Friday, June 9, 2017

Intermediate and Beginning Watercolor Homework 6/8/17 What Matters Most

Here are a few images that require close attention to Value. To create a convincing illusion of light you would need to establish the range within which the value of any given shape would work relative to its neighbors.

Choose one that looks fun to paint. You may want to make a quick monochrome value study first. Make notes about the relative values of each shape. Where would you like to make adjustments for the sake of the painting? Not everything you see in a photo is best "as is".The foreground shadows in the Monument valley image, for example, are too dark. They come off as flat black shapes. If you were really there, you'd be able to see into those shadows and observe much more than the photo displays.

When you're confident about the relative darkness of the shapes, devise your palette. Make sure you select colors that can make a dark enough dark to tell the story. This exercise REQUIRES having a practice paper handy. Remember to bracket the values, looking for something lighter than the shape you are about to paint, and something darker. For example, in the graveyard scene, the headstone on the left is darker than the sunlit grass, but lighter than the shadows on the grass.
Feel free to paint more than one image.

Thursday, June 1, 2017

Intermediate and Beginning Homework 6/1/17 Letting the Components of Your Color ixing Show

We've been focusing on neutrals lately, and we've touched on the idea of letting the components of your mixes be visible in their more intense forms within the washes you make. The figure offers a good opportunity to practice this, in both the local flesh tone and the shadows. Here are some examples of figures where the colors are left unmixed or are touched into a neutral wash that is still wet:

Look at the local color of the skin tones of the figures below. Try copying the colors, keeping track of  what you mix. In every case, I expect there was some of each of the primary colors involved. Experiment with allowing the component colors to remain incompletely mixed. You can start with a thorough mixture, where all the components have been mixed till they are evenly tinted throughout the wash, and then touch in a little of the components. If you're feeling brave, try double-loading your brush (loading more than one color at a a time).  Do the same for some of the shadows. 

This should be good practice for working from the model next week. If you have some large drawing paper (11x14" or larger), please bring a bunch for the short poses. It's fine if it's not watercolor paper, in fact, using relatively inexpensive paper encourages experimentation. Have a few pieces of the good stuff, too, for the longer poses toward the end of the session.

Thursday, May 25, 2017

5/19/17 Intermediate Homework Color Temperature Dominance

A very good way to focus attention on a particular part of a painting is to make it warm in an otherwise cool atmosphere, or vice-versa. Look at this scene, for example, where the windows are very warm while the rest of the setting is definitely cool:

The dominance of the cool makes the warm stand out.
The difference between the cooler and the warmer areas can be more subtle, like the relative temperatures in the scene, below, and still bring our attention to the portion of the image that is not dominant:

For homework, find an image you like and make a painting where you change the colors so that either the warms or the cools take up most of the total area. You can use one of the following images, or find one on your own.


You could cool down all this green and make the boat orange. Or make the trees and grass and water much more yellow and paint the boat blue. Or both!

Can you think of a way to leave the boat blue and change everything else?


What if you made the rocks rustier and changed the trees to Golden yellow fall cottonwoods? Then you could use more blue in the water and change the sky to sunset.

Beginning and Intermediate Homework 5/25/17 Neutrals

There's certainly plenty of intense color in this scene from the Palouse; strong blue and yellow and green. But notice that the picture is also about half neutral. What color is the field in the foreground, or the entire hill? How would you begin to mix them? Grey? Brown? Orange? What would be best for the overall scene? Would it be good to mix some of the intense colors that are elsewhere in the image? Yellow and blue make green. What else would you need? Did you say red? There's a little bit of red in that yellow field.

Neutrals can be thought of as an opportunity. They serve to offset the more intense colors. They can also be used to pull the whole painting together. If you mix your neutrals from the same palette that creates the brighter colors they resonate with each other and contribute to a feeling of cohesiveness.

