watercolor lesson

I’m still at it. Still flummoxed by gardens. My paintings of them still look like crap. If you remember, when we last left off I was trying to do justice to a small walled garden off the Royal Mile in Edinburgh called Dunbar’s Close:

In the past two weeks I’ve actually tried TWICE to re-paint this, but the results were even worse so instead I went back and made certain necessary corrections to make this illustration a tad bit less crappy:

 

Having failed so miserably, I decided to take a break and go back to my comfort zone, garden-wise. I did a miniature painting of the secret doorway to Dunbar’s Close on the Royal Mile (miniature being my preferred canvas):

This secret entrance is almost totally camouflaged as just another alley between nondescript buildings on the Royal Mile:

There are 83 “closes” on the Royal Mile such as this one that leads to Dunbar’s Close. BTW, I know some of you, dear readers, like to see Where I Get My Ideas From. For this illustration, I plagiarized this reference photos:

Another wonderful garden that I love is in Key West. And when it comes to Key West, I’ve always been very fond of this picture I took in 2005 when Top Cat and I spent a long February weekend there (this is our guest room at the Conch House Heritage Inn, built in 1885):

I love the monochromatic effect of this picture, the long afternoon shadows, and how the orange cat is the only spot of color. So let’s PAINT IT!

First had to draw it:

I had to leave out that second rocking chair — waaaay too complicated for my skill level and I didn’t want to make myself any crazier than I had to.  Of course, there is only one way to paint this drawing: illuminated on my light box:

I really shouldn’t paint without supervision. Thank you, Coco cat.

By putting my 90-lb Canson watercolor paper over this drawing and firing up the light box, the outlines of this sketch show through to guide me as I “color in” the shadows that I see in the photograph. It took me about two hours to paint this:

Yeah, I had to ditch the French door and the window entirely — there was no way I had the manual dexterity to pull that off. It was the rocking chair and the cat that I most wanted to paint any way and if you had not seen the original concept you would think that this was a pretty completely realized composition, eh?

Thank you, one and all, for all your garden book recommendations last week. I’m still searching for the garden artist that I can steal from…I have a specific viewing experience in mind when it comes to garden art, and hoo boy some of the garden books I’ve come across miss it by miles.

Last Sunday I journeyed to the wilds of Westchester County to visit a billionaire’s garden because I wanted to see what a man with an undogly amount of money puts in his garden. Stayed tuned: I’ll  show you, right here, next week.

 

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After reading my last post (last Friday), you might be wondering: So what else can you, Great and Wondrous Vivo, do with that rolled up piece of paper towel (see below)?

And what else, Vivo the Magnificent, do with those bleeding water colors (see below)?

Well, I was dabbling this past week, trying not to notice that I’m a month behind schedule in meeting the dire deadline of December 1 for when I h ave to turn in 208 pages of text and all 300 illustrations for That Damn France Book, and I rolled me some clouds (see below)…

…and I bled me some earth-colored watercolors (see below)…

…and I came up with a vineyard in Bordeaux:

See? Even I sometimes listen to me, and use my own painting tips! (I know — I’m as surprised as you).

I have 57 days to get my Dan dance Book book done on time. That’s 912 waking hours. Minus the week I’ll be traveling in October (if you’re in the Baltimore area, come see me on Oct. 25!) and the weekend that I’ll be in D.C. at Jon Stewart’s Rally to Restore Sanity (Oct. 30!) and that leaves 768 waking hours. Minus 700 hours in which I just sit and watch my cats do cute stuff and that leaves me well and truly *#@??ked up.

I really have to go now.

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This (above) is the September sun set that I want to paint for you today. I chose it because it’s got two of my favorite things (to paint) in it: clouds, and diagonals. It’s got diagonal clouds: a two-fer!

I’m going to use two techniques for this painting. Ha ha. I said “Techniques”.

There are two gimmicks that I’ll use for this painting, my two favorite gimmmicks: First, I like to use a bleed. That’s when I put two very wet colors next to each other and let them flow into one another, like this:

The other thing that I like to do when I paint clouds is to do a nice dark wash of sky color (in this case, blue) and then use a rolled-up piece of paper towel to sponge up some paint, as much as I can, off the surface of the watercolor paper.  Like this:

The trick is to dab the rolled up piece of paper towel onto the wet watercolor paint as soon as possible — like a nano-second after you’ve swabbed the paint all over.

For the September sun set that I’ll be painting today, I’m going to divide the picture into three zones:

So, let us begin.

1. Zone 1, with rolled-up paper towel clouds:

Let dry.

For Zones 2 and 3, I’ll do bleeds. I’ll brush the lower part of the painting with water, and then start layering in the sun set hues very quickly, letting them bleed into one another delicately. . .

I only got a photo of the first layer, a yellow wash. I had to paint this part very quickly, while the paper was still nice and wet, so I didn’t have time to get photos of the whole process. But here’s what I did:

From the bottom up, I brushed on a layer of light yellow and yellow ochre mixed together, then a little light orange, then some light red, and then magenta. (I’m using the names of the paints in my beloved  Grumbacher paint set — the “light red” looks dark orange to me, and the “magenta” looks like pink when it’s diluted with a lot of water.)

