I was able to finish A View From the Studio Door by Ted Orland. I had about 40% of the book remaining, but after all the academic reading I’ve had to push through, this was nothing. I finished it after dinner.
Now, I have broken back into The Complete Watercolorist’s Essential Notebook, which will likely have me doing things differently where it comes to watercolors. In addition there is Design Elements: A Graphic Style Manual, 2nd ed., which should refresh my knowledge of basic design. (I can no longer remember how long ago I took Basic Design…)
In any case, I’m actually–! all ready for bed (more than I can say, having accidentally dropped off to sleep, in days past), and find myself not-tired. Seriously?! It’s 2 AM here!
It’s not all me, anyway, though. Right now I just have to figure out what to do…and maybe rest my wrist. I think it’s a little sore from writing all those papers…
I will need to go out tomorrow. I wanted to refresh my Process Yellow FW ink (the one I got had mold or something in it), plus look for the Ultra Micro and Bold Signo 207 pens in black…though I don’t need them. I can see that now. I just need to use the Microns, and depending on my technique, I probably won’t need those for painting, just for drawing.
Line and wash is just one of those things that…well, I suppose it is traditional, but it’s kind of traditional in the way pulp fiction is traditional. 🙂 It’s not regarded as the highest art. The book I was reading wanted me to make shapes with the brush, not draw first and color-in later (the latter of which, I’m really struggling with, so I can see why they would say this).
I do want to get a book on Notan. Notan is basically the strong use of visual space, including (most obviously) negative space. Of course, this is essential in watercolor, regardless of the fact that the word sounds like a 19th-century Western invention attributed to the Japanese.
I have an e-book on this aesthetic, accessible — now that I’m thinking of it — through Kindle and the Cloud Reader, but having a paper copy would likely be easier and less harrowing. Water and electronics don’t mix.
And ah, right. I should pick up a roll of brown Kraft paper on which to practice brushstrokes.
Coming up, when working in grisaille (greyscale underpainting), I think it would be a better habit for me to mix my blacks and greys. This will bridge me straight into using color, as then I can add more hue to the mixture, bit by bit, until I get to the most saturated colors. It’s tempting to want to go and buy a grey and a black, but I think I’ll have more fun — and learn more — the other way. 🙂 After all, I was trying to get to black when I discovered a Burnt Sienna-type hue…
Gah. I really need to play with color mixing!