My sincere apologies for not posting my new watercolor sketch that is well underway. I did in fact begin a second “doorknob drybrush” after school this afternoon, and to my dismay, ran out of Winsor & Newton Transparent Yellow and Winsor Violet pigments. All I had managed to do in 45 minutes was a careful drawing of the new 8 x 10″ composition and some basic washes in pale yellow and violet. Leaving the studio, I dashed to Asel Art in the Fort Worth Museum District, and was about to return home at dark, when I suddenly realized–Halloween. Drat. I live in a neighborhood, which means my night would be filled with running back-and-forth from the garage studio through the kitchen, dining and living rooms, to the front door to answer doorbells. I had not yet gone to the store to buy stockpiles of candy, and so I decided (yes, Grinch that I am) to go to the University Park Barnes & Noble Store and Starbuck’s Cafe and thus spend the night perusing four of the Andrew Wyeth books I had packed this morning in my school bag, along with my journal and laptop.
So, here I am. I really wish I could have painted this evening, but based on past Halloweens, that would not have happened until much later.
The Andrew Wyeth studies have flooded my soul with fresh inspiration. I simply cannot get enough of his drybrush, pencil and watercolor renderings of still life objects up-close-and-personal. And I’m still filled with enthusiasm over the one I finished yesterday. My new piece is of a different door and doorknob/locking assembly arrangement. I am fascinated with the chipped paint surrounding the lock box. Again, I will try to make the background extremely dark, combining mostly Winsor Violet and Transparent Yellow. I also picked up at the store some more graphite pencils and plan to work more of them into the details of the composition as well (something I had intended with yesterady’s painting, but forgot).
One of my favorite portions of the Andrew Wyeth interviews read tonight (from the Autobiography, foreward by Thomas Hoving) was his description of the process of drybrush, where one weaves the brush of dried pigment into the layers of wash and employs graphite pencils for detail work. Wyeth also used Higgins’ ink, which I have not chosen to use (though I tried this many, many years ago in my watercolors).
When I return home later tonight, I plan to layer the dark washes of violet and yellow into the background, giving it a good soaking, then let it set up overnight. Perhaps tomorrow I can return to the work after school and try to finish it (though I have another weekend art festival for which I have not yet begun to pack and load). Oh well . . .
Thanks for reading. I’ll post pictures of the new work tomorrow.