Week 5: “Winter Morning” – Acrylic
For pictures: http://picasaweb.google.com/artclasspics/ClassProjects
We started out finishing the trees we put in last time by putting the snow on them. We did this like we have will all our other snow by under painting the snow with a cool blue color, a mixture of blue, purple and white mostly to the blue side.
When you are putting this color on your trees, try to think in terms of shapes. If you can look at a pine tree or have some kind of reference material to study, note the shapes of the limbs of the trees, they are very fan-like so when the snow piles up on them the snow will also be very fan shaped when you lay it down. Remember to go beyond the ends of your branches with your snow. Many of you were starting a bit back from the end and while it is okay in some areas, to give the look of new fallen snow, the branches should look well covered. We also scumbled some of this color around the base of the pines as shadows between the trees.
While we let the snow dry on our pine trees, we started putting the bark on the aspen trees. All you really need to do to mix a color for the bark is to add a touch more white and a touch of sienna to slightly grey the color you have been using. For the larger trees you should be using either a sable or bristle flat brush (bristle will work best) at least a ¼ inch to ½ inch which ever works best on your size canvas. This will be a dry brush type technique though you and use a bit more paint; the trick will be in your brush stroke.
If you don’t know what a birch or aspen tree looks like, they have very beautiful white bark that has wonderful dark marks on it where the bark has split, it gives them a very unique look. To get this look on your trees, the original under painting for your trees is important, it needed to be on the dark side especially for the trees in the foreground. We can go back and add dark if we need to, but the more you have to fiddle with something the more over painted it will look so we want to keep this simple.
With you flat brush and using the whole chiseled edge of the brush on the canvas, put it on one side of the tree’s trunk, then with a quick “U” shaped stroke, drag the brush across the trunk. If the paint breaks and leaves some dark streaks, you did it exactly right! Be very sure to use a “U” shape when painting these trees and not a flat stroke. That little “U” shape will tell the viewer that the trunk is round and not flat, it is very important to remember what you are painting –round tree trunk – and paint it accordingly. Do this from both sides of the trunks, it maybe be harder going one direction than the other so you might want to practice on a piece of paper, your palette or scrap canvas before hand.
For the smaller or more distant trees, you might want to use your liner or other small brush for the smaller trees. They are in the distance so we don’t need to worry about too much detail, because we are going to have detail in the foreground trees, the viewer will assume that there is detail in the distant trees. Remember, we are illusionists when we paint and often times we are just tricking the eye.
Once you have put the first layer of bark on your aspen, let it dry and go back to your pine trees to put final highlights on the snow. Use the same brush as you used before and mix a highlight color using mostly white and the smallest touch of red as you can get. We only want to slightly tint this color so it will look very white when next to the previous color but it should not be pure white, we will only use that for our very final highlights.
Always keep in mind the direction of the sun and the way the light travels. One problem I saw many of your have was you went over everything with this highlight color, not only did you loose the dimension of your trees; you also lost the separation of your trees. The sun is coming from the left, which means that you will be highlighting the left sides of the trees but not all the trees will be highlighted all the way down, the ones that are behind the front trees may only have their tops in the sunlight, the rest will be in shadow especially near the bottom of the trees. The one tree I have in the front of my group and the one behind it to the left have highlights all the way to the ground because they are in direct sun, the rest only have their tops and maybe a few other top branches highlighted, some may have no highlights at all. This gives the illusion of shadows and depth in this group of trees, so don’t over do this step.
This highlight will go mostly on the very ends of the branches the parts that will be in the sun light, however, be aware of creating a line of demarcation between the shadows and the light on your trees, something I also saw a lot of. Because branches are of different lengths, some of the branches in the shadow side of the tree, especially near the light side, may be long enough to catch some of the bright highlight. Nature thrives on chaos theory, so as much as we humans would like things to be black and white/cut and dry, Nature not only throws in shades of grey, but the whole spectrum into the mix and we as artist need to embrace the chaos. Put a few dabs of the highlight color on to a few of the shadow branches so you don’t have a line down your tree visually cutting it in half.
While those highlights are drying, you can sketch in where your fences and the ruts in the road will be with your charcoal. The left side fence will be the easiest to draw because it has the simplest perspective, what you have to keep in mind here is size. The first post closest to you must appear tall enough to be a functional fence, it you make it too small it will look like a garden border, too tall and everything else will look out of proportion. Think of a fence about 6 – 8 feet tall and you should be okay and use your charcoal to sketch it in, if it looks too tall or in the wrong place, use a wet paper towel and wipe it off, a pencil will not work and can leave marks in your paint.
Rule of thumb when doing perspective: Things in the foreground appear larger and more detailed and as things to the distance they become smaller, closer together, less intense in color.
The right side of the road will be a challenge for most of you because the perspective is coming almost directly towards your, this is called foreshortening. Some of the previous rule applies – things will get smaller and less detailed as they go into the distance – but with a foreshortened perspective some of the posts may appear closer together or may even be over-lapped by the posts in front of them, so this is where you must pay attention to size. Again, we are only creating the illusion of a fence and a lot of that illusion is created with your paint so don’t worry too much about your sketch.
You may also want to sketch in the 3 aspen on the right side of the road. They are a bit larger than the ones on the left but will be painted much the same way. You can sketch in the ruts in your road at this time as well. Perspective is very important here: The front of the ruts will be wider and further apart than they are when the go over the hill in the distance so don’t draw them straight back. Start your road a bit in from the fence on either side, if you want, as a reminder, you can do the front part of this sketch as flat “U” shapes that get smaller as they go back until it is just a broken line. These represents the depressions left in the snow by a car or sled, so keep that in mind when drawing or painting these ruts. Blow the excess charcoal dust off your painting before you start painting.
The under painting for the left fence and aspen trees is the dark brown color you get from mixing sienna, blue and purple, you will also use this color for the shadowed side of the right fence. You can use either a bristle or sable brush here but always try to use the largest size brush you can like an 8 or a 10, don’t get out the tiny brushes until you get into detail and then only if you absolutely have to.
The ruts in the road are painted with the blue, purple and white color we use for the shadows. Use a flat “U” shaped stroke in the front and as you go into the distance that stroke should get smaller until you are just touching the chiseled edge to the canvas.
Next week: Finishing touches.
Week 5: Experimenting with different supports for watercolor
For pictures: http://picasaweb.google.com/artclasspics/ClassProjects
Since we finished up our class project last time, I thought that I would bring in some different things to paint on besides paper to expose the class to other options they may want to try. The first was Yupo watercolor paper.
Yupo isn’t actually paper, it is a synthetic support made of plastic. It started out in the printing field then someone decided to try and paint on it. It is interesting and very challenging to paint on but the results can be very rewarding. If you don’t like it, you can wash it all off under the faucet because since it is plastic, the paint just dries on the surface and can be washed off. That is a blessing and a curse because if you use too much water on your brush when laying down a layer of paint, you can lift off everything you just did, plus the paint tends to pool up on the paper. I take a ScotchBrite and lightly sand the surface before I start to paint and this does help prevent the pooling. Be patient and experiment and it is best if you dry your brush and use the paint with as little water as possible. This is a great paper for those who love to lift paint.
The next thing I showed was painting on a watercolor canvas. You can buy pre-treated watercolor canvas or you can buy a jar of Golden’s Absorbent Ground and make your own and save a bunch of money. For about the cost of one 16” x 20” pre-treated canvas you can buy a jar of the Absorbent Ground and probably convert 10 regular canvases to watercolor canvas.
The difference between this ground and gesso is it is more porous then gesso and the watercolor will act more like it is on paper. You can paint on a gesso treated surface but it will tend to be more like the Yupo paper mentioned above.
The main reason for working on a watercolor canvas is mostly connivance when it comes time to frame the painting. With traditional watercolor on paper to be presented properly, it should be matted and mounted behind glass and this can be costly especially if you are taking it in to be framed. If it is on canvas or masonite you do need to spray it with an ultra violet protective fixative but you can just put it in a frame and not worry about matting or glass.
Working on the watercolor canvas is much like working on paper with a big exception: It is very good for lifting color back off. It is much like Yupo paper in this respect but it is much more forgiving and many of the things you can do on paper, you can do on the watercolor canvas. It is also a lot tougher than paper so if you don’t like what you have you can wash it off back to white and start over.
I also showed the class how to start a painting with by wetting the paper and just dripping and splashing color onto the surface then letting it run. It is a great way to start a painting you just have to keep in mind that you are going to be adding more color to the painting so done get too intense with your colors at first. This is fun and can add a lot of character to your finished painting.
Next week: Maybe more surprises :-)
Friday, February 29, 2008
Wednesday, February 13, 2008
Winter Semester 2008 - Week 4
Both Classes: I haven’t mentioned it in quite a while because every time I do they change the schedule on me, however, if you can get KOCE Channel 50 out of Orange county (their PBS station), Monday – Thurs there are art programs on at 1 p.m. While I’m not a big fan of Donna Dewberry, you can learn something from every teacher, even the bad ones. The one’s who are scheduled that my students would be most interested in are Jerry Yarnell and Sue Schewee. Yarnell is an acrylic painter and Schewee does a combination of watercolor or acrylic. They do change artists occasionally and have Frank Clarke or Terry Madden, both are watercolorists, the best one, however, is Yarnell. He doesn’t try to finish in 30 minutes and you can see what he is doing when the camera closes in. This is why I do recommend these programs because the camera can get in close so you can see how they are using their brush and how the paint is being applied, something I am at a disadvantage in because you all can’t have your noses up to my canvas or paper :-) So check your listings, cable might be different than broadcast, or check KOCE’s schedule at : www.koce.com it will help you when you come to class.
Week 4 – Winter Morning – Acrylic
http://picasaweb.google.com/artclasspics/ClassProjects
Week 4 – Winter Morning – Acrylic
http://picasaweb.google.com/artclasspics/ClassProjects
This week we continued the highlighting process and started our background trees so you must have your house and distant trees finished at this point because it will be harder to make changes once you start putting things in front of them so get the highlights on the ridge, the trees and the house before moving on.
Once the background is finished, we need to add another layer of highlight to our foreground. As you add highlights, you will be mixing the same colors – white and red with the occasional touch of blue - but you will be using more white (gesso or titanium) and less of the other colors, particularly the blue. That said, you will be adding touches of the red in all the highlighting except for the very final touches.
Again, using a dry brush technique and minding the direction of your brush strokes – they should follow the direction of the terrain- scrub on this new highlight color, it should be at least 2 – 3 shades lighter than the last layer you put on. Remember that dry brush should be done lightly. Don’t press too hard when applying the color and don’t cover up all of the previous work you have done, a lot of the last couple of layers should show through and that is a good thing, it gives texture and substance to your snow and makes it look like there might be things buried under it like bushes, rocks or logs.
