Sometimes it is hard to pick a project, or say no to an opportunity.
April is arriving, and I have two art projects on my board in addition to
making a living (conserving antiquities —
this is what I am working on in our restoration business):
Then there is a challenge I’ve found fun in past which is full of deadlines, daily commitments, etc. I thought I’d do it, but then this nagging feeling began.
At first I assumed it was because of an unfortunate experience I’d had with
the creator of the challenge: you know how a fixed idea is hardest to change?
X had made an assumption about something that had
no relationship to anything I felt or thought, and from there, ran with it.
Literally pulled it out of the air, as i had responded to an email from her.
No matter how many times I said, “I don’t feel that, never did feel that,
am perfectly happy with you and your class structure, etc.,”
X had made up her mind and no new information could penetrate.
Of course, had to give up on X, and so no longer happy with her class structures.
Well, I’d have to interact a LOT with X on this opportunity.
Creativity should be fun, dammit!
But then I felt into it a bit more and decided it had little to do with that aspect.
Sometimes I have to go through each layer to see what is going on….
Finally I realized the only way I’d know is to move forward
on the challenge and see how it felt as I was doing it.
So I “broke the rules,” which are always meant to be broken if this is your challenge
and your process — it is not a law, just an art challenge —
and this is part of the problem X has with me.
I began early, to see how it felt.
Sure enough, I felt sluggish, sleepy, bored, and then, tell-tale sign,
I got a STOMACH ACHE. Seriously, these are all telltale signs for me,
and they do NOT happen when I am painting. EVER, (unless I am really sick.)
So I am passing on the challenge this year.
I need to honor my feelings though I have no idea
the reasons behind them and move on, working my projects,
enjoying a couple of classes run by friends, and making money in our business.
This is the results of my sleepy effort yesterday, and the paint and experience still stands.
Blackfriar Pub in London
Moving from sketch to ink layers (grisaille) to underpainting
(using Tracey‘s tips to brighten) to final coats.
Unfortunately, sometimes when you are integrating a new tip, it doesn’t quite work out.
In this sketch of St. Paul’s Cathedral in London, I followed the same basic steps.
The under-painting was too strong for the rest of the image, which had muted tones.
The red for the double-decker bus was a new paint by M.Graham,
a bit too deep and opaque, though it was supposed to be transparent. Ooop1
The greens became overpowering and brilliant as well. The overall effect was not to my liking. I decided to give a go at removing some paint, also a Tracey tip. This helped considerably, and balance was struck when I deepened the street greys.
That helped to “ground” the sketch.
St. Paul’s Cathedral in London
BTW, Fabriano is a new journal for me, and I like it.
The paper has a bit more tooth, and so is not as smooth as Moleskin, and
worried me as it did not feel as heavy, but it performed fine with water color.
I’d have to use it a LOT more to make a decision on which I like best.
It doesn’t have the rubber band to close
nor the nifty flap to store bits of this or that, yet is as expensive as Moleskin.
Fabriano A4 Watercolor journal, Pentalic HB woodless pencil, Platinum Carbon pen, Lamy Al-star pen with De Atramentis Document Black ink, Noodler’s Lexington Grey
and Daniel Smith, Holbein and QoR watercolors.
©D. Katie Powell.
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