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Celeste McCall · 09-24-2004, 09:09 AM

Dear Janet,
Thank you for taking the time to look at the painting and thanks for the post.

Dear Chris,
Yes, the pigment does have to do with the lifting ability but all can be pretty successfully lifted on the Clayboard. The transparent watercolors lift much easier. If the red was lifted (over the hat) it tended to leave a pink color. I then added cad yellow to those areas of hair and after that dried I could lift back to almost white. Don't know why that was possible, but it worked great.
The watercolor portrait was one of the easiest experiences with portraits that I've had in any media of portraits because of the Clayboard textured. It is so forgiving....sort of like the china.

This was much quicker and easier than porcelain portraits. Now THAT is hard...but fun and forgiving as well. You just never know what the kiln gremlins will do during the phases of firing.

I'm trying to get good enough with these watercolor portraits because a lady has given me some ivory pieces that she bought many years ago at the Vatican with the silver miniature frames that go with them. What a treasure! But a stiff challenge to be able to honor the pieces. So I'll work away with the watercolor until I get better.

Thanks for the post, Chris.

09-24-2004, 09:09 AM	#7
Celeste McCall Juried Member FT Professional PA Joined: Dec 2002 Location: Southlake, TX Posts: 162	Dear Janet, Thank you for taking the time to look at the painting and thanks for the post. Dear Chris, Yes, the pigment does have to do with the lifting ability but all can be pretty successfully lifted on the Clayboard. The transparent watercolors lift much easier. If the red was lifted (over the hat) it tended to leave a pink color. I then added cad yellow to those areas of hair and after that dried I could lift back to almost white. Don't know why that was possible, but it worked great. The watercolor portrait was one of the easiest experiences with portraits that I've had in any media of portraits because of the Clayboard textured. It is so forgiving....sort of like the china. This was much quicker and easier than porcelain portraits. Now THAT is hard...but fun and forgiving as well. You just never know what the kiln gremlins will do during the phases of firing. I'm trying to get good enough with these watercolor portraits because a lady has given me some ivory pieces that she bought many years ago at the Vatican with the silver miniature frames that go with them. What a treasure! But a stiff challenge to be able to honor the pieces. So I'll work away with the watercolor until I get better. Thanks for the post, Chris.