Watercolor and Colored Pencil Technique
The technique has evolved with me
It began with drawing. Pencil in hand, drawing whatever I saw, and whatever I felt, it was my way of relating to the world, and making sense of the way things work together. Although I was certain that I was not very good at it, I could not let it go. I’ve just always loved to draw. In college, I took life drawing classes so many times that they would not let me audit the class anymore, so I taught it.
All my life, wherever I have looked, I have seen faces. In wood grain, in the clouds, in the cracks in the paint of a building, there were faces, so, early on faces were frequently the subject matter of my work.
Right around the time my second daughter was born I had gotten a bit tired of either drawing just faces or else the involved abstracts from my sculpture journal, so I did a series of pencil drawings which borrowed from a collage approach to subject matter, instead. This drawing call “Serra” was a forerunner of that series. These drawings were quite involved with intricate detail.
Then, years ago, a friend and I promised to do a show for the Arts Council in Lassen County. My friend was going to show her watercolors. I had never done watercolor but I have always enjoyed a challenge, so I agreed to do watercolor as well. The show was well received. Far more important, though, my love for watercolor was born. I love working wet on wet, allowing the images to gently arise from the pigment play. I am enamored of the subtle interplay of colors within the paint and the challenge of stubborn pigment.
I dreamed this process one night
Then, one night I dreamed a watercolor and colored pencil technique wherein I combined two divergent media: a layering of watercolor and prismacolor pencil. This process feeds two divergent parts of me as an artist.
I purposefully use watercolor techniques that minimize my control, then allow myself utmost control with the pencil work. The watercolor layers are usually more free and yield surprises. Faces and other hidden images emerge. The prismacolor pencil allows me to find the emerging images as well as to indulge my urge to become immersed in detail. It is a joyful combination for me.
Once the initial drawing or painting layer (I vary) is laid down, I am aware of the overall composition, and main subject matter. From there, I enter the world of “spirit play,” the zone of art creation.
The more I indulge myself in this process, the more layers I create, and the more surprises happen. I think my love of working with layers is one of the things that has bled over from and to my graphic design work. In Photoshop or Illustrator, the key to the rich image is utilizing layers. I could not achieve the rich graphics that I do without layers. Watercolor is all about layering too. You build up the image by layering more and more pigment for the darker areas. With washes of various colors, a richer dark tone is achieved than you would produce with a dense layer of black pigment, for example.
The color pencil layers aid in the discovery process. It is as I discover things and define them more clearly with my pencils that the true adventure happens. It is an excellent re-purposing of my compulsion to create order and beauty.
Several years ago I was in an large art show where all of the glass on my framed pieces was broken, cracked, chipped or shattered. This was a huge hit to my finances. Matting, framing and glass can be an expensive investment for an artist.
Upon reflection, while I was researching non-scratchable plexiglass solutions, I realized that I really don’t like putting my art under glass. I am a very tactile person, and I like to touch work (at least with my eyes). I needed a painting for a show, so I took one of my favorite completed paintings, and cut it up. Next I prepared a canvas, with underpainted layers, and attached the pieces of my former painting to this new painting, whereupon I started creating new layers with transparent acrylics and more pencil work. When finished, I coated the whole piece with a clear acrylic. Triple Goddess was complete.
I’ve done a few of these pieces, and I shall do some more. There is an exhilaration (combined joy and fear) that arises when cutting up a completed painting. However the originals stand on their own, without this further futzing, so I have thought of doing a gicleé print to use in the mixed media pieces on canvas. I’m in a philosophical quandary about that.
In the meantime, in 2011 someone introduced me to a new (to me) “watercolor ground,” which enable me to watercolor directly on canvas. I had been wishing that there would be a way to do that. Wish granted.
The watercolor and colored pencil process adapts really well to this ground, and the ground itself as well as the canvas add other new and exciting elements that I find exciting. The texture of the ground depends on how I apply it, and the responsiveness depends on how many layers of it I apply. And so, the technique evolves and grows.