposed to post for my March entry. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">In the meantime, here are some unusual plants I've come across that I'm still hunting the names of. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwe-UapK1c8maddbFaf9Q_W7P6CzjSZgo8tGwXYDcxd03cBzSa4Oa8tXSgzsDKMls5MBSH2iI2ped76sLI9UgICYllMTnIz0y5n6_DNW4Ff5c8FgLJDxiM2kzvBhF7oiXjvqtbUL7iKvBz/s1600/plant1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwe-UapK1c8maddbFaf9Q_W7P6CzjSZgo8tGwXYDcxd03cBzSa4Oa8tXSgzsDKMls5MBSH2iI2ped76sLI9UgICYllMTnIz0y5n6_DNW4Ff5c8FgLJDxiM2kzvBhF7oiXjvqtbUL7iKvBz/s320/plant1.jpg" width="320" /></a></div><br />
Quick sketch of a wild vine that can be found on the mountains of Bataan. It had thick leaves, kidney-shaped pods and red fruits that reminded me of siling-labuyo (chili pepper) in appearance. The vine is usually found entwined around bamboo poles. I do not know if it is a parasite plant or if it is just using the bamboo as a base. The main cluster was clinging to a bamboo node that had those dried out stem shoots (probably for a more stable hold). I was told it may be some kind of orchid. I asked if the pods open or something but was told, it just stays like that until the whole inside of it decays. A very unusual plant. If you decide to hunt for this vine though when you go trekking in the mountains, please be reminded that you are not allowed to bring down plants from the mountain. Even flower picking is forbidden so if you have to take souvenirs, sketch or take a photo. <br />
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Will provide a better illustration when I get around to painting it. <br />
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Here is another unusual plant. This one found in the lowlands. Used by farmers as a souring agent when they cook sinigang. I was told it is several times more sour than kalamansi or kamiyas. Will have to go back for a more detailed interview on how to use it for cooking. This plant first caught my eye because of the beautiful flowers. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTZdVyfMRL-YyAxbk5C6fcGZR2bu8p59PN1URy9E34BoiOXO1iYNDzTVgBE-u7ILKLLqndaHqbT5k__OuyoCAkp2aH81kbDIGFF05dqumhTLE0MWIcSbr1E2L8qjj4j1C__NP6-f3BJkd5/s1600/DSCN2830.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTZdVyfMRL-YyAxbk5C6fcGZR2bu8p59PN1URy9E34BoiOXO1iYNDzTVgBE-u7ILKLLqndaHqbT5k__OuyoCAkp2aH81kbDIGFF05dqumhTLE0MWIcSbr1E2L8qjj4j1C__NP6-f3BJkd5/s320/DSCN2830.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7DxjCSQRXxpZJV9XSHID5g3iw1UvqEK1HW9pgDJgQ74KqbRSe1xNwDBqXR7R7AcfTggLaCxu9vZQQETG4ahXDGbY2xKp_h0kZcY0CM7SKGwV2BSjlVPadk_7wHJkFIMZHF6uE5uj-6B9p/s1600/IMG_3102.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7DxjCSQRXxpZJV9XSHID5g3iw1UvqEK1HW9pgDJgQ74KqbRSe1xNwDBqXR7R7AcfTggLaCxu9vZQQETG4ahXDGbY2xKp_h0kZcY0CM7SKGwV2BSjlVPadk_7wHJkFIMZHF6uE5uj-6B9p/s320/IMG_3102.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div>The next one (picture below) is known locally as Lobo-lobo. Found this one on a roadside. My sister recognized it when I showed her a picture. She told me they used to play with it when they were little. If you jump on it, it will make a popping sound. Used to be a lot in the subdivision, she says (strange I never saw this before), but now harder to find. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW9lLllmzTMw1E0gAlHJpQyixVNAUJig2mvEOCiGpaScm0i3i2uRiYC2ufjRRhCu3FzEpO5BYUO8a9ScY6UCPhj3dBVS2flYxu1ahb4QyLyDtMunYAeEXOTIX6WwK8Ms4KQlG2mgctp2db/s1600/IMG_6221.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW9lLllmzTMw1E0gAlHJpQyixVNAUJig2mvEOCiGpaScm0i3i2uRiYC2ufjRRhCu3FzEpO5BYUO8a9ScY6UCPhj3dBVS2flYxu1ahb4QyLyDtMunYAeEXOTIX6WwK8Ms4KQlG2mgctp2db/s320/IMG_6221.JPG" width="320" /></a></div><br />
Will be hunting for more not so usual plants.<br />
Thank you for looking.<br />
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Update: found a very informative site. <a href="http://www.stuartxchange.org/CompleteList.html">http://www.stuartxchange.org/CompleteList.html</a><br />
The first plant is called Dapo-sa-boho. Should have known it would have that name. The english translation of Dapo-sa-boho is "something that landed or attached itself to a bamboo".Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com0tag:blogger.com,1999:blog-3655067336919012231.post-85258232905949949522011-03-28T00:33:00.000+08:002011-03-28T00:33:32.053+08:00Extending The Life Of Your Watercolor Paintings ; The Importance Of Doing Your Own Lightfastness Experiment<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCvW63YL4xdcG5O5rOKd3EbJ4zysjofsCYDaWSMzmSiQwpnSS7S2vbvRHBjj8ayzv5-4rySuCv3_ty4v8ck71QQ_sfArnk7DDNPLeKX_HVR3FgxAiPO6Nt4pA_4fIMy4zh3VVuqNlreI_p/s1600/IMG_7273.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCvW63YL4xdcG5O5rOKd3EbJ4zysjofsCYDaWSMzmSiQwpnSS7S2vbvRHBjj8ayzv5-4rySuCv3_ty4v8ck71QQ_sfArnk7DDNPLeKX_HVR3FgxAiPO6Nt4pA_4fIMy4zh3VVuqNlreI_p/s320/IMG_7273.JPG" width="320" /></a></div>It is summer now and as we are nearing the month of April, the sun seems to be blazing hotter than usual. I'm talking about sunlight that can cook an egg on concrete in minutes. Hot and painful on the skin and with a brightness that impairs your vision for the first few minutes when you go indoors. Perfect weather though for testing your paints for lightfastness. Shown above is my setup. I take out my test frames whenever we get this blazing sun every summer and pack up whenever rainy season starts. I borrowed my dad's cart/table and placed the framed testing strips on it. The mobility is perfect for realigning the frames to receive the most direct sun on the strips. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi575W5QM1y5pAAhkd0nWnI4Pm4bzz_kZ77XSIh3_strJAHQ0RYked404kM-FOx7Sq7KSJ-RCyG81sM-HrDccS_2knoqwqOwo6dZLr6cl40kehKfmb8l3F6psh2kTVAiFYJhSLPpYGCo8Gx/s1600/IMG_7590.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi575W5QM1y5pAAhkd0nWnI4Pm4bzz_kZ77XSIh3_strJAHQ0RYked404kM-FOx7Sq7KSJ-RCyG81sM-HrDccS_2knoqwqOwo6dZLr6cl40kehKfmb8l3F6psh2kTVAiFYJhSLPpYGCo8Gx/s320/IMG_7590.JPG" width="320" /></a></div>I took the cart aside to take a closer shot and for that few minutes, the sun exposure was really painful on the skin. Talk about sun-baked. <br />
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For those who have already done the test, the setup might be familiar and you would be right if you're thinking I used the handprint.com procedures as a guide. One of the most wonderfully extensive and free online resource for a watercolor artist. The link to handprint.com, on how to do the setup, will be provided later. That will take care of the <i>How To</i>. I used it more as a guide though and made changes because of inavailability of some materials. Handprint's was more extensive and more thorough.<br />
