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Nature and animal enthusiasts, art and watercolor lovers will be delighted by this little sandpiper original watercolor artwork. These beautiful little Sandpiper birds can be found on the shores of the Pacific Ocean here in western Canada. I love painting them.
Title: Feeding Sandpiper
Image size: 4 x 6 inches (10 x 15.3 cm)
Medium: Winsor and Newton Artist Quality Watercolor on 140lb Arches Coldpress Watercolor paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
When the magical morning mists lift the scenery on the Pacific Westcoast is breathtaking. I love painting watercolors of the local scenery in and around my home.
Title: Long Beach, Vancouver Island
Image size: 4 x 6 inches (10 x 15.3 cm)
Medium: Winsor and Newton Artist Quality Watercolor on 140lb Arches Coldpress Watercolor paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
The peaceful little community of Point Roberts has about 1000 year round residents and swells to 5000 for the summer. This watercolor from an image I photographed on the beach is very typical of how most summer residents spend their time.
Title: Yellow Raft, Boundary Bay
Image size: 5 x 7 inches (12 x 17.5 cm)
Paper size: 6 x 8 inches (15 x 20 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Focal Floral: Power Poppy Everything's Rosy Snippet digital stamp watercolored with Karin Brushmarker Pro and detailed with Faber Castell Albrecht Durer on Arches Coldpress Watercolor Paper
Sentiment: SSS Sketched Flowers
This is a close up of one of the boats in the painting I did titled Boats at Pender Harbour.
Title: Boats at Pender Harbour
Image size: 4.5 x 10 inches ( 11 x 25 cm)
Paper size: 5.5 x 11 inches (14 x 28 cm)
Medium: Watercolor on 140lb Arches Coldpressed Watercolor Paper
I use the finest archival quality materials for all my watercolors. All rights are retained by the artist.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Frantzén/Lindberg, Stockholm
November 19, 2011
Lilla Nygatan 21
111 28 Stockholm
Sweden
+46 (0)8 20 85 80
#look4health#look4eat @juice.24 with @repostapp. ・・・ NO TE LO PUEDES PERDER YA MUCHOS HAN REALIZADO SU FRIENDS PLAN!!!! 😊🍍🍏☺️🔝👆Nos encanta que nuestros clientes se sientan cómodos con sus Detox y puedan realizarlo con su grupo de amigos o familia. Por esta razón creamos friends plan y te contaremos como funciona: 1️⃣ Obtén el 15% de descuento por la compra de 3 programas Detox de 3 o más días. 2️⃣ El envío de los programas lo realizaremos a una sola dirección (la que escojas). La fecha de entrega de los programas debe ser la misma. 3️⃣Puedes seleccionar el programa Detox que desees. No esperes mas para hacer tu Detox!!! #juice24 #bogota #coldpress #detox #jugosprensadosenfrio #habitossaludables #colombia #productocolombiano #eresloquecomes #vidasana #estilodevida #paleo #recetassaludables #tipssaludables
The shores of the Fraser River has many nice walks including this one. This view is of the railyway bridge that goes over to Annacis Island.
Title: Railway Bridge, New Westminster
Image size: 5 x 8 inches (12.5 x 20 cm)
Paper size: 6 x 9 inches (15 x 20.5 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
This secluded little beach is not far from the Langdale Ferry landing on the Sunshine Coast of British Columbia.
Title: Smith Cove
Image size: 5 1/2 x 4 1/2 inches (14 x 10 cm)
Paper size: 6 1/2 x 5 1/2 inches (16 x 14 cm)
Medium: Watercolor on 140lb Arches Coldpressed Watercolor Paper
I use the finest archival quality materials for all my watercolors. All rights are retained by the artist.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Been a long absence but here’s my latest project! It’s the first work I’ve brought myself to sign so far. I’ve done one more between this and my last posted project, but couldn’t find myself to post it. This project was done on Arches 140 lb Coldpress Watercolor paper, Lukas 1862 Aquarelle, and painted entirely with a size 4 winsor & newton sable rigger. Though that may have proved to be a mistake when I likely should have applied the roof with my largest brush in a thick application. Instead doing 3 choppy layers seems to have gotten me too dark of a value, it’s really the only thing I’m disappointed about in the painting.