Except for the blue sky, this whole picture is made up of neutrals. You can see pink and blue green and orange, but none of them are very intense. To mix any of these subtle hues you would need to use all three primary colors and allow one or another to dominate. What is the dominant color in the rippled door? How about the wall just above that door? What would be the first color you'd reach for to paint the road?

Here are a few more images that rely on neutrals for their character. Pick one and think about how you might use a limited palette, say, one red, one yellow and one blue, to mix all the colors you see. Try letting the a little bit of the component colors of your neutrals remain visible in your mixtures.

Monday, May 15, 2017

Everyone's Homework 5/14 Subtle Values

Whoops! I went off to SoCal for my son's graduation and all thoughts of homework went out of my head. I hope you all found something that made you want to paint.
Here are a few images that rely on close value relationships for their appeal.
I recommend making a 5 value monochrome study as a first step for any of these.

Careful with this one. The barn is "white", but it's not the lightest thing in the picture. How can that be?

You might want to practice that hill in the far background. It looks like grading  it so that the left side is lighter than the right is important.

Maybe move the horizon so it's not in the middle of the page...?

Feel free to make any changes you want after studying the values. When you're ready, choose your palette and make a full color version.

Saturday, May 6, 2017

Intermediate Watercolor 5/4/17 FAKE ART!

I'll describe a scene with just a few shapes;
There are two or three large birch trees standing in a clearing beside the dense woods. The woods form a backdrop like a tapestry of several different tones. Some sky is visible above and between the branches of the trees, and some short grass forms the foreground, where the birch trunks emerge from the ground.

Sound familiar?

Compose a scene using these components. Choose colors, values and edges that will create a distinct feeling or mood. What if the birches are darker than the woods? What if you used only two colors? How about texture? Do you want to leave it out altogether? Exaggerate the patterns of the bark? No hard edges? No soft edges?

Make up the relationships between the shapes according to the feeling you want to convey. Serene, spooky, romantic, overcast, bright, surprising.
Would a carnival of colors enhance the feeling of serenity? If I make the trunks orange and the birch leaves blue but I hold on to accuracy of value, will that create an element of surprise?"

Ask yourself, "What choice will support my purpose?"
You're in charge.

Beginning Watercolor Homework 5/2/17 The Role of the Darks

In class we looked at the task of seeing what role the darks play in the big picture. A couple of questions that guide the inquiry are, "When in the sequence of layers do the shapes become defined?", and, "Can I be casual or carefree in the layers before the shapes take on their identity?"
The idea is to take advantage of seeing in advance when it is time to make sure the viewer can recognize what they're looking at. That knowledge keeps you from becoming specific prematurely.

We have seen that looking at the dark layer by itself often reveals whether those darks are responsible for defining the content of the painting. Sometimes you can see the role the darks play without even making a quick preliminary study.            

Merely squinting at the scene, above, makes it clear that the darks alone could describe the narrative of this image. Everything is outlined in dark colors! The green, the orange, the grey and even the blue 
could be blocked in very approximately and those darks would still pull the whole scene together.

If the image or scene you are interested in painting does not readily reveal the role of the darks, make a study of just the strong darks. If the study can be easily understood even without any of the light shapes or the middle values, then it must be the darks that are providing the content. If, on the other hand, the darks by themselves leave space and light ambiguous, it must be that the earlier layers play some part in establishing the identity of the shapes. That means you have to be careful at an earlier stage of the process.

Using the image you brought home from class, or one of these attached to this post, assess the role the darks play in telling the story. If you can do that without making a study, good for you. If not, please keep the study to 15 minutes or less. 

Make a painting that takes advantage of what you learned about the role of the darks. When you have a chance to be carefree, let the paint go outside the lines. The goal is UNDERSTANDING, not pretty pictures.


The smudge in the upper right is my finger, not exactly a major shape.


Thursday, April 27, 2017

Intermediate Watercolor 4/27/17 Getting some distance

Rule number one: Disobey all rules, except this one.