Keep in mind that the ridge on the left side of the road has shadows down near the road so don’t take your highlight all the way to the road. Also, the ridge right next to the house can be almost white, you still need to add a touch of the red, but it is going to have trees in front of it by the end of this lesson, so you need to brighten it up more so than the rest of the hill at this point. Put it on just a bit thicker.
When you have finished all your highlighting, you are going to be putting in the pine trees that are in front of your rock cliffs on the right. You might want to take your charcoal and just make a few lines to indicated where you want the trees be sure that you have them at different levels (some forward some back), and different sizes. These are wild trees and not a windrow. Same with the aspen on the other side of the road, don’t line them up like a fence, try to create uneven spaces between them especially the aspen because you won’t have the snow covered branches to hide this problem.
Once you have decided where to put your pine trees, using a flat brush (8 or 10, bristle or sable) – I used a number 8 flat bristle – it should be one that has a good edge to it when you draw it through your paint (one side then the other to create the edge). Mix green (sap or Hooker’s) with blue and a touch of purple, it should be pretty dark and on the bluish/green side, then using the chisel edge you made, touch it to the canvas where you want to start the top of a tree. Move down to the bottom of this mark and touch it a couple more times use the width of the brush to create a fairly straight line, it should be an inch or two long depending on the size of your canvas. With the corner of this same brush and starting about half way down this line you just put on your canvas, touch the line with the corner and give it a quick, short flip. This will start the branching process. Do this on both sides of the line. As you move down the line the strokes become longer but they are still quick. All your pine trees will be made this same way. Be sure to overlap your trees and vary their sizes. Think: Wild Trees!
The aspen on the other side can be painted with any brush you feel confident in using. A bristle brush is good, but you can use a round sable if that feels better to you, for the smaller trees, if you have it, you might want to use a liner brush, the important thing here is to get the size of the trunks right. The closer trees will be thicker than the ones near the house so a larger brush will get them covered quickly. It is your choice here. Color, on-the-other-hand, I will guide you. Aspen, birch and other related type trees have a unique look to them. While their trunks are white, they have these wonderful dark breaks in them so we are going to under paint the trees with a dark paint then add the lighter colors. If you have not done so earlier, use your charcoal to locate where you want to place your aspen. These are tall, thin trees so don’t make the closer one too thick.
With whatever brush you decided to use, mix your blue, purple sienna or umber and just a touch of white to grey it. This should be a dark but warm, sienna-ish color. When you are painting the smaller trees especially the ones in the distance, keep them very thin. As they come closer to you, they can become a bit thicker and a couple of them can go off the top of the page, please remember to very the size. Don’t worry if they are not perfectly straight, natural trees aren’t perfectly straight.
If you are using your liner brush, the secret to this wonderful little brush is how you mix the paint. This is one of the few times when I will ask you to add water and lots of it. The paint should be very ink-like. If you tilt your palette, it will run though it shouldn’t race off your palette. After you have gotten the consistency of ink, roll your brush as you draw it out of the paint. You will hold the brush slightly downward when you are painting your trees, if you press it to the canvas, you will get a thicker line and as you draw it up the canvas lighten the pressure to the canvas and the line will become thinner. You might want to practice on a scrap canvas or paper before you start on your aspen.
In two weeks: We put snow on the trees, bark on our aspen and maybe get our fence started.
Week 4: Fantasy Ireland – Watercolor
http://picasaweb.google.com/artclasspics/ClassProjects
This week we finished up this project, it was mostly doing some of the finishing touches and checking to see if there were any areas that needed attention before we called it good.
First, I added a few more dark shapes to my wall mostly in the foreground area of the wall. This gave some depth to the rocks and made it look like there were some gaps. I also made a thin wash using what was on the warm side of my palette to apply to the top of the wall. I didn’t like the stark white on the top of the rocks and this toned it down a bit and made it seem a bit warmer. If you need to mix a wash, use your yellow and sienna but water it down so that it is very pale.
We also painted in the grasses next to the wall using sap green with yellow and the dry brush technique, dry brush the grass in at the bottom of the wall.
On the other side of the road, use the same dry brush stroke with green and blue to add another layer of color to the grasses behind the post. Please don’t cover everything you did before, this is to help create the illusion of grasses so you need the variety of colors. It can be a bit darker right next to the road and get lighter as it goes up the hill.
On your road, you are going to be adding some more color using sienna and orange. You can use either a round or flat brush for this, just like you have done previously. Remember to use the flattened “U” strokes for your road. Again, don’t cover everything you did before, just add to it. As you go back into the distance, thin the color with water.
While your road is drying, and it will need to be dry for the next step. You can add some detail to the castle. Keep in mind that it is in the distance and all you need to do is suggest detail, do try to paint in every stone or crack in it.
I used a small angled brush but a small round or flat brush will also work. I planned that the sun would be coming in from the right of the picture so I need to place my shadows on the left sides of things, in this case the castle. Using a dark mix of blue, purple and sienna with water so it looks like a charcoal grey, I painted in the shadows behind the turrets on the wall of the castle and the left sides of some of the battlements, under the walk on the center tower and the roof inside the castle (see detail on photo page). Next I made a thicker mix of those same color but no water this time (if you have Payne’s grey, indigo or black, you may use it for this if you don’t want to mix) to make a very dark color to paint in a few windows on the tower and the turrets. These windows are long and narrow so don’t make them like modern windows you look out of, these were designed to shoot arrows from and to keep from getting hit by incoming arrows. These are all simple quick touches of color; you are only suggesting shadow and windows. I use a little straight red to make a flag flying.
Last week I mentioned that I bring these paintings home and look at them trying to see what I need to do next or if there are any corrections I need to make, well, the second cliff back and the area across the road from it didn’t seem to connect and it bothered me. I decided to add another hill to the area on the inland side of the road by using a dark blue/green mix, wet on dry to negatively paint the new hill by painting shadows behind it. I like it better now.
Back to the road: You can mix in that same area of dark paint if you want (I sometimes just mix up what ever is on my palette and add what I need to make it dark) just add some sienna and purple to make a medium dark mixture of color. You can use either a round or flat brush for this step, I use my small angled brush (1/4”) because that is what I’m use to.
We are going to be painting in the ruts of the road with this color and this is where perspective is very important to make your road look like it is going back in space. If you need to draw some light lines to help you get the perspective that is okay, as you draw or paint the ruts, keep in mind that they will appear to get closer together as they go back. I started my ruts about a ¼ the way in from each side, they appear to keep the same place on the road as they go back, but they get closer together as the road narrows. If you start your ruts too close together in the foreground and keep that same space between that as you go back, the road will look like it is standing up, these perspective lines are critical to your road. (Look at the picture page)
Starting in the foreground with this medium dark sienna/purple color, using small, flattened “U” shaped strokes, paint the ruts. These strokes can be uneven and some can connect and some can be disconnected from each other the important thing is, as they go into the background, the strokes become smaller and lighter (more water) until they are just an uneven broken line when they go over the hill. Do this for both ruts.
You can use the same color to add more shadow to your fence post. I used the edge of my brush to make short, vertical choppy strokes to show a bit of texture to the post.
When your ruts have dried, take a small dab of blue or purple on the tip of your brush, right off your palette. No need to add water we want this very dark. If you have indigo you can use it instead. Don’t use black, however, it won’t give you the right effect. On the very right side of each of the ruts, just touch this dark color to that right edge. You are not lining the rut, just putting it in a few places to help give it some depth and only got about half way back on the road with this dark color.
With the blue and purple and just a little water, right under the grasses on the right, next to the road, paint some of this dark color something like we did on the cliffs to show that they are over-hanging the cliffs, these grasses are over-hanging the road.
Using the same color, only adding more water to make it a wash, we will use it for the shadows on the right side of the road. Remember that the shadows being cast are from grasses and they are being cast on an uneven surface so the shadows will be uneven.
If you feel confident enough to use your liner brush, there are a couple of details you can add at this point, they are some individual grass blades along the side of the road by the wall and also around the post. I also added some dead bushes and a wire on the post.
Something I didn’t see before people were already leaving was I had forgotten to finish the water! Very simply, you use a wash of blue and starting close to the cliffs, make a series of uneven, horizontal lines that get further apart and lighter until they almost disappear into the distance.
The End
Post Script: One of the biggest problems I see my students struggle with has nothing to do with painting and has everything to do with knowing the basics of drawing. If you don’t know what perspective is, or how angles affect the object, or how the size of an object is relative to everything around it, or just plain seeing these things along with other basics you would have learned in drawing, you are going to have trouble painting. It is not too late to learn. Torrance has a drawing class you can take or as you have probably heard me mention before, get Betty Edwards’ book “Drawing on the Right Side of the Brain”, start at the beginning and do the exercises, and it will help you in you painting efforts. I do try to point out some of the basics in class, but I have a big enough job teaching the painting part, drawing is a class by its self and I don’t have time to cover it all. I hope that my students who want to improve their paintings will take a class or get a book – Ms. Edwards or someone else’s – and brush up those drawing skills, those who do will see their paintings improve dramatically.
When we come back you are on your own, we will have 3 more classes. Last class is March 10.
Once the background is finished, we need to add another layer of highlight to our foreground. As you add highlights, you will be mixing the same colors – white and red with the occasional touch of blue - but you will be using more white (gesso or titanium) and less of the other colors, particularly the blue. That said, you will be adding touches of the red in all the highlighting except for the very final touches.
Again, using a dry brush technique and minding the direction of your brush strokes – they should follow the direction of the terrain- scrub on this new highlight color, it should be at least 2 – 3 shades lighter than the last layer you put on. Remember that dry brush should be done lightly. Don’t press too hard when applying the color and don’t cover up all of the previous work you have done, a lot of the last couple of layers should show through and that is a good thing, it gives texture and substance to your snow and makes it look like there might be things buried under it like bushes, rocks or logs.
Keep in mind that the ridge on the left side of the road has shadows down near the road so don’t take your highlight all the way to the road. Also, the ridge right next to the house can be almost white, you still need to add a touch of the red, but it is going to have trees in front of it by the end of this lesson, so you need to brighten it up more so than the rest of the hill at this point. Put it on just a bit thicker.
When you have finished all your highlighting, you are going to be putting in the pine trees that are in front of your rock cliffs on the right. You might want to take your charcoal and just make a few lines to indicated where you want the trees be sure that you have them at different levels (some forward some back), and different sizes. These are wild trees and not a windrow. Same with the aspen on the other side of the road, don’t line them up like a fence, try to create uneven spaces between them especially the aspen because you won’t have the snow covered branches to hide this problem.
