Watercolor Class Spring 2012

WATERCOLOR – Demo: The Importance Of Under Painting.

                              

I like it when I can find students who are having problems in class because they make perfect examples for demos that will directly affect a students needs plus they are great teaching tools. This one illustrated the power of a good under painting.

When you are learning to paint whether it is watercolor, oils, acrylics or other colorful medium you only see what is in front of you whether you are doing plein aire or working from a photo, you tend to only see the whole or what you hope it will look like finished when what you should really be seeing is the pieces and parts that make up the whole, because that is your foundation, it is what give your finished painting strength and substance.

The first thing you need to do when you are planning how to start your painting is to look to see if there is an "under color(s)". It may take some time and effort, but eventually you will see what I'm talking about, for instance: Something simple like a lawn looks green – usually – and as a beginner, that is how you would paint it and you would not be satisfied with the results. A lawn, while it may be primarily green, it has a lot of other colors going on in it, even several colors and values of green. There are yellows, oranges, sienna, blues and purples all of these colors can go into the under painting, if you keep them light, then they can influence the finished grass. It is seeing them in the first place that is the hardest to convince your eye (left side of you brain).

The problem the student was having was she was trying to paint what she saw in her photo and she had tried it several times in different mediums without success. What she hadn't tried was to start with an under painting. Each element in her photo of the side of an old abandoned building had it's own under color. The corrugated metal panels each had a slightly different look to them: one was very pinkish, another green the other two were shades of blues and purples, the old wood panels had a warm sienna color, even the white wasn't white but a soft version of the wood. But there was different wood that had a more yellowish under tone, these are the colors that need to go on first then by adding layers or color, you build the elements in your painting.

Watercolor requires you to be patient and work in a methodical way one layer at a time, if you can't do this, if you try to go from point "A" to point "Z" in one step, you are going to be very disappointed with your work. This is not a race and as you learn you will paint faster but you will still be going through all the steps. Learn to see the under colors and learn to enjoy the process, your paintings will thank you for it.

Torrance only has 2 more classes, PV goes until June 12^th. Classes at Torrance will start up again on June 19^th so be sure to get signed up as soon as you can. If you have Google Chrome, I have started a Circle for my art classes if you want to comment or post a photo of things you are working on, it can be a bit more interactive than just a blog See you all soon.

Watercolor Spring 2012

WATERCOLOR – Backgrounds Using Mask Demo

There are many ways to do similar things with watercolor you can either paint around something and go by sections or you can use masking fluid so you can do it all at once, you need to try both to see which one you like because they both have their places and I do go back and forth depending on what I'm trying to accomplish.

When I need to get a soft, "out of focus" background often times I will use masking fluid to protect the subject and any area that is in the foreground, then I can wet the background and work without worrying about painting around something. This is also particularly handy when you have a lot small detail you want to avoid.

First I started with my drawing. I like to draw to scale. What that means is I like to have my drawing the same size as I'm going to paint so that it makes transferring easier. To get the right size for my watercolor paper, I use a mat that I can buy anywhere and mark out the inside dimension on my paper so I know how big I need to make my subject. I work on drawing paper or tracing paper because I can make my mistakes on there then I don't have to worry about hurting my watercolor paper's surface with erasing.

When I have my drawing the way I want it, I use a black felt pen to go over all my lines, then I can either use graphite paper or rub pencil on the back of the drawing as sort of a poor man's graphite paper or as I did in this case, I taped it to my back sliding glass door then tapped my watercolor paper of it in lieu of a light table (another option) and with a #2B pencil, I went over my lines also marking the corners of the matt dimensions.

After I have my drawing on my watercolor paper, I tape it down to my support using the matt corners as my guide, I tape just outside the corners so my painting area is large enough that when I go to matt the painting I won't have any white edges showing.

I then get out my masking fluid and mask my ENTIRE drawing. When you use the masking fluid it is best if you use an old brush or a cheap brush, have an old bar of soap or liquid soap handy and soap up the bristles wiping any excess off before dipping into the masking fluid. A couple do's and don'ts when it comes to the masking: DO NOT SHAKE IT! Even if you want to use one with a colorant in it you want to gently turn up and down to mix the color. When you shake it you create foam that won't go away for hours and if you use it on your paper the bubbles will break leaving your paper exposed and you will get paint where you don't want it. It also introduces oxygen into the fluid and will cause it to cure so when you go back to use it all you have is a chunk of rubber in the bottle.