The study of composition for painters is a territory littered with rules. We are constantly told what to always do and, conversely, what to never do. "Make sure your paintings always have a center of interest". "Never put a vertical in the center of the page".  "Always put the horizon one third or two thirds of the way up the page",  "Never let a solid line run from one edge of the paper to the other".

...unless you want to.

How you choose to lay out the shapes in your pictures is potentially a very expressive feature of your work. The key is to make your choices deliberately. Be aware of what you tend to do regarding composition so that you use it to support your intentions.
It's a good idea, every once in a while, to pin up a few of your paintings and stand back to observe what you do deliberately and what you do automatically. I like to ask myself questions that focus my awareness. For example, looking at this crop of abstracts, I might ask, "Do the shapes touch the frame?"

Hmmmn, the majority of my shapes are touching the frame.

"Are the shapes parallel to the frame?" Yes! Very interesting.

"Are the corners of the page active?" Pretty much.

If I notice something in one painting that I especially like, or something I don't like, I can assess whether I tend to do that thing regularly. For example, I see in the last painting, above, that I put weight along the bottom edge, like a landscape, and put blue at the top. Are all my paintings really landscapes?
It seems to depend which way I look at them. This one, for example, looks very much like a landscape if I turn it 90 degrees. The green shape becomes a cloud when it's floating across the top of the painting.

You might wonder if any of this matters. I mean, so what if my abstract paintings reference the landscape? 
For me, the point of this activity is to take charge of a major part of my own work. I want to reveal what may be obscured by being so close, and take advantage of what composition provides. 

Try this for homework, and bring in a painting or two that you have seen with new eyes. Please take notes, so you can remember what was revealed.

Beginning Watercolor Homework 4/27/17 Seeing Layers: The Role of Value

Begin by making a value scale. A strip of 140# watercolor paper about 3" x 8" will work well.

1) Paint the whole strip #9 (the lightest grey), except for a patch left white at one end.

2) Let the strip dry, then paint the whole thing #8, except for a patch of #9 and white.

3) Let it dry, then paint the whole thing #7, except for the patches of #8, #9 and white.

4) Continue getting darker by increments, always leaving a patch of the previous layer. It's OK if the steps are not perfectly even,  as long as each one is darker than the last.

Don't leave white between your patches.

Five Value Monochrome Study
Here's a n example of the process for making a quick  5 value monochrome study. With a hair dryer handy, you should be able to  make one in fewer than twenty minutes, once you get done reading all this text, that is. The process is very similar to making a value scale.

What role does value play in the relationships between the big shapes?
As a first treatment of a new subject, it would be hard to find a better exercise than a value study. Understanding the dark/light relationships between the big shapes in your composition is an essential step to making a painting that is cohesive. A five-value version  (white, light grey, middle grey, dark grey, black) can be done quite quickly over a simple drawing of the big shapes. It also provides good practice for seeing in layers. 
Look for an image that resolves nicely into just a few shapes - no more than a dozen.  The major shapes are those that must appear separated in order to understand where things are in the illusory space. You can use one of these photos or one of your own. 

Choose a color (just one) straight from the tube, that can get dark enough to represent black. If you have a tube of black, by all means use that. It’s better not to make a color by mixing, since that introduces another variable. This exercise is designed to focus on value only. Similarly, all paint should be applied to dry paper, to keep wetness from distracting your attention from value.
If you are tempted to get fussy about edge quality, or texture, or any kind of detail, remember, this is NOT A PAINTING, and it is supposed to be too simple. A door may be important, but the doorknob probably isn’t. I have seen some so-called value studies that are, in fact, very carefully observed monochrome paintings. They may be quite beautiful, but as tools designed to reveal the essential elements of the scene, they are not very useful. The best way to find out if something needs to be in the picture is to leave it out.
After each step, while you’re waiting for the paper to dry, assess how complete the illusion of light and space and substance feels.

Light is an important component of this image. Isolating the variable of Value should reveal the role it plays in creating the illusion of sun and shadow.