Overall, I’m really very happy with the result, and even if I wasn’t I had one heck of a time painting it! Best fun I’ve had in some time when I started working on it. There was something spectacular about laying down the wash for the sky and watching the masking fluid save the “Light” behind it for the falling snow, I think it’s my favorite part of the painting. I did use masking fluid in other areas too though. I saved the white of the moon with it, all the characters were covered up with masking fluid so I could work freely with washes as well as a few elements in the background.
As for the subject matter, I was looking at the ice levels of croc, and it dawned on me to paint a snow scene. Though this time, I wasn’t going to try to emulate the landscape of the game, instead, I took inspiration from the final boss level on tbe snow island to give me an idea of what to do, and I drew up the landscape of the painting with the thought of a snow scene in mind. Then I added a few characters, and a couple of in game items (The box, the cage, the key) and arranged them into the landscape. I think this painting has really shown some progression from the flaw of making a “Flat” landscape all the time. I’m finally getting more complex ideas down onto the paper, the contour of the land is not a straight and flat “Cake layer” as I might call it. There’s depth, and height, curves and interest. Your eye is going somewhere other than on a flat lifeless plane, and I’m very pleased with this.
Adding in the croc characters also gave me the chance to draw and shade living creatures. It’s very crude shading and fairly simple characters …. but I think it’s a good start. I very much like how the (Apparently they’re mountain goats, who knew!) who in the game form the “Ice demon itsy” turned out. Love the warm creamy color I used to insinuate white fur.
I also used masking fluid on the trees and mountains for lumps of snow, I love the effect. I think the best looking thing in there is the trees, the shading turned out quite nice. I do admit, it was spectacular laying down that “Reflection” in the ice as the coat of PG50 (Cobalt Teal) was still wet. I think I finally let go of some fears in this painting as well, and just allowed myself to put paint down a lot less hesitantly, and I drew the outlines much less fearfully. I started this project late one night just to have a good time painting (and boy did I ever) and yet I think it’s brought me the best results I’ve gotten so far. In throwing away my expectations of the “end goal” I ended up losing myself in the journey to the finished painting, and I love the result.
Anywho! That’s all I thank anyone who takes a look sincerely for checking out my work. Until next time!
The list of paints I used in the painting will be listed below. I will list the Pigment Color Index name, the common name, and then the “brand” name Followed by the brand of paint and line.
PR122 (Quinacridone Magenta) “Magenta” ~ Lukas 1862 Aquarelle
PR255 (Pyrrol Scarlet) “Cinnabar Red” Lukas 1862 Aquarelle
PY65 (Hansa Yellow Deep) “Indian yellow” Lukas 1862 Aquarelle
PG7 (Phthalocyanine Green) “Viridian Hue” Winsor & Newton Cotman
PG50 (Cobalt Teal) “Cobalt Turquoise” Lukas 1862 Aquarelle
PB27 (Prussian Blue) Winsor & Newton Cotman
PB15:6 (Phthalocyanine Blue Red Shade) “Phthalo Blue” Lukas 1862 Aquarelle
PB29 (Ultramarine Blue) “Ultramarine Deep” Lukas 1862 Aquarelle
PBk6 (Lamp Black) Winsor & Newton Cotman
The masking fluid is also Winsor & Newton
Disclaimer: The Characters of Croc are Copyright Argonaut Software & Publisher Fox Interactive.
Hey Guys! I’m so very proud to present this! My 4’th attempt at recreating Sand and Freedom, a level from a childhood game Croc.
I took a few creative liberties here, so instead of platforms, I transferred objects and characteristics from the level into a desert landscape.
If I have one single regret, it’s not making the beautiful solar platform larger, I really wanted it to be the grounded focus. Instead of having it tower up as they do in game, I propped it up onto a stone fixture. Other than that and the shift from platforms to landscape, I think everything else is really very close to in game.
