Ref 933 Experimenting with different textures
First exercise.- with modeling paste, and soluble graphite applied with brush, to sketching over it, then fixed and completed with watercolor, all over rough watercolor paper;

 

Ref 934; Texturing with soluble graphite applied with brush, to sketching over it, fixed and completed with watercolor also over rough watercolor paper plus White gouache to reinforce light sourcing

 

 Ref 935; Underpainting with markers, iridiscent medio, watercolor and White gouache to highlight

 

 

Ref 936; The underpainting is made with a charcoal pattern, powdered charcoal slides off of a pool of water but it adheres to dry paper next spray the area lightly with a pump sprayer this help to set the texture, now rinse off the entire paper with clear water and let the paper dry for watercolor application

 

 

 

Ref 938; Watercolor markers & watercolor brush over cold press paper

 

 

Ref 939; diluted powder graphite; rinsed and fixed; then watercolor

Note probably gouache Works better

 

 

Ref 940; Diluted powder graphite; masking just over dark siluetes, blue and White drops added with toothbrush, laca fixed and then withe and blue again but now with brush in selective áreas to show directional water flow 

 

 

 

Ref 932;.-Pastel---- Portrait w/ monochrome color - pastel pencil

PASTEL Pencils vs Regular color pencils?
They are completely different. Pastel pencils are like skinny little hard pastels -- comparable to the texture of Cretacolor Pastel Carre or color Conte or any of the medium-hard narrow square pastels, within a range. They're powdery, they handle like pastels, smudge like pastels and blend like pastels. They are very useful with other sorts of pastels for detailing, cleaning up hard edges, blending soft edges, undersketching or even doing entire passages without changing the matte, powdery pastel look of the piece.

Regular colored pencils are waxy and dense. They have a texture more like a pencil, ranging in hardness from about H to very super soft like an 8B pencil. Some are made with oil in the composition and work well with oil pastels in the same way pastel pencils work well with pastels, for detailing and edging.

Either type of pencils can be used alone of course. But pastel pencils even used alone will result in a pastel drawing.
Regular colored pencils don't even smudge as easily as graphite pencils either, while pastel pencils smudge like pastels.

So that's the difference -- 
(Dark blue and dark brown colors are very good for monochrome sketching to test a pencil's quality and texture)
I tried a monochrome portrait with black color over greenish strathmore series 500, but in a next issue I´ll do with prismacolor pencil to check on results

Ref 931.- Design & Creativity Section (D002) .--  Moto GP Design

                  “Design is not just what it looks like and feels like. Design is how it works.”

Ref 930;.- Watercolor How to loosen up .- tips

The key to paint in a more impressionistic style, is to focus on the most abstract shapes within the image and to leave out those things that are uneccessary to the composition.
Some tips;
Get away from local color, make choices, be free
Move elements around. take liberties
Change formats.- try an intimate window or long horizontal format
Keep you art supplies ready
Paint larger with larger brushes
Stand up and paint in a low flat table
Work wetter, and prepare cups of premixed paint
Work faster
Stop before you think you are done, trust your viewer is intelligent and can fill in the missing information
Good design and composition will help, design gives greater clarity to the voice you are expressing.- it includes unity, balance, rhythm, and proportion
and the painter will use tools such as color, value, shape and line as your style of expression



                                    "Art Takes Nature as its Model"

Ref 929;.- Mixed Media.- Gouache and Pastel

This effect produce a chalky surface

In order to make this painting first I sketch the shadow´s  figure, with dark gouche diluted and from there I start to add pastel 

 

 

 

I fixed the pastel with laca fixative in spray, and after dry I start to add gouache color with a round brush, following you can see the final effect, all over Strathmore yellow colored paper

 

 

Ref 928;  Mixed Media.- Molding Paste / watercolor / pastel

This is a new try out in order to take advantage of previous Works

Modeling paste; is a thick “pasty” white substance that can create a controlled textural surface. Molding paste is an opaque white when it dries, and this is the base of my next painting


This is the final result of this process:

Golden makes several types of molding paste. The ones that I use are molding paste, light molding paste and hard molding paste. The light has a very light foamy sort of texture and does look a bit different from the others. It is also a bit more flexible than the other two pastes, making it better for altered book pages that are going to get moved about a bit more. It is also good for very large works of art. The work will have less overall weight. This product can also be used as a lightweight “filler” for paints. It has a more absorbent surface than the others and so I can use it with thinner paints as well as pastels .- I mixed with watercolor (as underpainting ans also as undershaping with spatula application )to start shaping  basically the Cliff crevices

This part of my process is new; because with a wet small spatula
and before my painting get dry I start to scratch taking color, lifting in out pressing with a paper towel, different amount of color can be removed by varing the pressure

 

After completely dry again I´m adding a new layer of molding paste (yellow colored) to conform and sculpt the lightest zones of the cliff 

 

 

 

I´m playing with watercolor now, to shadow and light the different zones until be satisfied

 

 

Now with pastel the color will be more uniform in the lightest zones and also I can add blue and Green to the foreground to colored the rocks and make textural effects

During the final stages, lay strong patches of heavily applied pastel on rocks to develop color contrast and textural detail  

 

Ref 926; watercolor markers & brush .- Representing movement

Movement is the creation of a sense of flow through a painting which turns it from passive to a dynamic .- When creating movement in a painting, think about the choreography of the process, what you are revealing to the audience, what is being left to the imagination. A painting should be a question, not an answer. Calling to the audience's imagination allows different viewers to interact in different ways, which is why it’s recommended you always leave something unsaid in a painting, to give the audience the chance of a unique interaction

The artist is a conductor, bringing the viewer’s eye through the painting using a myriad of techniques which give the painting a feel of motion, either through space, or time, or even emotion. Movement can be given in a painting through a strong fundamental image, say the flowing of a river; by the light of a gentle evening sun, which implies the passing of a day; or through the emotion of a portrait embellished by surrounding iconic symbolism, that shows how the figure arrived at that feeling. Movement can also be achieved through the effect of growth or decay. A vibrancy that infuses the subject, and says to the viewer, this is life, this is motion
Movement can be indicated by the flow of objects in the painting, their arrangement and pattern; through the use of perspective. Movement can be implied by the direction that figures face -- a passive painting would have a synergistic grouped direction, whereas randomness in the direction of figures will give a wildness, and energetic vitality to a painting
For a composition take in account: The main following 8 elements

Unity: Do all the parts of the composition feel as if they belong together, or does something feel stuck on, awkwardly out of place?

Balance: Having a symmetrical arrangement adds a sense of calm, whereas an asymmetrical arrangement creates a sense of unease, imbalance.
 
Movement: There many ways to give a sense of movement in a painting, such as the arrangement of objects, the position of figures, the flow of things.
 
Rhytm: In much the same way music does, a piece of art can have a rhythm or underlying beat that leads and paces the eye as you look at it. Look for the large underlying shapes (squares, triangles, etc.) and repeated color. 
 
Focus (or Emphasis): The viewer's eye ultimately wants to rest of the "most important" thing or focal point in the painting, otherwise the eye feels lost, wandering around in space.
 
Contrast Strong differences between light and dark, or minimal,

Pattern An underlying structure, the basic lines and shapes in the composition.

Proportion: How things fit together, big and small, nearby and distant

For my following painting;  did use directional brushstrokes, using long sweeping strokes that follow a certain direction with a flat dry brush allowing light interaction

                            “Time is a game played beautifully by children.”