Once you have decided where to put your pine trees, using a flat brush (8 or 10, bristle or sable) – I used a number 8 flat bristle – it should be one that has a good edge to it when you draw it through your paint (one side then the other to create the edge). Mix green (sap or Hooker’s) with blue and a touch of purple, it should be pretty dark and on the bluish/green side, then using the chisel edge you made, touch it to the canvas where you want to start the top of a tree. Move down to the bottom of this mark and touch it a couple more times use the width of the brush to create a fairly straight line, it should be an inch or two long depending on the size of your canvas. With the corner of this same brush and starting about half way down this line you just put on your canvas, touch the line with the corner and give it a quick, short flip. This will start the branching process. Do this on both sides of the line. As you move down the line the strokes become longer but they are still quick. All your pine trees will be made this same way. Be sure to overlap your trees and vary their sizes. Think: Wild Trees!
The aspen on the other side can be painted with any brush you feel confident in using. A bristle brush is good, but you can use a round sable if that feels better to you, for the smaller trees, if you have it, you might want to use a liner brush, the important thing here is to get the size of the trunks right. The closer trees will be thicker than the ones near the house so a larger brush will get them covered quickly. It is your choice here. Color, on-the-other-hand, I will guide you. Aspen, birch and other related type trees have a unique look to them. While their trunks are white, they have these wonderful dark breaks in them so we are going to under paint the trees with a dark paint then add the lighter colors. If you have not done so earlier, use your charcoal to locate where you want to place your aspen. These are tall, thin trees so don’t make the closer one too thick.
With whatever brush you decided to use, mix your blue, purple sienna or umber and just a touch of white to grey it. This should be a dark but warm, sienna-ish color. When you are painting the smaller trees especially the ones in the distance, keep them very thin. As they come closer to you, they can become a bit thicker and a couple of them can go off the top of the page, please remember to very the size. Don’t worry if they are not perfectly straight, natural trees aren’t perfectly straight.
If you are using your liner brush, the secret to this wonderful little brush is how you mix the paint. This is one of the few times when I will ask you to add water and lots of it. The paint should be very ink-like. If you tilt your palette, it will run though it shouldn’t race off your palette. After you have gotten the consistency of ink, roll your brush as you draw it out of the paint. You will hold the brush slightly downward when you are painting your trees, if you press it to the canvas, you will get a thicker line and as you draw it up the canvas lighten the pressure to the canvas and the line will become thinner. You might want to practice on a scrap canvas or paper before you start on your aspen.
In two weeks: We put snow on the trees, bark on our aspen and maybe get our fence started.
Week 4: Fantasy Ireland – Watercolor
http://picasaweb.google.com/artclasspics/ClassProjects
This week we finished up this project, it was mostly doing some of the finishing touches and checking to see if there were any areas that needed attention before we called it good.
First, I added a few more dark shapes to my wall mostly in the foreground area of the wall. This gave some depth to the rocks and made it look like there were some gaps. I also made a thin wash using what was on the warm side of my palette to apply to the top of the wall. I didn’t like the stark white on the top of the rocks and this toned it down a bit and made it seem a bit warmer. If you need to mix a wash, use your yellow and sienna but water it down so that it is very pale.
We also painted in the grasses next to the wall using sap green with yellow and the dry brush technique, dry brush the grass in at the bottom of the wall.
On the other side of the road, use the same dry brush stroke with green and blue to add another layer of color to the grasses behind the post. Please don’t cover everything you did before, this is to help create the illusion of grasses so you need the variety of colors. It can be a bit darker right next to the road and get lighter as it goes up the hill.
On your road, you are going to be adding some more color using sienna and orange. You can use either a round or flat brush for this, just like you have done previously. Remember to use the flattened “U” strokes for your road. Again, don’t cover everything you did before, just add to it. As you go back into the distance, thin the color with water.
While your road is drying, and it will need to be dry for the next step. You can add some detail to the castle. Keep in mind that it is in the distance and all you need to do is suggest detail, do try to paint in every stone or crack in it.
I used a small angled brush but a small round or flat brush will also work. I planned that the sun would be coming in from the right of the picture so I need to place my shadows on the left sides of things, in this case the castle. Using a dark mix of blue, purple and sienna with water so it looks like a charcoal grey, I painted in the shadows behind the turrets on the wall of the castle and the left sides of some of the battlements, under the walk on the center tower and the roof inside the castle (see detail on photo page). Next I made a thicker mix of those same color but no water this time (if you have Payne’s grey, indigo or black, you may use it for this if you don’t want to mix) to make a very dark color to paint in a few windows on the tower and the turrets. These windows are long and narrow so don’t make them like modern windows you look out of, these were designed to shoot arrows from and to keep from getting hit by incoming arrows. These are all simple quick touches of color; you are only suggesting shadow and windows. I use a little straight red to make a flag flying.
Last week I mentioned that I bring these paintings home and look at them trying to see what I need to do next or if there are any corrections I need to make, well, the second cliff back and the area across the road from it didn’t seem to connect and it bothered me. I decided to add another hill to the area on the inland side of the road by using a dark blue/green mix, wet on dry to negatively paint the new hill by painting shadows behind it. I like it better now.
Back to the road: You can mix in that same area of dark paint if you want (I sometimes just mix up what ever is on my palette and add what I need to make it dark) just add some sienna and purple to make a medium dark mixture of color. You can use either a round or flat brush for this step, I use my small angled brush (1/4”) because that is what I’m use to.
We are going to be painting in the ruts of the road with this color and this is where perspective is very important to make your road look like it is going back in space. If you need to draw some light lines to help you get the perspective that is okay, as you draw or paint the ruts, keep in mind that they will appear to get closer together as they go back. I started my ruts about a ¼ the way in from each side, they appear to keep the same place on the road as they go back, but they get closer together as the road narrows. If you start your ruts too close together in the foreground and keep that same space between that as you go back, the road will look like it is standing up, these perspective lines are critical to your road. (Look at the picture page)
Starting in the foreground with this medium dark sienna/purple color, using small, flattened “U” shaped strokes, paint the ruts. These strokes can be uneven and some can connect and some can be disconnected from each other the important thing is, as they go into the background, the strokes become smaller and lighter (more water) until they are just an uneven broken line when they go over the hill. Do this for both ruts.
You can use the same color to add more shadow to your fence post. I used the edge of my brush to make short, vertical choppy strokes to show a bit of texture to the post.
When your ruts have dried, take a small dab of blue or purple on the tip of your brush, right off your palette. No need to add water we want this very dark. If you have indigo you can use it instead. Don’t use black, however, it won’t give you the right effect. On the very right side of each of the ruts, just touch this dark color to that right edge. You are not lining the rut, just putting it in a few places to help give it some depth and only got about half way back on the road with this dark color.
With the blue and purple and just a little water, right under the grasses on the right, next to the road, paint some of this dark color something like we did on the cliffs to show that they are over-hanging the cliffs, these grasses are over-hanging the road.
Using the same color, only adding more water to make it a wash, we will use it for the shadows on the right side of the road. Remember that the shadows being cast are from grasses and they are being cast on an uneven surface so the shadows will be uneven.
If you feel confident enough to use your liner brush, there are a couple of details you can add at this point, they are some individual grass blades along the side of the road by the wall and also around the post. I also added some dead bushes and a wire on the post.
Something I didn’t see before people were already leaving was I had forgotten to finish the water! Very simply, you use a wash of blue and starting close to the cliffs, make a series of uneven, horizontal lines that get further apart and lighter until they almost disappear into the distance.
The End
Post Script: One of the biggest problems I see my students struggle with has nothing to do with painting and has everything to do with knowing the basics of drawing. If you don’t know what perspective is, or how angles affect the object, or how the size of an object is relative to everything around it, or just plain seeing these things along with other basics you would have learned in drawing, you are going to have trouble painting. It is not too late to learn. Torrance has a drawing class you can take or as you have probably heard me mention before, get Betty Edwards’ book “Drawing on the Right Side of the Brain”, start at the beginning and do the exercises, and it will help you in you painting efforts. I do try to point out some of the basics in class, but I have a big enough job teaching the painting part, drawing is a class by its self and I don’t have time to cover it all. I hope that my students who want to improve their paintings will take a class or get a book – Ms. Edwards or someone else’s – and brush up those drawing skills, those who do will see their paintings improve dramatically.
When we come back you are on your own, we will have 3 more classes. Last class is March 10.
Thursday, February 7, 2008
Because there was a major parking problem on Monday due to an event held at the Armstrong, I didn’t do too much to the Acrylic project so for that those who weren’t there or couldn’t find parking, you won’t be too far behind next week.
Week 3: Winter Morning – Acrylic.
http://picasaweb.google.com/artclasspics/ClassProjects
First we sketched in where our house will be. When placing your house or any other important subject matter in your painting, it is important where you place it. The general rule is “the Rule of Thirds”. Divide you canvas into thirds both vertically and horizontally (you can do this with your charcoal). The places where these lines intersect are called “crash points” and are the ideal places to locate subject matter, though anywhere near along the “thirds” lines will also be good places to locate your subject(s). This rule applies to all of our art work including photography. Things that are dead center in your lens or on your canvas kills the flow of your composition, keep things away from the center and your composition will improve.
Remember that this house is over that ridge on the left side so it is pretty far back visually in our painting, meaning that it will be fairly small with minimal detail, so don’t make it too big. If you want to put in something besides a house, say, a barn or a church, it is up to you, find something for reference if you need to get the shape correct. The shape will tell the viewer what it is.
First you need to under paint your house. Use a brush that is a comfortable size for your painting, I used a No. 4 bristle brush because I needed the control; you can use a small sable also if you want. On the side that would be closest to me, I used sienna, a touch each of orange, white and purple. Be very careful when using the purple it can over power almost any other color you have and all we want to do here is slightly grey the color while keeping it a warm reddish color. This is the light side of the house.
On what would be the front of the house, I used a combination of sienna and purple. This will be a dark color because this is on the shadowed side. You can also use this color to under paint a chimney if you want.
Under painting the roof of your house you will use a similar color to that you used to under paint the snow on the ridge in front of it. This is a combination of blue, purple, a touch of sienna to grey it slightly and white. Remember that the snow piles up and makes the edges of your roof rounded.
While your house is drying, you can start the snow highlighting process. Please keep in mind that this is not done all at once, it may take three or more layers of dry brush to get the highlights where we want them so don’t try to go to light too fast.
