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Another expressive piece combining a mix of media to create a blend of abstract realism. The gestural charcoal drawing of an expectant mother was first fixed from the back with shellac in expressive strokes that would then still be visible in a luminous like effect under the layer of translucent black plaka paint strokes in the front. The linear accidental effects from the paint caused by the natural puckering of the paper when wet, gives further dimensional layering and interest to the piece..
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Hiya! So if ya haven't seen my latest fb or insta posts you may not have spied my latest conceptual drawing yet. Drawn with contouring colour pencil crosshatching and charcoal pencil on dark suede coloured paper, this piece is also accented with silver and gold metal leaf!  Binary Movement / Colour Pencils, Charcoal Pencil & Silver / Gold Metal Leaf on ​Murano Pastel Paper (160g/m, 45% cotton content). / Size: (8.5 x 12.45 Inches) x 2  Check out how this piece was created on my blog post
'Binary Movement' Charcoal and Colour Pencil Drawing WIP' See ya! Thanks for the visit!.. :)  'Tangy Cream' / Conte Pencil, Charcoal, Ink and White Acrylic on Shellac Sized Archival Paper. /Size: 10.2 x 10.2 Inches  Hiya folks!,.. It's been a while hasn't it!. I'm coming out of a difficult year after caring for my dad through his last few months and long slow deterioration. There are no words to describe how it feels to see a loved one go thus... We miss him everyday now even though he had long been a shadow of himself. Anyways, art has always pulled me through difficult times and I was working on this little print during his final days. I did one set with goldleaf for some artist friends (12 editions) and this set (below in only 8 editions) with silverleaf. I hadn't done any printmaking since my college days so I kept it simple.  'Zen Dog' Variable Limited Edition Linocut Print Gilded with Silver Metal Leaf (Only 8 editions) on Japanese Rice Paper / Size: 3.5 x 3.65 Inches  This is the first time I've tried gilding a handpulled print and it's a bit tricky to do so, as each piece is supposed to be as identical as possible ( this is a mark of a good printmaker). To get the gilding pattern of each print as close as possible I used a stencil to apply the gilding paste and then continued with the gilding process as usual.
I wanted the silverleaf to be protected though, so a layer of Artist Varnish was applied just to the leaf alone. These prints have only just been made available on Artfinder so if you're interested in adding one to your collection pop on by - 'Zen Dog' Silverleaf V/E Print . Do drop me a message if you have any questions! Thanks for dropping by!!
Using a Sepia Light Conte Pencil, the figure was drawn, making sure the 'quality of line' was good as this drawing would be seen in the completed piece. The acrylic primed rough watercolour paper was a great surface to work on. Once I was satisfied with the drawing, the shadows were given a wash of Chinese Black Ink ( there is just a unique luminous quality to chinese ink and I love using it whenever possible ).
To help get my bearings I now went in with the lightest light I planned for the piece. A splash of white acrylic (with a touch of raw umber) carved out the structure of the man's head and shoulder. Though I had a rough idea where I wanted the white to go, I was always aware of how the composition was developing as I was applying it and adjusting accordingly. For example, I had planned to paint down over the man's left shoulder more, but then the drip happened and looked so good I had to leave it. Acrylic dries fast so decisions had to be made quickly. With the lights and darks established I went in with a little more detailing for the figure with white chalk, charcoal and the sepia light pencil. I had to be careful not to do too much or risk losing the mood of the piece.. So I decided to develop this piece further, getting textural effects on the paper and adding the vibrant ultramarine blue and black ink in the background. I really like the aged look of the paper now and the overall effect by adding the colour and background makes for a much more interesting composition.  Charcoal Pencil, Acrylic & Ink On Archival Distressed Paper / Size: 11.6 x 10 Inches  Thanks for dropping by!.. :)
Had to say adieu to this one today. I was surprisingly sadder than usual to see a piece go. I was quite pleased at successfully achieving just the exact glowing emerald hue I had envisioned for the snake and this was also my first attempt at trying a new crosshatching technique with the oil paint too.. Despite this I could not feel more blessed with whom she is on her way to right now!.. Thank you so much for making a home for two!.. :) More info on how this piece was created etc. at 'Original Sin Rebirth'  'Original Sin Rebirth' / Medium: Oil and Silver Metal Leaf on Primed Canvasboard / Size: 5.1 x 7.4 Inches SOLD  Hi guys!, This little piece is done finally after a few failed attempts. With it being so tiny, the crosshatched strokes I wished to create at first were coming out a little too thick and clumsy, but each time I just rubbed it down and started again.. I think it came out well in the end!..  'Backlite' / Oil & Silverleaf on Canvasboard / Size: 3.1 x 3.4 Inches SOLD Check out the WIP for this piece at: Testing DIY Silverleaf Sealant, Size & Colour Palettes.  |
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All Original Artworks are licensed under Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0) 2013 Jacqueline Katherine Gomez unless otherwise stated.
All characters are copyright to their respective owners.
All characters are copyright to their respective owners.