This is the eighth out of what may actually turn out to be the twenty I initially quoted to Nicko last year. Some where after about 3 or 4 Nicks skepticism seemed well founded. Now I think my optimism might have been prophetic. Now I've started I can't stop.
Whether or not they work or whether anyone will buy them has become irrelevant, I can honestly say I'm not concerned. I actually love doing them and find the outcome very rewarding. I've always missed the toil that traditional watercolour is bereft of. This method allows a slow piece by piece construction that does not reveal itself until complete. I guess it's not unlike doing a jig-saw puzzle. The silver-point work I do also requires time and patience I think that's why I was doing them along with watercolour, just something to work on for a few days. I need occupation I guess. The "Zen" style of watercolour is very admirable and worthy of regular practice but it does not always serve the need of the painting or idea. I know a seasoned watercolourist who often says; "Failures take all day". Depends on what you're painting I think. The idea
is the art not the process or even the outcome. I think the outcome is always an abstraction of the idea. It's like trying to grasp water in your fist.
This piece was much like all the others in process during which there were times when I thought it would find it's way into the bin.
Rag and Bone Girl seemed an apt name at it appears the mannequin is holding a spine. Weird and a little dark I guess but that is the nature of this series for me, I keep finding things I never noticed when I took the photo. The spine is actually a motif on a T-shirt just behind the doll.
The pre-edited photo.
The process is pretty close to this;
Following deciding the crop, I'll get rid of the excessive detail by using the *cutout* filter in PS*. Then fiddle around with the image adjusting colours and values before printing it out. I then project the image using an LCD projector, painstakingly draw the damned thing which might take 2 or more hrs for a full sheet .
The painting process begins by following the print-out. About 3/4 of the way through I dispense with the print-out and let the painting inform itself so to speak.
I will then usually "look" at it in a mat and frame on the wall for a week or more and make chromatic or tonal adjustments before signing it off.