Here is the last one before the final image. Once again – the album this is for can be found here.
Tag: black cake
Slowly painting in details with watercolour, as well as highlights. At this point, I realize I have to put down the darker colours first and build up lighter layers of watercolour+gauche. It’s more like painting with regular paints than watercolour. Some food items are already finished, and most in the midst. I think I plan on putting some ink washes to create the type of lighting I am emulating. The cake will be re-thought, and I am enjoying the glossy watermelons. Kind of dreading doing the skin tone because of how frustrating it was, initially. YES, I realize that cake-thing in the middle is ablaze. I guess I didn’t water down the fuchsia pink enough.
Here’s the watercolour-gauche mess I was talking about. As soon as I discovered how absorbent the paper is, I freaked out. I spent so much time penciling this in, and because I relied too much on expectation – I didn’t do a test. I feel like I ruined this. I’m frustrated – this is a major mistake after the paper choice. I can’t build up gradients on this to create the lighting I want with washes. My paint is not opaque enough on this paper. Look at the warping!
Then, it dried. I cooled down. I thought about it some more. Hey, you know what? Because of depression, hibernation, art school, and a lack of time in past – my artwork has become very methodical. I don’t give myself the time to try out something that might fail like I used to; my dominating personality makes me want to control everything. Everything down to exactly how something as unpredictable as watercolour will react. Isn’t that why I love this medium in the first place? Fuck it, I’m going to stick with it, make it something good somehow. Things that fail are sometimes much more fun than consistent, reliable successes.
You can see my frustration in the skin tone, and no – that cake is not final. Believe it or not, that warping is not so bad I can’t fix it. That is a step at the end of the process I can do.
I cleaned up the sketch I was drawing in Photoshop of the pose, printed it at about 300%, and traced it onto the paper I was working on by covering the back of the image with graphite. I didn’t want to fiddle around and dirty my paper figuring out anatomy. The paper is Stonehenge paper I bought as a last resort because the art store I went to during a blizzard didn’t really have actual watercolour paper. I already regret this rash decision. This is printmaking paper – it EATS liquids. I was originally planning to use watercolour, but as you’ll see in future posts – I am mixing watercolour and gauche and using it more like an acrylic. The paper was stretched (took several attempts and worked out okay), and then covered in a yellow wash. I have found my drawings lately look too ‘bleached’ because I work straight on white paper, so I thought I’d give washes a try again.
Sometimes, in 2013, a person can be so lazy that they don’t feel like walking the full 2 feet across the room to their drafting desk and pulling out the sketchbook from the shelf and the pencils from the drawer. Sometimes, you have so much on your To-Do list, you have to battle laziness when you need a break. Thankfully, my tablet is in the computer desk drawer, pre-plugged in and ready to go – so I can start sketching for a future project on my lengthy To-Do list right away.
This is how I like to draw people. I like to draw them fully naked. Drawing all the weight in the fat and muscle in the body is interesting and more helpful to me than trying to overlay clothes on a stick sketch. It takes me several attempts to get anatomy down usually. It’s one of those things I find challenging. I don’t think I’m very spatial. Aside from using this posemaniacs.com pose references, I’m not using any other references for the human figure in this project. Pose Maniacs is a great resource.