Linda Halcomb's Blog

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June 18, 2012 June 22, 2012

As I mentioned I attended a Warren Taylor Workshop a week or so ago and the subject was working with water soluble crayons and pencils. To take the white off the paper, he brought several “quick starts” that we could buy to get a quick start…hmmm, quess I’m redundant! These were on half sheet Arches 140# paper. Warren used one of his own photographs to make the drawing and the only limitation he placed on their use was a prohibition on their use in competitions. I selected a large tulip that was beyond its prime (sort of like the artist). This was my first effort and has muliple layers of permanent colored pencil (used too much!), watercolor pencils and watercolor crayon. I struggled with this and finsihed it off/quieted it down/smoothed it out with regular watercolor. I added the lower leaves to the design at the last minute and I don’t think they added anything. Obviously not competition material but it was a valuable experience and I continue to learn. Onward and upward!!!!

Warren Taylor Workshop Ex 1

 

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14 Responses to “June 18, 2012”

  1. Ruth Bailey Says:

    Why does he want you to take the white off the paper? I miss the sparkle of saved whites in this.

    • Nothing is more intimidating than a blank page so artists frequently use the term “taking the white off the page” to mean something they do to get started. For watercolor painters that might mean using primary colors and working wet in wet to make a light underpainting. I made a second version of this (don’t know when or if I’m going to work on it again) and I did build white into the design.

  2. Harriett Smith Says:

    Like the tulip, you are NOT past your prime. Your “color” and content has only deepened.

  3. This is very pretty, Linda. Whatever you learned in the class will come home with you and be expanded resulting in more art.

    • One of the things I learned was how important materials are for this technique – especially the crayons. He favors Caran d’Ache and they are really nice to work with (he shared his stubs) but American Jouney (what I have) are too soft and waxy for his technique.

  4. judy Says:

    Linda, for my eyes there is so much to love about this painting! I think the composition is extremely pleasing and I really like the striations in the upper leaves, the dots of orange, and the juxtaposition of the hard brown rectangle with the fluid lines of the flower.

  5. hannekekoop Says:

    Beautiful, Linda, I love this one. It makes me think of those lovely posters.

  6. ruthsartwork Says:

    I like the combination of the reds and greens. I like the negative space in the upper right corner which emphasizes the flower too. It must be hard to work with so many materials at one time. I think I would become confused. LOL

    • I didn’t get confused but I started with the permanent colored pencils which are not intended to a mahjor component and I definitely was overly enthusiastic. I had to rein myself in and say “Whoa Girl! You’ve got at least two more materials to work with!”

  7. lesliepaints Says:

    I really like the shapes and the loopiness of your linework in this one. Are you done with it? Over it? I think it needs darks to push those tulip petals forward. My goodness this has potential big time! You have such a gift for the abstract and I am thinking of the darks you created in your series. Could you carry those darks over into this. I don’t think it is “lost” at all.


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