Introducing Lorraine Watry, Watercolor Artist

Lorraine Watry “Spa Day”, Experimenting with Daniel Smith Extra Fine Watercolors Greys

We are delighted to introduce DANIEL SMITH Watercolor Artist, Lorraine Watry! Lorraine will take us step-by-step through her process for making a watercolor painting.

“Spa Day” is from a photo I took of a Red Crested Cardinal after he’d bathed in a fountain. The photo intrigued me because of all the neutral colors around the bright pop of red-orange on the bird’s head. I decided to experiment with this painting and not only did I try the new DANIEL SMITH Greys, but I also tried a different brand of paper and a technique I don’t usually use – blooms. I began the painting by using my photo software to adjust the composition by moving the bird to the right and added some more water dripping in the fountain.

Step 1: Preliminary steps for “Spa Day”.

Step 1: I start all of my paintings by doing a detailed drawing from my photo. I then enlarge the drawing and transfer it to my watercolor paper using my light table. I stretched my watercolor paper onto foam board and while it was drying overnight, I played with the greys and did a small color study to get an idea of my techniques for the background.

Step 2: Masking out the bird and dripping water shapes, then beginning to add watercolor.

Step 2:  Next, I masked out the bird and dripping water with masking tape. I used masking fluid to mask some of the small drops of water on the bird’s feathers and in the background, as well as the highlights on the bird’s eye. I began the fountain by wetting the area and used a variety of the greys from Alvaro’s Fresco Grey and a little Gray Titanium on the left, to Joseph Z’s Cool and Warm Greys as I moved to the right. While these areas were wet, I flicked on water for blooms and charged in Bronzite Genuine and Mummy Bauxite for color variety and texture. As the area started to dry, I flicked on more of the BronziteGenuineMummy Bauxite, and Alvaro’s Caliente Grey to make the fountain feel like rough stone.

Step 3: Using Alvaro’s Fresco Grey in the background on the left….

Step 3: I used Alvaro’s Fresco Grey in the background on the left and under the bird on the ledge. I really like this cool/purple grey and I’m already using it on another painting. I glazed some of the Bronzite Genuine over parts of this area to give the gray fountain some patina. BronziteGenuine is naturally shiny so this pigment is fun to see up close because it sparkles. I used Joseph Z’s Warm Grey and a touch of Alvaro’s Caliente Grey to create the dark shadow on the fountain behind the bird. Then I removed the masking on one of the lines of dripping water to see if my values were working. This helps me decide if I need to add more glazes before removing all the masking.

Step 4: Working around all the greys of the background….

Step 4: I continued working around all the greys of the background and used some of Joseph Z’s Warm Grey for the shadow on the back left. I repeated the greys from the walls of the fountain in the water along with some Green Apatite Genuine and Quinacridone Gold. I debated whether to include the green in the water, but I liked the contrast with the red of the birds head. The green also appears along the front edge of the ledge the bird rests on. I finished up the majority of the background and shadows and then removed the masking fluid on the bird and dripping water.

Step 5: Starting the birds head with Quinacridone Sienna….

Step 5: I was excited to start the birds head and I began with Quinacridone Sienna for the lighter, muted orange feathers. After this dried, I added a mix of Pyrrol Scarlet and Carmine for the red feathers. Then to give the bird life, I painted his eye with a mix of Burnt Umber and Sodalite Genuine. I left the highlight at the bottom of the eye and later painted some Quinacridone Sienna on that area. After removing the mask for the brightest highlight, I added a touch of Cerulean Blue, Chromium to reflect the sky in the bird’s eye. The beak was painted with glazes on dry paper using Burnt UmberQuinacridone Rose, and Cerulean Blue, Chromium.

Step 6: Painting in the birds feathers with mix of Ultramarine Blue and Burnt Umber.

Step 6: I decided to use Ultramarine Blue and Burnt Umber, a gray mix that I know well for the birds feathers. This mix allows me to vary the gray from cool to warm and keep a unified look to the feathers. I started adding glazes to the bird’s head for shadows and depth and mixed Cerulean Blue, Chromium and Quinacridone Rose for the shadow on the white body feathers. I softened the edges of some of the feathers by applying water while an area was wet or softened the edge after it had dried.

Occasionally I took a break from the feathers and worked on the dripping water in the background. I wet each drip and then painted it using Alvaro’s Caliente and Fresco Greys. I left some of the edges and circles within the drips white to make them sparkle.

Step 7: After adding many layers to the birds feathers….

Step 7: After adding many layers to the bird’s feathers, I removed the masking fluid from the water drops all around the background. I softened their edges using a small flat brush and water. Then I added some color to some in the shadows. For those that were floating on the water, I added a line to the middle and shaded the reflection in the water. 

Step 8: (Detail) At this point, I took some time to look at the almost finished painting….