In your drawing of the big shapes, try to keep the number down to ten, or fewer. The profile of each shape is all you need to draw. The idea is to locate the shapes, not to describe them.

Starting with the light grey, paint the entire page, except for any shapes that need to stay white.
Is there a feeling of light in the study? What about space? Substance?

 When that layer is dry, paint the whole page middle grey, except for the lights and the whites. If you can’t decide whether a shape should be light or middle, round it off one way or the other. The finished study will reveal whether you made the right choice.
Again assess the state of the illusion: Light? Space? Substance?

· When layer two is dry, apply the dark grey over everything except the middle, light and white shapes. Now that the background figure has a dark grey layer, and the section of wall behind him does not, notice how effectively the two separate, compared to the previous stage.

Finally, paint in the darkest darks.
The role of the darkest darks in creating an illusion of light, space and substance is clear even in a radically over-simplified image.

Where do I need more subtlety or specificity?
When the value study is finished, it can be compared to the source image or the scene to see where adjustments need to be made. Having come way over into the realm of too little information, we now have a basis for judging how much more needs to be included.  Don’t skip this step.  A study, as the name implies, is a learning tool. Your painting process will be more efficient and your paintings more cohesive if you extract all the lessons you can from your preliminary work.
In the photo, the two mounds of dirt are so similar in color and value it seemed sensible to treat them as a single shape. But the study reveals that it would be better to separate them, making it clearer that the one on the right is in front. It is also clear that the mound on the left does not separate sufficiently from the wall in the background. It looks ok where there is a shadow behind it, but where the wall is sunlit only the pencil line separates the two shapes. Perhaps lightening the left mound a little could solve both of these problems. Five values, in this case, are not quite enough. This is an example of the need for more subtlety.
The little raised frame beside the doorway that catches the sun is a fine feature  of the photo that I miss. It does an important job, describing the light. It is a bit of specific information that will add significantly to the picture without becoming a distraction.
It is surprisingly easy to see what is missing and what needs to be changed when the image has been over-simplified. If I had made a complex first attempt it would be difficult to know which of the (too) many elements were not necessary.

Wednesday, April 19, 2017

Beginning Homework 4/19/17 Seeing in Layers

For this week's homework we'll use only two images. I'd like you to paint both of them. Start by identifying the major shapes.

This is a well-behaved image. It resolves nicely into only three shapes; sky, bluff and grassy plain. Feel free to eliminate that bush in the middle of the plain, or move it where it doesn't get tangled up in the bluff.

This one can be seen as having four shapes; three triangles along the bottom, and the large rectangle that makes up the whole top.

Each of these images could be approached by first looking for the lightest tone in each shape, and painting that as an overall wash. The road in the one above, for example, would be all the light pink of the sunlit spots. The grassy triangle would be entirely the light yellow green. The brown triangle on the right is not very light anywhere, so it could be painted the dark brown that will be its final tone. What about the big rectangle? When you look past the mid-values and the darks there is a large area of light yellow-green that stretches from one side to the other, and a very pale blue - almost white - along the top. It can be painted as one shape with two pale colors.

 That takes care of the first layer, the lights. Next comes the layer of middle values. Look at the road again. Most of the first layer is covered with a wash of cool middle value. There are just a few holes in that second layer that leave the first layer visible. The grassy triangle is also mostly middle value, with one light strip at the near end and one more the far end. Each successive layer goes on top of the previous one, usually leaving some of that earlier layer visible. The darkest darks come last, since they will cover the middle value shapes and the lights. It is much harder to get a light to go on top of a dark. You would need opaque paint to pull that off.

As you finish each layer, take a moment to assess the effectiveness of the illusion of light and space. When do those illusions become convincing? Is it when the first layer is applied, or is it later?

Paint both of these, if you have time. As much as possible, try to keep the whole page at a similar degree of completion.

Read this again before you start painting!
Have fun.