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What we will be discussing instead is <i>Why</i>... why you should perform the test. True, it is time consuming and will cost you money. You will also be using up paint for non-rendering purpose. Artist grade paints and papers are expensive. But maybe, after considering the factors below, you would come to the same conclusion, all the effort and expense will be actually saving you money later.<br />
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One of the most important reasons to do the test is for your ease of mind. The question you would most often get asked when people realize your painting is in watercolor is about the expected lifespan of your painting. Because of careless practices in the past and use of student grade paints for "professional" watercolor paintings, collectors were left with the impression that if it is in watercolor, it should be good only for a few years. Either they pass your painting up to look for more durable art, or they price it way below its value (in consideration for its shorter lifespan). But if you are confident and know you used lightfast colors on your palette, then you would know and can demand the true worth of your painting. <br />
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Another good reason to do the test is because you might find the manufacturer's ratings for permanence and the actual performance of the paint to have a discrepancy. I'm not saying they are deliberately manipulating the test so the results would be favorable for their product. Far from it. The companies are subject to the same test standards. Just that what if your expectancy regarding their rating and the true meaning of their rating do not match in the first place. It is better when you do the actual test and see the results for yourself. <br />
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Also, in the past, I tended to rely on other artists' recommendations, thinking if it is good enough for them, it must be ok to use. Which is how I ended up with 3 tubes of a yellow that not only tends to gray on its own but also pops (small exploding sound) and tries to escape its tube when the cap is opened... an expensive yellow too. A red that shows fading within 10 years and a blue that unexpectedly faded even faster than the red. Relying on other's judgement may cost you not just money for materials you would end up discarding later. It may also cost you your reputation. I'm actually relieved that the paintings that had unexpected fading (early paintings 10-15 years ago) were very few. And that when I decided to sell professionally, I have long since changed to a lightfast palette. Do the test to save and use the money to buy better performing paints. <br />
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The knowledge you would gain can also help guide you on how to use the "questionable paints" that you have. Many of these fugitive paints have colors or characteristic that are distinctive and desirable but cannot be reproduced by their synthetic but more lightfast replacements. You can still use these colors if you take advantage of the technology of prints. Giclee prints of original paintings can be as marketable as the originals and they have the added advantage of being lightfast for 75 or 100 years. (Depends on the inks used by the printers, by the way. Handprint even advises you to test the inks used and that is what I call being thorough). That way, you need not sell the original if you have fear that it may fade. The original can be kept under archival storage. Protected and hidden from light, they will not be subject to the same fading. By doing the test yourself, you can better advise your clients on how to care for particular paintings. You will know also when it is reasonable to give a discount on your painting price so your client can better afford the UV filtering glass that would prolong the life of your painting that used not so lightfast colors. You will be able to suggest appropriate lighting options for the painting considering how UV light affects it, suggest areas in the client's house that would not subject the painting to direct sun exposure, etc. By doing the test, you are actually broadening or adding to your options and lessening your liabilities. <br />
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Follow the link below to go to www.handprint.com's lightfastness test.<br />
<a href="http://www.handprint.com/HP/WCL/pigmt9.html">handprint.com's doing your own lightfastness test</a><br />
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<b>Some changes and observations regarding the lightfastness test I did.</b><br />
I don't have access to some of the materials like the blue wool scale. But I did inspect the swatches regularly and made notes and noted the hours. I was counting only the hours spent under full sun and not the hours the test swatches were out on cloudy skies. There is no way you can convert the hours to predicted days or years your work would remain lightfast though but you sort of get an idea which colors will have fading and in what sequence. Gives you an idea which colors to avoid or use with caution. I also prepared double swatches. One set was subjected to full sun exposure which I posted a picture of earlier. The other I set up inside the house on a wall where they get part sunlight through the windows for certain hours of the day. Conditions a painting might get normally subjected to in a client's home. Started at the same time. So far, there was no fading for the artist grade colors left inside the house even though they were exposed to direct and indirect sunlight that enters through the windows and also exposed to the electrical lights inside our home. A very promising sign that investing in artist grade watercolors is a good decision. <br />
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Just in case you are wondering what kind of results happen in a lightfastness test...<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0-IHn-RzEwx9tqdTcDTh0u2f3nUK9EGJ9szLSLwEcFwJWokuUV19ltwCO3iXuA5DzIZ2eCGVWzOqc-p_VbI-odeGWnQNwVreknwi10bKTEAhC9pQKaUAKoBfHwnfOyeFO9lAGNP8haKG/s1600/sun+subjected+colors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0-IHn-RzEwx9tqdTcDTh0u2f3nUK9EGJ9szLSLwEcFwJWokuUV19ltwCO3iXuA5DzIZ2eCGVWzOqc-p_VbI-odeGWnQNwVreknwi10bKTEAhC9pQKaUAKoBfHwnfOyeFO9lAGNP8haKG/s400/sun+subjected+colors.jpg" width="400" /></a></div>Photo shows the result after four months of exposing one of the framed test sheets to direct sunlight. Just one brand of artist grade paints I have tried. I will not show the results for the other brands as our aim is not to do comparisons. I deliberately made the resolution just big enough that you will be able to see the change but not enough to read the brand - to be fair to the companies and also so you would be motivated to do your own testing. I have pictures of when I opened the frame several additional months later but will have to find the files first. Laptop's hard disk conked out a year ago and I'm still reinstalling the backups and searching for missing document and picture files.<br />
