Yesterday I tried this technique on a much larger sheet of paper: 18"x24". The advantage in that is when viewing you are able to enter the piece completely. You eye isn't constantly hitting an edge & there is enough detail to keep you engaged.
Arches Hot Press 140lb. 18"x24", Winsor & Newton Payne's Grey, Morton's Kosher Salt, American Painter Round 1 & Sumi Gold
I thought I was going to like the inclusion of silver sumi more than the gold, but there is so little contrast. The silver shows up when the light hits at just the right angle, but overall I think the gold is more striking... I am planning some much larger pieces using this technique & am now in a debate of gold vs silver striping. I am so thankful that this is the sort of dilemma I face. Follow along to see what I decide.
Arches Hot Press 140lb. 7"x10", Winsor & Newton Payne's Grey, Morton's Kosher Salt, American Painter Round 1 & Sumi Silver
Last week Lydia Makepeace of Kiteflier posted some images of watercolors she had done using salt?! I was so excited by the possibilities that I had to make some for myself. I think that the Layers of the Earth series I have been working on lends itself nicely to this technique & I am so excited to explore this further. Both of these painting are 7"x10", on Arches 120lb. Hot Press, using Winsor & Newton Payne's Grey with lots of water & salt. Happy Monday Y'all!
When I was a little kid we would often visit my grandmother in Denver, Colorado. Then we would drive up into the mountains for some fun skiing. Driving west on 70 my mother would say, "Look Joules, the layers of the earth." Inevitably my nose would be buried in a book & she wanted to make sure I took a moment to observe the natural world. All these years later I am still looking at those layers of the earth, mostly layers of the water & sky these days, but I am thankful my mom taught me to observe the natural world.
In thinking about the 36 years it took Diana Nyad to achieve her #XtremeDream I started thinking about other projects I admire that took a long time to come to fruition. A major one that comes to mind is The Gates project by Christo & Jeanne-Claude. It took 24 years of dealing with buracracy & funding to make The Gates happen, but they persevered. In the end it was a called "a gift to the city." The following year The New Yorker even ran the art pictured at the right. It makes me think about the possibilities of large scale projects, but then I consider the logistics (which take so much time away from the actual work) & I happily return to my desk to continue painting on 7"x10".
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