I’m very excited to say, this is my first time using my complete palette. I built my palette on being able to achieve the highest vibrancy possible, as game art typically has unnaturally vibrant elements in it, unfortunately, I still cannot attain the level of vibrancy a digital artist can; however! There are many beautiful bright colors I used in this painting. I believe in one way or another, I used every single color currently in my palette to emulate the in game colors. It worked out quite well.
Color Mixing Explanation
The “Ruby” Planet as I call it, is wet in wet, mix of Magenta and Genuine Rose for the base, and the shadow of the planet is Alizarin Crimson in a light tint. The green planet is Cobalt Turquoise + Lemon yellow base, and I mixed a black and added it to the green mixture to create the shaded side. The star (Or sun) in the picture is simply the white of the paper, with a very, very light tint of genuine rose. The moon is my favorite part…. I think I finally achieved that soft beautiful transition of the in game moon, and the color is just about spot on. The base of the moon is Cyan + Cobalt Turquoise, and the shadow is Phthalo Blue. The silhouetted rock structures are comprised of an amazing rich black mixed from alizarin crimson, and Viridian. The sky is ultramarine blue + the viridian and alizarin crimson black mixture to tone it down. It makes a lovely night sky, and I think it emulates in game quite well. The atmospheric band of gray is a light tint of Ultramarine blue and Indian yellow. The purple mountains are a mix of alizarin crimson and Ultramarine. The sand believe it or not is a very light tint of indian yellow with nothing else. But my scanner makes it seem more neutral than it really is because of all the mixed earthtones I created around it. The rest of the neutrals are various mixes of cobalt turquoise + Cinnabar (Gray of the rock, gray of the metal on the gong, gray of the stone on the gong) Phthalo + Cinnabar is a lot of the reddish neutrals, and a mixed orange of indian yellow and cinnabar +Phthalo created most of the rest of the neutrals, including the background plateau. The yellow of the gong are various mixtures of Lemon Yellow and Indian Yellow. The question marks inside the boxes are Cobalt Turquoise, and the alternating red and turquoise beads on the boxes are cobalt turquoise and cinnabar. Phthalo + indian yellow for the green edges of the Solar platform, and a toned down cobalt turquoise for the main color. The jello at the foot of the pillars is pure genuine rose, with very light cinnabar for the highlights. Finally, the Crystals atop the pillars are genuine rose + Magenta (Left) Ultramarine and a purple for the highlight (Right)
I am also excited to say this is my first finished project on a beautiful sheet of Arches 140 lb Coldpress watercolour paper. I also have this paper in hotpress (Smooth surface, no texture) And I’m quite excited for that, I think I’ll make good use of a smoother surface, and it will allow so many cool glazing techniques, and the pigment to flow easier on the paper! I also finally made use of my Princeton Neptune Quill style brush. I just love the fine point, yet its shape holds so much water. It’s what I used to create the sky.
Anywho guys that’s all for now! This project was so fun to do, and I love the texture of the painting, I love the way that moon came out, this is the first time I think… I’m so very proud to post my work. I think this is a big step in the right direction. I’m still but an amateur, but since the first time I picked up watercolor a year ago, I think I’ve come a long way, in gradual steps, but I’ve been learning at my pace. And I have a journey to continue.
Goodbye for the moment everyone, have a great week!
Disclaimer: This level design is the property of Argonaut Software, and (I assume) fox interactive, which developed and published croc
I took this image of this sheep and lamb in the spring and painted it in the winter.
Title: Spring Landscape
Image size: 4 x 6 inches (10 x 15.3 cm)
Medium: Windsor and Newton Artist Quality Watercolor on 140lb Arches Coldpress Watercolor paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Our neighbor has many lilies in her garden and every year I take some photographs for my paintings.
Title: White Lily
Image size: 2 5/8 x 2 5/8 inches (6.5 x 6.5 cm)
Paper size: 5 x 3 3/4 inches (21 x 9.5 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Watercolor is my favorite painting medium. These two boys on the beach were so busy they didn't even look up when I took the photos for this painting.
