Cay Denise

Today's exploration was using Sharpies (white, pink and turquoise Posca pens and a gold Sakura PenTouch marker) on Fabriano 'Artistico' watercolor paper (140 lb. hot-pressed).  Because the paper is hot-pressed, it is smooth (cold-pressed has dimpling).  I really like this paper!!  It was so easy to work with and the Sharpies went on nicely--except for those with worn nibs or running out of color.   I sketched the piece with my new Monoline Studio permanent pens.  The pens are really nice to work with.  I had my reference photo upside-down so I was drawing the image upside down too, and I sketched with my non-dominant hand.  I actually think the sketch is more true to the reference photo than the last 10 I've done so far.  I'm quite impressed and taken with that fact!   As for the piece, I really like it!  I also like the patterns added and the echo lines done with the Sharpies around the border.  There was only a bit of blending on the back of the paper -- probably

I can't wait to read these new books!   'Life Force' is by a British abstract artist I've been studying with in 2022 while 'Strangest Genius' is about a master stained glass artist from Ireland who worked, learned and produced amazing works in the 19th and 20th centuries!     

Based on the photo reference of Billie Burke used in other efforts recently, I did this mechanical pencil drawing of her earlier today. The substrate is Bienfang watercolor paper (140 lb.).  The area surrounding the figure is gesso'd; the figure is not. I added the line work/shading of the glove and coat elements after completing the face.  The face looks lovely by itself.  So, those addition elements distract a bit from the face's elegance.  In any case, I like this piece and am calling it done (for now anyway).   My next effort is to turn the reference photo upside down and draw it that way.  I wonder if or how much it will resemble her.     

Today, I finished an effort based on a photo of Billie Burke -- best known for playing Glinda the Good Witch in the classic 'The Wizard of Oz' film.   This piece was done on Master's Touch watercolor paper (140 lb.) with Sharpies.  The white dot embellishments were added with white Posca pen, and the black line sketching was done with a new Monoline Studio pen (0.5mm).  The Monoline pen is lovely to work with. The two interesting things that happened while working on this.  The first was when adding the purple background, the color was way too dark for the face to 'pop', and it needed to be lighter.  That's the reason for the white dots, and they make a world of difference!  Also, the glove (in the lower left) was originally a light pink color and then covered with the maroonish color in order for the wavy line seams of the glove to be captured.   I really like this piece, and it came together quite easily.  That could be due to five studies I've done since

For last night's effort, I've directly applied Sharpies on a new substrate--Master's Touch Watercolor Paper (140 lb.), a Hobby Lobby brand.  Some of my Sharpies are getting low on ink and some have slightly worn nibs, but overall I like how the color went on and most was done with one coat.  I'm impressed with the paper.  There was a bit of bleed-through on the back but so slight it isn't important The florescent Sharpies in this piece have a big role, and using the neon pink for the border was a last-minute decision.  It is a competitive color...competing for the attention of the observer.  That said, do you think it distracts from seeing the face first? What I find distracting to me -- are the loops in the upper left because the colors don't work well together.  There is no flow.  I may have to audition some other colors to see if they could have made this area better had they been used.

Last night's effort is an exploration with paper from a new Arteza Acrylic Pad (paper is 246 lb.).  This piece was colored in with Sharpie markers.  Other tools used include a black Pentel PointLiner (0.3mm) and a silver Sakura Pen Touch. The 'white' areas are unpainted substrate. In this piece, I experimented with more blending of Sharpies for more shadow areas.  What I like most in this are the light and dark pattern areas in the collar that align with the wavy lines. The Arteza paper used has a subtle, linen-like design on the paper creating a barely perceptible texture on the paper's surface.  As can be seen in the blue background, the Sharpies didn't cover as easily as they do on watercolor paper. Using this paper, I sometimes had to apply two separate applications of the Sharpie for better coverage.  That said, there was absolutely no bleed-through on the back of this paper.   My next effort will be using paint on this paper type to see how it works.

Last night's practice was an exploration of using Sharpies on Strathmore 'Visual Journal' watercolor paper (140 lb.).  The paper is slightly textured (cold-pressed), but they worked well though there was a bit of bleed-through on the back side.  The black lines were done with a Pentel PointLiner (0.3 mm), and embellishment was added with a silver Sakura PenTouch.  In this piece, I enjoyed blending pairs of Sharpie colors.  This has to be done quickly before the first color applied--dries.  Now that I have experience with this substrate used for images created with FolkArt matte acrylics (that one posted earlier yesterday) and this one with Sharpies, I prefer the Sharpies.   Next is a continuation of exploring different substates (Arteza watercolor paper, canvas, etc.) as well as mediums. 

This piece is inspired by the imitation of an original painting of Auguste von Harrach by Heinrich Abel Seijffert circa 1828.  An interesting note about the piece from the Royal Collection Trust is that the original painting was done in watercolor on ivory--such an uncommon combination based on what I can find in a Duck Duck Go search.  This work was done on Strathmore Visual Journal watercolor paper (140lb.)  It has one coat of Liquitex Matte Medium on it. Applying Sharpies over the coated paper didn't work (results were too transparent).  So the painting has been completed with Folk Art matte acrylics.  The black lines were made with a Pentel PointLiner (0.3mm) and gold embellishments made with a Sakura PenTouch.  In this one, I also had to go over the black lines after painting it...difficult to do. I like using this paper but have yet to test Sharpies applied directly to it.  That said, what I like about this piece is, again, the gradation of color families to create the lighte

