Nubian 2

Nubian 2, watercolor on arches cp paper, 30 x 40 cm

This is a new version on a subject that I painted once last year - a Nubian boat sailor from a photo I took in Aswan a few years ago. I am quite happy with this version, but it took me a number of attempts to produce it.

First, I decided to revisit Charles Reid's instructions on painting dark complexions. "Try to mix colors on the paper", "for dark colors do not make your colors very watery", "paint the whole face in one wash on dry paper"... Armed with these advices and without giving it much thought I grabbed the brushes. With the non-watery color mix on a relatively large size drawing no matter how fast I was trying to work, the edges were drying faster. I ended up with some interesting and spontaneous color effects, but overall the face color looked muddy and overdone.

A few days later I decided to try doing several small and quick sketches of this face, using the same technique. The sketch below was the most successful one of them.I quite liked the expression of that face too, so I decided to do another larger painting based on it. Only this time I did it in two more carefully planned washes, one with the lighter colors and the second with the darker. The lesson I learned from this experience is that I should not take the masters' advices literally, but rather should adapt them to my level of experience and to my style.  And, better start small when trying new approaches.

Nubian - sketch, 14 x 14 cm

The sandal maker

The sandal maker, watercolor on Arches cp paper, 30 x 40 cm

This portrait is based on a photograph of an ancient sandal-maker (yes, ancient, just keep reading...), which I took last spring during a re-enactment at Ephesus. I like his face and his expression so much that I think I will use this photo again. It can turn into a  wise man, a Sea-wolf, or even Santa.

I like some aspects of the above painting, but I feel that the beard turned a bit flat - another reason to try it again some time.

Below is my original pencil sketch, which I then turned into the watercolor becide it. This one looks more dimensional, maybe thanks to the pencil under the paint, or perhaps because it was a sketch and I felt no pressure.

Precious

The puffball, arches cp 30 x 40 cm

A dandelion puff-ball may be an annoying weed for some, but it is a precious discovery for others...

Blanket of Snow 2

Blanket of Snow 2, Arches HP, 28 x 34 cm

This is a second version of a scene that I tried painting more than a year ago. I used the remaining piece of hot-pressed paper, which accounts for the unpleasant spotty effects in the sky. Apart from that, I'm quite happy with the way it turned out - way simpler and looser than the first version and more dimensional too.

A little yellow flower

A little yellow flower, Arches CP 30 x 40  cm

Me and My Shadow

Me and My Shadow, Arches CP paper 30 x 40 cm

Inspired by one of the tens of pictures of my little niece I took last spring. Her name is Sandy, but she is not furious and destructive... most of the time :)

pencil sketch, 12 x 17 cm

My first experience with hot-pressed paper

Iris, Arches HP paper, 40 x 53 cm

When I painted a similar iris a month ago I wasn't happy with the jagged background. I have been wanting to redo the painting with a wet-in-wet background in which the colors smoothly fuse one into the other. For some reason I had the impression that the hot-pressed paper is ideal for that. I had never used it, but in the books they say that "it is ideal for large even washes". Well, that turned out to be the worst choice for wet-in-wet work. Its smooth, almost glossy, surface is not absorbent. The water just sits on top, waiting to run in whatever direction the paper tilts. Once some water does soak in though, the paper buckles and turns into a varied landscape of hills, valleys, rivers and lakes. So, I did not get the background I wanted, but I did learn something.

With the remaining paint I decided to try to do just a wash. This time I did not tape the paper, but soaked it wet and laid it on a plexiglass surface. Then I poured the different paints and tilted the surface a bit in different directions. Some colors fused nicely. But the sedimentary green and brown pigments just sat on top. When I think of watercolor and why I like it, the first thing that comes to mind is the wet-in-wet work, and hot-pressed paper is very unsuitable for that. It feels like the right choice for technical drawings. Maybe one day I'll find some use for it, but for now I'll stick to the rougher cold-pressed.

wash of colors poured over wet hot-pressed paper

Fishing on the lake

Angler, Arches paper, 27 x 21 cm

What attracted me in this scene was the outline of light separating the figure from the background. I think I did a good job with the values and contrast here.
Thanks to Karl and Paulina for sharing the beautiful photos from their trip in the BC mountains.

Autumn colors

Fall colors, Arches paper, 27 x 21 cm

Autumn colors in Toronto

 The weather here has cooled. The mornings are getting quite cold and the day temperatures are hardly above 10 C. The trees got the message and quickly changed into their autumn attire. There are several places in the city, where the display of yellows, oranges, reds and greens is as picturesque as it can get. Unfortunately, it is too cold and windy to try to paint outside. I tried just taking pictures, but the sun was not cooperating either. Nevertheless, the colorful forests gave me enough inspiration to do the above sketch when I got home.
The maple tree seeds below I picked from the path, attracted by the lovely warm colors produced when touched by sun-light.

Maple seeds, Arches paper, 27 x 21 cm

Crossing the bridge

Bridge in Vancouver, Arches paper 40 x 30 cm

This is based on a friend's photo, taken while crossing one of Vancouver's bridges on a motorcycle. The fused colors of the evening lights and reflections seemed perfect for a watercolor. I did it in three washes. Maybe if I could have finished in less washes the colors would have been fresher, but I'm not unhappy with the result.