I used a No 10 bristle brush, mixed white with a touch of red (napthol or alizarin) and touch of blue or purple. This should be 2 shades lighter than the under painting for your snow and should be on the pinkish side. Using the dry brush technique and a light touch, apply this color to the top of the ridge that runs behind the house and under the trees. It should be fairly light on the top of the ridge then fade into shadow as it goes down the ridge. Once again be mindful of your strokes, they should follow the terrain that you are painting so use a long inverted “U” type stroke and leaving some of your under painting show through. Come forward on the hill on the right with this color covering all the foreground snow. If you have to remix, don’t worry if it doesn’t match, that is actually a good thing but do try to keep the value the same.
When you get to the road, remember to flatten your strokes out and blend the transition area between the road and the hill on the right and blend it into the left side. The left side is in shadow so we won’t do as much highlighting on this side. You can use a touch more white when you paint the road, though again, do not get too light or there will be no room for your highlights when we get to that point.
On the top of the ridge in front of your house, use the same highlight color but don’t go all the way down to the road with it, only go about half way down the ridge so we can keep the shadows near the road. After you are done with the left ridge, switch back to the brush you were using to paint the house. Again with this same color, highlight some of the trees on the ridge opposite from the house and the tops of some of the trees behind the house. The sun is coming from the left side so highlight the left sides of the trees this will help give the viewer a sense of light direction. If the roof is dry at this point, you can dry brush this color also on the roof, if not wait until it is dry.
On the wall of the house closest to you (side with light hitting it), with orange and a touch of sienna, dry brush the wall again and also paint the same side of the chimney, leave some dark on the right side of the chimney to indicate the shadowed side. (See detailed picture on the photo page.)
For this next step, you might want to use a small round brush (No.2 or 3) if you have it or just the corner of your flat brush. Pick up a small dab of white (titanium or gesso), then, where the top of your chimney is, place this dab at the opening of the chimney and with your finger smear it upward. This will give the appearance of smoke.
With the same brush, pick up a small dab of orange and/or yellow to paint a couple of windows on your house. These are quick strokes and don’t have to be exact, remember your house is too small for any more detail but the addition of lit windows will give the feeling that some one is home. (See detail photo.)
If your roof is dry, you may highlight it again with white and a touch or red. This color should be mostly white but still needs to be on the pinkish side. Add just a touch of blue if it is too light, but it should be a couple shades lighter than the last layer you put on. Once again, use the dry brush technique to put this layer of snow on, leaving some of the other layers showing through. This will give depth and texture to your painting.
Next week: More highlighting and possibly some trees!
Week 3: Fantasy Ireland – Watercolor
http://picasaweb.google.com/artclasspics/ClassProjects
Because there were several absences, we didn’t do a lot on our project. You should be able to catch up following the instructions here.
After each week in class, I bring my paintings home, put them up on my easel and just look at them. What I’m looking for are areas that don’t “feel” quite right. It could be something in the composition, the color I’ve used, maybe the separation of objects in the painting isn’t as much as I think it should be. Sometimes it is just “something” that bothers me and I need to figure it out. It is hard to paint and talk at the same time so I don’t see these things in class because my mind is some place else. Also, after a watercolor has dried completely, it does look different because watercolor dries lighter. This is a good thing to remember.
When I set “Ireland” up on the easel, I realized that I didn’t have enough separation between the different cliffs and I needed to bring the base color up just a bit so the first thing we did was to add another layer of color to our cliffs. It was done in the same way we did the previous layer using a slightly darker version of the cliff color (sienna, yellow and a touch of purple). Starting in the area near the land using either the wet into wet or wet on dry method I added this new layer. As I worked my way out to the edge of each cliff, I rinsed my brush and with a clean, damp brush blended the color out to the edge of the cliff I was working on with just water. I did this on each of the cliffs, however, on the closest cliff I added a bit more sienna to my color, but that is the only difference.
Next I mixed the sap green with a touch of blue to cool it down to use on the foreground grass. I was using my angled shader and a dry brush technique. This is a bit more of a challenge for watercolorists to do than other media but it can be use very effectively for many situations so if you need to, practice on another piece of paper. Essentially, after you have rinsed your brush, you must dry it very well, there should be no excess water in the bristles. The only water in your brush will be what you pick up when you load paint onto your brush but even after you have loaded your brush use a paper towel and touch the heel of the brush (near the metal ferrule) to soak up any excess water.
To paint the grass, use quick, light, short up or down strokes (think grass). This is the shadowed side of the hill so it will be cooler in color, however, if you leave some of the first layer of paint showing through – and there should be a lot if you are doing the dry brush correctly – that is a good thing, it shows the texture of the grass and suggests grass. As always, this color shouldn’t be too dark so we have some place to go with it. Watercolor is worked from light to dark so don’t loose all your light areas.
As you come forward with the grass, the stroke changes when you get around the post, these become long grass blades. Because they are in the foreground, they have a bit more detail than the grass behind them.
The wall seems to be giving everyone problems, so I hope I can explain here what the goal is. We are seeing the top and the side of the wall until it goes over the crest of the hill. The top of the wall is getting more light so it is lighter and the side is a bit darker, I think most of you understand that aspect however, it gets tricky when you try to paint it to make it look like a rock wall. Again, have some reference or go look at a wall, even a brick one, and try to figure out why it appears the way it does. What you will see is on the sides, you are seeing the full shapes of the bricks or rocks, when you look at the top of the wall you are seeing a “foreshortened” version. What this means is that because of the angle to the wall you are seeing a compressed image of the top of the rock or brick. If you were looking down on the top of the wall, this phenomenon would be reversed. Also note the angles of the spaces between the bricks or rocks: On the sides they look vertical and maybe a bit wider but as they go over the top, the spaces become more horizontal and narrower, again foreshortened.
This next point is an aspect of all art that most people – beginner to advanced – have a difficult time understanding EVERYTHING is just a SHAPE. When you are painting the rocks in the wall, they are just shapes of light and dark of various colors. If you think more about shape than worrying about if it looks like a rock, the rocks will take care of themselves. Look at the detail photo of the cliffs and wall. I just painted some dark shapes. Rocks are usually angular so I tried to keep my brush strokes angular. I also over lapped some of those shapes with previous shapes. As I went back into the painting with the wall, I lightened the color by adding water to lighten it and my shapes became less distinct. Another thing to keep in mind when you are trying to create distance in your painting is that as things go off into the distance, they become greyer in color and loose detail as well as becoming smaller and closer together such as a fence line. Here the lines of our wall become small and almost converge as they go back to the crest of the hill.
These ideas will take some time to understand, but it is important for you to work on these, look for them in real life situations so you can create the illusions on your paper that will give depth, distance and substance to your painting.
We added another layer of color to our road as well. Using sienna, orange and a touch of yellow, we added the color again using the long, flat “U” shape that we used before on the road. Use a more concentrated color in the foreground and dilute it as you go back. Don’t cover everything you did before, just add some more color.
Lastly, we painted the dark lines of the cliffs. You can use either a round or flat brush (I demoed with both) for this, what ever is most comfortable for you. Mix your blue, sienna and a touch of purple to get a warm dark grey. I mixed right down in some previous mix I had on my palette so there was also a bit of green in it too, it doesn’t matter, value is what matters here. Lighter value on the distant cliffs, darker values in the closer ones.
Before you start painting, look at the detail picture again. Note the difference between the near cliffs and the far cliffs and the shapes of the lines on each. On the far cliffs the dark layers are lighter, smaller and closer together than they are on the near cliff. Also note that while they are generally horizontal, they are not perfectly flat lines. They are jagged and broken. Some are thinner, some fatter. Some converge with others. Some have more green others have more sienna or blue or ? This is Nature and Nature can be messy, She has fun with her colors and so should you. Just mind your shapes and your values and all will be well.
Next week: Depending on the class progress, we may finish this up!
Week 3: Winter Morning – Acrylic.
http://picasaweb.google.com/artclasspics/ClassProjects
First we sketched in where our house will be. When placing your house or any other important subject matter in your painting, it is important where you place it. The general rule is “the Rule of Thirds”. Divide you canvas into thirds both vertically and horizontally (you can do this with your charcoal). The places where these lines intersect are called “crash points” and are the ideal places to locate subject matter, though anywhere near along the “thirds” lines will also be good places to locate your subject(s). This rule applies to all of our art work including photography. Things that are dead center in your lens or on your canvas kills the flow of your composition, keep things away from the center and your composition will improve.
Remember that this house is over that ridge on the left side so it is pretty far back visually in our painting, meaning that it will be fairly small with minimal detail, so don’t make it too big. If you want to put in something besides a house, say, a barn or a church, it is up to you, find something for reference if you need to get the shape correct. The shape will tell the viewer what it is.
First you need to under paint your house. Use a brush that is a comfortable size for your painting, I used a No. 4 bristle brush because I needed the control; you can use a small sable also if you want. On the side that would be closest to me, I used sienna, a touch each of orange, white and purple. Be very careful when using the purple it can over power almost any other color you have and all we want to do here is slightly grey the color while keeping it a warm reddish color. This is the light side of the house.
On what would be the front of the house, I used a combination of sienna and purple. This will be a dark color because this is on the shadowed side. You can also use this color to under paint a chimney if you want.
Under painting the roof of your house you will use a similar color to that you used to under paint the snow on the ridge in front of it. This is a combination of blue, purple, a touch of sienna to grey it slightly and white. Remember that the snow piles up and makes the edges of your roof rounded.
While your house is drying, you can start the snow highlighting process. Please keep in mind that this is not done all at once, it may take three or more layers of dry brush to get the highlights where we want them so don’t try to go to light too fast.
I used a No 10 bristle brush, mixed white with a touch of red (napthol or alizarin) and touch of blue or purple. This should be 2 shades lighter than the under painting for your snow and should be on the pinkish side. Using the dry brush technique and a light touch, apply this color to the top of the ridge that runs behind the house and under the trees. It should be fairly light on the top of the ridge then fade into shadow as it goes down the ridge. Once again be mindful of your strokes, they should follow the terrain that you are painting so use a long inverted “U” type stroke and leaving some of your under painting show through. Come forward on the hill on the right with this color covering all the foreground snow. If you have to remix, don’t worry if it doesn’t match, that is actually a good thing but do try to keep the value the same.
When you get to the road, remember to flatten your strokes out and blend the transition area between the road and the hill on the right and blend it into the left side. The left side is in shadow so we won’t do as much highlighting on this side. You can use a touch more white when you paint the road, though again, do not get too light or there will be no room for your highlights when we get to that point.
