{"id":3158,"date":"2011-11-02T17:58:57","date_gmt":"2011-11-02T22:58:57","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=3158"},"modified":"2014-12-14T20:04:21","modified_gmt":"2014-12-15T01:04:21","slug":"liquid-and-linear","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2011\/11\/02\/liquid-and-linear\/","title":{"rendered":"Liquid and Linear"},"content":{"rendered":"
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Seated Contrapposto, 2011, by Fred Hatt<\/p><\/div>\n

Several weeks ago I posted about\u00a0beginning to experiment with watercolor painting<\/a>\u00a0in the life drawing sessions I attend as a regular practice. \u00a0Now I have a batch of new watercolor paintings to share.\u00a0 I\u2019ll write about my experiences with the new (to me) medium, interspersing illustrations more or less randomly.<\/p>\n

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Yisroel Quick Poses 2, 2011, by Fred Hatt<\/p><\/div>\n

The classic watercolor approach to the figure is to focus on clear areas of light and dark, infusing color into the shadows using wet-on-wet techniques to achieve luminous softness. \u00a0I don’t know of anyone that does that style better than my friend\u00a0Jacqui Morgan<\/a>. \u00a0I love the way she achieves the look of light reflecting into the shadow areas – click the link on Jacqui’s name to see several examples of what I’m talking about.\u00a0 But I\u2019m more interested in finding my own style than in imitating something someone else has already mastered.<\/p>\n

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Think Back, 2011, by Fred Hatt<\/p><\/div>\n

Over the seventeen years I\u2019ve been attending life drawing sessions, I\u2019ve drawn with pencils, pens, pastels, cont\u00e9 crayons, graphite blocks, markers, and ink and brush.\u00a0 The medium I really developed was aquarelle crayons<\/a>. \u00a0(Aquarelle is the French word for watercolor, so these crayons contain watercolor pigments and are water-blendable.)\u00a0 I generally worked on gray or black paper, so I focused primarily on drawing the highlights, letting the ground of the paper represent the shadows.\u00a0 Watercolor painting essentially demands an opposite approach!<\/p>\n

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Chin on Knee, 2011, by Fred Hatt<\/p><\/div>\n

Through the use of dry media I discovered the expressive power of the linear stroke.\u00a0 These gestural marks are the traces of movement, the movement of my hands as well as the movement of my perception.\u00a0 I\u2019ve found that the scribbly thicket of lines communicates my way of seeing my subjects as patterns of energy.\u00a0 The strokes also capture a particular quality of the moment, a mood that may be tranquil, dynamic, sensual, or whatever.\u00a0 The lines also follow the three-dimensionality of the form, and convey its roundness even in the absence of chiaroscuro<\/a> lighting.\u00a0 The expressive line technique should work well with the brush.<\/p>\n

\"\"<\/a>

Squat, 2011, by Fred Hatt<\/p><\/div>\n

Dry media such as the aquarelle crayons cannot be mixed on a palette, but must be combined directly on the paper.\u00a0 Essentially, the pigments remain separate but are close enough together that they blend in the eye<\/a>.\u00a0 It should be possible to do that in paint, too, though so far I haven’t yet figured out how to get the highly saturated watercolor hues to blend into really convincing realistic colors.<\/p>\n

\"\"<\/a>

James, 2011, by Fred Hatt<\/p><\/div>\n

Over the years I have done a lot of drawing with ink and a brush, and I had certainly noticed that brushstrokes are more expressive than the strokes of a pencil or crayon.\u00a0 Crayons are simple – relatively easy to control, dumb, but direct.\u00a0 I barely think about them when I’m using them.\u00a0 The relationship of brush to paper and brush to liquid is complex, with small variations in pressure, angle, and wetness making a huge difference in the quality of the marks.\u00a0 I find I must place more of my mental awareness in the brush itself, because the subtleties of its caress are so magnified on the paper.<\/p>\n

\"\"<\/a>

Seize, 2011, by Fred Hatt<\/p><\/div>\n

As you can see, I\u2019ve been trying to adapt my scribbly linear style to watercolor painting.\u00a0 I still consider these paintings a beginner’s attempts in this direction.\u00a0 It\u2019s exciting for me to challenge myself with an unfamiliar medium, and interesting to see how techniques with which I\u2019d achieved a certain facility become crude or experimental when transposed to watercolors.<\/p>\n

