Category Archives: hand made watercolor paper \
Morning Mist 20″ x 15″ watercolor
I have always loved quality watercolor paper. Without it I would be lost. Ruscombe Mills handmade paper in 300gsm (140Lb.) cold press is nothing new for me. However, this batch of Joshua Cristall historical paper is a new adventure. Morning Mist was my second attempt on this sheet. I’ll show my first try in a moment. I am accustomed to painting with fairly controlled washes where I can predict and/or manipulate the effects on the surface. Well, this paper gave me some surprises. Now I don’t consider this to be a bad thing. All of us need a challenge to wake us up.
This paper has a high linen content and I am told that there is also a measure of hemp in the sheets I ordered. The paper is beautiful and while I have stated unpredictable; I need to clarify my comments. Remember this is handmade paper and is a bit different from previous batches I have ordered. In this case it behaves as if one side of the paper reacts like a hot pres sheet while the other side acts like a cold press surface. Morning Mist was executed on the side that reacts like a cold press surface. The color hold out is quite good and while there are a few layers of glazing washes; a great deal of the approach was direct and spontaneous while some of the grass texture is dry brush. The foggy areas are the result of wet ‘n wet washes and you can see them crop up in numerous places in the back ground and foreground. The highlight of the lake surface is the pure white of the paper.
I really like the effects this paper produces and can’t wait to start another group of paintings. While moving my studio I found some old sketches from 1968! My wife accuses me of being a pack rat. At any rate I have some canal sketches and one intriguing group of the gondola factory that was on a less traveled portion of Venice. I was 25 years old and fresh out of art school when we arrived in Italy. In Venice I walked and sketched some of the areas that John Singer Sargent captured in watercolor. I never painted from the sketches but I think now I am ready to give it a try.
Cat on hot press side 20″ x 15″ Watercolor
At the time I painted this I really didn’t like it too much. I’m still not wild about it but I am showing it for a reason. This sheet is the other half of the sheet that was used for Morning Mist. This was the first attempt I referred to earlier in this post. This was the flip side of the paper, the side that exhibited “hot press” tendencies. One particular thing that will immediately stand out is the texture of brush stroke in the background. Hot press papers tend to show brush strokes and pose a bit of a challenge with layered washes for the previous wash will often lift very easily. When I was learning to paint egg tempera I was required to paint on hot press and plate finish paper. The reasoning was that properly prepared traditional gesso (not the commercial acrylic kind) presented a very smooth surface. One had to learn to deal with the crawl of ink wash on the smooth surface. In actual practice I’m not so sure that it is a really big deal. However, that is the way we were taught.
On the plus side the color is very vibrant. I’ll be playing with this surface some more. Both sides of the Joshua Cristall paper invite a lot of spontaneity. I really like having the paper on hand. If you are a watercolor painter you might want to give it a try. I know I plan to always have plenty of Ruscombe Mills paper on hand.
On line classes: NEW PLATFORM
Some of you may know that for several years I have been conducting on line watercolor classes. Those offerings have been pretty successful with over 500 students. One limitation is/was limited interaction with students. As I get older I prefer to have more painting time. In spite of that I still enjoy sharing watercolor. I am just curious about how many of you would be interested in an interactive on line class. This would involve each student being able to post their work and for me to comment and to do impromptu demonstrations of various visual problems. Sort of like taking requests. Students would be able to post privately or perhaps post publicly for all enrolled students to see and learn from written critique. The contact hours would be set on a given schedule and the numbers would be limited.
I realize that this is a vague outline but send me an email if you think you would be interested in such a program.
Interested in knowing more about the watercolor glazing technique?
Mastering Glazing Techniques in Watercolor by Dr. Don Rankin is available direct at www.createspace.com/3657628 . A revised and updated edition of the original classic.
