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gouache

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Twixt Wind and Water II

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Twixt Wind and Water II (12 x 16) $225

Twixt Wind and Water II (12 x 16) $225

Twixt Wind and Water

Twixt Wind and Water

We spent last weekend on the beach.  I took enough photographs to have seacape material for some time to come.  While I was there I reworked Twixt Wind and Water.  Here is the result.  As you can see, I gave the painting considerably more sea-room to the left, so that she has something more to look into.

I began her hair with an under-painting of colbalt blue.  Then I used layers of yellow ochre, burnt sienna, and cobalt blue to complete it.  Quidacrone deep red rose provides the accent color in the hair band.

Her jacket is cobalt blue and prussian blue mixed on the palate.

The sea began as phthalo blue and burnt sienna with reserved whites.  Then I changed my mind about much of the wave action and began experimenting with white gouache.  To cover strong colors, gouache must be laid on fairly heavily.  And even though I don’t use ultra white paper, gouache white is still bluer that the paper.  Also, as I discovered gouache will washback into transparent watercolor and vice versa.  Work a little gouache onto the paper and nothing painted there will ever be entirely transparent again.

The effect is interesting, but I think next time I’ll stick to transparent watercolors, unyielding to change though they may be. I like the translucency better.


Or purchase a print from Fine Art America.com

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Skipping Stones and Body Paint

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Skipping Stones (11 x 14) $75

Skipping Stones (11 x 14) SOLD

Skipping stones is like testing an echo, faced with a smooth body of water and rocks at hand, all right minded people want to do it. This is my husband and girls skipping stones into the Williamettee River. Georgia learned to do two or three skips that day and Paula found some fresh water shells.

Because the painting is really all about basic body shapes and afternoon sun I began it painting by pouring. I wanted bodies washed in color. But I did so much direct painting afterwords that it hardly feels like a poured painting to me. Whatever I did, it wouldn’t come right and I almost gave up on it. I finally decided that for design purposes I should have made Stephen’s hat white like the girls’ hats. But with watercolor white is reserved paper not paint and there was no way I could lift enough paint to make his hat white again, certainly not white in comparison to the girls’ hats.

So I pulled out the white body paint. Body paint or gouache is opaque watercolor. Dark colors are lightened with white. Transparent watercolor dilutes gouache and it won’t cover it. Consequently, gauche must be added last. So I painted the shadow of the hat with transparent colors first and then I painted around the shadow with permanent white gouache. I had to apply it fairly thickly because opaque is one thing but covering is another. While I was at it I reclaimed a little white in Paula’s left shoe too.

The gouache white is bluer that the page, so Stephen’s hat is bluer than the girls. That’s fine because he’s farther away. If he had been close I might have had to paint the girls’s hats too just to even things up.

I’m not tempted to work in gouache. I like the look a transparent watercolor too much. But every once in a while a little gouache is a life saver.

Other than white, I used ceruleum blue, phthalo blue, raw sienna and burnt sienna for the first pour. For the next two pours I substituted cobalt blue for the ceruleum. Ceruleum is an opaque color (but not gouache). I used the same palette for the direct painting with the addition of raw umber.

Prints available through Fine Art America.com.

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