Step 8: (Detail) At this point, I took some time to look at the almost finished painting. I decided that I wanted to lift some of the color in the water to create some larger white splashes. I used masking tape and a sharp blade to cut out some shapes. I was pleased with how well the Signature Series Greys lifted. After removing the tape, I cleaned up the shapes I created to integrate them into the surrounding water.

“Spa Day”, 20×28 watercolor by Lorraine Watry

In Conclusion: Normally, I would not recommend using so many different grays in the same painting. In this case, the variety of grays seemed to work together for the colors and textures of the fountain. I feel like this experimental painting was a personal success on multiple fronts. The different cold press paper that I tried worked well and gives me an option from my usual CP paper. I enjoyed experimenting with the textures of the fountain and the Primatek Watercolors, and the New Signature Series Greys really added to that effect with their granulation (Alvaro’s Caliente Grey is the only non-granulating gray in the bunch). Finally, it was a pleasure trying out most of the new DANIEL SMITH Greys in “Spa Day”. My favorites are Alvaro’s Caliente and Fresco GreysJoseph Z’s Warm and Cool Greys are close runners up. These will be added to my arsenal of convenience colors for future paintings.

Lorraine is a watercolor artist painting waterscapes, birds, and reflective objects in a realistic style. Lorraine’s watercolors are characterized by bright colors, dramatic light, and realistic reflections. She likes the challenge of painting water, glass, and metal and recently has become captivated with birds. Lorraine has a Bachelor of Fine Art from the University of Colorado in Boulder and after college designed clip-art for a graphics company for a few years. Lorraine began working with watercolor 25 years ago and taught the medium at Pikes Peak Community College. She currently teaches watercolor and drawing in her studio and at other venues. Lorraine enjoys the challenge of watercolor and starts her paintings with a detailed drawing. She likes to use intense color and many layers to build up the depth in her images. The DANIEL SMITH pigments are her favorite watercolors for their intensity of color, range of pigments, and beautiful granulations. Lorraine prefers to use the white of the paper and does not add opaque whites to her paintings. She is intrigued by reflections and how they interact to create abstract patterns in a realistic scene.

Draw Big with GOLDEN Acrylic Ground for Pastels

Pastel Ground by GOLDEN is used for preparing supports for use with dry media like pastels, graphite, pencil, charcoal or chalk, and it is ON SALE at 30% OFF! Pastel Grounds provide a tooth similar to pastel paper and is perfect for when you want to work LARGE and on unconventional surfaces, like say, a door.

ComposiMold Learning Curve: Basic Instruction of Reusable Molding Materials

This video shows the process for making molds and casts and then re-using Reusable Molding Material by ComposiMold to make what you want. How many times can ComposiMold be reused? It’s been tested at 35x, but we’ve heard customers say they’ve reused it 100x. Wow. We have Reusable Molding Material by ComposiMold ON SALE at 10% OFF, so it’s even more economical!

Dry Pigments by Gamblin

Gamblin Dry Pigments: Cadmium Yellow Medium, Ultramarine Blue, and Cadmium Red Medium

Over the last few years, we’re finding that the DIY movement continually inspires artists to get creative with raw materials and we get a lot of questions about how to use Dry Pigments by Gamblin. Dry Pigments are the same pigments used in Gamblin’s Artist’s Oil Colors, which is 100% pure, finely-ground, available in a range of 22 colors, and ON SALE at 25% OFF! 

While an artist may want to use Dry Pigments to make their own oil paint by mixing with Linseed Oil or other drying oils such as Poppy, Stand, or Safflower, they can also be used to create other paint mediums using binders for acrylics, watercolors, egg tempera, and fresco.  Additionally, Dry Pigments can be mixed with Gamblin Oil Ground to provide a tinted base layer to work on top of. 

We’ve seen beautiful results when mixed with Art Resin to fill in negative areas in wood grain, or as a colored coating for surf boards. Artists have used Dry Pigments mixed into grout for mosaic and tile projects with much success. We’ve mixed pigments with pouring mediums in conjunction with, and as a replacement to, acrylic colors – to fabulous results. Are we obsessed? Yup. But mostly, we’re inspired.

DIY: Shibori with Indigo Dye

A little different than tie dye, Shibori is a Japanese method of dyeing patterns by twisting, binding, wrapping, folding, and stitching. Indigo dye is used because of its easy-to-create resist patterns on fabric. Jacquard products make it simple to create this ancient natural dye using their Mini Indigo Tie Dye Kit, and it’s ON SALE at 25% OFF this month!

This Mini Indigo Tie Dye Kit brings the ancient art of indigo dyeing to the home dyer in a user-friendly formulation. Indigo dye, which comes from a plant, is one of the oldest dyes used for coloring fabrics and the one still used today to color blue jeans. This natural dye process has long been used in many cultures around the world. This kit includes pre-reduced Indigo dye, reducing agent, gloves, two sizes of rubber bands, two wood blocks, quick start instructions and an instruction booklet with dye patterns and historical overview of indigo. Dyes up to 15 shirts or 15 yards (5 lbs.) of fabric. 

