Author: -N-

WWM #29: Glorious Green

In spring, bright new greens fill the world. In summer, greens are darker, interspersed with flowering crops and wild flowers. Color is everywhere, but all dotting a verdant landscape. In brilliant sun, the greens shimmer, but under the electric sky of a thunderstorm, the sudden bursts of sunlight render greens into a strange intensity . . .

“Glorious Green” – prompt #29 – #WorldWatercolorMonth2019.

California Back Country

Even though summer is moving through July, soon into August, the rains we had over the spring are still leaving waves of color in the hills of the California back country.  Usually at this time of year beige is the predominant color, and in really dry years, a dark dirty brown.  This summer is a delight of colors – pale compared to spring – with wildflowers still hidden amongst the grasses.

WWM #28: Metallic

A bit out of proportion – obviously put together by a madman or seriously abused in its lifetime – this green, enamel-over-metal teapot was my first flirtation with “metallic” for #WorldWatercolorMonth2019.  I think it is okay, but really more of a warm up study.  The ones that follow are a bit better.  As I was doing them, I became more confident in the brushwork.

This is rather obviously a teaspoon – but the handle is really too short!  Thus, it is now a sugar bowl spoon.

I need to practice drawing more, and working on relationships of size and such.  While my painting is improving, I can’t say my drawing is.

Nonetheless, I am pleased with this.  I used only Payne’s Grey and used it in varying strengths to create a (gasp!) monochromatic watercolor study.

Nest is an old brass skeleton key.  I used Burnt Umber, Quin Gold, Organic Vermilion, and Payne’s Grey.  I figured since I had done something with underlying metal and silver, a gold color was necessary.

Working my way through these paintings did not take a lot of time, but they did focus my attention.  The elements of contrast I am learning in gouache is really becoming apparent in my watercolors.

Bolder brushwork, too.  In gouache, I have been doing a lot of scumbling; here, I am working by holding the brush at its end, away from the ferrule, and holding it more loosely.  It works as far as freeing me from a sense of “I have to do this perfectly” – don’t know why, but it is interesting to see how a physical stance changes the mental, and perhaps the final artistic result.