\"\"<\/a>

Lumbar Hands, 2011, by Fred Hatt<\/p><\/div>\n

In sketching quick two-minute poses with watercolor, the technique of focusing on the light\/dark divisions works well, and actually seems to capture the quality of the pose more efficiently than the contour-based approach I tend to use when drawing with pencils or pens.<\/p>\n

\"\"<\/a>

James Qucik Poses 1, 2011, by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

James Quick Poses 2, 2011, by Fred Hatt<\/p><\/div>\n

Watercolor paints are transparent.\u00a0 Highlights are achieved by leaving the paper unpainted, and light values of colors by using very thin washes of color, or, in my linear style, thin meshes of colored lines with a lot of white in between.\u00a0 For me, this has been the most challenging aspect of the medium.\u00a0 Occasionally I\u2019ve cheated by using white aquarelle crayons to open up highlights or to \u201cerase\u201d errors or washes that become too dark.<\/p>\n

\"\"<\/a>

Gathered, 2011, by Fred Hatt<\/p><\/div>\n

I\u2019ve also sometimes used light-colored crayons to make a rough sketch on the paper before beginning to apply paint.\u00a0 This allows me to use my accustomed loose-handed way of establishing overall proportions and spatial relationships before laying down paint that may be difficult or impossible to correct.<\/p>\n

\"\"<\/a>

Upward Recline, 2011, by Fred Hatt<\/p><\/div>\n

Sometimes a very simple approach is most effective.\u00a0 I think I have a tendency to overwork things.\u00a0 Watercolor seems to shine with a minimalist style.<\/p>\n

\"\"<\/a>

Bow & Kneel, 2011, by Fred Hatt<\/p><\/div>\n

The portrait below may be the closest I’ve gotten to duplicating my crayon style in paint.<\/p>\n

\"\"<\/a>

Donna, 2011, by Fred Hatt<\/p><\/div>\n

The colors of the watercolor paintings look a bit more intense in these photos than they do in the originals.\u00a0 Even photographing these requires a different approach than photographing the crayon drawings!\u00a0 But since I switched from cheap watercolors to higher-end paints, the colors are highly saturated.\u00a0 I think I need to figure out how to neutralize them.<\/p>\n

\"\"<\/a>

Torso on Folded Legs, 2011, by Fred Hatt<\/p><\/div>\n

Sometimes I’ve tried a more expressionistic approach to both the colors and the strokes.\u00a0 That seems to work to give a feeling for emotion and character.<\/p>\n

\"\"<\/a>

Puppet Maker, 2011, by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Melancholy, 2011, by Fred Hatt<\/p><\/div>\n

The model for the drawing above is Claudia, the Museworthy<\/em><\/a> blogger.\u00a0 She’s got a post coming soon that features artwork by the many talented artists that know her through her blog or through her work as a model.\u00a0 I’ll have a piece in it, and I’ll add a link here as soon as it’s up.\u00a0 I’ll close this post with another watercolor of Claudia.<\/p>\n

\"\"<\/a>

Claudia, 2011, by Fred Hatt<\/p><\/div>\n

All the paintings in this post are watercolor on paper, either 15″ x 20″ (38 x 51 cm) or 11″ x 14″ (28 x 36 cm).<\/p>\n","protected":false},"excerpt":{"rendered":"

Several weeks ago I posted about\u00a0beginning to experiment with watercolor painting\u00a0in the life drawing sessions I attend as a regular practice. \u00a0Now I have a batch of new watercolor paintings to share.\u00a0 I\u2019ll write about my experiences with the new (to me) medium, interspersing illustrations more or less randomly. The classic watercolor approach to the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[212],"tags":[133,275,17,44,21,96,22,134],"class_list":["post-3158","post","type-post","status-publish","format-standard","hentry","category-figure-drawing-watercolor","tag-art-modeling","tag-color","tag-figures","tag-nudes","tag-process","tag-sketch","tag-technique","tag-watercolor"],"yoast_head":"\nLiquid and Linear - DRAWING LIFE by fred hatt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/fredhatt.com\/blog\/2011\/11\/02\/liquid-and-linear\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liquid and Linear - DRAWING LIFE by fred hatt\" \/>\n<meta property=\"og:description\" content=\"Several weeks ago I posted about\u00a0beginning to experiment with watercolor painting\u00a0in the life drawing sessions I attend as a regular practice. \u00a0Now I have a batch of new watercolor paintings to share.\u00a0 I\u2019ll write about my experiences with the new (to me) medium, interspersing illustrations more or less randomly. 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