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Can you see the changes in some of the colors? If you see them, don't panic. It does not mean that in four months' time, your painting that used the colors will fade. I think your clients will have sense enough not to leave their paintings to the mercy of the sun as was done in the test. But the test will sort of give you an idea which colors might fade in 5, 10, 15, 20 or so years later, that is if they were less carefully cared for. Protected paintings might not show any change at all.Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com2tag:blogger.com,1999:blog-3655067336919012231.post-83644026379835413442011-03-17T12:15:00.146+08:002011-03-25T12:27:14.264+08:00Gator Boards: The Stretcher Boards That Don't BiteIf you constantly find yourself pressed for time when painting in watercolor, then an upgrade to gator boards may just be what you need to reduce your paper preparation time. <br />
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For those still not familiar with gator boards, a Gator Board or equivalent is a lightweight, sturdy foam core board with hard eggshell-like surfaces on either side used for stretching watercolor paper. The hard eggshell-like description is just my observation. For the sound it reminds me of when I punch through it with staples. It produces a very soft cracking sound but unlike an eggshell, the surface of the gator board is hardier. Gator boards come in several sizes (for full sheets, half sheets, and quarter sheets) but may be cut easily to your preferred size with a regular cutter aided by a metal ruler. It comes in white and also in a light brown color for those who do not like the glare of white seen from the sides when they work on their painting. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxvqjRAG734WqjUlNptShKkoCapVtiQoV9yvJ5OjJ0bg5Dddtlz1sUxgTUotaNkBxZW-eiGzhksUeTktPtX9W7JBDn8F9I8yv-jcwU6m72BRSxagqakFSqB0-q1YBA_luh1jFd0w971WEO/s1600/IMG_6003.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxvqjRAG734WqjUlNptShKkoCapVtiQoV9yvJ5OjJ0bg5Dddtlz1sUxgTUotaNkBxZW-eiGzhksUeTktPtX9W7JBDn8F9I8yv-jcwU6m72BRSxagqakFSqB0-q1YBA_luh1jFd0w971WEO/s320/IMG_6003.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: x-small;">gator board with stretched paper in place </span></div><br />
While it does get holey after you have stapled paper on it several times, it can take a lot of abuse. The holes are self-contained and will not radiate cracks unless you really have a heavy hand. Best also to get rid of the giant staplers you try to make do with (the office kind where you crack it open 180 degrees) and get yourself a gun tacker (you don't need the industrial kind) to lessen the likelihood of damaging the board. The surface may also stain with paint but will not pose any problem if you get get most of the loose paint off when next you use the board. Not advisable to use any chemicals to clean the surface itself as this may get absorbed and affect the next paper you stretch on it. It it takes in paint stains, it may mean the surface is porous. You can wash off surface dirt easily by running it under water and using your hands to disturb the particles. Just take care not to get any oil on it as gator boards do not seem to have any built-in protection against oil. Oil will not affect the sturdiness of this board but it may transfer to any paper that you stretch on it.<br />
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Best thing about foam core boards is that no matter how many times you wet and re-use it, it will not leech acid on your watercolor papers. The gator board surface also dries with the paper so you will not have the prolonged damp, paper problem. And because both sides are usable, you can flip over and use the other surface once the other one croaks. <br />
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Gator boards, being lightweight and less rigid than wooden ones, have a tendency to bow or distort slightly under the pull of the paper. Noticeable when you stretch full sheets. Paper still dries flat and I have not had any problems with framing gator board stretched paper yet. It might be advisable to use alternate sides to straighten your boards back to flatness again. <br />
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I highly recommend gator boards specially if you are a busy person and if you are starting to have wrist pain problems common with aging. Gator boards will cut down your preparation or stretching time considerably because it is always ready for use, easy to staple and tape papers on. Because the surface yields easily to staples, your wrists and hands will not be subjected to jarring trauma as happens when you staple on wooden stretcher boards with hard spots on them. <br />
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If you have children in the house or family and house guests you think might have failed the marshmallow test in their childhood, it is highly advisable to warn them about the presence of your gator boards. Failing that, hide your gator boards when expecting company. The temptation to try Karate chopping it in half may prove too great for some. I know because I sometimes get the urge to see what would happen. It is only the knowledge that each of the boards may cost around 17 to 35 dollars that is stopping me. <br />
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Gator boards are a good investment that will give you years of excellent service. <br />
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And no, I'm not a stockholder in the company. :D I just love the product. <br />
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Addendum:<br />
One nice thing about using facebook and blogging is you get to meet fellow artists and exchange ideas. For the same reason, I very much welcome viewer comments and experiences because their advices not only add more knowledge but most often prove very beneficial to our pockets as well. <br />
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I'm reposting Judy's comments below:<br />
<i>1. In the US I can buy 4 x 8 ft sheets (half-inch thick) at a sign company, and cut them to various sizes. Tricky to cut, use box knife and heavy metal straightedge. Much cheaper this way than buying from art supply places.</i><br />
<i>2. The cut edges can be sharp enough to cut you; best to file the edges so they aren't so sharp.</i><br />
