WATERCOLOR SUMMER 2012 -  P.V. Bunny

PV Class you will need to go to the previous blog post for the things we covered in class.

For those of you who really don’t like to do a lot of negative painting, I showed how you can use masking fluid to speed up the process. The one thing that you must remember is that your paper needs to be COMPLETELY DRY before you add the masking fluid. Be particularly aware of areas where paint/water may pool up like the junction of meeting lines of masking, if the paper is even a bit moist, the masking fluid can soak into the paper and ruin your hard work. Rinse your brush every minute or so and re-soap it so the masking won’t stick to the bristles, other than that, you will notice only a little, if any, removal of color when you remove the dried masking.

Be sure that you have made your dark areas dark enough not only behind the bunny but also the bunny’s bum and behind the rocks.

When you have added as may layers of weeds as you think you want whether you have used to negative painting method or the masking fluid method, you may want to detail out some of the weeds to give them more structure especially those near the bunny. I started this process last week and will do some more on it this week as well as adding some darks into the weeds (yes, more negative painting) and then I should be done with the rabbit.

WATERCOLOR SUMMER 2012 – PV Bunny

PV Class you will need to go back to previous blog entries as the Torrance class is a couple weeks ahead of you.

Many times when I am painting in watercolor, I will establish my values first before adding color, this is what I did on the rabbit. I got most of my values at least half way before I added any color. Watercolor is a transparent medium and so I use that to my advantage with my under painting, by establishing the values, I don’t need to worry about do I have the color right all I’m concerned about is light and dark remembering that in watercolor you work light to dark, once I have clearly defined my light and dark areas, then I start to add color.

That said, I was to that point with my bunny. It doesn’t mean that I am done with my values at this point, it just means that I can now introduce color and work to intensify not only my values but also my colors. I was using my ¼” angle brush but a small flat brush or a small round will work as well, you just need something small because we are working on something small – the fur.

The colors I used varied very little and they were sienna, blue, yellow, orange and touches of purple depending on where I was painting on the bunny. It is essential that you have your reference photo where you can look at it often so you can see the subtle color changes in the fur and the direction the fur is growing, I can only show you technique the photo is you map to create this rabbit, it is the difference between “turn left at the big oak” and a Google street level map.

I used my brush on the very end so I was making small, fur like strokes. It is a repetitive, slow process but unless you have a grass brush (it is a specialized type of brush), making small dry brush, strokes.

A couple of areas that you need to be aware of and they are areas behind the rabbit: One is the area behind the back end of the rabbit and the other is under its chin and down the front. The area at the back end needs to be lighter than the bunny behind so that the body shows up, so as you are doing your values be sure that you make the fur very dark though the opposite is true in the area in front of the bunny. The area under the chin and down the front needs to be very dark BEHIND the rabbit. This area needs to be dark so that the light fur that is backlit on its face and chest will show up. When you paint an area around the subject it is called “negative painting” and we use it a lot in watercolor. You may already be using it to do your weeds, just be sure to get that area dark.

Like I said, you can paint the weeds using negative painting, you can also use masking fluid. You can do this by adding a light layer of color or value, let it dry COMPLETELY use your masking fluid to add more weeds and repeat the step as many times as you feel necessary. Be sure that the masking fluid is dry before you paint your next layer or it could mess up your brush. Also, if you drop fluid where you don’t want it, just let it set up and peel it off, that is the easy way.

We should be about done with the rabbit next week so you might want to start looking for something you would like to paint for your next project. We will have a couple weeks off between classes and I hope that next semester is a lot smoother than this one has been. Thank you all for your support and understanding during this very trying time in my life.

Watercolor Summer 2012 – PVBunny

This will be a brief summary of the past two weeks of painting the rabbit so you have an idea of what we did to get to this point.

First, I drew on the rabbit. I wanted to make him big enough on the paper so he is the focal point but left enough room in front of him so he can move. This is a “landscape” (horizontal) format vertical or portrait would make him too small in the painting and give too much importance to the rocks and weeds. Watch his proportions as you draw him, his body is just slightly more than 2 lengths of his head and his ears are the same length as his head (I measure from between his ears to his nose).