The I dabbed in dark blue zig-zaggy layer on the middle part (to make the underside of the clouds) and I made it pretty wet, too, to let the water take an effect. Then I sat back and let gravity and Grumbacher paints do their magic:

 

Now it’s time to do Zone 4, the make-believe tree line:

I like to paint my tree-line black. There’s something about a black tree-line that is a tiny bit melancholy, and a beautiful September sun set  is a bit melancholy, so my September sun set will have a black tree-line, like this:

So.

Now that it’s done, I can assess what I’ve got here

Well, I like the diagonal sweep of the cloudy sky. I LOVE  that part of the cloud that is just Canson watercolor paper showing through a very thin layer of wash.

But I don’t like that weird pointy bit of blue on the right hand side…see it? It’s a an upside-down triangle shape ? But all is not lost!  I know how to disguise it!

Hell — my whole raison d’etre as a painter is to fudge my shortcomings as an artist. Disguise is my middle name!

So here is the finished picture:

Do you see any strange-looking blue triangles anywhere? NO?

I dare say that I got away with it.

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That’s my motto for September: Every day, there’s a light or two less. In September it’s the sunsets that matter to me — as if by watching each one I can make the day last a moment or two longer even if I can’t stop the earth from turning away from the sun.

Well, that moment needs an illustration in my Damn France Book. Because that’s the kind of travel book I write: low on the literal, high on the weirdly subjective.

So I started with a photograph I’d taken in aLoire Valley town (see above). Nice, right? (That’s why I took it.)  I studied it, and found that it would do just fine as my reference photo (see below, with  markings so I can tell where the horizon is):

I’m showing you this so you can see what I think: I mentally drew lines to show where I thought the tree line, the horizon, and the darkest reflection in the water would be . The scene needed a distinguishing feature, something that gave it that unmistakable romantic Loire Valley feeling.  So I gave it one (see “castle” cut-out overlaid on photograph below):

That’s the actual chateau in Azay-le-Rideau, with slight perspective improvements on my part, to accentuate the turrets and the spires and all that castle-y stuff.

OK. Now I’m in business. I’m ready to paint me a picture of my Loire Valley September sunset moment.

(There’s a light pencil sketch of the landscape and the chateau, with a dab of watercolor resist fluid to mark where the setting sun is.) Then I did a wash of my setting sun colors:

Whew. Got the yellow, pink, and violet paint to stay put and not blend into a puke taupe mess. Now, all I have to do is not screw up the river and I’m half-way there to a not-putrid illustration:

Not bad. Paintings always look kind of shitty at this stage, so I’m not worried that it’s a lost cause. Yet. Now for the brooding, gothic, romantic landscape features:

Ooooo. I like this (above).

Sure hope I don’t mess it up when I paint the chateau:

Hmmmmm. I’m beginning to have my doubts.

Oh well, too late: I’m committed to seeing this to the bitter end.  (I think it’s mildly entertaining to catch a work-in-progress at the moment when it all went wrong.)

Let’s just cut to the chase:

Oh, Jeeze. This is not what I had in mind. Nope. No way.

I could tell this illustration was a stinker long before I finished it, but I made myself paint the whole thing so I could study the failure in all its completeness. And now I know how not to paint this picture!

And when I do, you’ll see it here.

Now, speaking of A Light Or Two Less, I have some cat news to tell  you.

You’ve met the Lights of my Life, my Hobos, the feral cats who came to me as kittens, and who live in my backyard (until Winter, when they have their own cat entrance into the basement of our house.

They were so little here, two years ago, they could all fit on the same patio chair. That’s baby Taffy, in the shadows, that’s baby Lickity in the black and white ensemble, and that’s baby Butter, sitting upright, catching the rays of sun on his beautiful ginger coat.

Butter was the first of those fierce, wild, feral babies who let me touch him. This is a photo of the first time he let me scratch his little head:

Notice the little drop of milk on his chin. Butter loved his dairy products.

In the Comments of my last post, Carol (with her cat-senses alerted) asked Where’s Butter?

And I meant to tell you all, but I was waiting for the right time, and there really is no right time.

Here’s the deal I make with my feral cats: I will watch over you best I can, and you will be the cat you were born to be, even though I know there’s a high chance that you will break my heart.  I don’t know how else to love these maddening, delightful, wayward, untamed creatures.

We tried to keep Butter in the fenced yard with his more homebody-brothers, but he was the one who had to see what was across the street.

I know that Butter would have been miserable if I’d taken his adventures away from him, made him into a house-bound cat. So I let him live “wild”, as he wanted, even if it did in the end cost him his life. Butter died on September 2, 2010, while crossing the road in front of our house.

This is not the first time a cat has broken my heart; it won’t be the last. But this is the one and only Butter heartbreak, and we will miss the leader of our pack  forever.

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