Destination Europe: Farm in Finland
This project was different in two ways.
It was our first experience with canvas.
Yes, Virginia, there IS canvas for watercolors (we used Fredrix brand - sheets of gessoed material torn from a 9x12 pad)! HINT: read the manufacturer's flyer that comes with...all the way to the last sentence, because that's where you'll find out the unmounted-stuff warps/buckles LIKE CRAZY unless "secured" to a non-buckling surface...
The other difference was in the capturing of images for the blog: scanning picked up a 'moire' pattern from the fabric weave, so tripod-photography was needed.
I hope you'll see the possibilities of this challenging surface, even though you'll quickly notice several students were unable to complete their pictures.
(p.s. I'm having trouble with the blog's 'add picture' function, so will add Miss Noel's work later.)
Miss R. Fadler
Inadvertaintly the 'covering power' of our opaque watercolors is illustrated in the top left sky area. Note how the (Uniball permanent) inkline is hidden beautifully by the custom blended pale blue.
Miss M. Craycraft
Miss K. Breeding
Notice how important a painting's under-drawing becomes when simpler 'blocks-of-single-colors' are left. This picture "works" to a certain degree even though the painter may have intended to go back and add highlights/shadows/various-other-colors.
Miss G. Smith
Master D. Harwell
Miss C. Lee
Miss Am. Cole
Miss Alx. Cole
Compare the 'forest background' here - a single 'block' of color - with Miss Escue's, below.
Miss A. Escue
A lovely variety of fall-like tree colors add a higher degree of visual 'interest' to this version than those with the single 'color blocked' trees in the versions above. The canvas seems to have been especially effective in aiding an appearance of a stormy-looking sky: color bleeding up into another color.
Miss S. Noel (to be finished soon)
Miss M. Wolfe
It was our first experience with canvas.
Yes, Virginia, there IS canvas for watercolors (we used Fredrix brand - sheets of gessoed material torn from a 9x12 pad)! HINT: read the manufacturer's flyer that comes with...all the way to the last sentence, because that's where you'll find out the unmounted-stuff warps/buckles LIKE CRAZY unless "secured" to a non-buckling surface...
The other difference was in the capturing of images for the blog: scanning picked up a 'moire' pattern from the fabric weave, so tripod-photography was needed.
I hope you'll see the possibilities of this challenging surface, even though you'll quickly notice several students were unable to complete their pictures.
(p.s. I'm having trouble with the blog's 'add picture' function, so will add Miss Noel's work later.)
Miss R. FadlerInadvertaintly the 'covering power' of our opaque watercolors is illustrated in the top left sky area. Note how the (Uniball permanent) inkline is hidden beautifully by the custom blended pale blue.
Miss M. Craycraft
Miss K. BreedingNotice how important a painting's under-drawing becomes when simpler 'blocks-of-single-colors' are left. This picture "works" to a certain degree even though the painter may have intended to go back and add highlights/shadows/various-other-colors.
Miss G. Smith
Master D. Harwell
Miss C. Lee
Miss Am. Cole
Miss Alx. ColeCompare the 'forest background' here - a single 'block' of color - with Miss Escue's, below.
Miss A. EscueA lovely variety of fall-like tree colors add a higher degree of visual 'interest' to this version than those with the single 'color blocked' trees in the versions above. The canvas seems to have been especially effective in aiding an appearance of a stormy-looking sky: color bleeding up into another color.
Miss S. Noel (to be finished soon)
Miss M. Wolfe
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