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art lesson

Prove to yourself almost anyone could do it!

46cm rice paper, 22mm long flat watercolor brush (long for the volume it can hold; the strokes are more even with short bristles, but can be longer with long bristles), 3 brilliant yellow strokes, 3 sap green strokes, and 2 black strokes, all using daler rowney fw acrylic artists ink right from the bottles (which i normally never do; i always customise a color).

so there are 8 figures to imitate, first practice each one and then execute it. your finished work will not look exactly like mine when you’re done (the complexity of the figures precludes exact copying by actually executing the strokes), leaving the question: is there anything special about the one i did?

This took me less time than signing Tsoanra Inwix five times, in actual execution. Which is about how Miro works as well. And why, to me, it’s just play to work on rice paper with ink.

You can see I added the green while the yellow was wet, and the black as well, even though I had to wash the brush between colors. And I photographed it under a daylight-bulb before it really started to dry, because when it has dried it will be wrinkled, far from as flat as it is here.

The question anyone needs to answer to pursue art seriously is if art is just orginal, or is it very unique, more like a miracle. Nothing could be simpler than to repeat what I did here (in the time it takes to brew a cup of Keemun Mao Feng), several times in search of a variation just as good or better. Is there something very special about just this coincidence of these strokes or figures?

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Posted by on March 11, 2012 in art

 

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china ink, and a new small acrylic

Two things you can’t do with acrylic inks: you can’t roll them up into a nice tight tube for storage or shipping, and you can’t make sense of using them on wet paper, which is a tradition that has produced some rather famous pieces.

This ink is called “india ink”, but the sticks of ink you have to make yourself by grinding them against a stone with water in it (takes longer than cleaning your brushes) are also excellent for this and come in a few colors.

The long one here was a bit bent out of shape from drying, it being the more common type of roll paper where both sides are rather alike, as well as the more durable paper. But rolling it up for a couple of days flattened it out. You can see at the end where the ink bottle is that it’s been rolled.

The observant might notice that the ruler is a mirror image. These roll up best with the painted surface outside, stretching it instead of compacting it, and I unrolled it with it inside up to take this snapshot. So I flipped it when I was trimming it.

 The wider Wenzhou paper can’t be touched while it’s wet, or the surface gets rubbed off. This again is the glossy side, sprayed with distilled water and blotted by carefully rolling a full roll of paper towels over it.

The little oil is just new, and I’ll be adding it to the collection making five where the title says 3. Too big to be called a miniature, but 31cm wide isn’t much. I’m doing these because they’re easy to ship. Just stack ’em, put an empty stretcher frame on the canvas side, wrap and tape tightly and cover in cardboard. Because they’re small the relative distances to the canvas surface (the breadth of a stretcher frame) becomes greater, lessening the risk of damage in transit. Needs more pressure to make the cardboard touch the canvas.

 
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Posted by on March 27, 2011 in art

 

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one acrylic ink

here’s some of this morning’s work, 69cm wide, you can see the stretched canvas through the rice paper.

Wenzhou | Roll 69cmx10m is the paper, matte on one side, this is the glossy side. This has less tendency to wrinkle when ink dries on it than the more common “japanese paper” on a roll. the ink does bleed through a bit, and i use three strips of paper towels under it when working.

there are three light sources, one from behind-left, each with a different flourescent bulb, plus the flash of the nikon coolpix.

when i got the first color on i thought this was gonna be twice this high, which won’t fit into my files.

this looks best in daylight, but the paper is too fragile to take outside, and the coolpix won’t focus without a strong light, so you have to turn on the lights and get them close 2 your subject.

acrylic ink won’t act like acrylic paint on a canvas.

it acts as if the canvas were oiled. u get a nice pixel-effect.

here the canvas is there is just to get something white behind the paper.

click for full screen image; the focus ain’t bad for handheld lo light.

 
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Posted by on March 23, 2011 in art

 

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scanned slr photos of marker art

The photos are the usual photo-album size (4 photos to an A4 scanner-bed), hence the small images. I am posting these merely as a catalog of the diversity in the series. Some of these will show up at a later posting from 4×5 fujichromes, which of course have terribly gray whites (despite best one-sixth of a stop), darkening at the corners, though I have cleaned up a few.

Some will say marker pen is merely an indulgence, the temptation to waste time on a line that never runs out of ink, and perhaps the market value here isn’t tops, but passion runs deep in these. I expect, even from these inferior copies, you’ll spot the crab (184), and wonder how anyone could miss it.

 
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Posted by on March 18, 2011 in art

 

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