the subtlest pleasures of sight

[Seed Pods (Ordinary Objects series). water color on paper. 5 x 7".]

"There is no china painting, no glass painting, no tempera, no oil, wax, varnish, or twenty-chimney-power-extract-of-everything painting which can compare with the quiet and tender virtue of water colour in its proper use and place. There is nothing that obeys the artist's hand so exquisitely; nothing that records the subtlest pleasures of sight so perfectly. All the splendours of the prism and the jewel are vulgar and few compared to the subdued blending of infinite opalescence in finely-inlaid water colour; and the repose of light obtainable by its transparent tints, and absolutely right forms to be rendered by practiced use of its opaque ones, are beyond rivalship, even by the most skillful methods in other media."
- John Ruskin, Letter to the Times, April 14, 1886, reprinted in A Descriptive Handbook of Modern Water Colour Pigments, Winsor & Newton, 1887)

I am enjoying working on my little water color paintings these past few weeks, even the failures. Applying myself to a few specific concepts and staying within fairly limited means is yielding some positive results. Water color on a small scale with a minimal palette, of specific subject matter --- either basic still lifes for my Ordinary Objects series (see last month's posting for more on that) or the ever present landscape. Unavoidable circumstances I first saw as restrictions are providing limitations that I needed to come up against so I could get my bearings. Within these circumscribed boundaries is a freedom I was missing in all the endless choices that are otherwise available.


[Landscape: Brooklyn & New Jersey. water color on paper. 7 x 5".]

the form of the idea

[Mason Jar with Plant Cuttings (Ordinary Objects series) 2011. watercolor on paper. 5x7"]


"If we start from the principle that painting cannot be the exact reproduction of nature and that art is essentially a choice, it is evident that the non-essential must be sacrificed to the essential, the form of the idea."
- J.Martin-Barbaz, The Holiday Painter

The other day I was sitting on the sofa and kept glancing at this mason jar in which I've rooted cuttings from one of my plants. It was there on the windowsill and looking quite ordinary. I gave myself about an hour to paint it, and for a while it was not coming together. Several contrasting aspects made it both interesting and a bit difficult to render --- the clear glass mason jar with its highlights, varying thicknesses, and impressed patterns, holding a twisted network of fecund roots, and stems and leaves of rather delicate shapes and colors --- a composition of opposites. The small dimensions and short time frame provided limitations I enjoy working within, and forced me to put down on paper only those elements that were essential to what I saw.

imagine my surprise

On a technical note, I recently discovered that I had mislabeled a color in my 8-color watercolor palette (which has since increased to 12 colors). Imagine my surprise.

This will be of interest only to other painters, perhaps, but since I specified the colors in a previous post and even went so far as to give their manufacturers' product numbers, I need to point out that the red is not Schmincke's Alizarin Crimson (which I had mislabeled as #353, besides calling it the wrong name) but, rather, their Permanent Carmine #353. Their Alizarin Crimson is given the #357 and is a very beautiful color, but not light-fast (being derived from plant material). This is one of the few instances where I make the jump to a modern substitute. It is pointless to pass up an obvious improvement that will help ensure the physical stability of my work.

some prattle

"I always make written notations of the colors: the fundamental local color tones, the color-textures, and jot down some ideas for the use of color sequences --- some prattle about my feelings for the scene. "
- John Sloan, The Gist of Art

Sketches and watercolor studies get down pertinent information about a subject in a brief amount of time. They are a type of shorthand --- information collected quickly to be reworked in the studio at a later date. I sometimes write directly on the watercolor paper and paint on it later, as shown above in the third picture. My notes include abbreviations of colors and a number indicating gray scale tone (1 = white, 10 = black). I keep a #5 gray indicator in my sketchbook to gauge things against. Vocalists find their pitch, we painters find our tone.

Scattered among these flannel days of winter have been some tremendous sunsets, the day's death in pretty colors. At first, I hesitated painting these, but I look to Thomas Cole, Caspar David Friedrich, and other idols of mine, for whom intensely colored sunsets were legitimate subjects --- the Sublime, not Margaritaville.

these days

"These days I seem to think a lot
About the things that I forgot to do
And all the times I had the chance to"
- Johnny Darrell, These Days

The end of the year always makes one look back and take a measure of what was accomplaished and what wasn't. 2010 was a mixed year for my work. There were duds and missed deadlines --- Ordinary Objects is still not realized, and the portfolio remains unassembled.

On the other hand, there were positive developments --- the Bullock Online website was established, my Iron Gall Ink is now retailing at Lore (see my previous post), and some of my work this year was solid.

So I sat down and looked out the window again at the landscape view that has occupied much of my time lately and I did one more watercolor. Also, here's a recent sketch of a wider take of the same view, from my sketchbook.

I guess that's how I'll close out the year.

Hoping you all are safe and healthy in 2011.

Happy New Year, everyone.

Bullock's Iron Gall Ink

Bullock's Iron Gall Ink is now available at Lore, in the The New Amsterdam Market HEADQUARTERS at Manhattan's South Street Seaport, 224 Front Street.

This handmade water-soluble ink is based on historic recipes, and includes gall nuts from Aleppo and iron sulfate in a gum arabic base. It is available in 1/2 oz., 1 oz., and 2 oz. bottles.

At Lore, owner Makalé Faber-Cullen's background and education in anthropology informs her selection of products that are based on raw materials and timeless design. From equipment for the kitchen, to sewing supplies from France's last producer of hand-made thread, to Bullock's Iron Gall Ink and Margaret Krug's Indigo Ink, Lore offers a very unique and educational shopping experience for the customer who wants something better than what's available at Bed Bath & Beyond.

You can also reach Lore online at www.lore.is
Lore. tools. ornaments. provisions.

My thanks to Makalé and Margaret for their enthusiasm for Bullock's Iron Gall Ink.

Graphic Design for all Bullock Online packaging is provided by James Rollins Design of Brooklyn, NY. www.creativehotlist.com/jrollins

On a related note, the Bullock Online website is oh so slowly coming along. I just added a page for the ink, and will link to PayPal. All this shouldn't be such trial and error, but the hosting service I use is problematic. Nonetheless, I am learning to navigate the strange ways of their software. I often end up with results I don't want, but I make improvements the next time round.

Now, if I can only find the time to paint.

Merry Christmas, everyone.

more greys

"Greys are what might be called 'diminished' colours that are less brilliant than pure colours. Greys, nevertheless, are an essential element in painting since there are in nature more greys than pure colours."
- J.Martin-Barbaz, The Holiday Painter, 1961

After extolling the virtues of the limited palette, I went and added four more colors --- two blues, a chrome oxide green, and sepia. The need to add these became apparent to me as I continued to work on a small scale, and the "next" version of a piece, wherein I develop those initial ideas discovered in the smaller study, weren't getting done. I'm short on time and space and so the little "studies" are becoming an end in themselves. For now.

Chrome oxide green has always been a favorite of mine. The sepia is an historically accurate addition and its transparency is helpful in mixtures. As for the addition of two blues, ultramarine and cerulean, when I already have prussian, I'll just say that the various grays they provide are important. By mixing only with sepia, for example, I have three different cool grays. The results are shown above.