Colours used: Windsor and Newton Artists' Colour - Permanent Rose and Prussian Blue & a Sakura - Gelly Roll 08 white pen
Brushes used: synthetic taklon #12, #4, & #2 with a 1" synthetic Beauti-Tone house painter's brush for wetting the paper.
Paper used: Fabriano 140lbs cold press water-colour block 9.5 x 12.5 inches
*preliminary note: there is some blurring in the image due to scanning and merging two halves of the painting.
Water-colour rendition of a photo from this [link]
photo shoot, done in brief periods over the course of two weeks. I feel that this one kind of got away from me right at the beginning. I was attempting wet into wet washes alternating the light blue and dark blue tintings but I think the paper was still a little too wet during the first pass and the dark blue bled into the lights ripples, and bird highlights, more than I had planned. After that there was a drawn out process of re-wetting, lifting, and scrubbing out of paint in the light areas, which you can see in portions of the painting as torn paper fibers. Also during the first wash, the top third of the drawing had dried too much by the time I reached it and the difference in texture is noticeable from the lower 2/3's. I went over the dark ripples about 2 or 3 more times wet in wet to darken them and added the shadows of the posts. The posts and bird were painted about halfway through that process, and layered with alternating colours as needed. Finally, I added white gel pen to the eye, as I had been unable to lift out the highly staining red. Also to note: Due to the heavy wetting in the initial painting and in subsequent passes of colour in the dark ripples, the paper came loose from the block pad which resulted in the paper cockling (wrinkling). This made the later washes more difficult to get evenly dispersed (as the pigment wants to settle in the hollows) and I had to spent more time micromanaging the puddles (i.e. tilting the paper to manually distribute the paint). The lesson here is that I should probably get a proper backing board and pre-stretch my paper, as the adhesive on the block pads isn't strong enough to take heavy soaking and the 140 lb paper seem too lightweight for wet in wet without pre-stretching it.
All in all, I think I learned a lot with this piece: I hadn't attempted lifting out paint before and I learned to pay more attention, in the future, to the moisture level of the paper before beginning wet in wet washes.