<i>3. Rather than stapling, I like to use water-soluble kraft paper tape to stretch the paper. The adhesive easily washes off the Gatorboard after removing the painting, and leaves the G'board surface undamaged. (I have never done whole or even half-sheets this way; might not hold as well as staples).</i><br />
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Also a good thing Judy mentioned paper tape as I have forgotten to elaborate on that. Using paper tape instead of staples would prolong the life of your Gatorboard. It works very well on the surface of the gatorboard because once you activate the glue and allowed the stretched paper to dry, the paper tape really has a firm hold and will not lift unless you get the paper really really wet. It holds even for bigger sheets. (Paper tapes do not work as well on plastic covered boards though.) Care should be taken when removing the watercolor paper once you are finished with the painting. Once anchored, you either have to rewet the tape to get it to lift off the gatorboard (which can cause warping problem with your watercolor paper) or you can use a cutter to cut it out of its taping. You have to be very careful though and cut just the paper without damaging the board. There is also the matter of adhesive residue. I will repost Judy's solution and mine afterwards.<br />
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<i>About the paper tape, I just cut my paper off the Gatorboard with a box knife at a very low angle along the edge of the paper underneath, so as not to cut the Gatorboard surface, then trim off the tape and the paper it covers with a rotary paper cutter. I lose the nice deckled edge of the paper that way, but unless you mount your painting on top of a matboard or something, it doesn't show anyway, and you don't have any of the tape adhesive fouling up your paper. (This also gives me many scrap strips for testing colors/values and practicing signatures, etc. Also, the strips work nicely for laying over finished painting to visualize various crop options.) Then you can just use a very wet sponge and soak the tape off the Gatorboard. Get the tape really wet and let sit for several minutes; it comes right off, and the adhesive is also easy to wash off after soaking. </i><br />
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We use the same method. Cut away from the painted side. You can usually tell where the watercolor paper is under the tape. It will have a contour pressed on the tape. This is where it is most advisable to insert the cutter, working at a very low angle, almost flat. Just a small slit that would allow you to insert the blade in between the paper and the gatorboard.. Once the blade is in (insert only an inch or less (make sure way beyond the painted surface) and filet the paper off the board. One danger is, you can cut your painting accidentally. <br />
<br />
Once the painting is off the board, be sure to trim away the parts that still has paper tape on it. I trim an extra centimeter off. Sometimes, the adhesive of the paper tape can go beyond the taped area. You can tell if you view your paper at an angle, the glossy film you see on the paper is the adhesive. It is advisable to cut off the paper tape because although it may be acid-free or are of neutral pH, over time, it may still cause discoloration on your watercolor paper because the paper tape's natural color may leech onto it.<br />
<br />
Once the painting is off, you can use a sponge to moisten the tape for lifting off the board. Just make sure to use a clean sponge. Another alternative is to use clean tissue instead of a sponge. You may also just wet the paper under the sink which is what I do because I sometimes I just cannot help but think the sponge may be contaminated with algae. Whatever your method, make sure to rinse off the adhesive from the board. You can tell the presence of adhesive because these areas would have a slimy feel to it. Because I noticed I was spending too much time cleaning after using the paper tape, I switched back to stapling. But that is only because I am an obsessive compulsive and something like this seems to trigger it. You might find paper taping a better option though. <br />
<br />
The gatorboard from the sign shops may be available locally. When Judy mentioned that the edges of this gatorboard can be very sharp, that somehow triggered a memory. I think I may have come across such a board. But probably, because this board's surfaces was twice as thick, (the outside layer that reminds me of eggshells) I had misgivings whether it would function the same. But it seems to be doing well as a stretcher board for Judy so I think I'll go and hunt for its like again. I could use a gatorboard for oversized paintings.<br />
<br />
One concern that arises though, is this alternative board also of neutral pH? We'll see. Time for a science experimentation again. At least, once I get a sample of the material. More feedback on this appreciated specially from local artists who find it. I'm interested about the size it is available in, the price and your feedback on its performance as a stretcher board because we may get a kind slightly different than what Judy has access to. If it proves to be very affordable, this sturdy material even has potential as shipping protection for our watercolors.<br />
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</span><br />
Many thanks to Judy Waller for her contribution to the discussion. You may view art works by Judy on her site linked below.<br />
<a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.johnandjudywaller.com%2Fart%2Fwatercolors&h=561f8">Watercolors by Judy Waller</a><br />
<br />
Gator boards are not yet popular items where I am at (Philippines) and may still not be as readily available locally as elsewhere. But for those interested in obtaining them, most online art supplies company carry the item. If you are a bit short on the budget though but need a waterproofed stretcher board badly, you might want to try out my waterproofing solution for wooden boards. Easy to do and very kind to your wallet. Follow the link below<br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/how-to-make-your-own-stretcher-boards.html">Affordable and easy solution for unprotected wooden boards for stretching watercolor paper</a><br />
<br />
