Little cabins in the mountains

I painted this little sketch from Friday night this afternoon, and finally made use of the goose-neck phone holder to record a time-lapse of it.

Cartographics color the way we see the world when we get there.

A bit of in-progress work for a travel project— a bit of an arts and culture map via watercolor. I find it sweet and endearing. But then I would; I’ve been working on it for two weeks, and have become rather attached.

Can’t explain it in full, as it’s for a small audience, but I wanted to share just a sliver or slice of what’s been taking up some of my time and best efforts. To be repetitive, I’m so happy to be working at a place that makes use of these, the more vague or difficult to explain (on a resumé) of my talents. Overjoyed they want them, now they’ve seen the work in situ*, as it were.

Watery interpretations of celestial superstitions

Last month I created more images using my watercolor paired with digital vectors technique, this time for some editorial illustrations. They were for an article suggesting things to do while in NYC based upon visitors’ astrological signs, which was published earlier this month.

These took a departure from my food illustrations, in that these form complete scenes. It was more challenging, to be sure, and I learned a lot in the process. It was also great fun, honestly, and such a pleasure to be able to create things like this at work. My watercolor half-pans have basically set up permanent camp at the office.

Be sure to check out the full article on nycgo.com— it’s cheeky and fun!

Candles emitting a cadmium glow

These candles, clad in two layers of glass, reflect and shimmer beautifully in the dim interior and caught my eye. I didn’t spend as much time truly observing them as I may have; rather did a sort of lazy caricature or symbolized portrait of them.My scanner has a really tough time with these new cadmium paints in my kit, so I worked in Photoshop to try to return the colors to how they look on the page, but still not really accurate.
Decided fuck it and went fully another way with a Nik filter, which produced the monochrome image. I learned from that. While it may be less true to the many colors in the glass, it feels truer. And looks more interesting.

A recipe for crisp-edged watercolors

Last week I posted some gentle little watercolors, and briefly described the process. Here, as promised, is a more detailed view of that process.

Step one: Draw your shapes in pencil.

Step two: scan the drawings, and import to Adobe Illustrator. Trace the shapes using the pen tool, refining as you go, to create your idealized vector shapes.

Some gentle little watercolor illustrations

Here are some illustrations I’m working on for a project. The process involves first doing a pencil drawing of the shape, which I then scan and trace in Adobe Illustrator so I have a clean-lined vector shape. Then I print it out as just a black outline, and tape to the back of a piece of watercolor paper.

Next, I place the sandwiched sheets of paper on a lightbox, and paint with watercolor. Finally, I scan the painted pieces and use the vector shape as a clipping mask to regain the crisp edges of the original drawing.

It sounds like a long process, but it’s a wonderful way to combine the organic flow of the watercolor with the sharp lines of a vector illustration.

If I have time soon, I’ll put some process pics up here, as that probably sounds like a foreign language to anyone not familiar with the tools involved.

On messing about with the interplay of color, briefly

Here are a couple watercolor studies I did last night involving compositions of overlapping shapes. I haven’t touched my half-pans in months, and it was nice to get out the brushes again.

These are related -somewhat- to elements of a small design system I’m in the midst of at work for an upcoming event. In particular the top one, where the colors are doing their natural combinations when overlapped.

This second composition was rather a departure or experiment that, while some interesting things happened, rather collapsed the visualization of the colors’ transparency. By removing the natural order of color interplay, the whole thing flattened out altogether to the eye. There’s no reason or logic to it.

The waning light turned gold and reflected in the windows

Here is a painting from a small series I did back in 2007. (It’s hard to believe that was a decade ago!) This is Amsterdam II, and it has been sold! Its new home will be in California, and I’m very excited for its new adventure.

Though I love having my art in my own home, it’s really meant to go out into the world and be enjoyed by others, so I’m super happy that someone loved it enough to buy it. And in this case, he gets the bonus of an original hand-crafted Mad Framer floating frame in the deal.

Unicorns in the pool, and a search for sea-softened stones

Pool mascots (watercolor and ink)

Here are a couple watercolor sketches that I began on the weekend while in Fire Island, and finished last night.

Pool and Pines (watercolor)

And an excerpt from a text I sent to a friend, regarding a particular mission while I was out on the island:

Twice this day I’ve filled my pockets with soft sea-rounded stones for our purpose. I think there will be a glut, so I will edit them, size- and shape-wise, over coffee in the morning.

The shapes created by the spaces between things

Poppies in sunlight (watercolor)

One of the reasons I enjoy poetry is because it comprises all of my favorite ways of making. It’s creating images with words, yes; a kind of storytelling. But it’s about so much more than just the correct or precise words —more than denotation or connotation— it’s also about design.

It’s about how the words interact with the space around them; make a composition, make aural and visual rhythms; remainders as important as omissions.

As in any kind of composition, the negative space is crucial.

Fraternal twins (watercolor)