Do not leave it in a warm area or where the sun will hit it or you will have a chunk or rubber. When not in use, keep the lid tightly closed or again, you will have a chunk of rubber. Rinse and re-soap your brush often – about every minute or so – to keep the fluid from curing in your brush creating a little chunk of rubber on the end of your brush. Clean your brush well after using  and even a cheap brush will last a long time.

When you apply the fluid be sure that you put enough on, don't try to spread it out so thin that you end up with gaps and be sure that you paper is dry before you put it on (you can use masking fluid in between washes as long as the paper is dry first) then let it dry completely before you start to paint, about 20 – 30 minutes generally. I let my mask dry naturally IF you use a hair drier be sure that you use one that has a low heat setting and hold it back at least a foot or more. If the masking gets hot it could melt into your paper and will tear the paper when you go to remove it.

Once the masking is dry you and paint and wet the paper to your hearts content. What you do is going to be influenced by what you are painting so be sure that you have your reference photo handy so you can decide what colors need to go where. If you need to, you can do another layer before you take off the masking just be sure that when you do take the masking off that the paper is totally dry. If you have lots of little spaces between the areas of masking, the water and paint can pool up there and make the paper wetter than other parts of the paper so it is better to be safe than sorry and leave it for an hour or more even over night if you can wait that long or use a hair drier (see above caution) because if the paper is wet and you try to remove the mask, you can tear the paper. If you are using a soft surface paper be extra careful, always rub into the mask not out towards the painted area. Sometimes you can get it started and it will just pull off but you may need to get a rubber cement pickup or you can turn tape so the sticky side is out to save your poor fingers from being rubbed raw.

This technique is very useful and can save a lot of time but you do need to plan ahead and once you have the mask on you want to work quickly so you can remove it as soon as possible. I have left it on my paper for a month with no problems, I made sure it was in a cool dry place but to be safe you want to get it off within a couple of weeks at most, don't think you can come back 6 months from now and be able to remove it because it will become part of the paper and will not come up.

I will think of something else to demo for next week, I hope to see you all soon.

Spring 2012 Watercolor Class

Watercolor – Apple Turnover Week 4

(They have "improved" Blogger so if you have any problems with the blog or the picture page link, let me know.)

In the last class at Torrance, I continued to add intensity to my colors. Intensity is different than value, whereas value is the lightness or the darkness of an area, intensity is the richness of the hue of a color. For instance, if your apples look too pale or pinkish you need to intensify the color, e.i. add more red. If your shadows aren't dark enough, they will need to be intensified with more blue and purple.

Remember with watercolor we need to sneak up on our color. It is much better to intensify a color in a series of washes than to cover it all in one step. You will loose the transparency of the watercolor if you do. I did add a light wash or orange to the apples in the sun that gave them a bit of a glow.

I also added a bit more to the texture of the basket/bucket buy using more dry brush to add more color inside and out. I also added color to the bands around the basket starting near the top with orange and a touch of sienna, bleeding it up into the lighter area and down a bit into the next darkest area continuing to work wet into wet by adding sienna to the next area, then sienna and purple to the area that is going into the shadows, then a bit more purple into the sienna as it goes into deep shadow. I worked wet into wet to get a smooth transition of color.

I added color and detail into my grasses using greens and sienna, some orange. I did lift out some bent over grasses and added color when I thought it needed it, the one thing I didn't do is worry over this process. I have my values in place all I need to do it add color it should be there when I'm done.

In the grass around the apples and basket, I just suggested texture and some shadows where the apples are sitting but again, less can be more.

The bale of the handle (that is the wire the wood handle is attached to), I lifted out with my brush and added a dark shadow to the back side of it.

The spaces between the slats on the basket and the knot holes I did with my small angle brush but they can be done with a liner if you feel more comfortable with that brush. I mixed up a dark color using my blue, purple and a touch of sienna to make my UNEVEN lines for my slats (remember it is old cheap wood) and any other detail  thought it needed.

Finish this up how ever you want. You can be very detailed or not, it is up to you. I am stopping here because I really don't think I need to do much more but I do want to live with it for a while before I make my final decision. This is a habit you need to get into as well, stop before you think it is done because if you are looking for things to do you could over work it and ruin what you have.

Have something you want to work on in class in both Torrance and PV because I think we might finish up at PV in our next class, I will do demos to help you and the class on specific problems. See you in class.

Spring 2012 Watercolor Class

Watercolor – Apple Turnover Week 2

Torrance class, I went back a step and did a demo using just one apple so you could see what these layers of value can do for your painting. It is easier to see just one apple than the whole lot of them but big or small the technique is the same: One wash at a time.