Title: Two Boys Building Sandcastles
Image size: 6 3/4 x 5 1/2 inches (17 x 17 cm)
Paper size: 7 3/4 x 6 1/2 inches (19.5 x 16.5 cm)
Framed size: 11 x 14 (35.5 x 28 cm)
Medium: Watercolor on 140lb Arches coldpressed watercolor paper
I use the finest archival quality materials for all my watercolors. All rights are retained by the artist.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
I have been painting birds lately this is one in a series.
Title: Sandpipers in the Water
Image size: 4 x 6 inches (10 x 15.3 cm)
Medium: Windsor and Newton Artist Quality Watercolor on 140lb Arches Coldpress Watercolor paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
I took the photo for this watercolor painting at Hastings Park Race Track in Vancouver. I talked a friend with race horses into getting me into the barn area.
Title: The Morning Drink
Image size: 14 x 18 inches (35.5 x 46 cm)
Paper size: 15 x 19 inches (38.5 x 49 cm)
Framed size: 22 x 24 (20 x 25 cm)
Medium: Watercolor on 140lb Arches Coldpressed Watercolor Paper
I use the finest archival quality materials for all my watercolors. All rights are retained by the artist.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
I wanted to convey the big sky and vastness of the prairies in this watercolor.
Title: Grain Elevator Canadian Prairies
Image size: 4 x 6 inches (10 x 15.3 cm)
Medium: Winsor and Newton Artist Quality Watercolor on 140lb Arches Coldpress Watercolor paper
Go to my profile www.flickr.com/people/6catsart/ to see where you can view more of my work.
Canada Geese often winter in Metro Vancouver and one of their favorite wintering areas is Stanley Park.
Title: Geese in the Snow, Stanley Park
Image size: 3 x 6 inches (7.5 x 15 cm)
Paper size: 4 x 7 inches (10 x 17.5 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
I was inspired to create this card for the Hero Arts June2012B Challenge and for Anna-Karin's WSW12 Cling Wrap Texture Challenge.
Anna-Karin asked us to create a background using wet paint and cling wrap. I used 140# cold-pressed watercolor paper. I spread yellow and yellow ochre paints on my paper, placed bunched up cling wrap on top, and let it dry. This created the mottled background that I used for the focal piece and for the sentiment background.
Once the watercolor paper was dry, I stamped Hero Arts CG172 Garden Bouquet using Tsukineko VersaMark watermark ink. Then I heat embossed it with Zing copper glitter embossing powder. Next I used Spellbinders Nestabilities Labels Two to die cut and dry emboss the focal panel.
I also cut a matte from textured copper metallic paper from Die Cuts With a View (DCWV) Metallic Mat Stack. I adhered the focal panel to the matte and wrapped a copper ribbon around them both. The card base is made with patterned paper from DCWV's Old World Mat Stack. I adhered the focal panel to the card base with foam squares for dimension.
I stamped the "Always Thinking of You" sentiment from Hero Arts CL578 Good Friends using VersaMark and embossed with Zing copper glitter embossing powder. I adhered it to the base using foam squares.
The butterfly is from Hero Arts CL383 Antique Engravings. I pounced Ranger Lemonade and Peach Bellini alcohol inks onto glossy paper. Then I stamped the butterfly using Ranger Archival Ink in black. After the ink was dry, I cut out the butterfly and adhered it using foam squares.
Thanks for looking! :-)
From my set, "Cold Press:"
www.flickr.com/photos/motorpsiclist/sets/72157631942231008/
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Copyright © notice: My photographs and videos and any of my derivative works are my private property and are copyright © by me, John Russell (aka "Zoom Lens") and ALL my rights, including my exclusive rights, are reserved and protected by United States Copyright Laws and by the Berne Convention and the Universal Copyright Convention.
ANY use without my permission in writing is forbidden by law.
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
I met Andrea while wondering about the Rittenhouse Square section of Philly on a splendid Saturday afternoon.It was about 70 degrees partly cloudy with a gentle breeze.I packed up my D800 w/Zeiss PlanarT50mm and headed out.After lunch I meandered about trying to let something organic occur and that's when I came across P.S.&Co Organic & Coldpress.It was a wonderful spot awash in soft natural light with a side walkway that lead to a small garden patio.I thought,"what a cool spot to shoot a 100 Strangers!"Walking back inside I spotted #67 sitting at a table tapping keys on her laptop. She greeted me with a warm friendly smile and I immediately asked her to participate in my ongoing photography project.