On the top of the ridge in front of your house, use the same highlight color but don’t go all the way down to the road with it, only go about half way down the ridge so we can keep the shadows near the road. After you are done with the left ridge, switch back to the brush you were using to paint the house. Again with this same color, highlight some of the trees on the ridge opposite from the house and the tops of some of the trees behind the house. The sun is coming from the left side so highlight the left sides of the trees this will help give the viewer a sense of light direction. If the roof is dry at this point, you can dry brush this color also on the roof, if not wait until it is dry.
On the wall of the house closest to you (side with light hitting it), with orange and a touch of sienna, dry brush the wall again and also paint the same side of the chimney, leave some dark on the right side of the chimney to indicate the shadowed side. (See detailed picture on the photo page.)
For this next step, you might want to use a small round brush (No.2 or 3) if you have it or just the corner of your flat brush. Pick up a small dab of white (titanium or gesso), then, where the top of your chimney is, place this dab at the opening of the chimney and with your finger smear it upward. This will give the appearance of smoke.
With the same brush, pick up a small dab of orange and/or yellow to paint a couple of windows on your house. These are quick strokes and don’t have to be exact, remember your house is too small for any more detail but the addition of lit windows will give the feeling that some one is home. (See detail photo.)
If your roof is dry, you may highlight it again with white and a touch or red. This color should be mostly white but still needs to be on the pinkish side. Add just a touch of blue if it is too light, but it should be a couple shades lighter than the last layer you put on. Once again, use the dry brush technique to put this layer of snow on, leaving some of the other layers showing through. This will give depth and texture to your painting.
Next week: More highlighting and possibly some trees!
Week 3: Fantasy Ireland – Watercolor
http://picasaweb.google.com/artclasspics/ClassProjects
Because there were several absences, we didn’t do a lot on our project. You should be able to catch up following the instructions here.
After each week in class, I bring my paintings home, put them up on my easel and just look at them. What I’m looking for are areas that don’t “feel” quite right. It could be something in the composition, the color I’ve used, maybe the separation of objects in the painting isn’t as much as I think it should be. Sometimes it is just “something” that bothers me and I need to figure it out. It is hard to paint and talk at the same time so I don’t see these things in class because my mind is some place else. Also, after a watercolor has dried completely, it does look different because watercolor dries lighter. This is a good thing to remember.
When I set “Ireland” up on the easel, I realized that I didn’t have enough separation between the different cliffs and I needed to bring the base color up just a bit so the first thing we did was to add another layer of color to our cliffs. It was done in the same way we did the previous layer using a slightly darker version of the cliff color (sienna, yellow and a touch of purple). Starting in the area near the land using either the wet into wet or wet on dry method I added this new layer. As I worked my way out to the edge of each cliff, I rinsed my brush and with a clean, damp brush blended the color out to the edge of the cliff I was working on with just water. I did this on each of the cliffs, however, on the closest cliff I added a bit more sienna to my color, but that is the only difference.
Next I mixed the sap green with a touch of blue to cool it down to use on the foreground grass. I was using my angled shader and a dry brush technique. This is a bit more of a challenge for watercolorists to do than other media but it can be use very effectively for many situations so if you need to, practice on another piece of paper. Essentially, after you have rinsed your brush, you must dry it very well, there should be no excess water in the bristles. The only water in your brush will be what you pick up when you load paint onto your brush but even after you have loaded your brush use a paper towel and touch the heel of the brush (near the metal ferrule) to soak up any excess water.
To paint the grass, use quick, light, short up or down strokes (think grass). This is the shadowed side of the hill so it will be cooler in color, however, if you leave some of the first layer of paint showing through – and there should be a lot if you are doing the dry brush correctly – that is a good thing, it shows the texture of the grass and suggests grass. As always, this color shouldn’t be too dark so we have some place to go with it. Watercolor is worked from light to dark so don’t loose all your light areas.
As you come forward with the grass, the stroke changes when you get around the post, these become long grass blades. Because they are in the foreground, they have a bit more detail than the grass behind them.
The wall seems to be giving everyone problems, so I hope I can explain here what the goal is. We are seeing the top and the side of the wall until it goes over the crest of the hill. The top of the wall is getting more light so it is lighter and the side is a bit darker, I think most of you understand that aspect however, it gets tricky when you try to paint it to make it look like a rock wall. Again, have some reference or go look at a wall, even a brick one, and try to figure out why it appears the way it does. What you will see is on the sides, you are seeing the full shapes of the bricks or rocks, when you look at the top of the wall you are seeing a “foreshortened” version. What this means is that because of the angle to the wall you are seeing a compressed image of the top of the rock or brick. If you were looking down on the top of the wall, this phenomenon would be reversed. Also note the angles of the spaces between the bricks or rocks: On the sides they look vertical and maybe a bit wider but as they go over the top, the spaces become more horizontal and narrower, again foreshortened.
This next point is an aspect of all art that most people – beginner to advanced – have a difficult time understanding EVERYTHING is just a SHAPE. When you are painting the rocks in the wall, they are just shapes of light and dark of various colors. If you think more about shape than worrying about if it looks like a rock, the rocks will take care of themselves. Look at the detail photo of the cliffs and wall. I just painted some dark shapes. Rocks are usually angular so I tried to keep my brush strokes angular. I also over lapped some of those shapes with previous shapes. As I went back into the painting with the wall, I lightened the color by adding water to lighten it and my shapes became less distinct. Another thing to keep in mind when you are trying to create distance in your painting is that as things go off into the distance, they become greyer in color and loose detail as well as becoming smaller and closer together such as a fence line. Here the lines of our wall become small and almost converge as they go back to the crest of the hill.
These ideas will take some time to understand, but it is important for you to work on these, look for them in real life situations so you can create the illusions on your paper that will give depth, distance and substance to your painting.
We added another layer of color to our road as well. Using sienna, orange and a touch of yellow, we added the color again using the long, flat “U” shape that we used before on the road. Use a more concentrated color in the foreground and dilute it as you go back. Don’t cover everything you did before, just add some more color.
Lastly, we painted the dark lines of the cliffs. You can use either a round or flat brush (I demoed with both) for this, what ever is most comfortable for you. Mix your blue, sienna and a touch of purple to get a warm dark grey. I mixed right down in some previous mix I had on my palette so there was also a bit of green in it too, it doesn’t matter, value is what matters here. Lighter value on the distant cliffs, darker values in the closer ones.
Before you start painting, look at the detail picture again. Note the difference between the near cliffs and the far cliffs and the shapes of the lines on each. On the far cliffs the dark layers are lighter, smaller and closer together than they are on the near cliff. Also note that while they are generally horizontal, they are not perfectly flat lines. They are jagged and broken. Some are thinner, some fatter. Some converge with others. Some have more green others have more sienna or blue or ? This is Nature and Nature can be messy, She has fun with her colors and so should you. Just mind your shapes and your values and all will be well.
Next week: Depending on the class progress, we may finish this up!
Tuesday, January 29, 2008
Winter 08 Classes Week 2
To view the paintings go the the on-line gallery at: http://picasaweb.google.com/artclasspics/ClassProjects
Winter Morning – Acrylic
The next step is to put in a line of closer trees. They will be closer than the first line of trees we put in, but still far enough away that we do not need to do too much detail. Please keep this in mind when working in this area: Think forest not individual trees.
Using the biggest flat brush you can use comfortably for the size of canvas you are working on (I’m working on a 16” x 20” so I used a No 10 flat bristle brush, if your canvas is smaller, using a No 6 or 8 might work better for you), mix Ultra marine BLUE with, dioxizine PURPLE, and either sap or Hooker’s GREEN (I will just use the capitalized words for these colors for short) with just a touch of WHITE (either gesso or Titanium white) to lighten. This will be a very dark color and it should be to the bluish side, but it should not be so dark that it looks black so add the white carefully to change the value but not so much that it turns grey.
Drag your brush through your paint to create an edge to the brush. If your bristle brush won’t come to a sharp edge, try a flat sable of a similar size for this step. Using that sharpened edge, you can create the trunks of some of the taller trees in this section by just touching the edge of the brush to the canvas to make a vertical line. One or two lengths of the brush should be enough to get started. Remember, this is a forest there will be trees of all sizes so make some of the trees taller and/or closer in appearance along with shorter one.
From the line you just made (it’s probably best to create the tops of these trees as you go along rather than all at once, you could end up with phone poles), using the corner of your brush and starting a bit down from the top of this line, touch the canvas then “flick” the brush quickly to create the top most branches. As you work your way down the tree, the branches become longer and the growth becomes denser so use a scumbling/scrubbing stroke near the base of the trees to fill in the gaps (here is where I want you to think thick forest) . You will be covering up some but not all of the tree line you did before, don’t worry about it you needed that line to show distance where you don’t paint over it.
Work your way across the canvas, this line of trees goes behind the large cliff on the right (as you look at your canvas). Vary the size and don’t be afraid to make some of the trees break the plane of the edges of the mountains behind them. This overlap will create distance in your painting.
While your trees are drying we will under paint the snow for the cliffs on the right and for the closer hills. You will need your bristle brush for this step, with it mix your blue, purple, a touch of burnt SIENNA and white to create a medium bluish grey mixture, it should be a shade lighter than the darkest part of your sky. This will be the under painting for the snow on the cliffs and variations of this color will be used to under paint the rest of the snow area. Contrary to what you might think, when you paint something that is naturally white like snow, you do not start off painting it white. Look at something that is white such as a building or a wall where you can see light and shadow, you will notice that in the shadow that white wall is a definite blue color, we need that blue color under our snow so when we get to the whitest whites, we will be able to see them, it will also give our snow depth and texture.
Using the dry brush technique (dampened brush with little paint) you are going to create snow capped boulders on the cliffs. Look at the brush strokes you painted in the cliffs, you can use them to “find” boulder shapes. Paint the snow caps on these boulders with rounded brush strokes. Snow is soft so keep your edges soft. Think about how snow drifts and collects in crevices as you are painting. Don’t get carried away and cover all of your cliff-side but be sure to take your snow over the edge of the cliff so you don’t have a dark outline on the edge next to the sky.
Using the same mixture of paint, under paint the ridge that the last line of trees you painted are sitting on. It is okay if some of the tree color mixes in with the snow color. Don’t worry about it, this is under painting. Keep in mind that this ridge is also going to be behind our road so bring it down far enough that the road can be in front of it.
To this same mixture (blue, purple, touch of sienna and white) add more white to lighten it, if it is too grey, add a bit more blue, this color should be a couple shades lighter than the paint you just used. This will be for the reflected highlights in the cliff snow and the snow on the trees you just painted.
