While the Android Series is still not even halfway done, this piece is the last one in watercolours, as I have decided to pursue oils and might choose to revisit all the paintings in the Series in oils.
Please note that colour names are based on what I was using, which were Caran d’Ache’s water-soluble crayons. I use these in a similar fashion to watercolours, as in I take pigment from the crayons with a damp brush, and then bring it to paper, rather than applying a wash over dry-coloured areas.
Draft completed; 2H graphite on 18×24″ Arches hot press. Reference was of my husband Keith and myself.
It’s always fun to draw and paint something new, in this case I got to try my hand at mecha wings, and best of all – a mechanical heart. It was also challenging to work with two very different characters, while not making one’s importance outshine the other.
First layer of colour on the female android. Light washes of blue were used on her skin, and pink for the blush points, while greys helped to define the shadows. Her face presented an interesting opportunity for me to play with a slightly distorted, “zoomed-in” perspective. Gold is always a lovely palette to work with.
Second layer; more greys are added to create greater contrast.
Started on the male character. Loved painting the blue glass for his eyes and “brain”.
Armed with masking fluid and a tiny 003 brush, I created a white line “barrier” between the area where the red sun would be and the male android’s face. The outer edge of the red sun was also masked, allowing me more freedom to wash with the red while retaining accuracy.
The sun was then protected with workable fixative, so I can proceed with the glass wings without disturbing the underlying red.
Main figures finished. This was my very first attempt at any sort of armour, on which I used a blend of prussian blue and different greens.
Auburn is my third-favourite hair colour to paint, after blue, and black. Her’s is a luscious concoction of sanguine, vandyke brown and sepia. The glossy glare is from the heavy layers of workable fixative, to protect against what’s to come for the background.
What follows is something I rarely document, and really should do more often. The background was created by measuring out diagonal rays originating from the centre point of the sun, using a pencil and ruler, and then covering these sunbeams alternately with masking tape. I then went nuts with earth tone washes and splatters, removing the tape mid-way, blow-drying the surface, painting over the sunbeams, masking the whole thing over with workable fixative, and laying down a final layer of greens and browns.
The finished piece can be viewed here in the site’s gallery.