What a great time we had talking(about 25mins) turns out Andrea is the owner!! She brought over some peanut butter & chocolate tarts that were all natural & gluten free...they were AWESOME! She ran an online order bakery for six years then came across an opportunity that couldn't be missed.Now,armed with twenty employees, a plethora of mixers,blenders& brewers and a warm friendly smile Andrea is creating a spot that you should put on your "places to frequent" list. www.flickr.com/groups/100strangers/
Vancouver is famous for its magnificent scenery that includes this view of the Lions.
Title: Lions, Vancouver
Image size: 1 3/8 x 3 3/8 inches (3.5 x 8.5 cm)
Front panel size: 3.5 x 4 7/8 inches (9 x 12 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
From Boundary Bay you can see Mount Baker far off in the distance.
Title: Four on the Beach
Image size: 6 x 8 inches (15 x 20 cm)
Paper size: 7 x 9 inches (17.5 x 22.5 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
I love painting watercolors of the beach. In Boundary Bay there are many small boats to use as subjects for my paintings.
Title: Clarks, Boundary Bay
Image size: 5 x 7 inches (12.5 x 17.5 cm)
Paper size: 6 x 8 inches (15 x 20 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
by jwcurry.
Ottawa, TesserActual ArteFactory, 21 november 2o25. 5o copies numbered & signed in black pencil at colophon rear, issued as Stereofolio 2.
6 x 4, 3o white claycoat card broadsheets printed 4-colour process laser rectos with black rubberstamp versos & 3 white coldpress card broadsides, all printed black rubberstamp with blue/green splitfount addition to title page & plain brown corrugated cardboard with 4-1/8 x 1-5/8 window glued to recto of frontis with 4-1/8 x 1/5/8 clear plastic divergent-lensed viewer laid in, all laid into 6-1/8 x 4-1/8 ivory zephyr laid-covered board portfolio printed rubberstamp, red & green on cover with black spine, with plain back bristol card interior pastedown with 6 x 1-5/8 bottom flap on rear cover.
contents (all colour photostereographs except (i)):
i) [left eye views left image right eye views right image] (front cover graphic, from a photograph by curry)
ii) greyscale
iii) spacial delivery
iv) stalagmice
v) ow
vi) floral brain
vii) mmmmm
viii) renegade garlic
ix) sunset
x) Svankmajer in Ottawa
xi) 1 Crooked Crossing
xii) Tobin
xiii) catoptric cistula
xiv) glasss
xv) flamings
xvi) the heart of Fraggle Rock
xvii) no ice cream for craw
xviii) plaid
xix) onionesque
xx) cardinoid
xxi) snuckitting
xxii) dewy den
xxiii) patiences
xxiv) yggdrasil
xxv) no stopping at the clifftop
xxvi) root route
xxvii) arsenicological
xxviii) pothead
xxix) arc(h)
xxx) neon
xxxi) free allnight parking
This typical west coast scene is painted from one of the images I took near Ladysmith on Vancouver Island.
Title: West Coast Beach - Vancouver Island
Image size: 4 x 6 inches (10 x 15.3 cm)
Medium: Winsor and Newton Artist Quality Watercolor on 140lb Arches Coldpress Watercolor paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Duck-billed platypus (and a duck) doodle, part of my "Draw an animal I don't normally draw" self-challenge. Thanks to Marilisa Valtazanou for the suggestion! Drawn on Strathmore coldpress using a Pentel Pocket Brush Pen, Derwent Inktense blocks & pencil crayons.
For a list of animals I've drawn and people's suggestions so far: debbieohi.com/doodle-ideas/
Also posted to: debbieohi.com/home/2014/9/30/a-duck-billed-platypus-for-m...
This close up shows some of the details in my watercolor painting titled Four on the Beach.