In the cliffs, using the dry brush technique again, just hit the tops of the snow you just painted. You should not go over everything, just the tops of the rocks to give them a bit more form.
In the tree line, it you had to use the sable brush you may use it again, load your brush with paint (this is not dry brush so you can have some paint in your brush, just not gobs) and just like you did when you were painting the tree tops, use the corner of the brush and a flicking downward motion to create the snow covered branches. Again as always, don’t cover up all your dark areas; you just want to suggest that the trees are covered in snow. (See detail on photo page.)
If you haven’t done so, you might want to sketch in the nearer hills and road at this time with you vine charcoal. Keep in mind perspective when you are drawing your road. The road is at a slight curve and is going over a hill, the left edge of the road should come in from a couple inches up the left side of your canvas, try to keep any lines in your paintings from going out the corners, it visually points your viewer out of your painting like an arrow. The front of the right side of the road should come to almost 2/3s across from the left corner of you canvas and narrows as it curves back around the hill.
Using that same snow color you just used for the highlights, under paint the rest of your hills. This is where brush strokes are your best friend. While this isn’t exactly dry brush, you can scrub the paint to get the canvas covered keep in mind what and where you are painting. You are painting snow that is covering gentle hills these hills are rounded so use rounded strokes and follow the form of the hills when you are painting them. When you get to the road, you can add a touch more white to your mixture but when you paint the road flatten you strokes, they should be horizontal so the road will look flat. Where the edges of the road touch the hills, be sure to blend them into the hills on both sides so there are no hard edges between the two. Use your finger to blend if you want but there should be no line of demarcation between the road and the hills, your brush strokes will show the difference. At this point your entire canvas should be under painted.
Next time: We build a house and start the highlights.
Fantasy Ireland – Watercolor
To view the paintings go to the picture gallery at: http://picasaweb.google.com/artclasspics/ClassProjects
I thought that my sky was a bit too grey so I added a some more blue by turning the painting upside down, starting at the horizon with the water and using just clear water I painted the entire sky area (wet into wet). Next, while the paper is still wet, I painted a light wash of ultra marine BLUE from the water, up to the top of the cliff and along the edge (paint right through the castle area), then I rinsed my brush and using clear water, helped the color blend up to the top of the paper. (I will used the capitalized color name for convenience unless I indicate otherwise.)
Adding color to the cliffs can be done in a couple of ways either wet into wet (see above) or wet on dry (wet brush, tough not dripping, on dry paper), what ever is easier for you. In either case, work in small areas one at a time so you can control the paint.
Mix burnt SIENNA, cadmium YELLOW and a little touch of dioxizine PURPLE and water to get another pale wash. The purple is to slightly grey the color and a little will go a long way so be careful when adding it to your mixture. If you have ochre or raw sienna on your palette, you may use either of those colors straight just dilute them with water to get a pale wash. You can paint non adjacent cliffs at the same time, let them dry then paint the other cliffs. Vary this wash by adding a bit more sienna to it for the closer cliffs.
Start in the area that would be in between the cliffs (land side). As you paint out towards the ocean, use water to blend the color to the outside edge of the cliff so that it will look darker in close to the land side. This is so you can distinguish between the layers of cliffs by playing light against dark.
The grassy areas are a mixture of sap GREEN, blue, a touch of sienna and water. It will be a medium density wash, not quite as pale as the wash for the cliffs. Painting from the bottom of the grass on the cliffs using either the wet into wet or wet on dry method, paint the grass one section at a time, do not got to the top of the grass with this color, instead, pick up some yellow on your brush – no need to rinse it – then paint the top edge of the grass with the yellow and let the two colors blend together. Rinse your brush and on the tip of your brush, pick up pure blue and paint it along the bottom edge of the grass and let it blend up into the first green wash you put down. Do this for each section of grass letting the touching section dry before painting its neighbor like you did with the cliffs.
On the cliff behind the closest cliff, when you are painting the area behind to it closest cliff, you can negative paint a suggestion of grasses on the closer cliff. What that means is you leave some of the light areas by painting around them leaving a jagged line in the closer grass suggesting grass blades. Negative painting is used a lot in watercolor to save the lighter areas of your painting; you are basically painting the negative areas around an object to show the object. (See detail on the photo page)
Under all of the grasses before the rocks of the cliffs start, there is a very dark shadow that needs to be put in at this time. I use my angle brush for this by loading blue and purple on the point of my brush with only the water in the brush (the brush is damp not dripping), basically, straight off my palette. I run this mixture under all the grass edges rinse my brush and with just a damp brush I touch the lower edge of this paint and blend it down the cliff. It should be very dark right under the grasses and fade to nothing down the cliff.
Painting the castle: You might want to use a smaller brush here because the size of the castle is rather small; you will be mixing your blue, purple and sienna plus enough water to make a dark grey. This color should be at least 2 shades darker than the sky behind it and can either be to the blue or to the sienna side. This is still a wash so don’t get your mixture to concentrated with paint, we still have work to do when it is dry.
Using that same color you can paint the first rocks of your rock wall. The rocks are just shapes for now and you can add other colors on your wall as you paint it. Remember to negative paint the grasses along the bottom of the wall in the foreground. As the wall goes over the hill it gets smaller and the colors blend into each other. The wall in the distance is more of a dark broken line.
Next time: Adding some detail.
Winter Morning – Acrylic
The next step is to put in a line of closer trees. They will be closer than the first line of trees we put in, but still far enough away that we do not need to do too much detail. Please keep this in mind when working in this area: Think forest not individual trees.
Using the biggest flat brush you can use comfortably for the size of canvas you are working on (I’m working on a 16” x 20” so I used a No 10 flat bristle brush, if your canvas is smaller, using a No 6 or 8 might work better for you), mix Ultra marine BLUE with, dioxizine PURPLE, and either sap or Hooker’s GREEN (I will just use the capitalized words for these colors for short) with just a touch of WHITE (either gesso or Titanium white) to lighten. This will be a very dark color and it should be to the bluish side, but it should not be so dark that it looks black so add the white carefully to change the value but not so much that it turns grey.
Drag your brush through your paint to create an edge to the brush. If your bristle brush won’t come to a sharp edge, try a flat sable of a similar size for this step. Using that sharpened edge, you can create the trunks of some of the taller trees in this section by just touching the edge of the brush to the canvas to make a vertical line. One or two lengths of the brush should be enough to get started. Remember, this is a forest there will be trees of all sizes so make some of the trees taller and/or closer in appearance along with shorter one.
From the line you just made (it’s probably best to create the tops of these trees as you go along rather than all at once, you could end up with phone poles), using the corner of your brush and starting a bit down from the top of this line, touch the canvas then “flick” the brush quickly to create the top most branches. As you work your way down the tree, the branches become longer and the growth becomes denser so use a scumbling/scrubbing stroke near the base of the trees to fill in the gaps (here is where I want you to think thick forest) . You will be covering up some but not all of the tree line you did before, don’t worry about it you needed that line to show distance where you don’t paint over it.
Work your way across the canvas, this line of trees goes behind the large cliff on the right (as you look at your canvas). Vary the size and don’t be afraid to make some of the trees break the plane of the edges of the mountains behind them. This overlap will create distance in your painting.
While your trees are drying we will under paint the snow for the cliffs on the right and for the closer hills. You will need your bristle brush for this step, with it mix your blue, purple, a touch of burnt SIENNA and white to create a medium bluish grey mixture, it should be a shade lighter than the darkest part of your sky. This will be the under painting for the snow on the cliffs and variations of this color will be used to under paint the rest of the snow area. Contrary to what you might think, when you paint something that is naturally white like snow, you do not start off painting it white. Look at something that is white such as a building or a wall where you can see light and shadow, you will notice that in the shadow that white wall is a definite blue color, we need that blue color under our snow so when we get to the whitest whites, we will be able to see them, it will also give our snow depth and texture.
Using the dry brush technique (dampened brush with little paint) you are going to create snow capped boulders on the cliffs. Look at the brush strokes you painted in the cliffs, you can use them to “find” boulder shapes. Paint the snow caps on these boulders with rounded brush strokes. Snow is soft so keep your edges soft. Think about how snow drifts and collects in crevices as you are painting. Don’t get carried away and cover all of your cliff-side but be sure to take your snow over the edge of the cliff so you don’t have a dark outline on the edge next to the sky.
Using the same mixture of paint, under paint the ridge that the last line of trees you painted are sitting on. It is okay if some of the tree color mixes in with the snow color. Don’t worry about it, this is under painting. Keep in mind that this ridge is also going to be behind our road so bring it down far enough that the road can be in front of it.
To this same mixture (blue, purple, touch of sienna and white) add more white to lighten it, if it is too grey, add a bit more blue, this color should be a couple shades lighter than the paint you just used. This will be for the reflected highlights in the cliff snow and the snow on the trees you just painted.
In the cliffs, using the dry brush technique again, just hit the tops of the snow you just painted. You should not go over everything, just the tops of the rocks to give them a bit more form.
In the tree line, it you had to use the sable brush you may use it again, load your brush with paint (this is not dry brush so you can have some paint in your brush, just not gobs) and just like you did when you were painting the tree tops, use the corner of the brush and a flicking downward motion to create the snow covered branches. Again as always, don’t cover up all your dark areas; you just want to suggest that the trees are covered in snow. (See detail on photo page.)
If you haven’t done so, you might want to sketch in the nearer hills and road at this time with you vine charcoal. Keep in mind perspective when you are drawing your road. The road is at a slight curve and is going over a hill, the left edge of the road should come in from a couple inches up the left side of your canvas, try to keep any lines in your paintings from going out the corners, it visually points your viewer out of your painting like an arrow. The front of the right side of the road should come to almost 2/3s across from the left corner of you canvas and narrows as it curves back around the hill.
Using that same snow color you just used for the highlights, under paint the rest of your hills. This is where brush strokes are your best friend. While this isn’t exactly dry brush, you can scrub the paint to get the canvas covered keep in mind what and where you are painting. You are painting snow that is covering gentle hills these hills are rounded so use rounded strokes and follow the form of the hills when you are painting them. When you get to the road, you can add a touch more white to your mixture but when you paint the road flatten you strokes, they should be horizontal so the road will look flat. Where the edges of the road touch the hills, be sure to blend them into the hills on both sides so there are no hard edges between the two. Use your finger to blend if you want but there should be no line of demarcation between the road and the hills, your brush strokes will show the difference. At this point your entire canvas should be under painted.
Next time: We build a house and start the highlights.
