It is always a treat to participate in the WSO conventions, twice a year, where many artists from around the state and beyond, gather to learn (or teach). Each time it is at a different location around the state, and this one was at the Hilton in Eugene.

I’ve been a member about 10 years, and it didn’t take long to develop a comradery.
Here is Jane Ferlitsch and Shelly Wiersba posing in front of the sculptural wall on their way to the gallery next door.

I took in a lecture by Judy Morris and a demo by Judy Hoiness. Judy is explaining textural effects she gets using water soluble crayons.

Our juror, Betsy Dillard Stroud, critiqued slides of our artwork and gave a demonstration on Sunday. Here is her demo piece, held by Venita Pampas (who won an award for her painting that conveyed a depth of feeling) for photographing. It was purchased by one of our WSO members.

Notice Betsy’s “signature” script that is in reality a form of scribbled texture. We watched her crank this out in about an hour using stamps and acrylic paint. It is both complex and elegant.

By the end of the Convention it feels like someone opened up my head and poured it full! So I take lots of notes to digest later. And eye candy from the show inspires me to see illustration possibilities in everything I see around me!

Here are a couple of images I may use someday as reference for future work…

Sharon posing for us in a phone booth with reflections in glass, above and below, an eatery at 5th Street Market.

A couple of “special effects” can be used in conjunction with watercolor paint to create interesting texture. I am using them on the Cradled Panels by American Easel.

KROMA Crackle, comes in a tube. It’s a new product made by a company in Vancouver BC. An actual sample of it is applied to the label.

I decided to make a rose, here’s the sketch this piece is loosely based on:

Here I’ve painted the background watercolor on paper. The reflection in this photo makes it appear whitish, but out of the tube it’s entirely translucent.

Here it is beginning to dry. It turns white when it dries and becomes much flatter. The size of the crackles are in proportion to the thickness of the application. It will take several days to dry completely!

While durable, it is also subject to flaking off watercolor paper if handled… so no handling until it is fully cured. In this detail you can see that a few pieces have flaked off.

I then sealed with the Golden Top Coat with UVLS to further bond it to the surface.

Here’s the finished piece before trimming the edges.

 …………………….

For very sculptural texture… try Fiber Paste, made by Golden. You can lift it into peaks or spread it with a palette knife.

Here’s the initial drawing from my sketchbook.

First I spread Fibre Paste onto a 4-inch cradled panel with a palette knife.  I used ferns and leaves to press into the stuff then lifted them up — with the exception of the heart shped leaf, bottom right, which I left adhered to the Fiber Paste. After it completely dried, I coated it all with a mix of absorbent Ground / Watercolor Ground to accept watercolor paint, then penciled in the drawing, below. 

Here’s the final piece after painting with watercolor. Notice I also used texture on the sides.

Some watercolorists strive for even, flat washes while others prefer the look of texture. I’m firmly in the second camp — any way I can make it happen. In part, I love the surprises — the paint unpredictability than can happen when you allow or encourage texture.

Join me March 24, 25 & 26 at Oregon Society of Artists for a playful introduction to the many textural effects of watercolor in conjunction with acrylic mediums. You will…

∆   Experiment with several techniques for creating almost sculptural surface texture on watercolor paper before you paint.

Here is an example of texture built-up on the substrate.
I’ll be using the value study on Aquabord, below, to demonstrate at the workshop.

 ∆   Learn which pigments granulate easily and techniques for layering rich texture into a painting. Create washes with flowing texture for interesting backgrounds or to enhance a subject.
Below, I’ve poured paint — onto paper mounted on cradled panel — to create the illusion of natural seascape…

… then lifted unwanted areas of color

and added paint to create the sky and rocky shore.

∆  Put your experience to work on watercolor paper, which we will adhere to a 12 x 12 inch cradled birch panel. You will learn how to finish it without using glass and take it home ready to hang on the wall. Here’s a detail of a self portrait hanging in the gallery at OSA this month.

Register by calling Art Media 503-223-3724 OR 1-800-990-3364
You don’t need to be an OSA member!

UPS brought me a huge box the other day. Inside, under an enormous amount of styrofoam peanuts, were a couple of intricate graphite drawings by one of my first art teachers, Vic Thomas, in two 24 x 28 inch metal frames.

The art is delightful and I wanted to place it appropriately! But with two artists and many windows all competing for wall space, I pondered the possibilities for displaying this gift. The solution is to mount the art on 8-inch square cradle boards, and hang horizontally above my kitchen window.

Since the art was designed by dividing the space into many smaller areas, it is not too difficult to divide it.  I did have to split one of the fish images in half, but since the panels hang one inch apart it still works cohesively. The hardest part is removing the thin paper from the foam core but I manage that with only a tiny bit of tearing.

I’m using birch cradles, made by American Easel in Salem Oregon.
www.americaneasel.com
You can buy them in Portland at Art Media.
www.artmediaonline.com

I prepare the art and cradles using Golden products that protect it as I work, seal the acid in the wood and add a finish to protect from ultraviolet light. I’m trimming excess paper, above, and sanding a rough edge, below.

  A layer of Top Coat — looks like Elmers glue when wet but dries perfectly transparent!

Then attach wire hangers and wall hooks…

 Here they are above my kitchen window where we watch the birds feeding… I LOVE how it turned out! Vic, I hope you approve.

A week of exploration yielded paintings based on an image that Myrna provided, plus I used reference of the same person, (Mike Henderson — an art instructor, painter and blues musician), captured from on an online video. My goal was to work in different styles, using materials both new and familiar. Value study sketches were used to become familiar with the subject.

A quick sketch with a marker on Strathmore wet media board, was over-painted with a mix of mat media, gesso and Golden’s Absorbent Ground, adding a bit of texture when wet. Then I added watercolor washes of Quinacridone Violet, Phthalocyanine Green, and Vermillion. Used printer stamps to add the letters.

This, on Crescent Watercolor Board, uses India Ink and watercolor washes. I added Golden Crackle Paste painted (when dry) with watercolor and Winsor Newton’s Iridescent Medium.

Sketch was warped in Adobe Photoshop, I then outlined it in resist using a metal tipped squirt bottle. It eventually clogged the tip! Resist was removed after painting to reveal white lines.

This was painted on a background of watercolor on Yupo paper. Since it is not paper at all, but plastic, the paint sits on the surface and is easily removed. I used an angular motif to sketch on the face, then lifted areas to white or pale tones. More darks were added to block in shadows.

Working from one of my image captures, this piece is an attempt to add a feeling of antiquity. I added a halo of gold leaf, and wings! In blue and gold. It’s on an old piece of paper I added mat medium and gesso with paint mixed in, a thin layer of absorbent ground mutes the color and allows for paint to adhere.

This is my personal favorite. 3/4 view. I’m working on Strathmore board again. It is a looser, sketchy rendering, using M.Graham’s Purple Dioxazine paint to block in values and DaVinci Watercolor Encausticks — a new product I have been testing — to add gradations and details.
Use the large “crayons” dry, then soften with water, or dip in water and draw, or draw on wet paper — all for different effects. I’ll call this “I Want To Be Like Mike!”

Golden liquid acrylic, squeezed right from the bottle on a watercolor block outlines this high key image. It is a stylized piece, drawing from the work of Alphonse Mucha for inspiration. Wet watercolor mostly stays within the acrylic lines.