Other related articles:<br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/troubleshooting-paper-discoloration.html">Troubleshooting watercolor paper discoloration</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2010/09/protection-from-damp-suggestions-on-how.html">Additional protection you can do yourself for your framed watercolor paintings</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/watercolor-paper-weights-to-stretch-or.html">Paper stretching guide: understanding watercolor paper weights</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/water-color-papers-and-sizing.html">Understanding Sizing: guide to wetting your paper</a>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com17tag:blogger.com,1999:blog-3655067336919012231.post-35025691461906217742011-03-17T11:14:00.000+08:002011-03-17T13:55:11.359+08:00How To Make Your Own Stretcher Boards Without Much Carpentry Knowledge<div class="MsoNormal">This is just one way to waterproof your boards. There are many more suggestions on waterproofing boards online. I'm hoping to share mine to add to your options. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Materials you would need are:</div><div class="MsoNormal"></div><ul><li>Marine Ply (plywood) of at least 1/4 inch thickness. </li>
<li>Sandpaper</li>
<li>Plastic sheet locally known as <i>mantel.</i> Available in most market places in the Philippines (dry goods/kitchen ware section.) This plastic is a popular liner for picnic tables. It may be possible to look for its equivalent in your area. Clear plastic book covers are not recommended for this purpose as these do not have the give or stretch possible with the <i>mantel</i> kind. Available in a wide range of colors and design. I used green so you can see better.</li>
<li>wide clear tape (at least 2 inches)</li>
<li>cutter / scissors.</li>
</ul><div>1. Cut plywood to the desired size. Use sand paper to smoothen the sides and especially the surface that you plan to use for the stretching. Marine ply is a better version of plywood less prone to particles sticking out and falling off. Still, you may have to pick a side with the least depressions and knots on it. For very imperfect plywoods, you can apply <i>masilya </i>or filler coating and then sandpaper it smooth. You do not need to apply paint or any other finish on the plywood. Plywood shown here has been painted. A previous attempt by me to follow the other suggestions online on how to paint seal your stretcher boards. The problem there was I was not sure if the paint that I used was the correct one. I noticed that the painted finish seems to take on surface dirt permanently. So I went back to my previous method of covering the board with plastic. Back to the project. Once you've ascertained that the side you are planning to use is acceptable, proceed to the next step.</div><br />
<div class="MsoNormal"><br />
</div><div class="MsoNormal">2. Place your plywood on the plastic sheet and cut the plastic, leaving about 2 inches of allowance on all sides. </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4uYcgpfPueQiXcTAZU9dXB5RIULbiS1P8CmR1GGttNWiwA7SThnPT11fi2nyGvClbct85JnyQAWso_jFm4gXRFzp_3moHa8b-HwNWHc_rYSZ_3hJk2vqQEW81x8W6uBbvGcisvjy56h7A/s1600/IMG_5990.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4uYcgpfPueQiXcTAZU9dXB5RIULbiS1P8CmR1GGttNWiwA7SThnPT11fi2nyGvClbct85JnyQAWso_jFm4gXRFzp_3moHa8b-HwNWHc_rYSZ_3hJk2vqQEW81x8W6uBbvGcisvjy56h7A/s320/IMG_5990.JPG" width="320" /></a></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: x-small;">Shown in the picture, plywood on top of <i>mantel</i> plastic</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div class="MsoNormal">You can actually work with less allowance but for your first try, the two inches gives you better leverage to work with. Check the cut plastic sheet for damages before you proceed to the next step. Look out for holes and tears. You can use either side of the plastic sheet. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">3. Once the plastic sheet passes your inspection, lay it flat on the table and place the good side of your plywood facing the plastic sheet. Use tape to anchor the four sides at the center of each side. Imagine an equilateral cross configuration. </div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxt-LO6HLkpEnemPYQbwVAMsUGn4QFBxXnRmeYkkrsrp4cCdoEW1tSQH_UmG0YaxpQeHrmiJ4l0gVRet0uKfJht9pnpv0RzWQhMkJx7o9k5hhRrQbkrjjmFGyP2A-YTzz-cKzJobMmd0VY/s1600/central+axis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxt-LO6HLkpEnemPYQbwVAMsUGn4QFBxXnRmeYkkrsrp4cCdoEW1tSQH_UmG0YaxpQeHrmiJ4l0gVRet0uKfJht9pnpv0RzWQhMkJx7o9k5hhRrQbkrjjmFGyP2A-YTzz-cKzJobMmd0VY/s320/central+axis.jpg" width="320" /></a></div><div class="MsoNormal">To ensure smoothness on the finished side, when you work on one side, do the side opposite it next. I colored and numbered the areas where I placed the clear tape. (Clear tape was invisible on cam). Do not scrimp on your tape but extend it at least 4 or five inches inward when you place. The pull exerted back by the plastic may be enough to dislodge 1 or 2 inch tape strips. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">4. Next, work on stretching the plastic edge adjacent to the already taped areas. In the illustration below, I used color coding and numbering to give you an idea of how to progress. </div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigxDHNeF7Xp-iM2EPdp5W2061h1bZLkrMJzhSpJLmpBNizAbhAWq8fJaaLF_SEcZCI7csgQrValKJHCEib7F_6zERaJQNu3slVMmXPOTcDEFYrgKTd88KD6pHRNSCWVxtkyyyLlN3itG4m/s1600/taping+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigxDHNeF7Xp-iM2EPdp5W2061h1bZLkrMJzhSpJLmpBNizAbhAWq8fJaaLF_SEcZCI7csgQrValKJHCEib7F_6zERaJQNu3slVMmXPOTcDEFYrgKTd88KD6pHRNSCWVxtkyyyLlN3itG4m/s320/taping+2.jpg" width="320" /></a></div><div class="MsoNormal">You will probably notice that I seem to have gotten confused with my counting by starting at 3 and 4 but as I find it very funny myself, I left it as is. Tape to the left and to the right (shown in orange) of each central axis point (cross area shown in red-orange). Again, when you work on one side, work on the areas on the opposite side next. Then proceed to the yellow areas and so on, until you get to the corner part. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">5. The whole process really is about patience and controlling your strength. The work is slow and methodical. When you get to the corner area, first tape one side that will go under. You may have to tape it diagonally. Important thing is, this should smoothen the plastic on that side of the board. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1zX9wXfJz6-mCcF-CWryanFcuPavk3enPTYVvDKC7llzrsRkteVnxg9jmQUsFPwojrpsYDOc0DYZ1kcZwWWq1mHwbLMXbQuvnrr9MRXDv4zwMOPUPNMVPb4rckVWIBIvt9UIlKpL3MrHR/s1600/corner+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1zX9wXfJz6-mCcF-CWryanFcuPavk3enPTYVvDKC7llzrsRkteVnxg9jmQUsFPwojrpsYDOc0DYZ1kcZwWWq1mHwbLMXbQuvnrr9MRXDv4zwMOPUPNMVPb4rckVWIBIvt9UIlKpL3MrHR/s1600/corner+1.jpg" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Next, do a fold and then tape this over making sure to take up the slack left in that corner. </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjky97F9HvJo5HC78V8rqXoLxeFlKMDHGmIoADf2cHjPrXctRC0jektfnrjZOk3Ayy0S6eS4XZ07HIv4FeYdoCY0LyrJLdD5ofF5yoTcQ9Ycb1D1RYEMP-IzRAOxZwX9UJ2Pw8vKr5viIJ4/s1600/corner+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjky97F9HvJo5HC78V8rqXoLxeFlKMDHGmIoADf2cHjPrXctRC0jektfnrjZOk3Ayy0S6eS4XZ07HIv4FeYdoCY0LyrJLdD5ofF5yoTcQ9Ycb1D1RYEMP-IzRAOxZwX9UJ2Pw8vKr5viIJ4/s320/corner+2.