Fantasy Ireland – Watercolor
To view the paintings go to the picture gallery at: http://picasaweb.google.com/artclasspics/ClassProjects
I thought that my sky was a bit too grey so I added a some more blue by turning the painting upside down, starting at the horizon with the water and using just clear water I painted the entire sky area (wet into wet). Next, while the paper is still wet, I painted a light wash of ultra marine BLUE from the water, up to the top of the cliff and along the edge (paint right through the castle area), then I rinsed my brush and using clear water, helped the color blend up to the top of the paper. (I will used the capitalized color name for convenience unless I indicate otherwise.)
Adding color to the cliffs can be done in a couple of ways either wet into wet (see above) or wet on dry (wet brush, tough not dripping, on dry paper), what ever is easier for you. In either case, work in small areas one at a time so you can control the paint.
Mix burnt SIENNA, cadmium YELLOW and a little touch of dioxizine PURPLE and water to get another pale wash. The purple is to slightly grey the color and a little will go a long way so be careful when adding it to your mixture. If you have ochre or raw sienna on your palette, you may use either of those colors straight just dilute them with water to get a pale wash. You can paint non adjacent cliffs at the same time, let them dry then paint the other cliffs. Vary this wash by adding a bit more sienna to it for the closer cliffs.
Start in the area that would be in between the cliffs (land side). As you paint out towards the ocean, use water to blend the color to the outside edge of the cliff so that it will look darker in close to the land side. This is so you can distinguish between the layers of cliffs by playing light against dark.
The grassy areas are a mixture of sap GREEN, blue, a touch of sienna and water. It will be a medium density wash, not quite as pale as the wash for the cliffs. Painting from the bottom of the grass on the cliffs using either the wet into wet or wet on dry method, paint the grass one section at a time, do not got to the top of the grass with this color, instead, pick up some yellow on your brush – no need to rinse it – then paint the top edge of the grass with the yellow and let the two colors blend together. Rinse your brush and on the tip of your brush, pick up pure blue and paint it along the bottom edge of the grass and let it blend up into the first green wash you put down. Do this for each section of grass letting the touching section dry before painting its neighbor like you did with the cliffs.
On the cliff behind the closest cliff, when you are painting the area behind to it closest cliff, you can negative paint a suggestion of grasses on the closer cliff. What that means is you leave some of the light areas by painting around them leaving a jagged line in the closer grass suggesting grass blades. Negative painting is used a lot in watercolor to save the lighter areas of your painting; you are basically painting the negative areas around an object to show the object. (See detail on the photo page)
Under all of the grasses before the rocks of the cliffs start, there is a very dark shadow that needs to be put in at this time. I use my angle brush for this by loading blue and purple on the point of my brush with only the water in the brush (the brush is damp not dripping), basically, straight off my palette. I run this mixture under all the grass edges rinse my brush and with just a damp brush I touch the lower edge of this paint and blend it down the cliff. It should be very dark right under the grasses and fade to nothing down the cliff.
Painting the castle: You might want to use a smaller brush here because the size of the castle is rather small; you will be mixing your blue, purple and sienna plus enough water to make a dark grey. This color should be at least 2 shades darker than the sky behind it and can either be to the blue or to the sienna side. This is still a wash so don’t get your mixture to concentrated with paint, we still have work to do when it is dry.
Using that same color you can paint the first rocks of your rock wall. The rocks are just shapes for now and you can add other colors on your wall as you paint it. Remember to negative paint the grasses along the bottom of the wall in the foreground. As the wall goes over the hill it gets smaller and the colors blend into each other. The wall in the distance is more of a dark broken line.
Next time: Adding some detail.
Friday, January 18, 2008
Winter 2008 Acrylic & Waterclor Classes
I am having trouble adding pictures to this blog so I am putting a hyperlink here if you want to see or get the pictures and or designs. I've put them in an online album. http://picasaweb.google.com/artclasspics/ClassProjects
WINTER MORNING - Acrylic
Week 1 – You should not do a detailed drawing on your canvas at this point. We will sketch as we need to as we go along. We started out on a white canvas covering the top third first with gesso with our hake (largest brush) brush, then picking up red (either napthol or alizarin) streaking it across the canvas from the interior of the canvas then using large chris-cross strokes blending toward the top. Next take ultra marine blue and a touch of dioxizine purple still using your large brush, streak this across the top of the canvas and with large chris-cross, very light strokes, blend it down to the red so there is a gradual shift from blue to red. The tendency is to over blend so be sure that the red, which should look pink, is the prominent color in the sky.
Distant Mountains – Using your vine charcoal, sketch in your distant mountains. You might want to let your sky dry before sketching. Using either a #10 or #12 bristle brush (smaller if you are working on a small canvas), mix either white or gesso with the red. You want a color that is a couple of shades darker than your sky. Use the whole flat edge of the brush and pull down from the sketch lines you drew for your mountains to define the shape but keep the edges soft. You can use a scumbling (an unorganized series of overlapping strokes) in the body of the mts. once you get the top shaped, be sure that there are no hard edges either at the top or bottom of your mts.
If your distant mts look too close, I.E: too dark, you can take white with a touch of the red on a DRY brush (very little paint on an almost brush) and a with circular motion dry brush some haze over the mts starting at the bottom and work up.
Snow on Distant Mts. – You can use a smaller bristle brush to do the snow using a mixture of white (gesso or titanium) and a touch of red. It should be lighter than your mt. color. Acrylics dry darker so you may have to go over the snow a couple of times using a bit more white each time but never white by it’s self.
Closer Mountain (right side) – This Mt is in shadow and it is closer to you so it will be darker and bluer. Using a #10 or #8 flat bristle brush, mix blue, purple, burnt sienna and a touch of white and scumble in the under painting for this mountain it should be fairly dark and on the blue side. Be sure to take it out of the canvas (it is so close you cannot see the top) and that there are no hard edges along the bottom.
Distant Trees - Using the same flat brush mix the blue, purple, sienna and white to get a medium blue gray color. It should be a color lighter than the mountain you just painted but darker that the distant mountains. Using the flat edge of the brush vertically create a line of distant trees along the bottom of the distant mts that end at the closer mt. by starting at the top of the tree line and pulling down. Vary the height of your trees so it doesn’t look like a manicured lawn and over lap your strokes so it doesn’t look like a fence. This is a forest, so think lots of trees.
Next session: Finishing the under painting.
FANTASY IRELAND – Watercolor
Always keep in mind that when working in watercolor you work in layers from light to dark so keep your washes light especially at first. If you get too dark too fast you will have problems.
Week 1 - After you have finished sketching your design, with a large brush (I use a 1” angled shader) mix a combination of blue (cerulean, cobalt or ultra marine, I start with cerulean because I have it on my palette) with a touch of cad orange. You will need to use a lot of water to dilute this down to a pale bluish gray wash. Your brush should have paint in it but not dripping. This wash will go over everything EXCEPT the tops of the hills, top of the rock wall, fence post and the road. LET IT DRY! Use a hair drier if you want, but it must dry.
Wash 2 - Using the same two colors, mix another thin wash but a bit bluer and a bit richer (sorry, I can’t be more specific, just don’t get too dark) you still want it pale but not quite as pale as your first wash. If you need to, turn your painting upside down, you will be starting this wash where the sky meets the ocean and it is easier if your painting is upside down. With this new wash lay it down in the sky area next to the water. Paint the sky up the edge cliffs and over the castle. Rinse your brush and with the clean brush and a bit of water, go into the edge of the wash you just put down and blend it out to the top edge of your sky. This is called a graded wash.
Turn your painting back upright, it should not be wet enough to run, if it does, pick up the pools with a clean, damp brush or paper towel.
With that same mixture of wash, paint the water starting at the shore and move up towards the sky using the same process: Darker at the bottom then using a clean brush with just water and blend to the horizon. This same technique is used to create the shadow areas such as the areas between the cliffs. Start in-between the cliffs with the darker wash then rinse your brush and with plain water, blend the paint about ¾ the way to the vertical edge of each cliff section. You can also use this wash to create a valley between where the road goes over the hill and the distant hill. The rock wall can be painted with the same mixture its entire length until it goes over the hill.
Distant Hills – First wash: Using cad yellow pale and a lot of water to make a very dilute wash, paint over all the grass areas even any foreground areas that have that first pale blue/gray wash. Those areas may end up looking green, that is a good thing, don’t worry about it. This is under painting and sets the stage for successive layers. Don’t forget the grasses at the bottom of the wall.
The Road – First wash: Using a dilute mixture of burnt sienna, with a touch of yellow, paint the road using long, overlapping “U” shaped strokes in a horizontal motion. This is a rough road your brush strokes will help create that feel. Add touches of water to your mixtures as you go toward the distance. The fence post can also be under painted with this wash mix.
Next session: More Layers.
Distant Mountains – Using your vine charcoal, sketch in your distant mountains. You might want to let your sky dry before sketching. Using either a #10 or #12 bristle brush (smaller if you are working on a small canvas), mix either white or gesso with the red. You want a color that is a couple of shades darker than your sky. Use the whole flat edge of the brush and pull down from the sketch lines you drew for your mountains to define the shape but keep the edges soft. You can use a scumbling (an unorganized series of overlapping strokes) in the body of the mts. once you get the top shaped, be sure that there are no hard edges either at the top or bottom of your mts.
If your distant mts look too close, I.E: too dark, you can take white with a touch of the red on a DRY brush (very little paint on an almost brush) and a with circular motion dry brush some haze over the mts starting at the bottom and work up.
Snow on Distant Mts. – You can use a smaller bristle brush to do the snow using a mixture of white (gesso or titanium) and a touch of red. It should be lighter than your mt. color. Acrylics dry darker so you may have to go over the snow a couple of times using a bit more white each time but never white by it’s self.
Closer Mountain (right side) – This Mt is in shadow and it is closer to you so it will be darker and bluer. Using a #10 or #8 flat bristle brush, mix blue, purple, burnt sienna and a touch of white and scumble in the under painting for this mountain it should be fairly dark and on the blue side. Be sure to take it out of the canvas (it is so close you cannot see the top) and that there are no hard edges along the bottom.
Distant Trees - Using the same flat brush mix the blue, purple, sienna and white to get a medium blue gray color. It should be a color lighter than the mountain you just painted but darker that the distant mountains. Using the flat edge of the brush vertically create a line of distant trees along the bottom of the distant mts that end at the closer mt. by starting at the top of the tree line and pulling down. Vary the height of your trees so it doesn’t look like a manicured lawn and over lap your strokes so it doesn’t look like a fence. This is a forest, so think lots of trees.
Next session: Finishing the under painting.