Once your drawing is on wet the entire paper. Don’t worry about the rabbit, he has a lot of the surrounding colors in him, it helps him hide there is also on actual white in the photo so we don’t need to protect or save white, everything gets color at this point.

I used A LOT of water with these first colors so they were just basically tints. They need to be very light because these colors will be the highlights in the finished painting. Remember in watercolor we paint from light to dark which mean to start very light and work in layers. If you are not a patient person, watercolor may not be the best medium for you because you will need patience.

Onto my wet paper I added these tints of yellow, orange, sienna even tints of gray I made by adding a tiny touch or purple to the yellow, then I let it dry completely.

When it was dry – and it needs to be totally dry for this next step – I added some masking fluid to a few areas that I thought I wanted to stay very light. This isn’t necessary but the masking does make it a bit easier so you can just paint and not have to worry about painting around something.

When the masking was dry, I added more of the same colors to most areas but this time I was a bit more selective. I didn’t add more to the rabbit at this time but I did add more general color in the rock areas and weed areas and avoided areas where I thought that light might hit I had my photo right in front of me so I wasn’t guessing. I added more gray tint into the shadows again, this can be the exact same color you used before because watercolor is accumulative and will look darker or more intense in the final painting.

I have not started to paint weeds yet I am just establishing light ad dark – sun and shadow – weeds will come later.

The rabbit I under painted with gray. Again I am not going for my dark darks yet but I do want to start to establish highlights and shadows. The gray can be the yellow and purple you were using or  a mix of blue, sienna and a touch of purple keeping it to the blue side/ Please have the photo there to look at when you are doing this and just paint what you see even if it doesn’t make sense right now, it will later on. Be sure to use water to lighten when you need to and always follow the direction of the fur growth with your brush strokes.

I think this was week 1 but there may be some crossover.

At this point we start getting more specific and we will be using both positive and negative painting.

Positive painting means that you are painting the thing itself lit the rabbit or the weed; negative painting means that you are painting the area AROUND the thing like the rock behind the rabbit or the shadows behind the weeds. This is a very important technique we use in watercolor and it goes back to what I said before about painting from light to dark. When we negative paint we are darkening the area behind something so it will look lighter in the end. You must have dark to show light and using negative painting is one way we accomplish that goal in watercolor.

On the rabbit I continued to use just the gray for now to intensify the shadows on the rabbit and to suggest some of the features such as the light rings around his eye. I still followed the fur growth. I also added some gray behind the rabbits face using negative painting to add color to the rock leaving that one side of his face lighter.

Behind the rabbit are a couple of very dark spaces under the rock but rather than paint it dark all at once I negative painted using layers of a lighter gray. Each time I added a layer, I painted around not only the rabbit but also I suggested weeds by painting shapes to suggest a tangle of weeds, each time adding more weeds and the area getting darker.

I also used the negative painting in the weeds in front of the rabbit and in the shadows. This can take time but you should be able to move around your painting as areas dry you can go back over them.

Another technique which I am not using because it means more drying time is to use the masking fluid on each layer of color to make your weeds. It is up to you.

There are also some weeds that are dark against the lighter rock that come up against the dark areas, these weeds you can positive paint using a similar value to the area left in the dark shadow, just continue them out into the light area use your liner or a round brush if you have one.

I will show you another way to make weeds next time so you might want to bring some plastic wrap J. 

Watercolor Class Spring 2012

WATERCOLOR – Demo: The Importance Of Under Painting.

                              

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

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

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

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

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

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

Watercolor Spring 2012

WATERCOLOR – Backgrounds Using Mask Demo

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

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

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

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

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

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

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

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

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

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

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

Spring 2012 Watercolor Class

Watercolor – Apple Turnover Week 4

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

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

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

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

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

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

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

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

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

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

Spring 2012 Watercolor Class

Watercolor – Apple Turnover Week 2

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

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

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

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

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

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

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

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