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Your finished stretcher board should look like this when you turn it over.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibt5vd7IA2WYWWUaVcJWpW6j4J-10sXfiCNtNjPZxV2qsenW1uBoJ9a93PRlslFL0qy_2iLT5NQb5Crftl4Re67S8rzgI6FYZUryHhXpcQzU7FzEfEkSgnB2dpHMjN-inkedRCox8qOPte/s1600/IMG_5997.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibt5vd7IA2WYWWUaVcJWpW6j4J-10sXfiCNtNjPZxV2qsenW1uBoJ9a93PRlslFL0qy_2iLT5NQb5Crftl4Re67S8rzgI6FYZUryHhXpcQzU7FzEfEkSgnB2dpHMjN-inkedRCox8qOPte/s320/IMG_5997.JPG" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">6. Be sure to wash this new surface before use with soap and water to get rid of any oil that may have gotten on it from the market place or when you were working on it. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Streching the plastic over the board this well takes a lot of practice. Over time, you will develop a feel for the right amount of pull to keep the plastic taut but not take it past the breaking point. So if at first, you find yourself having to redo the application over and over, do not be discouraged. Balance the pull forces to get it just right. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The advantage of using plastic sheeting include being able to use a sturdier support for your watercolors because you can use rigid plywood. The cost is also much cheaper overall. If I am not mistaken, a yard long length of plastic sheeting costs about 25 pesos. The width of that is about 4 feet. This also does not require extensive carpentry knowledge. It also is easier to check the integrity of this board covering. Just wet the surface. Any breaks water can enter through will be marked because the wet spot underneath will be apparent on the plastic. You can apply first aid to it by placing clear tape over the break. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There are times when lack of options make using non-biodegradable materials necessary but we should minimize our carbon footrprint as much as possible. Reduce wastage by re-using or recycling previously used plastic sheets. After removing the paper and staples, tape over the holes punched by the staples and use the smaller undamaged inside area for another bout of stretching. It helps also to have several plywood pieces in different sizes. For new plastic sheets, I start out covering big plywood pieces. Then as these get used, I would put the undamaged left over plastic on successively smaller boards. Please re-use what can not be recycled. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I hope you find this article and project useful. Thank you for reading. </div><div class="MsoNormal"><br />
This method is very labor intensive though. If you have the dough, you might want to learn of other ready made alternatives sold commercially. Read about one option by following the link below.<br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/gator-boards-stretcher-boards-that-dont.html">Gator Boards</a>.<br />
<br />
Other related articles in my blog:<br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/troubleshooting-paper-discoloration.html">Troubleshooting watercolor paper discoloration</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2010/09/protection-from-damp-suggestions-on-how.html">Additional protection you can do yourself for your framed watercolor paintings</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/water-color-papers-and-sizing.html">Understanding sizing: guide to wetting your paper</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/watercolor-paper-weights-to-stretch-or.html">Paper stretching guide: understanding watercolor paper weights</a><br />
<br />
</div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com3tag:blogger.com,1999:blog-3655067336919012231.post-28099540669253745632011-03-14T01:51:00.000+08:002011-03-17T14:01:36.422+08:00Watercolor Woes. Troubleshooting Paper Discoloration<div class="MsoNormal">Ever find yourself wondering why your watercolor painting done a year or so ago has started yellowing or browning despite you making sure you used acid-free paper? Chances are, you may be unknowingly doing something that is putting your art at risk for early deterioration. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Acidity is only one factor among many that may cause early damage to your painting. But if you can eliminate acidity as a potential problem, it will be a big contribution to the long term preservation of your painting. What exactly does acid do? Acid can cause premature breakdown of materials in paper, canvas and wood. It may also degrade your pigments, specially the paints that contain elements of metal in them. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">When you buy your acid-free watercolor paper from the manufacturers and suppliers, it is as they claim, in a state of being free of acid. The paper has been processed so that naturally occurring acids and acids used in the processing of the paper pulp are neutralized and thus made harmless. However, this claim is not a guarantee that the paper will be immune from whatever treatment you are bound to subject it to. The responsibility of keeping your watercolor paper acid free is yours, once you get your hands on the paper. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">How do you get acid on your paper? By getting chemicals on it that change the pH of your paper and by putting it into direct contact with materials that may leech acid. