Water Media Demo

I wet most of the drawing thoroughly (well beyond the actual outlines of the figure and clothing) and allowed some of the wet sheen to subside so I wouldn't have pools of standing water on it.  With water media, I always work from pale warms first on to cooler and darker, so I first used Naples yellow (transparent) on any areas that needed a warm undertone, followed by cadmium orange (transparent) and then vermillion (gouache).  Finally, I used some cadmium yellow (transparent) and cadmium red light (transparent) in some of the feathers and clothing while it was still faintly wet.  With all of this, I generally just reinforced contours and also did some thin glazing or wash over flatter areas.  I didn't worry too much about staying within any lines, and allowed some seepage, staining and bloom which will occur because of painting wet into damp.  I'm kind of working all around the center of focus, with smaller touches of pigment here and there.  I'm letting this dry before doing anything else.  It always starts out looking pretty fresh and energetic in this phase, so let's hope I can retain it and not go off the cliff….

It's getting late in the afternoon so the photo is a bit off, I'll try to take another that is in better light before the afternoon is over.

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Kimberly Reed-Deemer

About Kimberly Reed-Deemer

I attended the American Academy of Art in Chicago, transferring to the undergraduate art program at Northern Illinois University. After leaving NIU, I worked in fine art, focusing on charcoal, pen and ink drawings, and watercolor.

In 1993 I traveled to the Yucatan in Mexico which generated a number of ink and watercolor compositions of Maya ruins, and decided to pursue a degree program in anthropology at NIU.  While I earned my degrees I worked in a biology lab, leading to a sideline in scientific illustration.  While I was working on my master's degree in physical anthropology, I was called upon to produce illustrations of fossil human and nonhuman primates for the paleontologists at NIU, including work published in Newsweek, Popular Science, and the New York Times.  My own research in anthropology involved functional anatomy and locomotion in early fossil humans, and a number of illustrations pertained to my work on that issue.  From 1990 until our move to New Mexico in 2004, most of my artistic output consisted of scientific illustration.

   Following our relocation to New Mexico in 2004, I began to work solely in fine art, and my current work has includes pieces in charcoal and pastel, ink, watercolor and gouache, and ranging in subject matter from portraits and figures to landscapes and still life.  Part of that work focused on the religious iconography and structures prevalent in New Mexico.  These drawings are typically done in crow quill pen and India ink, followed by washes of gouache and watercolor.  At that time I also began a series of charcoal and pastel drawings, and gouache and watercolor paintings of New Mexico's Baile Folklorico, Flamenco, and Zuni Pueblo dancers.

In August of 2010 I began working in oil for the first time.  My paintings in this medium include figurative subjects, New Mexico landscapes and still life compositions.  I am currently working on a series of oil paintings involving the technology related to astronomy, such as the radio-telescope structures of The Very Large Array. 

 

 


 

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