This post shows two pieces done over the weekend.  One piece was inspired by a painting of Elisabeth Vigee Le Brun and the other inspired by a painting of Auguste von Harrach by Gaetano Bellei. Both pieces were done on Bienfang watercolor paper (140 lb.).  The first was done with Sharpie markers directly applied to the paper.  The other had a single coat of Liquitex Basics white gesso followed by one coat of Liquitex Matte Medium.  Trying the Sharpies directly on the coated paper didn't work.  So, Folk Art Matte Acrylics were used on that one instead (except for two Golden Fluid Acrylic yellows).  With the Folk Art paints, they again didn't fully cover the paper with one application (most of the colors, that is).   I also had to go over the black lines on the painted version because it is too difficult to stay within the lines when painting, especially when the substrate is small (6"x8" or less).  That is because on mine, I had to start and stop along the way, compare

My latest effort is based on a painting of Josephine, Crown Princess of Sweden, by Joseph Stieler done sometime between 1781 and 1858.  My work took a few days from start to finish.   The project is a painting (instead of coloring shapes in with Sharpie markers) using my latest technique while testing a new substrate and new paint.  So it took more time.  The substrate was Bienfang Bristol Drawing paper coated with one layer of Matte Medium. The paint was FolkArt Matte Acrylic Paint. Some embellishments were done with a gold Sakura Pen Touch marker and black Pentel PointLiners (0.3mm and 0.5mm). Overall, I like the piece though it has less color intensity than the other pieces I've done recently with the markers.  It also looks much less busy (maybe due to the single-color border on the top and sides).  About the test, I'm not a fan of Bienfang Bristol Drawing paper (see Note below).  The black Sharpie used to draw the initial image and curvy lines on the coated version of the

This piece is my beginning exploration into materials and substrates to better accommodate my latest painting/art-making process, and it is based on 'Portrait of a Woman' by Jacob Voet from the 1600s-1700s. I've said before that to work much bigger, I need to change from markers to a different medium.  That means my substrates need to change as well.  My current preferences are for matte finish colors and for smoother surfaces to use them on.  Anything can change, but this is my starting point. Yesterday's piece was sketched with Sharpie pen then dots and connecting lines were added after.  This first exploration used Bristol Drawing paper (uncoated; 146 lb.).  I started with the eye areas -- painting them in with Folk Art matte acrylics.  The paint did not go on easily nor smoothly.  So, I switched to Sharpie markers to complete the piece figuring the paints weren't going to work well.  Using the markers, there was a great deal of bleed-through on the paper's b

This is for those who know of or have read 'The Painter's Keys' over the years (with posts of interest to painters/creatives)--started by Robert Genn and continued by his daughter, Sara, after his passing. Sara has now decided to move on and end 'The Painter's Keys' letters and retire the mailing list. The website will remain as an archive of all the letters that have been disseminated through the years. Wishing Sara gentleness in making this transition plus joy and growth as her journey evolves in new ways.

This effort was inspired by a photo of a model dressed in a period ensemble that included a tall hairstyle -- all influenced by Marie Antoinette. I'm delighted with how this came out -- using the same process I've been working with lately.  The substrate is 11" x 17" cardstock, and it has been colored in with Sharpies.  Areas of the substrate have been left uncolored -- as they seem to enhance recognition of the face immediately and leads the eye to the mouth, gloved hand and necklace, then to the shoulders and eventually the other gloved hand at the bottom.  The garment is challenging to see fully and may even be hard to see due to the added wavy lines that create the mosaic effect.  Though one clue that may be helpful in discovering it -- is lace sleeves. One of the things I love doing is playing with color for translucent filter effects.  In this one, I'm especially partial to the green/blue translucent 'mask' over the eyes, the oval of pastels surround

Yesterday's efforts were based on a painting by Ricardo Sanz of a woman in a green gown seated on a couch with a dark background. In the image on the left, I was trying to do the couch and her gown in vivd/more intense colors while keeping the background more pastel (a reversal of the painter's intention).  In the right image, I was trying to emulate a sense of the painting, aligning with the artist, using Japanese watercolors.   In displaying them next to each other--I find them intriguing though very different while you can tell they are meant to represent the same person.  I like the color reversal in the first image while I like the face much better in the second (of course the latter is due to the tools used).   

Today's effort took much more time than the others I've done of this size (5.5" x 8.5").  That's due to the hair and doing the wavy lines that represent strands of it--in different colors.  In addition, a section has been left in black and white.  It just wanted to be that way.    Out of curiosity, if you're a visual artist, are there times when color stumps you?  If so, have you figured out for yourself why it does so, and how do you work to move forward when it happens?

This is an opinion piece I never expected to read and authored by David Brooks, an Opinion Columnist with The New York Times.  It's about who influences who in the arts, and  how creatives/people become their real selves.   I find this a very introspective article by Mr. Brooks and interesting.  It echos guidance I've heard from a number of creatives/instructors in the arts--Austin Kleon, Ardith Goodwin, and Louise Fletcher--to name a few.  It is a worthwhile read that I recommend and can be found at this link: Article Link

Here is last night's effort on four smaller pieces...back to Sharpies applied on cardstock for these.  I used other tools for embellishments this time including Posca pens, a gold Sakura Pen Touch marker, and a black Pentel PointLiner (0.3mm). In these, I like the intensity of the blue eyes in the top left piece, the patterning on the others, and the color combination of purple/magenta and orange in the top right piece.  Oh, and I like the whimsy of the 'apple of her eye' quite literally part of the top center piece.