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Some advice the use of distilled water for your watercolors, for just this reason. A bit extreme and expensive. I, myself, only use the distilled water for the water mister I use to wet my palette (distilled water prevents the water in the bottle from getting mossy). But the use of distilled water for wetting may be the best solution for those who get their water from untested sources. E.g. Some ground pumps produce discolored and metallic hinting water which could not only stain your paper but also might turn out to be acidic. </div><div class="MsoNormal"> </div><div class="MsoNormal">Another source is the use of bleach to whiten or erase a mistake. You may even read of instances where people (most likely students and not professional artists) immerse whole papers in it to bleach out color on an already used watercolor paper. Technically speaking, most bleaches are strong bases (very high pH). But strong bases have the same degrading qualities as acids. You are still messing with the pH of your paper. </div><div class="MsoNormal"> </div><div class="MsoNormal">One popular technique for achieving beautiful textures in watercolors uses salt. I've seen wonderful works of artists using this technique. Done right, you will not even be aware, salt has been used. I'm tempted to try it myself but the use of it is quite controversial so I'm holding out. Lately it has been claimed that salt is actually acidic or causes the paper to be acidic. Who would have thought, eh? But as that is still under contention, it probably is best that we wait for the official findings before we put a final verdict on its use. Meanwhile, I'm experimenting on safer alternatives. If ever I turn out a closely similar effect using very neutral materials, I will share on the blog. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The most common cause of getting acid on your paper though is by the use of unprotected wooden boards for stretching. Most beginners do not realize that the reason wooden boards sold in art workshops and art stores are expensive is because these have undergone more labor intensive treatment than your regular boards. These stretcher boards have been sanded, primed and sealed several times to make the surface as non-porous as possible. These are made to withstand getting wet paper on them. Students and beginners often improvise on a lot of things in an effort to save money and the drafting board is often used as a replacement stretcher board. They surmise, both boards look similar anyway. But most drafting boards are just something a little better than bare plywood. Most often, their manufacturers only sand the surface to give the students a smooth surface to do their drafting on. They were not intended to get wet. Now what does unprepared wooden boards have to do with acidity? Just this. Even with oven dried / sun dried wooden boards, the moment you wet the wood fibers (as what would happen when the wet paper gets in contact with the dry board), you start reconstituting the dried acid in the wood with water. Think tea. As your paper dries, it would pull the now acidic water from the wood onto the back of your watercolor paper. The damage can sometimes be readily obvious and you're lucky if you spot this right away. It would save you the effort of painting on damaged paper. But sometimes, the damage may become apparent only after weeks, months, or years. By then, too late. More than the loss of paint and paper, I think I would be sorrier for the time invested in a painting that would get ruined earlier this way. <br />
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Protect your art, use a safe stretching board or use paper that require no stretching. <br />
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On my next post, I will upload a simple yet very affordable solution that would help make your untreated/unprotected wooden supports, waterproof. This is for fellow watercolorists, specially in my country, who have no access yet to gator boards. (The only way you can get gator board or similar here is through online stores abroad). I'm still employing this method to waterproof the support for my watercolor paintings, specially the ones that have unusual dimensions that do not fit on the gator boards that I have. <br />
<br />
Here's a pic of a watercolor painting that I stretched on a home-made waterproof board (taken years ago). I like how you can go as big as you like. Even make a support the size of the whole plywood board 4 x 12 feet. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wpOnCbOSmzHmPrq3FoC40YIH_FMLdf5V1MfOHTZPoxeGWYNnwu6fvBFPjB8YiJRQo6P8NeBnIh7dfoz0AvYLn41-40-eXtBD5cPuw4tIaCMjLOX1_ZuDwRj-AHrh_bxJ9ihYGSGfGKQ1/s1600/DSCN5099.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wpOnCbOSmzHmPrq3FoC40YIH_FMLdf5V1MfOHTZPoxeGWYNnwu6fvBFPjB8YiJRQo6P8NeBnIh7dfoz0AvYLn41-40-eXtBD5cPuw4tIaCMjLOX1_ZuDwRj-AHrh_bxJ9ihYGSGfGKQ1/s320/DSCN5099.JPG" width="320" /></a></div><br />
<br />
<br />
Other related articles:<br />
<a href="http://karensiosonwatercolors.blogspot.com/2010/09/protection-from-damp-suggestions-on-how.html">Additional protection you can do yourself for your framed watercolor painting</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/how-to-make-your-own-stretcher-boards.html">Affordable and easy solution for unprotected wooden boards used for stretching watercolor paper</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/watercolor-paper-weights-to-stretch-or.html">Stretching guide: understanding watercolor paper weights</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/water-color-papers-and-sizing.html">Understanding sizing: guide to wetting your paper</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/gator-boards-stretcher-boards-that-dont.html">Gator boards</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"> </div>Anonymoushttp://www.blogger.com/profile/10436150757381012324noreply@blogger.com5tag:blogger.com,1999:blog-3655067336919012231.post-81153159193060831602011-03-09T08:19:00.001+08:002011-05-22T05:32:05.226+08:00Water Color Papers and Sizing<div class="MsoNormal">I will attempt to share with you a simplified explanation of what sizing is, just enough to give you an idea why it is important to learn of it and how sizing can affect your preference for wetting your paper for stretching. We do not need to go too deep into it for our purpose. But should you wish for a more comprehensive explanation, you'll find a lot of more technical information available online. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">So what is sizing? Sizing is another term for the addition of gelatin to water color paper. Gelatin makes the paper less absorbent and this is what prevents paint from just spreading on the paper uncontrollably. Picture what happens when you dab your brush loaded with water and paint on rag or tissue paper. It spreads, right? Well, the same thing would happen to paper, if it is not sized. This would help explain why there are some papers that look very nice, like handmade paper, but you can't seem to gain any control when you try painting watercolor on them. Handmade papers for crafting projects are often unsized. