This month on Patreon I do a graphite and watercolor portrait. I use this portrait to begin a discussion on thinking about how the texture of brush strokes and the use of pattern and other textures in a painting impact the readability of that painting.
The discussion will continued in May when I look at various ways to approach design in sketching, and show you some of my studies and how I approach “cracking” a visual puzzle.
If you would like to join the conversation please check out this link to Roz-Interim, my Pateron subscription blog.
There are 17 earlier demos covering a range of approaches that you’ll be able to view as a subscriber. And when you subscribe at the Tier 3 level you’ll also have access to the monthly webinars, a discussion group on Facebook, and the color chats I’ve been doing over the past few months.
As you’ll know if you’ve been reading RozWoundUp, I love painting on a wide range of papers, and in this month’s video I paint on Stonehenge Printmaking Paper.
Why? Well it’s a paper I frequently bind into books. As an artist who teachings I like to keep the supply costs low for students taking my classes, while at the same time ensuring that they use materials that will result in a great book structure, but also a useful book structure. I found that Stonehenge Printmaking paper, despite not being a watercolor paper, could take the type of watercolor efforts most live nature sketchers like myself, and urban sketchers would find fun to work on.
I’ve continued to use this paper in my own bookbinding and artwork, as well in the classes I teach because it is so economical. It’s simply fun to work on in a variety of media.
As I move into the discussion of how the texture and pattern one brings to the design of a portrait influences the success of a portrait a sketch on a “non-suitable” paper seems a great place to start.
Whether you decide to join me or not, I hope that your art adventures a full of fun experiments that help you bring your voice to the page or canvas.