If you need to review the procedure, see last week's blog. PV students you may need to do that at this point.

In the Torrance class, I still had a couple of washes to put on to get my darkest darks before I started putting on color, I let it dry before I went ahead adding color.

I have what is called a "grass comb" brush that I used on the basket to create old wood texture. It is designed to split at the end which makes it great for fur, hair and dry brush, I used this brush to add the texture to the basket, however, if you don't have a comb brush you can use a fan or you can spread the bristles out on a flat, angle or round brush to get the same effect. A small bristle brush would work but if it has EVER been in oil pain DO NOT USE IT! Acrylic paint is water based so that would be okay but an oil brush will always have a bit of oil in it and it can ruin you painting.

Remember to use lighter colors in the sunny area and darker colors in the shadow areas just like you would normally do. Also notice that I have not started to add any detail like the slats or cracks to my bucket, that will come later.

The apples were basically just napthol red, it is the gray under painting that is giving them shading. The green apple was a mix of sap green and a touch of yellow. I lifted out highlights just to show how to do it, that could change as I work on this painting.

Take your time. Watercolor is not for the impatient. Let things dry before adding more layers. Think about what you are doing before you do it. Most of all, relax and have fun. This isn't rocket science you should be enjoying the journey.

We (I) may get this done next time, I'm not sure, just be looking for you next project because that is what you will be working on for the rest of the semester. See you all in class.

Spring 2012 Watercolor Class

Spring 2012 Watercolor – Apple Turnover

Before you start you will need to have the reference photo and the drawing, you will also need to have a good drawing on your paper before you start.

Torrance students I think I pushed you off in the deep end when I should have taken you into the shallows first so I will explain what I did at PV and what we are doing might make more sense. (See photo page)

This is a lot like the ink wash painting we did a couple of semesters ago except we will be using grays we make from our palette. I learned this technique from a man named Don Andrews and it is a very effective way to get more value in your paintings but it does take practice. I find that I will start many of my paintings this way or at least parts of my paintings depending on what I think it will need.

If you have different values of blue starting with cerulean, cobalt and ultra marine, plus have orange and burnt sienna on your palette, this will help. If you only have one or two blues you can still make this work, the end product will only be a little bit different. (See photo page)

The following instructions are the same for the practice apple as well as the project itself so I won't repeat the steps for the project but will give some suggestions for handling the brush when I'm done with the practice apple.

The first thing you need is a good drawing on your watercolor paper so you know where your highlights and shadows will be. On the practice apple I used lines to define the lightest to the darkest 1 being the brightest highlight and 5 being the darkest shadow. The light is coming from the upper left hand side so the basket and the apples will have their high lights on the upper left hand side. I know that sounds obvious but it is easy to loose track of your light source when you are blocking in your painting. Yes, this is coming out of my mind but if you have any doubts take an apple, find a single light source such as a window or a lamp (all other lights need to be out) and see for your self.

IF you feel more comfortable masking out your brightest highlights now is the time to do it before you start painting, I just painted around the lightest areas.

Keep in mind that watercolor is a transparent color, each layer you put down effects the next layer you put on top of it (when it is dry) so you can build your values and build the intensity of your color by doing layers of washes. You will want to start out with a light wash, if you have your value scale get it out and use it because you don't want your first wash any darker than the value next to your white, on a commercial one it would be the 10% or less.

I mixed a gray using my cerulean blue and a tiny touch of cad orange. The orange can easily over power the blue so if it looks too yellow or greenish add more blue, this should be a cool gray. Use a lot of water to make a light value and you will want to use a large brush like a wash brush or a 1" brush because this will go over EVERYTHING EXCEPT the lightest highlight whether it is on the practice apple or the project. Remember to paint around your highlights if you have not put masking on them but paint everything else, DO NOT paint around anything except the highlights. If you only have cobalt and Ultra marine or just Ultra marine don't worry, this will work just the same your grays will be a slightly different color (hue).

If you have done this right, you should barely see where the highlights are once the paint has dried. It may take a couple more washes of color before you start to see things appear. Be patient you will see things soon.

