Blitherings – Page 69 – Ink, Yarn & Beer

Misty Coast – 2 Versions

Seldom are my watercolors subtle in color. Instead, they tend to be bright and rather garish. Today, I focused on a softer color while painting, meaning more delicate colors, more muted tones. The reason for this is I was driving down to the Valley for an appointment, and I was noticing the soft, hazy qualities of the air. Greens were light and delicate, flowers alongside the roads, while strong, were not a brilliant yellow. In the distance hills and mountains were soft, blurring into the distance – still clear, but very, very soft.

This motivated me to see if I could accomplish something a bit more subtle. I looked at a picture of the northern California coastline, which can be rugged and foggy, with mists rolling in and out, obscuring and revealing at any given time.

Below, is the first painting. I used a lot of water to paint with as well as dilute my colors. This makes them more pale. It seems to have worked fairly well.

To test my theory of a softer, more grey image – longer grey scale – I turned the painting into a black and white image by both desaturating the same image above, as well as removing all vibrancy.

As you can see, there are a few areas which are very dark, but there are a lot of shades of grey, most of which fall into the arena of middle values.

Below is the “revised” version of the first. Here I added some white gouache to the rocks on the lower right, helping define them and to give a sense of breaking water. I cleaned up – removed – the turquoise streak sitting in the middle of the painting. Finally, I mixed some bright yellow and gouache to add dots of color to the lower left of the painting, creating a bit more defined foreground and to break up some of the edges.

I prefer the second version. However, you will note that the values remain the same for the most part below.

To tell the truth, delicate watercolor frighten me! They require a more delicate approach to the paint and water combinations. This was really a good exercise for me and I can see some more follow up paintings along this line. They do not even need to be misty, but just perhaps more pale but still with good contrast.

Where I live, it is quite dry, so those of you who live in more wet and damp climates have more water vapor in your atmosphere than we do. You can see this when you compare watercolorists’ work from other parts of the world, such as Britain or Holland.

Blue

As a kid with blue eyes and blonde hair, everything I wore seemed to be the color blue. So much blue! Too much blue! I really didn’t like it after awhile, but these days it is probably next to greens as a color I enjoy.

Looking through my photo archives this morning, I found a number of pictures I took in the local botanical garden one spring – a brilliantly blue sky with no clouds, but branches blooming and leafing out. This is when I love blue!

Meanwhile, blue denim sashiko continues!

Vaduz Castle

We let the butler and staff off for the 4th of July weekend and decided to cruise to Lichtenstein for lunch in the Stratos 714. We needed a break, so we stayed a few days. Beer drinking, fine weather and a bit of plein air sketching with ink and watercolor.

When I draw with ink, I almost never use a pencil. I like the challenge of inking directly onto the paper. I seem to be more successful, too, than drawing in a pencil line and then inking.

Today I used PH Martin’s waterproof India ink. It needs some drying time. Fountain pen ink is almost dry as soon as you write a letter, but because of its nature, India ink needs a bit of time is needed. A hair dryer can help. India ink seems to dry more quickly than iron gall.

The goal here? Play with the ink – an ink I haven’t used since who knows when – see how it performs, and work on perspective, too. That meant buildings. Buildings with right angles are fairly easy to sort out, but I thought a combination of curved walls and right angles might be a bit fun. They were. As well, a bit of distance using varying greens to depict the curve of the grassy hill.

I am pretty pleased with this. Ink first, then color and dry and color and dry and then more color. I had a lot of fun trying to get the slightly uneven rows of stone in the round tower depicted somwhat realistically.

Sashiko #4

For this sashiko sampler I tried a couple of things. First of all I used two different thread colors, still sewing onto the soft, washed denim. I laid out a 7×7 grid and then just followed the grid lines using the white thread. Then I looked at the stitching and thought a second color would be fun to add, to see what it would like more than anything else, as well as to try to design a design of my own. I don’t really like the results of my own design and it makes me think about what kind of designs work well in sashiko.

When working threads, they need to be secured at beginning and end. I tried knots – meh. Loosely woven fabric lets the knots through a bit easily. Weaving threads in and out is messy but might work okay. I have even thought of using a bit of fray-check but have not tried it out yet. Back stitching over threads at the beginning and the end seems to produce the best results, but getting the needle into the right places to replicate the preceding stitches takes a bit of work – practice will most likely help. The softness of my denim is also a challenge in doing this.

So, a couple of thoughts. I read that many people do sashiko stitching on the reverse side of the fabric. This is something to try, to see how well it looks. As well, I want to starch my next bit of denim to see if that helps. For my next project, I will try both and report the results!

Haystack Rock

More of the northern coast along the Pacific Ocean. Here, Cannon Beach in Oregon, possibly one of the most dramatic beaches I have ever seen. Sea stacks, tide pools, sand, mist and fog. When the fog lifts and the sky brightens, there is a glare that cannot be explained. It’s not a summer day brightness as we have in SoCal, but a brightness that is cold but not like on a snowy day. There is a lot of moisture in the air, from sea and fog, and perhaps that is what magnifies the light to such a degree.

If you look closely, you will see some of my ink bled into the paint. I used my iron gall in, not my waterproof micron pens, and a stub nib to draw. From there, I wet the sky, dropped in colors, and then let things dry to dampness. I wanted to create soft edges for the mist in the distance which blurs and softens edges. The rocks themselves were painted wet-in-wet initially, and then other colors applied to either dry or damp paper. The sand and the rivulets were painted in the same manner. In the end, I drew again with my iron gall ink to add texture or detail.

Keeping this sketchbook is so much fun! I have room to paint as the sheets are big, the paper is strong so I can use both sides, and I can paint with a lot of water should I wish. It is proving to be one of the best decisions I have made of late!