Title: Four on the Beach
Image size: 6 x 8 inches (15 x 20 cm)
Paper size: 7 x 9 inches (17.5 x 22.5 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
The Binding of Isaac is a common theme in medieval religious art. I decided a while ago that I wanted to do a series of ambitious watercolor paintings, re-interpreting some of these iconic images, telling the stories in a different way than we've been taught in church.
The story, from Genesis 22: 2-13 (KJV) goes: " And he said, Take now thy son, thine only son Isaac, whom thou lovest, and get thee into the land of Moriah; and offer him there for a burnt offering upon one of the mountains which I will tell thee of. And Abraham rose up early in the morning, and saddled his ass, and took two of his young men with him, and Isaac his son, and clave the wood for the burnt offering, and rose up, and went unto the place of which God had told him. Then on the third day Abraham lifted up his eyes, and saw the place afar off. And Abraham said unto his young men, Abide ye here with the ass; and I and the lad will go yonder and worship, and come again to you. And Abraham took the wood of the burnt offering, and laid it upon Isaac his son; and he took the fire in his hand, and a knife; and they went both of them together.
And Isaac spake unto Abraham his father, and said, My father: and he said, Here am I, my son. And he said, Behold the fire and the wood: but where is the lamb for a burnt offering?
And Abraham said, My son, God will provide himself a lamb for a burnt offering: so they went both of them together.
And they came to the place which God had told him of; and Abraham built an altar there, and laid the wood in order, and bound Isaac his son, and laid him on the altar upon the wood. And Abraham stretched forth his hand, and took the knife to slay his son.
And the angel of the LORD called unto him out of heaven, and said, Abraham, Abraham: and he said, Here am I. And he said, Lay not thine hand upon the lad, neither do thou any thing unto him: for now I know that thou fearest God, seeing thou hast not withheld thy son, thine only son from me.
And Abraham lifted up his eyes, and looked, and behold behind him a ram caught in a thicket by his horns: and Abraham went and took the ram, and offered him up for a burnt offering in the stead of his son."
Even as a child I found this story incredibly disturbing. What does it say about God, that he would ask such a thing? And what does it say about Abraham? In the end, people that talk to the gods are usually just talking to the voices in their heads: if an old man heard a voice in his head telling him to kill his only son, is it reasonable to assume that an angle would intervene? I somehow doubt it.
Classical paintings of this story almost always include an angel stopping Abraham, and a ram caught in the bushes in the background. I've made Isaac partly into a sacrificial animal, to point out some of the disturbing aspects of this story, and I've omitted the angel, as seems only reasonable. For Rembradt's 1634 treatment of the theme, see:
18x24in, watercolour on 140 lb coldpress
Common Loons have such great markings they are challenging subjects to paint.
Title: Loon
Paper size: 1 7/8 x 7 3/8 inches (4.5 x 18.5 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 300 lb Arches Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
These folks had a wonderful garden that had both amazing vegetables and flowers.
Title: The Gate, Italian Garden
Image size: 7 x 5 inches (17.5 x 12.5 cm)
Paper size: 8 x 6 inches (20 x 25 cm)
Medium: Watercolor on 140lb Arches Coldpressed Watercolor Paper
I use the finest archival quality materials for all my watercolors. All rights are retained by the artist.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
The photograph for this painting was taken looking up the Fraser River near the Queenborough Bridge.
Title: Tugs on the North Arm of the Fraser River
Image size: 5 x 9 inches (12 x 23 cm)
Paper size: 6 x 10 inches (15 x 25 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
9x12 120lb coldpress
watercolor washes finished with watercolor pencil
I feel that this is the first successful portrait i have ever painted in watercolor and it inspires my flurry of paintings that follow. Melissa becomes the muse.
July 2008
These purple bearded irises grow in the garden at my summer cabin.
Title: Purple Iris
Image size: 2 5/8 x 2 5/8 inches (6.5 x 6.5 cm)
Paper size: 5 x 3.5 inches (12.5 x 9 cm)
Medium: Watercolor on 140lb Arches Coldpressed Watercolor Paper
I use the finest archival quality materials for all my watercolors. All rights are retained by the artist.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.