CORE???

The QoR tin - wells on the side are being used as mixing wells.

Perhaps you have heard about the new watercolors from Golden - QoR (pronounced "core").

Curious about them, I ordered the 12 introductory set, and then added a few colors that I would normally use.  The tubes in the set are small, the separate colors larger (as seen in the photo).  I'll leave them in this metal tin, and I'm using the little wells in the top to mix colors, as you can see.  I painted one picture on Fabriano 140 HP paper, and did not like the way the colors laid down.  It took me many layers to get dark, and then still not as dark as I had wanted.  I thought it was probably the paper, since I don't use HP that often.  Then I played around with them on Arches 140 CP.  Now I've decided it's the paint, not the paper, since I also was not particularly happy with the way they laid on that paper, which I normally use.

I think the colors are very pretty and mix well together, but in trying to mix them with my Daniel Smith, I did not like how they mixed.

When I told a friend about this, she researched them on the internet.  The binder they are using is a polymer. I think that makes the paints more "slippery" and that could be why they don't seem to go down on the paper in the way I'm used to.  They lay down kind of like a  watercolor mixed with extra gum arabic would lay.

Or maybe I'm just "used to what I'm used to" and it's hard to make a switch!  I like all of the other Golden acrylic products, and since this is their first foray into watercolor (as far as I'm aware) I'll give them a break!

As I said, the colors are very pretty and clear - and I'm sure there is some place for them in my paintings!  I'll keep you posted as I use them more.

POURING WORKSHOP - COLERAIN ARTISTS

Recently I was asked to give a pouring workshop to a local group of artists who work in all different media - the Colerain Artists in Cincinnati.

This was one day from 10 - 4.  Unfortunately, we were asked to leave a bit earlier so we didn't get them all finished.  And, of course, even though my intention was to get some WIP photos taken, that was not the case - will I ever learn???

So - here are a couple of nice overview photos of the space we used.  It was nice and evenly bright, the tables were large and round so 2 to a table worked perfectly with all of our paraphernalia for pouring.

Lots of laughter, lots of groans, lots of chatting - hmmm - could that be why we didn't all finish our paintings?

Last but not least, here are the painting I used as my example - on the top - and the painting I completed the next day at home.  I had most of it finished, except for another pour.  Then I gave it another good pour once all the miskit was on.

This was my example piece, painted a few years ago.

This was the piece I worked on at the workshop and then finished at home.

Which of these paintings to you prefer?  Identical picture, watercolor poured, but both quite different!

GOOSE CARD

My daughter texted me to ask if I could produce a thank you card with a goose for her husband.  He wanted to send it to the folks on whose land he had been hunting.  I asked if a Canadian goose would work and he said yes.

My quick background painted - with my NEW QoR watercolor set from Golden.

Even though we get a lot of geese on the lake, I have no photos of them, so I went online to get some reference photos.  I decided the ones of the geese in flight were more interesting, so I drew out my goose on regular paper, enlarged it, then transferred it to a ¼ sheet of watercolor paper and did a loose, washy background.  I put a bit more detail into the goose itself, but not as much as I normally would.

Quick painting, almost done.

When the painting was complete, I took a photo and uploaded it to my software program, then cropped it and put it into my note card template.

Added a bit more feathers and a bit of gray-ish to the white on his head.

Here is the finished painting.

Anything for my Favorite Son-in-Law!

Canadian Goose in Flight, watercolor, ¼ sheet Arches watercolor paper

PAINTING GLASS REFLECTIONS - WORKSHOP

WORKSHOP

PAINTING GLASS REFLECTIONS

April 25 - 26, 2015

LOCATION 

Cincinnati Art Club Building

1021 Parkside Place

Cincinnati, Ohio  (Mt. Adams)

$125.00

In this workshop you will learn how to paint a reflective glass surface and vibrant stripes.

Day 1 - Using the drawing provided, you will follow along with me as we begin our painting adventure!  

I will be doing demos throughout the day, and you will receive individual attention as needed.

(Painting size - 1/2 sheet of watercolor paper)

Day 2 - We will finalize this painting.  If time permits, using your own photo or drawing, you will incorporate the techniques learned in Day 1 to begin creating your own painting with my help and supervision.

This workshop is for beginners to advanced artists.

For you "doubting Thomases" out there who think you "can't do it"?  

Think again!  You CAN create this lovely painting!

My workshops are "user friendly" - with no stress and tons of fun!

(Not only that, I'll even provide morning and afternoon snacks.)

Interested?  (You know you are!)  

Contact me for more information - dwardart@yahoo.com

CENTRAL TIME - FINAL

The final painting.

I had to repaint between the girders after removing the tape since too much of the paint flowed underneath.  It may have been a "happy accident" since I like the look of this better.

Central Time, Chroma Flow Acrylics on Arches watercolor paper

CENTRAL TIME - 7

Yet more work on the clock and girders.

BOOKS AND MAGAZINES - OH MY!

My painting “Poured Yupo Peony” is included in the book AcrylicWorks 2: Radical Breakthroughs.  They even used it in an email promo, which I thought was really cool and unexpected.  My California friend, Chris Beck, sent me an email saying she had seen it online, so I double checked my emails on my computer (not my phone where those little tiny photos require magnifying glasses!).

The painting was created by pouring and dripping fluid acrylics on Yupo using taping to separate the layers. I used blue painter's tape so it wouldn't stick to the acrylics when I pulled it off, and so that some of the colors would run underneath to create the fluted edges of some of the petals.  Definitely not my usual support, nor technique, but that's what this painting was all about - getting out of the norm and trying something new.

In addition, another of my paintings is a Finalist in The Artist’s Magazine Over 60 Competition, with my name listed in the March magazine, but no photo.  It's one you have seen here on the blog multiple times.