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Blog Category: Artwork

“River Pebbles, No. 10”

River Pebbles, No. 10

 

Title: River Pebbles, No. 10

For techniques used in this artwork, please see blog post River Pebbles, No.3 - Melting Artist Crayons

 

“River Pebbles, No. 9” - Where’s Waldo?

Original Photo Reference

When I look at a reference photo like the one above, the question I always ask myself is: where's Waldo?

Waldo, for an artist like me, is a good composition hidden in the randomness of nature. Even when I'm the one setting up the still life, I try not to interfere in the way pebbles fall into place. I just take many pictures while anticipating the game I will play later on my computer.

Waldo can be elusive at times. I have images taken years ago that never produced a single Waldo. But my ability to "see" is constantly evolving; I know there's a Waldo waiting to be found even in the most hopeless image.

Composition

Meet Waldo! I found him in the center of the image. Now that I have him, I want to show him off but, as you can see, he looks a little drab. Light and color will do magic.

Values

Here's what he looks like in black and white.

Values Adjusted

Much better - Waldo is coming to life. I just lightened the top left quadrant and pushed the overall value contrast.

Colors Adjusted

Now we're talking!

River Pebbles, No. 9

And here is my finished piece - in honor of Waldo of course!

Title: River Pebbles, No. 9

For techniques used in this artwork, please see blog post River Pebbles, No.3 - Melting Artist Crayons

 

“Poppy, No. 4”

Poppy, No. 4

Title: Poppy, No. 4

 

“River Pebbles, No. 8”

River Pebbles, No 8

 

Title: River Pebbles, No. 8

For techniques used in this artwork, please see blog post River Pebbles, No.3 - Melting Artist Crayons

 

“River Pebbles, No. 7”

River Pebbles, No. 7

Title: River Pebbles, No. 7

Outline - Cool Zone

The outline was accomplished with Prismacolor Verithin on the cool zone of the Icarus board.

Color Mapping - Warm Zone - Low Temperature

In this step I blocked-in the main colors on the warm zone with very low heat, just enough to soften the waxy pigments without melting them or blending them.

Burnishing & Blending - Warm Zone - Medium Temperature

After setting the temperature control at medium, I added additional color until there was enough pigment to obliterate the paper. Then I began blending using the point of a tortillon or the side of a paper stump with a very light touch.

Colorless blenders were used to soften edges and details.

 

“River Pebbles, No. 6”

River Pebbles, No. 6

Title: River Pebbles, No. 6

In preparation for the upcoming Laguna Beach Festival of Arts I've been working on small and large pieces concurrently and I haven't had the time to scan and put together the step-by-steps and videos. However I've been jotting down all the interesting technical aspects that I encountered so that I won't forget to share them with you when time permits.

In this particular piece I struggled a bit with the surface. Colourfix Supertooth is very rough and, although it's well suited for rocks and pebbles, it might be an overkill. The bigger issue with Colourfix paper is that the texture is inconsistent, sometimes it's toothier than others and I don't like surprises.

Priming my own paper gives me much more control over the final results. It's very easy to do it and also less expensive than buying already-made Colourfix paper.

 

“Snake River Ripples”

Snake River Ripples

Title: Snake River Ripples

"Snake River Ripples" is my contribution to the ART-TO-GO fund raising program. The Laguna Beach Festival of Art exhibitors donate one or more artworks to The Artists Fund which promotes, displays, and sells their work through retail and auction activities. The fund serves as financial relief to artists suffering economic hardship.

The 2012 ART-TO-GO Preview Exhibit is co-hosted by the Laguna Beach City Hall and the 1st Thursday Art Walk members. It runs from May 24 through June 26 at the City Hall. The artists reception is scheduled for Thursday, June 7, at 5pm.

 

“Poppy, No. 3”

Poppy, No. 3

Title: Poppy, No. 3

Outline - Cool Zone

The outline is accomplished with Prismacolor Verithin on the cool zone of the Icarus board. I don't like to add too many details at this point, only the principal lines.

Color Mapping - Warm Zone - Low Temperature

I'm blocking-in the main colors of the poppy on the warm zone with very low heat, just enough to soften the waxy pigments without melting them or blending them.

Burnishing & Blending - Warm Zone - Medium Temperature

After setting the temperature control at medium, I add additional color until there's enough pigment to obliterate the paper. Then I begin blending using the point of a  tortillon with a very light touch.

Sometimes I smooth out the color gradations with the side of a paper stump if the area in question is large enough. The very small veins are created with a white Verithin which lifts and lightens the original color underneath.

Burnishing & Blending - Warm Zone - Medium Temperature

Burnishing & Blending - Warm Zone - Medium Temperature

Burnishing & Blending - Warm Zone - Medium Temperature

Refining and Polishing - Warm and Cool Zones

The last step includes refining the edges (cool zone), polishing the color gradations (warm zone), adding the fuzz on the stem (warm zone), filling in the white speckles of paper that are still showing (warm zone), and the signature.

I like to sign my name with a Verithin pencil on the warm zone. I use a lighter color than the background and press enough to create an indentation which is visible even after varnishing.

 

“Poppy, No. 2”

Poppy, No. 2

Title: Poppy, No. 2