The Antique Shop: remastered DVD of an onsite study painting demo with brief tutorial www.createspace.com/350893
Adventure with a new paper:
The paper is not really new. In fact Twin Rocker has been around for quite a while. It is an American hand made paper and you can order on line. A few months back I was posting about various challenges some of my students were having with paper. If you paint you know some of the stories. Some painters will shy away from hand made paper because they either fear the price or they are troubled about quality. As a lover of paper I am always looking for great paper. I purchased a few sheets of Twin Rocker along with a French hand made that I will feature later. This paper is Twin Rocker 22″ x 30″ cold press A. I love the feel and I love the action. It has a hard surface and takes a good washing and is marvelous for drybrush. The color hold out is superb and the dried washes sparkle. The paper is tough. It can take scrubbing out as well as scratching out with a sharp knife. It will also take masking without disturbing the surface of the paper. I have several more sheets and even though I have quite a bit of paper Twin Rocker will remain high on my favorites list. Keep in mind that I pay full price for my paper just like you so I have no monetary incentive to hype some one’s product.
About the painting….A Long History:
This is a very recent watercolor but it has a long history. I’ll explain. In an earlier post I wrote about the fact that the sketches in my sketchbooks are not in chronological order. It has always been my habit to pick up the book that is near at hand. I’ll shuffle through and find a blank page and begin to sketch. Consequently, you can flip a page or two and note that some sketches are many years apart. Perhaps this will drive many people to distraction but for me the book is a tool. When I am in need of something to draw on I get the one that is readily available. At times I will go through the studio and attempt to organize things and sketchbooks and put them in some sort of order. After all, at some point a book does fill up. At that point it is no longer in my easy to reach stack. Perhaps I am a bit too frugal in that I really don’t like to waste pages and I try to make use of every page in a book.
You could say that I discovered this sketch in one of my books. Mind you, it had been there all along yet for some reason I had overlooked it. Better yet, in my philosophy, I found it when I was ready to see it. I actually experienced this spot on a summer trip to Maine many years ago. I sketched it and fully intended to paint right there but for some reason it didn’t happen. In reality I have a life time of sketches and ideas from Maine to Nova Scotia. In fact my first two books were compiled while in that region and many of the pieces at that time were influenced by my trips into that beautiful land.
Due to current technology many of my readers will have no frame of reference for clothes hanging on a line in the summer sun. My connection is my childhood. Every Monday was wash day in the Rankin household. The only thing that prevented or delayed that ritual was terribly inclement weather. If it happened to rain or snow for a few days clothes would dry in the house. However that was unusual. I can remember my mother taking a dampened rag and walking along cleaning the clothes lines before putting the fresh wash in the lines. I can still see her wicker wash basket and canvas bag that held her clothes pins. In my mind’s eye I can still hear those sheets and some articles of clothing flapping and flowing with the breeze . It wasn’t hard for a small boy to imagine that the sheets were huge sails on a pirate ship popping as the wind stirred them. When the clothes were dry and brought into the house the crisp fresh aroma of the outdoors permeated the room. At that time in my life air conditioning did not exist but the moving breeze through the open windows added to the wonderfully fresh aroma. This sketch brought back all of those wonderful memories full of sounds and smells.
They say you can’t go back:
A writer once wrote that you can’t go back. Well, maybe he is not quite right. In reality I think I know what he meant and on some levels I agree. However, my sketchbook is my time machine. I use my sketches to propel me back to the moment so that I CAN smell the smells and hear the sounds. Granted, no doubt, much of the unimportant is forgotten or perhaps my mind remembers it the way it wants to. Regardless, there is a remembrance and I like my mind’s colors and memory better than most photographs. As I age I find even more treasure in solitude and the limited quiet of my backyard that settles near a lively creek. Perhaps there is a connection, I have always loved wilderness and now I am not as able to explore the wilderness so I draw upon memory.
Want to know more about Mastering Glazing Techniques in Watercolor?
Mastering Glazing Techniques in Watercolor, Volume 1 by Dr. Don Rankin is available direct at
Enjoy a remastered classic watercolor tutorial. NOW IN DVD format .
The Antique Shop available direct at : http://www.createspace/350893
You can enroll in a 2.5 hour watercolor course on watercolor glazing techniques by Dr. Don Rankin. The course covers paper basics as well as paints, along with color discussion with theory and basic painting techniques. Enroll now for lifetime access. You can enjoy at your convenience and go at your own speed.
Coming soon a full tutorial on Goose-Xing…a recent painting.