CrashOctopus Blog

I wonder which was the mother and which was the father?

Commission; SOLD

5×7″ gouache* on paper

*with some interesting results because of the honey filler in M Graham gouache. Will post more later.

It’s Thermodynamics!

Gouache and ink on ACEO

SOLD

Creating my art plan for 2010… stay tuned!

Keel-Billed Squid by Meg Lyman

11×14″ gouache on Canson board

SOLD

My commission requests are getting really interesting! This is one of my recent ones, and a favorite. I am having a lot of fun putting various animal patterns on cephalopods (see below: poison dart), and this commissioner wanted me to put the Keel-Billed Toucan pattern on a squid. Birds are so colorful and this one is particularly pretty. The hardest part was figuring out what parts of the squid should correspond to the various bird parts!

Glow-in-the-Dark Shark by Meg Lyman

ACEO, gouache

SOLD

Color experiment!

Poison Dart Squid by Meg Lyman

8×10″ gouache on matboard

SOLD

Hey everyone, I’m back! I’m all moved into my new house (well, mostly, except for the boxes full of books), and life is fantastic. I haven’t done much art in the last month, and thankfully, I haven’t had any conventions to prepare for. Back into the saddle!

Poison Dart Octopus by Meg Lyman

SOLD

HI EVERYONE!

I’m going on a blogging hiatus for a month or so. My house sold and I’m about to buy a new one and move! If everything goes smoothly, you should see more art and posts from me in less than a month.

Wish me luck!

Poison Dart Nautilus by Meg Lyman

8×10″ gouache on paper

$50 – e-mail to buy

Holy moly, life is busy.

Two conventions last month, one coming up, getting my house under contract and all the various sundry associated tasks, looking for a new house, seeing my little sister happily married, traveling for work… it’s been fun but crazy!

I have a bunch of commission work to do now. These cloudy fall days make me want to snuggle up with some paint and create all day.

Cosmic Koi by Meg Lyman

11×14″ gouache and ink on illustration board

$95 matted – e-mail to buy

This was another fun experiment! I used a large ink brush by Pentel – the kind you have to squeeze to get the ink flowing – to do the outline. I painted the koi with gouache and scanned it so it could be used as a tattoo. Then I colored the background, using salt and a white ink pen to make “stars.” This is pretty much backwards from how I usually work. Finally, I went over the ink again. It was challenging, but fun.

Also, I was out of big black mats, so I painted a beige mat with black gouache. It’s quite absorbent, so it worked well with only one coat… but the black gouache came off on my fingers if I rubbed it. Solution: frame or put in a ClearBag.

The Devotee by Meg Lyman

8×10″ gouache on matboard

SOLD

Another con, another good time! If you’re going, stop by my table in Artists Alley and say “hi!”

I enjoy painting on canvas with oils. I’ve been wanting to try gouache on canvas. (I want to try gouache on everything. It washes of faces and gesso but stains clothing. Go figure.)

So I tried gouache on canvas. It failed miserably. In general, canvas is primed with acrylic-based gesso, making it ideal for oils, but gouache simply won’t stick to it. It literally washes completely off.

So you can imagine my thrill when I saw Fredrix Watercolor Canvas, which is primed with something-or-other specifically designed for water-based paints. Finally! A canvas that will take gouache!

Except, not really.

I’ve found that one of the critical differences between gouache and watercolor is the thickness of application. Watercolor can be used thickly, but for the most part, people water it down quite a bit and use washes and layers. Gouache can be used this way too, but the washes rarely turn out as smooth, and layering without lifting requires finesse. Gouache is more suited to thicker, opaque application. Unfortunately, this canvas is great for washes and horrible for thick application.

I’m not sure what it is about the absorptive qualities of the cotton canvas + special gesso combination, but washes sink in, whereas thick paint does not. It sits on top and will come off with even the small amount of moisture on your (seemingly) dry finger. I learned this after I painted the sky of The Witch and rested my hand on it to work on the trees. There were little finger whorls all over the sky and bits of white canvas showing through. It had to be repainted.

If I had taken the time to read the label on the canvas, I would have seen that one of its virtues is “superb lifting ability for easy washes and corrections.” Layering, therefore, is nearly impossible, especially with thick paint. The first thick layer is fine, but once the canvas gets wet, forget it… everything lifts right off. Reworking can only be done after everything is completely dry, and even then it’s a tricky operation. I don’t have the patience for it.

I was able to use fixative spray on it after I finished, and the canvas took it wonderfully. No changes to the finish or colors. However, even with several coats of spray, the gouache will lift off with water. At least it was safe from my fingers at that point!

It is durable and doesn’t buckle. That was nice.

So… this canvas will work with gouache, but in a limited capacity. Washes work, and if you want a messy, textured painting. I simply chose the wrong support for this detailed painting. I estimate it took me twice as long to paint than if I had used illustration board.

Today’s lesson: test your medium+support combinations on small projects before you have only a week left before the painting has to be done.

Duh, right? *sigh*