We did a lot of 30 seconds poses in the beginning, which is what I came for and was looking forward to.  Here are a few of those 30-second poses and then some 1-minute one.

30-seconds pose, Pierre Noire on paper

30-seconds pose, Pierre Noire on paper

30-seconds pose, Pierre Noire on paper

1-minute pose, Pierre Noire on paper

We had two models posing alternatively during the short poses and then together during the 5-minutes and longer poses.  That was a bit unusual I though, but interesting.  Here’s a 5-minute pose with two models, which I guess is like two 2-minutes and a half poses in one.  We also did some 10 and 15 minutes poses towards the end of the session:

5-minute pose, Sanguine & Pierre Noire on paper

10-minute pose, Sanguine on paper

10-minute pose, Sanguine and Pierre Noire on paper

Un Dépanneur l'hiver, rue Ste-Cat - 20 X 16 oil on Masonite (2012) by Montreal Artist Kim C Pelletier.

I have waited long enough before posting this painting, which I completed 2 weeks ago. I was hoping to get the step-by-step making of video done by now, but the music is still missing so I’ll post that another time. It’s hard to believe that 12 weeks ago when the reference photos for this painting were taken, that this is what the streets of Montreal looked like.

Montreal’s winters are the worst. Very humid, it’s difficult to keep warm and dry. The temperature oscillates frequently resulting in that the snow quickly melts into this brown mush before freezing overnight when the temperature drops below. Montreal area is also prone to ice storms – The scene of this painting is taking place on a good day What I really like about this painting is the warm light, even though it is a winter scene.

Dominating the sky, the CBC Radio Canada Tower is part of the history and development of the Centre-Sud neighbourhood in downtown Montreal.

At the top left corner of the painting, those familiar to Montreal will recognize the CBC Radio Canada tower, which enable to situate us; without any doubts, this scene is taking place in the Centre-Sud downtown neighbourhood – You can see this depanneur in better details and its exact location at my paintmap page.

Although still a bit cold, now that springtime is here it’s time to move-on to other projects. I still have problems with my ankle, so I have been resting it while I’m waiting for the right time to take photos and make sketches around the neighbourhood. I don’t think that I’ll do plein-air painting this summer as my ankle is still not strong enough for me to carry equipment.

The painting turned out to be more complicated than I though. I painted this one in three sittings which is unusual for a VP painting where the longest usually is 2 sittings at most.

First, second and third sittings (click to enlarge)

I must say that I wasn’t very satisfied with the background at first. I knew it had to be out of focus to not distract from the main subject, but I thought that it was too out of focus on my first sitting.

Close-up view of the details on the bicycle

On the 2nd sitting I added another variety of green to the grass in the far back. I added touch of colours, contrast and more definition to the pavement, more as we get closer. I modified the shadow on the ground as I realized that I’ve made a mistake. Finally, I started painting the old man.

On the 3rd and last sitting, I worked mostly on the bicycle and added more contrast to the old man, on his face and hands mostly.

The Old Man and his Bike, 16 x 12 oil on Canson® Canva-Paper, created for the Virtual Paintout April 2012 Challenge, Gdansk, Poland.

On the easel waiting to get started, A sketch of an old man and his bike.

Things have been pretty busy this last week. It was the end of the Semester for my drawing and painting students and I’m going to teach a new class this next semester; Live figure drawing.

So between working on setting-up an exhibit for last semester student and getting myself organized and ready for my new live drawing class, I didn’t get much else done.

All that I’ve got to show for this week is this sketch of an old man and his bike for this Month’s Virtual Paintout. I’m very eager to get started painting. That old man has got so much expression.

Speaking of old men, there is a new blog around the block: My father decided to get back to painting, but using Oil Pastels and started a blog to document his progress. This should be interesting, so check him out!

I’m not sure whether it was the ink itself that wasn’t right for drypoint, or if due to the shortage it had been sitting on the shelves for too long. I also thought that it might have been something that I did incorrectly, but I ruled that out today when testing new etching inks that I ordered online. I also got a new brayer, which I have been testing today as well.

A: Sanguine colour, Charbonnel Aqua Wash water-soluble oil based etching ink. B: Portland Black, Gamblin oil based etching ink. C: Sepia colour, Graphic Chemical etching ink. D: Soft rubber brayer

To test my inks, I did a small (6X4 in.) drypoint etching on a copper plate and printed on BFK Rives paper. The drypoint is based on a sketch I did last summer of the path behind the Old magazine at Sainte-Hélène Island (Parc Jean Drapeau).

Charbonnel Aqua Wash

Derrière la poudrière – 6X4 (in.) drypoint print using Sanguine colour Charbonnel Aqua Wash etching ink.

First, I tried Charbonnel Aqua Wash; an oil based ink that’s water-soluble. The Aqua Wash ink consistency appeared to be a little bit thin and it was very easy to wipe-off the plate with tarlatan – perhaps even too easy – To achieve a plate tone, you have to leave more ink on the plate, which is a little bit difficult to control given that the ink wipes-off so easily.

The Aqua Wash ink printed surprisingly well. I was very pleased with the results and I love the Sanguine colour so much! I also enjoy that it cleans-up quickly and without the use of solvent. Just a little bit of water and you’re done.

Graphic Chemical &Ink CO.

When I tried Graphic Chemical oil based ink, I immediately recognized the consistency of the ink that I first was initiated to drypoint printmaking with. Thicker than the Aqua Wash, the Graphic Chemical ink spreads easily and evenly, leaving no semi-opaque spots on the plate.

It requires a little bit more work with the tarlatan wipe, but at least I’m not afraid to accidentally remove ink inside the etched lines. I also found that it is easier and that I have more control to achieve a wider array of plate-tone values if I want to.

Derrière la poudrière – 6X4 (in.) drypoint print using Sepia colour Graphic Chemical etching ink.

Gamblin Ink

Derrière la poudrière – 6X4 (in.) drypoint print using Portland Black Gamblin oil based ink.

The Gamblin oil based etching ink was not very different in consistency, perhaps a tiny little bit thicker than the Graphic Chemical, but not enough to make a noticeable difference I think. The Gamblin ink also takes a little more work to wipe-off of the plate, but since I like experimenting with plate-tone, I think it has the right consistency for me.

I’m still having trouble obtaining a digital scan that does justice to my prints. All prints shown here are a little lighter than in reality. Playing with the contrast was messing up the colours.

At last, I did a few experiments to add a 2nd colour using the brayer – Not quite what I expected – I shall give it more trial and error another time.

Drypoint and monoprint two colour experiment I

Drypoint and monoprint two colour experiment II