Chooseing watercolour paper for a work will depend on what you want it to do for you.
This post will be a small mini series of different components of picking paper. Lately I have been either A- useing a paper I have used before from a pack or B- picking paper by how it feels on my hand. After much debate it is time to go back to my roots in watercolour and have a mini refresher course on the dynamics behind these papers.
Cold Press: Textured surface which is in between rough and hot-pressed papers. Most often used to benefit from the texture that shows up when painted on.
Hot Press: Fine grain, smooth surface with almost no tooth. Paint dries quickly. Ideal for large even colour washes. Great for detail and do not wish to use granulation.
Rough: a rough surface. It was pressed between the felts on the paper machine and the roughness of the felt (blanket) is embossed in to the wet surface.
I have a collection of paper right not consisting of mostly Hot pressed paper. Majority of those are on a watercolour block. The block is very handy to have around as it is already “stretched” which I will try to address in another post. Alternatively since university I have been buying individual sheets. I generally cut them down to a more manageable size but I have used it on occasion to create larger works. A great example is “Sun Wukong” I did in January for my brother who loves the story “Journey to the West”.
This year has been great. I have joined the AGO and the South Asian Visual Art Centre. In addition to attending great workshops, documenting and self-mentoring.
To begin the year I showed Hysteria that was a return to an old process that I used. One of which I am working on still on the side.
My other work is branching out slowly. Watercolour has come back into my work, and I need to understand it more. Just as I need to learn more about sumi-e ink, I hope to play, make mistakes and possibly take more classes on them. This coming year is very important to me as I am turning 25. No longer am I a young adult but a full adult. Its time to make everything fall into place, a lot is planned for 2012. I have a whole to-do list dedicated just to my art practice which is displayed in large print on my wall next to my desk. Seeing it since I printed it just reminds me of how much needs to get done for the more technical side of art. Website, professional business cards and networking sites. Everything links together. Exciting! Exciting things are going to happen.
Over the next day or so I will be finishing a work for a e-card for my mailing list. I have added a few people whom I hope want to be included but this initial Holiday “card” will allow them to opt out if they so please. If you would like to be added to my list I have a link to the right of my blog for you.
It has been a long few weeks leading up to the holidays. I am off to be for the night to be prepared for another day of work Studio and Work-Work. Happy Holidays everyone~
I received a quote from Cathy Daley attached to an assignment on child hood memories, “We are all rooted in our childhood” from Ida Appleboorg, perhaps this is what fueled my work. My ink work began in her class Representation from Memory and Desire (third year), each assignment consisted of a series which tended to be more than 5. All my work from that class related to a childhood memory, but my final series on fear relates to it most. My fear of carrying a child to term and delivering, something my mother will not be told till after I have my first child. Twenty ink drawings 9.5 by 10.5 rice paper I had purchased at The Paper Place to experiment with the summer before.
The year (second year) before that I had taken Chinkok Tan’s watercolour class, where he taught us to work without prior drawing before putting paint on the surface. I tend to switch between drawing before and direct painting since this class. It also fueled my admiration for Chinese brushes. Not only were they more than affordable but their ability to hold the ink was much better than the acrylic brushes I had before then. I have acquired squirrel hair brushes since then but I still find myself going back to these goat hair brushes you can get as cheap as a dollar.
So in the end after much debate I went back to ink, but with better paper. This series is much more enjoyable compared to my past work. With exception of my fetus series and cats cradle. There is something just simple and yet complex to the drawings that come out when I use sumi-e ink and Chinese brushes. Perhaps it is because I had so much “training” in water colour that it just comes naturally now or because of it’s simplicity?
I an currently working on a rough copy for my artist statement, max 100 words or so for the catalog and I think it’s 250 for the final copy. In addition I have to come up with a artist statement of 5 sentences max for my submission for the Retrospective show (due friday by 4pm). Things are slow to fall into place but things are getting there.
On another note I realized I’m near the end and I have done next to nothing for the paper, so I’m getting it going now. I also have a curatorial project to make a power point for (got it going so no big there) and an essay about Simone De Beauvoir for Modernism: Critical perspectives (I have everything I just need to pick out what I will use and start it). Even though there is a lot to do in such a short time I’m thankful that I have at least got things going.
Today I paid to stay for the summer or rather paid for august and I have to pay for the others as it comes up. I applied to jobs to stay, if all goes well I will hear back from someone soon. Well that was just a quick update on things that are going on. Back to writing! ( will post images of what is going on with my work soon