I want to show some of the process shots that I take as I create a piece. Taking quick photos of artwork unexpectedly helps with composition and color decisions. There is something that the camera does not pick up - maybe it is the micro marks and colors that we pick up - that helps pull me out of the "making" mode and into the "solving" mode.
Once the primary area blocks were defined, I started adding the white gesso. I am find that using a panel instead of paper forces me to think of the white areas as the highlights. Normally with paper and water color mediums, the paper is the white. Kill the white and it kills the luminosty of the work. Immediately. And it sucks to have that happen.
The images above show the topography mapping and then the build up of white. I am painting straight onto the panel, so the gesso sinks in and I have to build layers of white on white to get the luminosity. I can seal the whole panel when I am done. Painting on the wood without the sealant gives a nice affect when the color bleeds into the wood grain.
I added the blocks of colors based on a grid, which I decided to highlight more. The mandala (inspired mandala) is then encircled with a pattern of more white, letting the wood be a major star of color, texture, and composition.
12" x 12" | watercolor, ink, gesso, graphite on wood panel | ©Beth Ortman 4/2018