FANTASY IRELAND – Watercolor
Always keep in mind that when working in watercolor you work in layers from light to dark so keep your washes light especially at first. If you get too dark too fast you will have problems.
Week 1 - After you have finished sketching your design, with a large brush (I use a 1” angled shader) mix a combination of blue (cerulean, cobalt or ultra marine, I start with cerulean because I have it on my palette) with a touch of cad orange. You will need to use a lot of water to dilute this down to a pale bluish gray wash. Your brush should have paint in it but not dripping. This wash will go over everything EXCEPT the tops of the hills, top of the rock wall, fence post and the road. LET IT DRY! Use a hair drier if you want, but it must dry.
Wash 2 - Using the same two colors, mix another thin wash but a bit bluer and a bit richer (sorry, I can’t be more specific, just don’t get too dark) you still want it pale but not quite as pale as your first wash. If you need to, turn your painting upside down, you will be starting this wash where the sky meets the ocean and it is easier if your painting is upside down. With this new wash lay it down in the sky area next to the water. Paint the sky up the edge cliffs and over the castle. Rinse your brush and with the clean brush and a bit of water, go into the edge of the wash you just put down and blend it out to the top edge of your sky. This is called a graded wash.
Turn your painting back upright, it should not be wet enough to run, if it does, pick up the pools with a clean, damp brush or paper towel.
With that same mixture of wash, paint the water starting at the shore and move up towards the sky using the same process: Darker at the bottom then using a clean brush with just water and blend to the horizon. This same technique is used to create the shadow areas such as the areas between the cliffs. Start in-between the cliffs with the darker wash then rinse your brush and with plain water, blend the paint about ¾ the way to the vertical edge of each cliff section. You can also use this wash to create a valley between where the road goes over the hill and the distant hill. The rock wall can be painted with the same mixture its entire length until it goes over the hill.
Distant Hills – First wash: Using cad yellow pale and a lot of water to make a very dilute wash, paint over all the grass areas even any foreground areas that have that first pale blue/gray wash. Those areas may end up looking green, that is a good thing, don’t worry about it. This is under painting and sets the stage for successive layers. Don’t forget the grasses at the bottom of the wall.
The Road – First wash: Using a dilute mixture of burnt sienna, with a touch of yellow, paint the road using long, overlapping “U” shaped strokes in a horizontal motion. This is a rough road your brush strokes will help create that feel. Add touches of water to your mixtures as you go toward the distance. The fence post can also be under painted with this wash mix.
Next session: More Layers.
Thursday, January 17, 2008
Equipment List
General Equipment List for Acrylics and Watercolor
This list is to compliment the lists I give out in class; I have combined the equipment lists you will receive. Please be sure to note the media when making any purchases, the equipment will be discussed at the first meeting, if you have any questions on what to buy. The following are only suggestions for basic equipment, if you have supplies already that will suffice, you don’t need to buy anything else unless you need it. Many items are interchangeable I have noted where there are differences.
Colors - I use a similar color palette for both acrylics and water color, be sure to buy the colors in the correct media (watercolor or acrylic). Cadmium Yellow Light, Napthal Red (manufactures sometimes use their own name for this red such as Grumbacher Red or Winsor Red), Burnt Sienna, Burnt Umber, Sap Green, (French) Ultra Marine Blue, Dioxizine Purple. Optional additional colors: Cadmium Orange, Light Blue Violet, Hooker’s Green, Thalo Yellow Green, Alizarin Crimson, Cobalt Blue, Cadmium Red Light.
Acrylic only: Titanium White (Bleached). No, I didn’t forget black, I do not use it in most cases.
Palette – Most anything can be used from commercial palettes, to meat trays to put paints out on, but it is helpful to have an area where you can mix. Having a piece of plexi-glass (Acrylic), glass or spare meat tray to mix in is helpful because they are easy to clean.
Brushes - Acrylic: 2” (or larger) Blending Brush (Haki) the bristles should be very soft
#10 Flat Bristle Brush; #4 or #6 Flat Bristle Brush; #4 or #6 Flat Sable Brush; # 4 Round Sable Brush; # 3 Liner. Oil brushes are the same as acrylic brushes.
Watercolor: You don’t need really expensive brushes, but you do need well-constructed ones. The ferrules (metal part) should be solid no seams, the bristles should be even, and hold their shape when wet. Use brushes designed for watercolor, they usually have shorter handles and can be either natural sable (usually more expensive) or synthetic sable.
2” Hake brush (doesn’t need to be expensive) or 2” Wash Brush; 1” or ¾” Flat Sable or Angled Shader; ½” Flat Sable or Angled Shader; #6 Round Sable; #2 or #3 Script Liner Brush.
Optional Brushes: ¼” Flat or Angled Shader; #8 or #10 Round Sable; #1 or 2 Round Sable
Canvas– Acrylic: You can use stretched canvas, canvas boards, canvas pads, or gessoed masonite boards. Size is up to the student though I suggest at least 8” x 10”. Also, because of limited class space, no larger than 36” maximum in any direction.
Paper - Watercolor: The most important aspect of buying watercolor paper is weight. Whether you buy a pad, a block, or individual sheets, be sure that it is 140 lbs Cold press watercolor paper, anything less will buckle when wet. Each paper manufacturer makes their paper just a bit different, and it does have an effect on the final product. If you are having trouble with your technique, it is probably the paper and not you.
If you are using a watercolor block you don’t need to have a support for your paper, however, if you are using a tablet or single sheet paper, you need a support. I use acrylic boards that I get from OSH or Home Depot usually where they have the masonite and molding, it’s usually used as a substitute for glass in pictures. You can also use masonite. They come in all sizes or can be cut down, find a size that is a bit bigger than the paper you will be working on.
Other supplies to have –Both classes: Spray bottle for water to keep paints moist, paper towels (I prefer Viva), container for water, an old tooth brush, masking tape or blue painter’s tape, sponge and/or sea sponges and permanent fine tipped marker (Sharpie).
Acrylic: Single edge razor blade, Gesso, soft vine charcoal or charcoal pencil, white chalk.
Watercolor: No. 2B Pencil, either/or gummed eraser or Magic Rub, masking fluid, soap (old, small bar is fine), cheap or old brushes for the masking fluid, salt.
Easels should be available in the class, however, if you have a tabletop easel or an easel you want to work on, it is okay to bring it as well.
This list is to compliment the lists I give out in class; I have combined the equipment lists you will receive. Please be sure to note the media when making any purchases, the equipment will be discussed at the first meeting, if you have any questions on what to buy. The following are only suggestions for basic equipment, if you have supplies already that will suffice, you don’t need to buy anything else unless you need it. Many items are interchangeable I have noted where there are differences.
Colors - I use a similar color palette for both acrylics and water color, be sure to buy the colors in the correct media (watercolor or acrylic). Cadmium Yellow Light, Napthal Red (manufactures sometimes use their own name for this red such as Grumbacher Red or Winsor Red), Burnt Sienna, Burnt Umber, Sap Green, (French) Ultra Marine Blue, Dioxizine Purple. Optional additional colors: Cadmium Orange, Light Blue Violet, Hooker’s Green, Thalo Yellow Green, Alizarin Crimson, Cobalt Blue, Cadmium Red Light.
Acrylic only: Titanium White (Bleached). No, I didn’t forget black, I do not use it in most cases.
Palette – Most anything can be used from commercial palettes, to meat trays to put paints out on, but it is helpful to have an area where you can mix. Having a piece of plexi-glass (Acrylic), glass or spare meat tray to mix in is helpful because they are easy to clean.
Brushes - Acrylic: 2” (or larger) Blending Brush (Haki) the bristles should be very soft
#10 Flat Bristle Brush; #4 or #6 Flat Bristle Brush; #4 or #6 Flat Sable Brush; # 4 Round Sable Brush; # 3 Liner. Oil brushes are the same as acrylic brushes.
Watercolor: You don’t need really expensive brushes, but you do need well-constructed ones. The ferrules (metal part) should be solid no seams, the bristles should be even, and hold their shape when wet. Use brushes designed for watercolor, they usually have shorter handles and can be either natural sable (usually more expensive) or synthetic sable.
2” Hake brush (doesn’t need to be expensive) or 2” Wash Brush; 1” or ¾” Flat Sable or Angled Shader; ½” Flat Sable or Angled Shader; #6 Round Sable; #2 or #3 Script Liner Brush.
Optional Brushes: ¼” Flat or Angled Shader; #8 or #10 Round Sable; #1 or 2 Round Sable
Canvas– Acrylic: You can use stretched canvas, canvas boards, canvas pads, or gessoed masonite boards. Size is up to the student though I suggest at least 8” x 10”. Also, because of limited class space, no larger than 36” maximum in any direction.
Paper - Watercolor: The most important aspect of buying watercolor paper is weight. Whether you buy a pad, a block, or individual sheets, be sure that it is 140 lbs Cold press watercolor paper, anything less will buckle when wet. Each paper manufacturer makes their paper just a bit different, and it does have an effect on the final product. If you are having trouble with your technique, it is probably the paper and not you.
If you are using a watercolor block you don’t need to have a support for your paper, however, if you are using a tablet or single sheet paper, you need a support. I use acrylic boards that I get from OSH or Home Depot usually where they have the masonite and molding, it’s usually used as a substitute for glass in pictures. You can also use masonite. They come in all sizes or can be cut down, find a size that is a bit bigger than the paper you will be working on.
Other supplies to have –Both classes: Spray bottle for water to keep paints moist, paper towels (I prefer Viva), container for water, an old tooth brush, masking tape or blue painter’s tape, sponge and/or sea sponges and permanent fine tipped marker (Sharpie).
Acrylic: Single edge razor blade, Gesso, soft vine charcoal or charcoal pencil, white chalk.
Watercolor: No. 2B Pencil, either/or gummed eraser or Magic Rub, masking fluid, soap (old, small bar is fine), cheap or old brushes for the masking fluid, salt.
Easels should be available in the class, however, if you have a tabletop easel or an easel you want to work on, it is okay to bring it as well.
Wednesday, January 16, 2008
A Work in Progress
I had a brilliant idea this morning, many of my students ask me to e-mail them the drawings or reference for the projects we do in class and I often times forget to send them for one reason or another, that's how I came up with this idea: To have a place on the Web that I can post current projects and equipment info that my students can access at any time, any place.
I need to get some things organized now so it will be a couple of days before I actually have the kind of info I want to have on here, but for now, this will have to do.
So welcome to any and all who have found this site by accident or design, come back any time!
I need to get some things organized now so it will be a couple of days before I actually have the kind of info I want to have on here, but for now, this will have to do.
So welcome to any and all who have found this site by accident or design, come back any time!
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