Elizabeth Sanford

Wonder how this was done? You can find out next month if you’ve signed up for email updates; I’ll reveal the details in October!

ANSWER TO MYSTERY TECHNIQUE #72:

This is a combination of several techniques, including a new tool. I began by wetting hot press watercolor paper and blending diluted Hydrus ultramarine and a mixed blue-gray directly on the wet paper, then pressing wrinkled plastic into the wet paint to create texture. After the paint dried, I removed the plastic, revealing a subtle linear kind of texture. I used watercolor pencils to add hints of other colors and to emphasize some of the lines, blending the additions into the first layer with a wet brush. I also strengthened some of the lines with Micron black pens and created an alternate network of white lines with a uni-ball Signo white pen. Thanks to Jennifer Cunningham for introducing me to this fun tool!

This is a combination of multiple techniques; wonder how it was done? You can find out next month if you’ve signed up for email updates; I’ll reveal details in September!

ANSWER TO MYSTERY TECHNIQUE #71:

Drawing is a way of thinking for me, and Prismacolor Art Stix are my favorite tools for working out ideas — they glide so easily over the tracing paper! I typically begin with a rough version in a single color, then make adjustments in contrasting ones until I get something that seems to work. You can see the process in this early sketch for one of the panels for Keeping Secrets:

Sometimes I’ll make adjustments in white gouache and/or ink, as in this chickadee sketch for Tales of the Understory, Part III:

After this stage, I’m ready to start cutting out the design with a craft knife. I use blue tape to temporarily adhere the tracing paper to the watercolor paper and cut through both layers at once. The tracing paper drawing often looks like this when I’m done: