Clayboard verses paper, a watercolorist’s dilemma.
People write to me often and ask me why I paint on surfaces other than paper. Some folks have always challenged my methods because they are not traditional in nature. The use of heavy pigment at times almost straight from the tube, the use of spray fixative and of course the use of non traditional painting surfaces. First, I would mention that this is nothing new, people have been painting on gessoed masonite for over 40 years. I’m sure canvas, wood and other supports have always been available to watercolorists and have been used as well. I started painting on other surfaces for several reasons. I’ve painted on paper for more than 20 years and feeling like i was missing something, wanted to branch out. I’ve always like experimentation & now that I’m confident of my painting skills, wanted to see what else is out there for the watercolorist. There is a lot of work in the area of water media, which is exciting and fresh and not limited by the traditional restrictions of watercolor on paper. Even our state (SC) watercolor society changed their name to watermedia society and this made me realize that things were changing. The South Carolina watercolor society has always been at the forefront of new artistic avenues and being a part of it was important to me. I also found that sales of my paintings on clay board, canvas or gessoed masonite were selling for a higher price than the works on paper. These surfaces are actually easier to paint on once you learn their limitations and yet give the artist many ways to express an idea. Without having to plan ahead, and the ability to correct mistakes easily it helps the artist be more in the moment. It also allows the artist (especially the new artist) a certain amount of freedom that watercolor on paper can only do after many years of experience. I still love watercolor on paper and probably always will. It not that one is better than another but they offer the artist variety and a challenge. Also… why is it that we watercolor artists feel we must restrict ourselves for traditional methods. Some of these methods aren’t even traditional but have just recently ( within the last 40 years) become rules. For instance the forbidden use of white paint, Turner, Homer, & Sargent all used white paint. I love the look of white paper but don’t see anything wrong with using white if the painting calls for it.
Here are three examples of very similar paintings on three different surfaces. Fom a distance they look very much the same but up close they have a slight variation in texture. The one on the right is traditional 140 lb paper. The one in the middle is gessoed masonite and the last is illustration
(#100 )board.
Gessoed masonite
illustration board
watercolor paper
Tags: all dogs go to heaven series, children's book illustrations, Dogs, Fantasy art, illustration
April 7, 2008 at 5:33 pm
I really like that you are taking on this issue of traditional (when did that become 40 years or less?) mediums being used in traditional ways. I like the gessoed work much better than the other two, but being that I am an untraditional oil painter, that one looks the crispiest to me and I like it best. The cool thing is that you have options, not only as the creator, but as the buyer of art as well. You like traditional stuff…then here’s something that vain for you, and so on. Thanks for sharing, I feel like I must be the only one out here having to explain my use of substructure to paint on…like I plaster my own canvases and then paint on top of that, not so new right? Well I use drywall paste/plaster ready made and cheap at the hardware store (been doing this for years, nobody said I couldn’t so…why not?). When I say plaster and oil painting, people have an idea about the word plaster. At a show one time, I was telling a student how I got the effect I got with a new work (he was excited about learning something new) and was overheard by another art patron…she was horrified that I would use such a cheap product under my work. I didn’t get it. Still don’t. I did learn to leave out the drywall part and just go with plaster when selling though.
April 7, 2008 at 7:45 pm
I’m no chemist but I would venture a guess that gesso is a very close cousin to plaster. It would be interesting to have someone who knows such things take a look at it. Also, weren’t Fresco’s painted right into the wet plaster? You have to take comments from other artists with an understanding that there can always be some animosity for your work, and there is a High brow element who will find ways to disapprove of other’s work. Usually they are frustrated themselves and limit themselves to a “purist” attitude which makes them ( in their own mind) a better artist.
I see this also with folks who are down on artists who use projectors, photos and even girds as drawing ads. Why is it we have to tie one hand behind our backs and limit our creativity by these prejudices?
Thanks for your comments
Shanti Marie
Artist
April 8, 2008 at 10:25 am
Love this painting, especially in the gessoed masonite variety. Will have a further look around at your site, you have an inspirational style!
Cheers,
Arco
June 6, 2008 at 6:40 pm
just started using the ampersand aquaboard and loved it! very workable and forgiving. not confident sealing though…scared i wil ruin my piece. prefer to frame my watercolors under glass.