This is a study of a Marchador stallion, Júpiter Quitumba. I tried 4 different ways to make dapples (spots). Nothing seemed to work for me.
The photo of this stunning horse is licensed CC by-sa: https://commons.wikimedia.org/wiki/File:Mangalarga_Marchador.jpg
He’s owned by Quitumba Ranch in Brazil. That Wikipedia page says author = Fábio Vidigal, so maybe that’s the name of the photographer. Don’t you love that neck?
Oh, this is gouache, except for a wash of transparent blue over the ‘sky’.
I did this yesterday on the last day of a migraine. I shamefully looked at http://www.bigtrout.com/graphics/fish3.jpg. I’ve got to stop myself from doing that. I didn’t check to see the rights to that fish. 🙁
This is thin gouache.
Might I add, that I’ve settled on adding about 30% by volume peach gum solution to the pigment paste for gouache, about 25% for watercolor. Recipes are all wildly different.
I told myself to spend only 2 days on this and I did. I’m so surprised that it turned out well. Peach gum watercolor on 9 x 12 in. (23 x 30 cm) Bienfang nylon, no, wood pulp, no, cotton rag, no wait, wood pulp paper.
Oh yes, credit for reference: https://pixabay.com/static/uploads/photo/2015/10/16/19/54/mens-991728_960_720.jpg
I’m still practicing with peach gum! Here’s a daylily on pastel paper:I tried to blot out a mistake in the upper left. I can’t? Here’s the photo I took of my daylily, if you want to use it. Gorgeous flower! You can use any photo you want in the reference folder. It’s not an arranged webpage.
I’m a little concerned about lightfastness now. Here’s what the Handprint dude has to say about lightfast pigments in watercolor:
“Only tests actually done on watercolors can guide your pigment selections. Lightfastness ratings of oil or acrylic paints are not a reliable guide to the permanence of watercolors made with the same pigment, because pigments last longer inside the protective coatings of oil or acrylic vehicles than when left bare on paper with an irregular coat of gum arabic. Keep in mind that some watercolor paint manufacturers simply quote the lightfastness test results provided by the pigment manufacturers, who commonly test their pigments in an oil or acrylic dispersion.”
BTW, nerdness is relative. I know I’ve been nerding out lately, but Handprint dude makes me seem like a fogged out Pokemon player.
(peach gum binder: peach gum, water and sugar syrup. I added that mix to pigment; about half as much mix as pigment, to get a freely flowing paint. More gum arabic apparently makes the paint more controlled, more likely to stay in place. And increases lifting, I read. So, if I had added more gum, maybe I could have lifted mistakes. However, my pigments are staining, so…)
I mixed some whiting into the plum gum paint to make gouache:
-and more gum. And I painted squash, because it rhymes with gouache. This is messy, but ….yeah, it’s messy.
This morning, I made paint from gum from my plum tree and painted a plum: Yesterday, I used too much gum binder and the paint didn’t wash and spread like watercolor. I had to tug at it. So, today, I was careful and only used a little of the solution – no, I think it’s a suspension.
It washed. Woohoo! Supposedly, all the gums from cherry, plum, peach, apricot and almond trees have the same properties. Says Ralph Mayer. And they supposedly can replace gum arabic.
I have a cupful of the peach gum. 🙂 I think I’m going to do some watercoloring.