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Different paper manufacturers and brands offer different sizing options but generally, you can say that some gelatin sizing is incorporated into the paper pulp or mixture before it gets pressed. Additional sizing is applied as coats on the paper's outside layers (front and back surfaces). </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Now why should this knowledge affect how you would wet your paper? Just this. We know sizing makes the paper less absorbent. The more sizing, the less running of paint. If you want more absorbency, you lessen the sizing. Conversely, if you want less absorbency, you keep the sizing. The presence of sizing also makes your watercolor pigments look more brilliant or intense as it keeps most of your paint on the paper's surface. You lessen the surface sizing, you increase the permeability of the paper. With less or absent surface sizing, your colors will sink deeper into the paper and will bond more with the paper's fibers. Some mistake this for paint disappearing or pigment bleaching (colors not so lightfast) but the paint is not really gone, it has just gone into hiding deeper among the paper fibers hence the lightening of paint applications as it dries. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">We wet the paper to expand the fibers and then staple or tape it while in this expanded state so the paper will have an anchor at its edges to pull on as it dries. This is what allows it to shrink flat (when you do it right) hence the term <i>stretching your watercolor paper. </i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Some soak the paper completely for several minutes, not just to ensure all of the fibers get wet in preparation for stretching, but also to lessen the sizing of the paper. The correct timing for the soaking takes practice. You will not want to soak it too long because sometimes the sizing have a tendency to coagulate in spots if the paper is left too long by itself. This is the reason why some may find those irregular and slightly yellowish spots on their stretched paper that do not go away when the paper dries. For some reason, these spots also wouldn't take in color as well as the other clear areas which is why I surmised, it must be sizing. These spots will resist any color placed on it. They may ruin your painting. The too long soaking is one explanation for it. Another is that the spots may be the result of accidental drops of pure sizing as the manufacturer applies surface sizing on the paper. Accidents can happen, right? Or, you may have gotten an old stock paper with the sizing already going stale. Whatever the reason, I find that spots are less likely to happen when I wet by running water than by soaking.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">For the running water method, you can just put the paper under tap or running water. Make sure all surfaces get wet (front and back) and continually move the paper around. Don't just point the water jet on one area as this may also produce the same sizing spots on your stretched paper. For bigger paper sizes, use the shower for more manueverability. This takes less of the sizing off than what complete submersion does. Again, more sizing present, the less tendency for paint to spread uncontrollably. Your colors also will tend to be more brilliant per application as you will have most of the pigments sitting on or closer to the surface of the paper because of the sizing's effect on permeability. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">But my personal choice is putting the paper under tap water and removing most of the sizing by mechanically running my hands over the surfaces of the paper. Your preference would depend on how you want your paper to behave. I like letting more pigments sink into the paper fibers. It allows me to play or take advantage of transparent watercolor layering. It also seems to add brilliance to layered colors (in my opinion and observation only), when you have more it sunk into the fibers. This method also offers the least chance for the sizing to coagulate as you let it run off the paper when you do the sweeping motion. No chance for displaced sizing to stay in one place and make spots. You have to develop a gentle touch though when you run your hand over the surfaces or you could end up agitating and damaging the top fibers. Lessening the sizing works for me because I like to blend a lot for the first part of my painting process. For detail work, which I prefer to do on the last stages of my painting, I mostly use dry brush so even with less sizing, I still maintain enough control over my paint application. By this method also, I remove mostly just the outside sizing. Remember, there is still sizing mixed in with the paper pulp or mixture itself so the sizing is not gone completely. It is possible to maintain still a lot of control with your paint application. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">If you want the sizing to be intact, you can always just staple the dry paper onto a board (for 140lb) or use a heavier paper to do away with stretching altogether. If you want to staple or tape in place, you can just wet the paper on top of the board with a wet sponge prior to anchoring. Take care not to agitate the surface too much with the sponge. An alternative is to use a water spritzer or mister to wet the paper so you don't touch the surface of the paper with anything. When the paper dries, the sizing would still be there. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I wish to include here a contribution by Stan Hughes regarding additonal paper options. <i> "<span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">There is a 200 lb cold press paper produced by Saunders Waterford. I have used it for years. Easy to work with and does not need stretching. Not as expensive as 300 lb but more durable than 140 lb. " </span></i></div><div class="MsoNormal"><i><span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br />
</span></i></div><div class="MsoNormal"><o:p>200 lb paper seems to be a good option to try for when you like to work on paper with intact surface sizing. Thank you very much Stan for the info. </o:p><br />
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<o:p>Related articles:</o:p><br />
<o:p><a href="http://karensiosonwatercolors.blogspot.com/2011/03/watercolor-paper-weights-to-stretch-or.html">Stretching guide: understanding watercolor paper weights</a></o:p><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/troubleshooting-paper-discoloration.html">Troubleshooting watercolor paper discoloration</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/how-to-make-your-own-stretcher-boards.html">Affordable and easy solution for unprotected wooden boards used for stretching watercolor paper</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2011/03/gator-boards-stretcher-boards-that-dont.html">Gator boards</a><br />
<a href="http://karensiosonwatercolors.blogspot.com/2010/09/protection-from-damp-suggestions-on-how.html">Additional protection you can do yourself for your framed watercolor painting</a><br />
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