Faber-Castell Pitt Artist Pens

Pitt Artist Pens in White by Faber-Castell

Check out this video of the White Pitt Artist Pens by Faber-Castell in action. Made of pigmented India Ink that is both acid-free and archival (pH neutral), these Pitt Artist Pens offer unsurpassed lightfastness. Perfect for sketches, journals, cartooning, and fine ink drawing. Available in classic fine art colors as well as varied nib styles. Ink is smudge and waterproof when dry.

Pitt Artist Pens are ON SALE at $2.99 ($3.60 list), so now is a good time to give these a spin.

Like to work big? PITT Artist Pen Big Brush Pens contain four times the amount of lightfast, acid-free pigmented India Ink as the PITT Artist Pen, offering great coverage for work in large formats. Opaque White Pitt Big Brush Pens are ON SALE for $4.99 (list $6.70), and all other colors of Pitt Big Brush Pens are $3.00 (list $6.00). That’s 50% off, yo.

Wiggle Pour

Check out this video of a dirty cup pouring technique with a twist from GOLDEN Acrylic Colors. Color Pouring Medium by GOLDEN is ON SALE at 30% off, so it’s a good time to do an acrylic pour.

Plein Air Painting Session: LA Central Library on World Book Day, April 23rd with Roofless Painters

Attention oil painters! Join Roofless Painters for a very special plein air painting workshop to celebrate World Book Day (Tuesday, April 23). They’re painting the Los Angeles Central Library from The Bonaventure Hotel. The workshop is $75, and all painting materials are supplied (medium-OIL). Setup and clean-up is on them, too – just show up and paint!

TUE April 23, 10 am – 1 pm, Roofless Painting Session on World Book Day: LA Central Library from the Bonaventure Hotel, 404 S Figueroa St, Los Angeles, CA 90071

We have been granted access to the Bonaventure Hotel to paint the LA Library from their pool deck. The views of the iconic library form the iconic hotel are incomparable.

We first met the Roofless Painters at the 2016 Los Angeles Plein Air Festival, when artist Julio Panisello won the Grand Prize for his oil painting of Angel’s Flight. A talented artist, Julio is also a beloved educator and the inspirational founder/leader of Roofless Painters, a nomadic painting atelier in Los Angeles.

Grand Prize Winner, 2016 • Julio Panisello, “Angel‘s Flight” 
Oil on Canvas, 18″ × 24″

Our L.A. Voices: A Pop-Up Arts & Culture Fest

Grand Park’s Our L.A. Voices, A Pop-Up Arts & Culture Fest, April 27 & 28, 2019

Saturday, April 27 and Sunday, April 28, 2019; 11 am – 5 pm 

Grand Park’s week-long spring arts experience, Grand Park’s Our L.A. Voices – a Pop-up Arts+Culture Fest is a regional arts gathering that focuses exclusively on the diverse and powerful artistic talent in Los Angeles County. This FREE arts fest will feature short film, dance, music, spoken word and theatre performances, as well as visual art by L.A. artists.

During both days of the festival, Jardin del Arte, the public marketplace at Our LA Voices, will feature a range of art works for sale including paintings, photographs, collages, postcards, jewelry, and plants from LA artists such as Patrick Martinez, Ramiro Gomez, Chinwe Okona, and Noe Olivas. Jardin del Arte is curated in partnership with Residency Gallery, Savannah Wood, and more to be announced.

The festival’s 2019 theme, Origin Stories, explores and showcases distinctly Los Angeles narratives and questions about where we are, how we got here and where we are going.

WHERE: Grand Park Grand Park – From Grand Ave. to Hill St. 
200 N. Grand Ave. Los Angeles, CA 90012

Still Life Painting Session @ Grand Central Market with Roofless Painters – April 6th

Attention oil painters! Want to paint some produce together? Join Roofless Painters for a still life workshop at the one and only Grand Central Market, in DTLA’s Historic Core this Saturday, April 6th from 6-8pm. The Roofless Painters will set up easel stations around the produce stands of one of the market’s vendors and paint them from life. The workshop is $50, and all painting materials are supplied (medium-OIL). Setup and clean-up is on them, too – just show up and paint!

SAT, April 6, 6-8 pm at GRAND CENTRAL MARKET in DTLA’s Historic Core.

We first met the Roofless Painters at the 2016 Los Angeles Plein Air Festival, when artist Julio Panisello won the Grand Prize for his oil painting of Angel’s Flight. A talented artist, Julio is also a beloved educator and the inspirational founder/leader of Roofless Painters, a nomadic painting atelier in Los Angeles.

Grand Prize Winner, 2016 • Julio Panisello, “Angel‘s Flight” 
Oil on Canvas, 18″ × 24″