I start with a photograph; I rarely work without photographic reference. This is one I took during a modeling session in the fall of 2005.
I crop the photo for composition and make a print on photo paper.
On a light-box ( actually, I use a glass-topped coffee table and a couple of halogen lamps), I make an outline drawing of the photo onto a sheet of plain bond paper.
Still on the light-box/coffee table, I begin the under-painting. I always disliked pencil lines that were visible under the transparent washes of a watercolor painting, so I came up with this technique. Since the drawing is on a separate piece of paper, no lines will show through. I keep the photo in front of me for reference through the whole process.
Some of the various inks, dyes and markers I use instead of traditional tube watercolors. These colors are much more intense than tube colors, and applying them in very thin washes builds up vibrant colors.
I’ve experimented with a lot of different papers, painting on everything from typing paper to cardboard, just to see what kind of effects I’d get. Lately, I’ve been using this cheap sketch pad paper. You can get the pads for about 4 dollars. The paper is interesting because it has a lot of tooth (tiny fibers that stick up from the paper surface and trap the pigment) and just a little bit of bleed (how far the wet pigment spreads).
I begin with the pencil drawing under the paper I’m painting on, still on the light-box/coffee table. At this stage, I’m only concerned with laying in the light and shadows.
Partway through the under-painting. I’m not too concerned with color at this point -- I don’t have a set method for picking the colors of each different painting, I just use whatever feels right at the time.
I continue to add details to the under-painting.
The finished under-painting.
Now, I’m done with the light box, and I move to the studio (actually, a corner of my bedroom). The under-painting has had time to dry.
More inks and markers. I’ve had most of these for over 15 years. The nice thing about the intensity of the colors is that I can apply them in extremely thin layers, and use very little actual pigment.
As I build up the colors in thin washes, each layer softens the one beneath and blends slightly with it.
Partway through the transparent washes.
At some stage, I’ll be satisfied with the color washes and start to add more detail.
On some paintings, I add darker details using opaque watercolors. These come in cakes and can be used either very thinly or very thickly.
The darker tones applied.
In order to do the next step, I need to flatten the paper that has warped from the wet paint. After the paint has dried thoroughly, I use an iron on a low setting. I put the painting between two pieces of blank paper and then under a towel before I iron it. Obviously, this has top be done very carefully so that the painting isn’t scorched. I can also flatten the paper in another way if I’m content to wait a day to continue (see below).
On some of the paintings, I’ll use colored pencils. I apply them in a loose cross-hatching pattern that’s only visible from very close-up…
After the colored pencils have all been added.
The last step is to add white watercolor paint to the highlights. Chinese white is the only tube watercolor I use.
Sometimes I smudge the highlight color with my finger…
And sometimes I feather the color with a brush.
Since I don’t tape the paper down before I start painting, I flatten the paintings under stacks of books, usually for at least 24 hours.
The final painting, except for cropping.
And the finished, cropped painting.
