[Valerie Gudorf]

Thanks Sergio.

I believe the paper you use has a great effect on the outcome of multi-layered techniques. In the above instance, I used Lana Watercolor paper, though the best paper for this technique would probably be Arches. Arches has a hard surface which is sized substantially, both internally and externally. It holds up well under multiple layering, and takes lifting and scrubbing techniques without the surface becoming abraded. That said, I really have a love affair with Lana. Its surface is quite a bit softer than Arches, but I feel that I have better control over my edges with Lana. Its surface is somewhat more delicate and does not take scrubbing as well as Arches, but I love the feel of it beneath my brush and the colors stay wonderfully alive on its surface. In both cases, I prefer the 140lb (300gm/m2) weight to the heavier papers.

The type of pigments used for glazing also seem to greatly effect the outcome. Some are easily disturbed once you go back over them with another pass. Manganese blue is probably the worst culprit in this regard because, besides being a chalky opaque pigment, it lifts immediately when you attempt to lay another color on top of it. Most straining pigments on the other hand---ones with Winsor, Thalo, or permanent in front of their names, layer like a dream. I did a lot of playing around with the various pigments to learn how they behave under different circumstances. Of course, watercolor can never be completely predictable, but there are a few general rules that seem to hold true most of the time.

Do you find that the type of brush you use effects the result of your glazes? I find that kolinsky sable brushes allow me to control the release of pigment to paper better than any other. I also use a very light touch when applying the paint so as to disturb the underlying layers as little as possible. It all just seems to take practice. You soon learn what works and what doesn't.

I've set this painting aside for a while to concentrate on protraiture. When I get back to it, I may e-mail you a WIP photo. Thanks for your interest, Sergio. It didn't occur to me to do so with the above work. I wish it had, as I definitely understand that SOG is dedicated to the art of the portrait. It looks totally out of place here. Again Cynthia, I apologize.