It’s nothing much, and I don’t have photos to share at this time (nor am I rushing to photograph things this late at night); but I wanted to note that I actually have started watercolor painting, again. Yesterday, I broke back in with a number of semi-random color gradients and one of the Neptune round brushes I bought months and months ago, and didn’t prioritize time to try out.
The upshot is that the Neptune brushes are actually pretty sweet. Today I went and bought a number of specialty brushes from this line (bulk discount of over 50%) — by that I mean, not flats or rounds. It’s interesting to see how they perform. In particular, I’m interested in a 3/4″ wash brush which makes painting in watercolor almost feel like painting in acrylic, and a “dagger” brush which is cut at an angle, making it capable of tiny fine lines and broad swaths in the same stroke, while carrying and slowly releasing a heavy paint load.
My largest watercolor brush before having gotten the 3/4″ Neptune flat today, has been an ox-hair 1″ flat (I believe this was a Utrecht brush, from before the time at which Utrecht was acquired by Blick). The ox-hair holds a lot of water, so it’s great for wetting down sheets of paper; but it also holds way too much paint to be able to easily use for anything other than washes. It also…to the best of my memory, doesn’t have as much snap as any of my other brushes. It’s more like the soft, natural-hair rounds I used as a kid, that had no real point to their tips, and little recovery. (I believe these are called “camel-hair” brushes…but realistically, I have no idea what type of filament those were, other than natural hair: I could feel the one-directional nap of the hair’s scales.)
Of course, then, the most I was doing were little watercolors of fish with Prangs, and those little paint-by-number things that activate with water. :)
I actually had a conversation with M about her frustration that I haven’t gone as quickly back to painting as she would have hoped. It has been seven months since the work for my Master’s degree concluded. I find it not out of the realm of possibility that I’ve been slow to get back to this, in part, because I’m having to accelerate from zero.
I did not do any drawing or painting while I was working on my degree…and it’s tough to restart a creative practice, from nothing. It’s especially not reasonable to expect someone to return to the level they were at before they were forced away from their work, immediately upon concluding the thing that took up all their time (and which they are used to taking up all their time).
Anyhow…what I’ve been doing is largely trying to figure out how my brushes work, again, and how my paints work, again — and, you know, which paints I used where in my palette, as I stupidly did not make a palette sheet that was exactly correct and notated, during all the times at which I was painting out samples. So, for example, I had to color-match new swatches with Holbein Isoindolinone Yellow Deep, to know that it wasn’t Winsor Yellow Deep; or Winsor & Newton, “Indian Yellow;” or Daniel Smith Permanent Yellow Deep.
(I’ve gone to efforts to procure warm tones that are less toxic than cadmium pigments, so that’s why you’ll see me refer to various yellows and oranges, in particular, such as the Pyrrole colors and Hansa Yellows. I have not yet made my way into the duller colors such as the Perinones…I’m thinking it’s easy enough to dull down a color, though I’ve seen beautiful mixes made with colors like Perinone Violet and Transparent Red Oxide.)
I am also realizing the inefficacy of Sap Green as used unmixed, and the beautiful mix I was able to make with Prussian Blue (a muted greenish blue) plus Green Gold plus a bit of Viridian. It’s as close as I’ve been able to come to a deep, jewel-tone green…and I love it. It’s so weird, because Green Gold is a very distasteful color (to me) on its own, but it renders gorgeous greens when added on top of either another green, or blue; maybe with a yellow added in at the end (granted there are different yellows). This outcome is the reason why I’m willing to try (in the future) the Perinones, and other colors I wouldn’t use on their own.
It’s also kind of funny how Cobalt Turquoise Light (the color of a tropical lagoon) makes a violet, together with Magenta. I’ve looked at other people’s mixing charts, but I don’t think I’ll be making one, as each mix really…is variable, depending on the ratios of two pigments to each other, and it only gets more complicated when you start mixing three or more colors. I can’t seriously suggest (even to myself) that one color is the final outcome of a mixture of any two paints.
Of course, though, unless I had practiced just straight color mixing (in a watercolor class, at the time), I wouldn’t have known that Phthalo Green with Permanent Rose made such a stunning array of colors!
And yes, I do feel silly for having so many different pigments when I could do with just three primaries; but I’m seriously really into color, and I find it one of the most interesting aspects of image-making. M kind of doesn’t understand this…I have a habit of collecting different colors in pretty much every art and craft medium I’ve used, with the exception of ceramics. I know it’s annoying.
It’s late for me here; I should really get some rest. I didn’t intend to sit here writing, all night…I just got into the color topic. :) I can kind of go on and on about color…so I’ll stop myself here.
I just want to add, as possible fodder for a future post, the way that painting can grow organically out of drawing…I know what I mean by that, and have some clue as to how it happened, for me. It’s tough to start back into painting, having been out of practice at even (!) drawing, for months or years…