Testing a new transfer method

I've been thinking on this for a while now, because sketching directly on a canvas with watercolor ground is not a very satisfactory experience. Especially with fine point mechanical pencils. It works a little better with a more blunt softer lead. But it makes transferring sketches difficult.

I decided to try something I did long ago in college, back when I was doing intaglio printmaking. There's a technique called Chine-collé where you take some lightweight paper (like fancy Japanese rice papers) and bond it to a heavier surface for support.

I dug up some rice paper I bought a long time ago when my husband wanted me to teach him traditional Chinese brushwork. It's light, very porous, and extremely absorbent. I traced and refined my sketch on the rice paper.

I then took my canvas and with a wide flat brush applied a layer of watercolor ground over the whole surface. 

While everything was still wet, I laid my rice paper sketch directly into the watercolor ground, making sure there were no air bubbles. I gently wet the upper surface. Can't brush it because the moistened rice paper was so delicate it tore and wrinkled very easily.

I let it dry overnight, and was very happy with the way the rice paper had adhered. I then took transparent watercolor ground (I've only used the White before. This is my first time using the Transparent) and painted a thick layer over the top of everything. This is where I am currently, letting that layer dry. I'll be applying another layer, and then sanding it smooth before painting.

Here's a smaller mini 3x3 inch canvas where I followed the same steps as I did on the larger canvas, in parallel. It's my test, to see how the paint will sit on the final surface. I only did one layer of ground on top of the rice paper for this small one, and There is a lot of absorbancy of the pigment, I think because the rice paper might still be exposed a little too much. But in general I'm pleased with how it's working out. I think the secondary layer of ground on my larger piece will fix any excess absorbancy.

Illuminate

Illuminate

Size: 10 x 10 inches
Medium: Watercolors, inks, metallics on canvas

Prints ($16.95) and detail closeup images -available here-

I had been planning to do this piece for a while, based on the miniature 3x3" canvas painting I did a couple of weeks ago. And that in turn was based on a photo of my daughter. I don't often stick this close to reference photos, but in this case it was so nearly perfect that I strayed from my usual.

 

This painting was my first attempt at doing watercolors in larger scale on a canvas, prepared for that purpose with watercolor ground (produced by Daniel Smith). I prepped the canvas by painting two thick coats of the ground onto it, waiting 24 hours, then taking medium-fine sandpaper to it to get a nice smooth surface. I have always preferred my canvas to have minimal texture. I then sketched my image onto the canvas.

 The first layer was painted with a 1 inch flat brush, very rough. Lots of liquid. Lots of ink. Lots of pigment. Lots of MESS! This is basically just blocking in some rough areas. I then let it dry overnight. The waiting is what I really hate. Because at this stage it looks horrible. Half my sketch lines get obliterated (because I forgot to lightly spray with a workable fixative before starting to paint), and I have no clue if things will work out or not.

Next morning I was able to start in on the finer details.

With a small brush, I started picking out whatever shapes and edges jumped out at me in the background chaos. 

Worked my way around to the figure. Pale and luminous white under the trees. I waffled for a long time on whether to give her black hair like my reference, orange/red like the mini, or to leave it ghostly white.

Gold leafing.

And building up some thick watercolor ground on the lotus to give it a slight relief texture.

Bad lighting in this photo, but you can get a glimpse of the whole canvas.