October is upon us, and the crows are on the move to their next perch, setting up a racket that usually means they are trying to dislodge a hawk from their territory.
Sometimes I luck out with the wet-in-wet technique and I keep a watercolor looking watery. This is glazed, light to dark. I let each layer dry completely before re-wetting it and adding shadows, being careful not to draw anything in detail.
Watercolors on Arches paper.
I think I might be getting a bit figure heavy in this corner of the internet, so here’s something a little different. Plum tomatoes and a lime in a green glass bowl, created by layering glazes of transparent color until I had the desired depth.
This fall I’m thinking of taking advantage of the colorful foliage and will work on some landscapes as well.
This is an extension of my post from January 16, 2016. A stroll on the beach in cool weather is perfect exercise and a great lead up to happy hour.
This is gouache on Arches paper.
This was an experiment with watercolor crayons and Yupo paper. Because Yupo paper is plastic rather than paper, the crayon sits on the surface. It took a while for me to learn how to control the painting. The addition of water just made everything run off in all directions. One nice aspect of using a surface like this is that any mistakes can be mostly obliterated with water and a paper towel.
For these ten minute poses, I went back to using watercolor pencils. They have a looser, more spontaneous look than my more deliberate pencil drawings, which I am constantly reworking.
Watercolor pencil and wash on Bristol board.
This was going to be my entry in an online painting challenge, run by James Gurney on his blog Gurney Journey, titled “Dead Vehicle Challenge”. But I cheated – the rules were that it had to be a plein air painting; mine was done in the studio from a photo, so I couldn’t submit it for the contest, but I can display it here. It’s actually my next door neighbor’s car, and it hasn’t run for quite a few years. Every year the blue tarp seems to uncover just a bit more, which accounts for the brick on the windshield.
Watercolors, goauche and watercolor pencils.
This was the view from the Second Street dock in Beach Haven, New Jersey, at sunset, right after a short but intense rainstorm blew through the area. The evening subsequently turned cool and beautiful – great vacation weather.
This is a glazed watercolor on stretched Arches paper. I worked light to dark, allowing each layer to dry thoroughly before adding the next one.
I should probably move on to oil paints.
Another installment in the mirror series. This time, we go back a few years, when we were gifted with another model who could really lock in a pose and hardly bat an eyelash for 45 minutes at a time. This gave me enough time to do a gesture sketch, and also to “ghost” her reflection. We’re still hoping she’ll return some day.
This is watercolor wash on rough paper.
I’m not sure if they are regular visitors to the mid-New Jersey coastline, but I have rarely seen a pelican there, much less three at once. They flew over us, heading north. Later, while on a walk, we saw six of them floating among the breakers. They may have been resting, enjoying the fine weather, or perhaps bickering over their dinner choices.
Watercolors on Arches paper.
Right after college, I was employed by a brick maker located in the suburbs of Reading, Pa., but their headquarters was in a fine old building in a downtown historic district. That was several decades ago, and when I last checked, it had fallen into disrepair. The adaptive re-use of old buildings vs demolition for more modern ones is a peeve of mine. In Europe, old architecture in cities is prime real estate, and in most cases, is a lot more interesting and fun to look at and live in. It’s value as art is incalculable.
Watercolors over a Staedtler pen.