Onions and Boku-Undo E-Sumi Watercolor Paint

I brought some onions down to the studio about a month ago for my students to paint. I keep moving them from the desk to the bookshelf, making room for other projects and bringing them back when needed. Tonight while waiting for my computer to right itself, I took a few stabs at them.

My first efforts involved testing out and using a new set of watercolors I recently ordered. (They are pictured below). There are 6 colors, all in shades of black, ie: yellow black, blue black etc. Above you see the red black in the right onion and the yellow and green blacks in the left one. They are quite moody looking veggies! I felt the sketch was in a good place but somehow looked a little sterile. I decided to go off the deep end and throw caution to the wind by adding the formidable, Chinese black ink.

I actually think these are both more successful and more interesting. I used a fairly large flat dry brush and let it do it’s thing. I find late at night, (for some, its very early in the morning), I am more willing to take chances on something. Be my better, little looser self perhaps.

The paints are Japanese and move a little slower and a bit more opaquely then European/American watercolors do. They are quite dark looking. I think their best use might be tonal studies. That will be my next effort with them. I bought them online, and they were not an expensive aquisition.

Boku Undo Paints

I’d love to here from anyone what their experiences have been with the Boku Undo Paints, and how long have you kept a pair of onions in your studio?

The Waterwitch Outboard Motor

At the Metropolitan Museum in New York City, on the Main floor all the way in the back of the good design area, under the stairs that lead up to the abstract expressionists, sits an outboard motor cased in a Lucite box. It is beautiful; silver and shiny in spots and grey industrial metal in others. It is a hierarchy of knobs, tubes, flanges and handles. The motor was designed by John R. Morgan and manufactured by the now defunct Sears, Robuck and Company in Chicago Ill , 1936. It is made of steel aluminum and rubber.

As the MET has a strictly no water media permitted zone, I drew this with Graphite Aquerelle by Faber Castell and a Printing pencil which produced the very darks. I had planned to add water in the cafeteria, but have since decided to leave it as is. It was a very focused sketch with all the engine’s parts weaving in and out under the gas tank and I really enjoyed it in spite of the fact that the pencils were a 4B and 8B making very difficult to keep a sharp line. I don’t often draw in pencil anymore and this drawing made me question why that is.