Pushing through the Fear (updated)

I called this one finished at least twice and went back and added more contrast (darks). I realized after I published this that I forgot to chat about the fear. The fear, for me on this piece (heck most pieces) is the FOFU (Fear of F*cking Up). Personally, I don’t know what I did differently on this one. It never went through a stage where I wanted to toss it. Every step I took I did with confidence EXCEPT the final darks. TWICE I called it done and TWICE I went back with a fine brush or as in the case with the last dive in, I used a dip pen loaded with watercolor. Well THIS time I’m sure I am finished… I don’t honestly believe I can make any more marks that will improve it in any way shape or form. So is this piece really done or is FOFU stopping me from making it even better? I’ll never know, caue I’m gonna frame it and hang it.

Techniques used: dry brushing, glazes, wet on wet, wet on dry, masking fluid, and dip pen for the fine detailing. I attached process photos if you were interested. Is it worth the effort? Let me know and I will keep at it. If it’s pointless I’ll stop. Raw umber, burnt sienna, cobalt violet, and buff titanium Arches rough #140.

Light glazes over sketch (4H)

Used dry rake brush. The rough paper really helps with the effect.

glazing lite layers of burnt sienna

more dry brushing with 6 round and strengthening the darks in the narrow slots

Ruling pen and ruler used to apply mask

At one point I called this “done”

Used a dip pen to enhance some fine detail darks.

A wee break from the color mixing…

I wanted to take a a bit to try to change the approach I use for watercolor.

One of you awesome bloggers talked about a watercolorist who used a 6H pencil to do his sketches. I used to fall in squarely into the “2B til death” camp. I’m now eating my words and used a 4H to do most of my presketch. And moved to more layers /glazes and to rough paper. Pretty pleased. Not sure I’m entirely finished… May go back in for some deeper contrast when I swallow the fear of screwing it up 🤣.

Watercolor on tan toned paper.

I have always been curious about watercolors on tan toned paper. Back in December, before I restarted this blog, I actually gave it a shot. Much to my surprise i liked the results! Looking back I’m not sure why I haven’t done another one.

Todays efforts…

Not feeling 100% after my kidney stone procedure but feeling better than I expected to. This was today’s efforts. I have found out my transition back to my second home has been delayed ANOTHER week! (It’s been 4 now 😒) So, since I can’t get to the beach, I’m bringing the beach to me (Like I do regularly anyway) The plan is to take my time and change techniques. I’m excited about the progress so far.

Color Mixing #4 Cobalt Blue and still (kidney) stoned (LOL 😜)

I am not entirely sure why or how I ended up with Cobalt Blue in my collection of paint. I have no doubt I bought it, just don’t remember where, when, or why. However, I now am THRILLED I did. When I first started my watercolor journey Ultra Marine Blue (UMB) was hailed as THE blue to use. So I listened to seasoned vets and full blown artist and swore UMB would be my blue to the very end. It does make some nice mixes (with the exception of green, I never liked the greens I mixed with my yellows).

I was pleasantly surprised as I watched these yummy colors develop on my palette as I mixed Cobalt Blue with my essential colors. I just wanted to lick it! They are GOREGOUS! I then went on to mix with frequently used colors that aren’t in my “essential” palette. Those secondary colors were icing on an already delicious plate. I’m now hooked on and convinced that Cobalt Blue is now replacing UMB. Not to say I won’t ever reach for UM again, I’m sure I will, just not for a while.

Top Center (clockwise) Azo Yellow, Nickel Quin Gold, Hansa Med, Marine Blue, UMB, Cobalt Teal, Opera (DS), Pyrrol Scarlet, Quin Rose, Raw Umber< Green Apatite Genuine

Top Center (clockwise) Diox Purple, Rose Ultramarine, Violet Ultramarine, Violet Cobalt, Bloodstone, Moon Glow, Burnt Bronzite Genuine, Bordeaux, Hooker’s Green, Phthalocyanine Green, Burnt Sienna, Buff Titanium

So there ya have it, Cobalt Blue in all its beauty. I still have my kidney stone… It shifted a bit over the last few days and the pain, while still nothing that Advil can’t take care of, is increasing. Come on Wednesday, ready to get this thing blasted!

