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So, can we see what you did?

Can you use it as a scratchboard surface too? Can you scratch away to 
white and maybe play with texture too?

Cheers,
Patricia Savage
816 Valerie Dr.
Raleigh, NC 27606
www.psavageartist.com
[log in to unmask]
919-859-2789




Linda Feltner wrote:
> Hi All:
> I just completed a watercolor painting on the Ampersand Aquabord. A 
> half-sheet was given to me from a friend to try out. Apparently it has 
> a clay surface on a masonite base, and it's stamped Claybord Textured 
> on the back. Now after doing the painting, I'm reading more about the 
> marketing lingo.
>
> >From the first, I noted that it takes the pigment gently from the 
> brush, and it does allow a familiar wet and wet technique to mingle 
> colors. It's not quite like cold press, in that it will leave harder 
> edges. But it's not quite as hard as hot press. Any unwanted edges can 
> be very easily picked up, or blended away. It has a slight tendency to 
> pool up within a stroke. The pigment does have a remarkable ability to 
> be picked up. With cold press watercolor paper, it takes several 
> strokes with a thirsty brush to pick up granular pigment (vs. staining 
> pigment). With this product, it comes up in one stroke. The absorbency 
> isn't the same as cold press. It will not have those really subtle 
> bleeds that fade off to nothing. The technique of waiting till the 
> sheen drys off to apply more pigment to a washy wash didn't allow for 
> the same blending. However, it does stay moist a long time. It's just 
> a bit different. If I waited a bit to apply more pigment, the stroke 
> had to be light, so it wouldn't disturb the wet pigment beneath.
>
> The technique I found successful with this surface and absorbency, was 
> a "painterly" one. I left the early background strokes as is, leaving 
> them with various  hard edges, and the distant hills had a rather 
> cloudy look, with the peaks of the texture showing through. Rather 
> than go back and try to overpaint the mountains, I found I liked the 
> fresh stroke, and it led me to choose this painterly stroke, that 
> stayed consistent throughout the picture.
> I used an old round sable brush that has its point long eroded. It's a 
> favorite brush of mine to use on tree foliage, it's very blunt, but 
> has long hairs to hold a good amount of liquid. So, with daubing the 
> longer blunt brush, I achieved what I called this "painterly" 
> technique or more Impressionistic technique.
>
> It does take fine lines, too. The horns and eyes of the pronghorn, and 
> the insect in the grass, needed some fine strokes, and the surface 
> held this well, even though it has a texture.
>
> I'll use this surface again, even though I love cold press watercolor 
> paper. This has been fun, allowing me to try a technique I haven't 
> used in a long time, and stretching my imagination.
>
> Thought I'd share my thoughts. I hope someone else tries it and lets 
> us know what they think.
> Happy Spring, Happy Painting,
> Linda
>
>
>
> _______________________
> Linda M. Feltner Artist, LLC
> P.O. Box 325
> Hereford, AZ 85615
> (520) 803-0538
> www.lindafeltner.com
>
> ________________________________________________
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