I’m going to try to write, even though right now I’m feeling that I don’t have much to write about. This, in turn, probably has happened because I haven’t been writing, daily.
I used some of the pre-mixed greens I had left on my palette, along with Sap Green, to “color in” (or add color to, or apply wash to) a couple of sketches I did of a Bok Choy Mue in one of my Maruman sketchpads…which I was amazed would take watercolor without warping too badly. (It just says “Sketch Book” on the front, with no mention of branding other than the graphic design of the cover.) You will want to tape the papers down, though, for best effect.
Although I did these last night, I didn’t take photos of them then, thinking that I would do it today. However, I had to get up early for an appointment (woke, 7 AM) and ran out of steam at about 3:30 PM, sleeping through until dinnertime at about 7:30 PM. So I still haven’t taken the photos…I’ll try and get one up of the Maruman sketch pad tomorrow.
I’m still kind of tired, but then: I did take medications at about 9 PM (on time) because I have plans for tomorrow. I wouldn’t be surprised if I neglected self-care tonight and got too sedated to be functional in 15 minutes…just a warning.
I also found that my Strathmore ArtAgain paper (a deep black paper which I used in one of my older posts) is heavy enough to withstand wet media! I haven’t yet tried to use washes on it, but it’s very apparent that I can draw and write on it with gouache and a paintbrush, and it doesn’t warp with light use of water. This is an idea I got from Sarah Sullivan, though my approach differs from hers.
Basically, for me, using light media on dark paper allows me to paint in the light, as versus darkening something and progressively preserving the lights. And using gouache (opaque watercolor) allows me to use Titanium White (also known as Permanent White; contrasted, I am thinking, with Lithopone) without concern of breathing in Titanium Dioxide dust.
Breathing nanoparticles of Titanium Dioxide dust has raised concerns about carcinogenicity, but I wouldn’t have known that without inquiring why so many pastels now had CA Prop 65 warnings, and CL (Caution Label) signifiers on them, even without heavy metal components. It could be overkill by Prop 65 — but it has made me more aware of how I use pastels in my own work.
In a home environment, I don’t want to get the dust in the carpet and then vacuum up the dust, because all that may do is redistribute the dust, not contain it (I’m not sure if a HEPA filter is sufficient to contain nanoparticles, which are so small that they are transparent).
This means that if I use pastels — which I kind of don’t like to do anymore, given that it isn’t even good to get the pigments on one’s skin (and certain pigments do stain the skin and likely are absorbed transdermally [if one can’t get them off or out]), and I hate having to seal my drawings (which under normal circumstances can be very toxic — even using Aqua Net as a “non-toxic” cheap alternative in volume enough to seal a pastel painting smells noxious) — I would want to do it somewhere away from air intake vents and over a hard surface, so that I can mop up the loose dust.
To be clear: the danger of cancer from Titanium Dioxide is not a toxic one, it is a mechanical one. Loose airborne particles of Titanium Dioxide can get into your lungs and just never leave, and over time that can cause irritation (at least) and leave you at risk of lung problems…but just read your MSDS (Materials Safety Data Sheets) to be sure.
It is nice to be able to manipulate pastels with one’s fingers, but it…just seems hazardous, right now. Especially as it is very…apparent when in a classroom with a lot of kids using pastels, and wearing a dust mask, how full the air is of pastel particles when one removes that dust mask (I can literally smell the pastel dust, though a particle mask will block the smell). I started wearing a dust mask, in turn, because I kept sneezing and smelling pastel for hours after a painting session.
If I were going to work with the broad sides of sticks of color, I might want to try the Prismacolor Art Stix — they’re colored sticks made of the pigmented cores of Prismacolor colored pencils. I haven’t used the Art Stix yet, but I would expect them to have a different working method than pastels (even Prismacolor NuPastels — a hard pastel which is relatively nontoxic). And, no, Prismacolor isn’t paying me, here.
For the record, I am not sure if coming into contact with colored pencil colors is hazardous or not (though I think the pigments are bound in oil or wax, and thus not hazardous…but I don’t know what happens when that stuff is hit with Gamsol [“odorless mineral spirits”], just to let you know that this is an option and that I haven’t tried it, and don’t know its hazards. Gamsol, used primarily in oil painting, is used to liquefy — at least oil-based — colored pencils in order to get them to look like aquarelles, or watercolor pencils. Prismacolors are wax-based, though; whether this works with oil-based pencils only, or both, I don’t know. Also, I’m fairly certain Gamsol is toxic, but it’s supposed to be better than regular “mineral spirits”).
I do know that there is nowhere near as much dust with colored pencil as with pastel or pastel pencil. There is some dust associated with colored pencil use (especially when applying heavy strokes), but I haven’t found it to be more than a small nuisance.
But anyway — I tested out two white inks on ArtAgain paper the other night, and found that both J.Herbin (? I don’t know this brand; I just had a bottle of their white ink) and Daler-Rowney Process (“Pro”) White absorbed into the paper and faded. Holbein Permanent White gouache, on the other hand, stayed on the surface of the paper and actually brightened as it dried. Other colors can work as tints with white, but may not show up on their own against black (for instance, Alizarin Crimson). There’s an argument for getting the 40 ml tube of Permanent White…(no, I’m not doing it yet)…
I would post my test paper, but I got into practicing brush lettering in Japanese, and it probably looks horrible compared to native calligraphy and says things I didn’t intend it to, so I…think I’ll save that. ^_^;;
That aside, I now know why one of my books tells me to write “mu” in a way different from that in which I learned it: it’s just too complicated to work with a brush, otherwise.
I’m getting a bit frustrated with not moving forward more quickly with the Japanese; then again, it isn’t my top priority. Work, school, and keeping myself balanced, are.
Speaking of which, I’ve got to decide whether to do homework tomorrow, or not…