Until the next one, take the best care of you!

hfc❤

Color Mixing #3 Hooker’s Green And Kidney Stones…

Hooker’s green was an impulse buy. I didn’t need it, not necessarily a fan of it, but just picked it up because I wanted to have a dark green convenience color. It breaks my “single pigment” rule for tubes, but again I don’t use it much (up to this point. I must say, I am LOVING the browns and neutrals that I mixed. I will have to add it to my fall inspired paintings. Not my usual “cup of tea” but, on occasion, I do whip one out. That said this 15 mm tube will probably last me a lifetime. Please forgive the not-so-neat painting job. I am in the process of passing a kidney stone and was having pain flare ups. I go get it blasted on Wednesday!

Starting Top Center (going clockwise) Azo Yellow, Hansa Medium, Marine Blue, Ultra Marine Blue, Cobalt Teal, Phthalocyanine Green, Nickle Quin Gold, Raw Umber, Burnt Sienna, Yellow Ocher, Ultra Marine Turquois, Manganese Blue Hue. Background Hooker’s Green

Nothing really to write home about in the above color rosette. The colors are nice, but don’t fit in with my standard tropical subjects.

Starting top center (clockwise): Alizarin Crimson, Pyrrole Scarlet, Quin Rose, Quin Lilac, Holbein’s Bright Rose, Daniel Smith’s Opera Pink, Windsor Newton’s Opera Rose, Rhodonite Genuine, Bloodstone, MoonGlow, Diox Purple, Lamp Black.

This rosette was my favorite of the two. The colors are so flippin’ rich and beautiful. It just may cause me to paint a few extra fall scenes/landscapes this fall. The colors are so yummy! Not sure what color I will mix next or how many I will get to mix before my procedure… So until the next one, take care of you!

Watercolor play (It needs a name, help?)

I often like to throw down lots of water, loose pigment and salt. I let that dry and play the good ol’ version of “I spy”. My husband saw the seahorse I saw the jellyfish. Sometimes the images are easy to pick out, other times there’s nothing to see. I lay those a side until I am inspired to pick something out of nothing. This one needs a name…. I’ll take suggestions…

Color Mixing #2

Holbien’s Marine blue

I picked Holbien’s blue because most of my pieces I like to paint are influenced by the sea. I am a Florida girl born and raised and it is the tube color that comes closest to my favorite “blue”. I’ve had this tube a few months now but never mixed it with my the colors n my essential/most used palette. (that would be on the left) the right are colors that I would mix for neutrals or just wanted to see how they would mix. Up until I played with these Phthaloblue (green shade) was the second blue in my essential palette. I think it just got booted. I rarely use it pure (even though it does make great mixes) and I have reached for this multiple times since I purchased it.

Sneak peak at the next one…

My palette, after mixing my most used yellows, reds, greens and blues. Rosette to follow….

Color Mixing #1

Holbien’s Indigo

This will be an evolving project as a play with layouts. I already have changes in mind and the next page is laid out differently.

But progressing with this one… This features Holbien’s Indigo Blue. I am usually not a fan of multi-pigmented tubes, but I purchased this specifically for a monochromatic portrait. I was very pleased with the way it turned out. Especially since it was my first .

My one and only portrait to date.

Back to the color mixing. I did the rosette on the left first. I charged wet into and mixed on the paper. The rosette on the right is by far my favorite and the way I will continue to do these. The background color is the primary mixing color. The “petals” are the mixes.

The colors are listed below starting at the center top and going clockwise

1. Hansa Light
2. Hansa Medium
3. Nickel Quin Gold
4. Cad Yellow
5. Yellow Ocher
6. Rhodinite Genuine
7. Opera
8. Burnt Umber
9. Raw Umber
10. Burnt Sienna
11. Burnt Bronzite Genuine
12. Azo Yellow

The biggest surprise to me was the lovely greens that were created. and the mix with Daniel Smith’s Opera. I also am swooning over the result of charging indigo into burnt sienna and burnt umber (on the left rosette). Those combinations could definitely inspire some art.

So, one tube down, several to go… stay tuned. I think I will do Holbien’s Marine Blue next!