The next layer I used the same two colors in a slightly stronger mix. It is still light in value so add plenty or water, this time, not only will you avoid the highlights, but you will also avoid the NEXT LIGHEST VALUE. Look at your reference photo or apple before you start this wash, see for yourself what is the next lightest area if you have to mark them on your paper. Hint: the apples inside the basket are several values darker than the apples outside the basket because they are in shadow so you can paint over them but don't forget the highlight on the inside of the basket. Each of the apples will now have a light and dark side. On the practice apple, right around the highlight is the next lightest area and part of the leaf and stem. Everything else gets painted with this next wash of gray. See this first, don't just start painting.

This is how you will proceed with each wash of gray: Leaving the next lightest value but painting everything else. You will want to negative paint around the brighter grasses or where the grass comes up in front of apples so you don't have to lift later but continue to add gray values until you get to your darkest darks.

You will have to switch from cerulean blue to cobalt and cad orange if you are using all 3 blues after about the third wash again, if the gray looks too muddy or yellowish, add more blue. If you need to get an even darker gray switch to cobalt and burnt sienna then finally switch to ultra marine blue and burnt sienna with maybe a touch or purple as well for your very darkest darks.

Like everything else, this takes practice to see and to do but it can be a very good way for a lot of you to paint especially if you want to get more values into your painting, this is a good way to start if you try plein aire painting because of the changing light you need to capture your lights and darks right off the bat because they will change minute to minute, then you can add the color later once you have established your values. Take your time, ask questions if you have them and I will see you next time.

Spring 2012 Watercolor

I finally managed to update the slide show so that it links to the picture page. The drawing and the reference photo are there for the class project. We probably won't start the class project for another week as we go over some basics this week. See you all in class.

Winter 2012 Watercolor Class

Watercolor – Techniques for Texture

I love to do things that have texture and character like old wood and rusty things watercolor makes them with little effort if you just trust the watercolor.

Rust and peeling paint – Paint the color of the object you are going to add rust to, don't worry about painting around the areas because it doesn't matter, the rust will cover it up and it will actually help the final look o the object.

When the area is dry you will be using the following colors in a fairly liquid form: Orange, sienna, red and sienna with purple. Your paint should run a little bit the drips help. Have the top of your paper elevated so that gravity works for you and your paint doesn't pool up, this is just SOP with watercolor. Start with the orange in the area where you want rust. You can let it dry just a bit but it should still be dame between each color. Next add sienna and touches of red into the same area starting at the top and letting the color mix with what it all ready there. Again, you can let it dry a bit. With the sienna and purple, make a dark color, this is a shadow color and goes next to the area that is suppose to be peeling paint. If you have an angle brush or a flat brush, load it on the tip or corner and put the brush with the paint next to the area that is suppose to be paint and with the all the bristles in contact with the paper, paint in the shadow. If you use a round brush this will take two steps: first paint in the shadow then rinse and remove excess water and run the brush on the side of the paint you just put down that will be in the rusted area. You may have to do this again to get it dark enough.

To create the effect of the paint peeling up, lift a bit of color at the edges of some of the paint areas next to the rust, you can also add cracks using that dark mix and a liner brush.

Polished wood – Wood comes in all colors and patterns so do some research if you want a specific kind and color. I use the edge of my angle brush and make long "s" shapes (direction depends on the angle of the wood) just keep your strokes following the natural growth of the grain. Use more than one color and use colors you may not think about such as if it is a light wood it may have pinks and yellows, dark woods may have reds or blues or even green running through them. Let it dry and with a liner brush you can add darker grains and knots, just be sure that you follow the grain of the wood.

Old wood – Old wood can come in a variety of colors as well please find examples and keep them for reference. They are going to have a rougher surface because of weathering and they may have been just rough cut to begin with, I used shades of gray but I also added green and orange and blues for the under painting, same as above suing long "s" strokes following the grain and let it dry. When it was dry I use a darker version of the colors I used in the under painting but this time I used my angle brush in a dry brush technique with little paint and spreading the bristles at the end then wiggling the brush as I followed the grain of the wood. With a liner I added knots and cracks.

Tree Bark – Again, all trees are different have your reference handy. I used my small angle brush on its edge and made small choppy strokes down the branch of the tree using lighter colors in the sunny area getting darker into the shadowed side. On the branch that sticks out, I used short "coma" strokes because the branch is foreshortened.

Salt for texture – Salt can be use for all sorts of texture these were just three examples: Stucco, distant trees and rocks. Timing is everything with salt so you will need to practice to get it just the way you want but basically you put the paint down then wait until the shine of the water just starts to fade. If it is too wet the salt dissolves too fast and spreads out too much; too dry and it may not spread at all. It is a fun thing to use and does a lot of the work for you.

Remember to sign up for classes and bring things in for critique.