Friday, April 30, 2010
Thursday, April 29, 2010
You've seen Shaker Village photos I've taken in the past, of course, but I'll have some new photos to share once I catch up, get them uploaded and sized for posting.
Glad to be home but Shaker Village is such a wonderful place to visit. There were so few people there that when you stood quietly and just listened, the only thing you heard was birdsong and the breeze blowing the tree leaves around. The first day was a bit rainy and damp and cool but the second day was warm, sunny, and we had to take more photos before heading home.
Thanks, Deb! Thanks, Sharon! For being such good traveling buddies and making me laugh so much I think I've dropped 3 years (since laughter is the best medicine, I've surely gotten younger since this get-away - at least, I'm telling my legs that it's true! ha ha)
Monday, April 26, 2010
Saturday, April 24, 2010
I started with 300# Arches and didn't know what I wanted to paint so took a lot of photos with me. Began by drawing this one the paper and starting, like Deb, with a pale wash of colors as an underlayer that will shine through.
Deb paints memories. She likes old things - her grandmother's quilts, old china and silver and has done many paintings of lace and fruit and quilts and old-fashioned roses. This was no exception as she was doing a painting of her grandmother's quilt with 3 roses on top. She's done this painting several times (yep, she works in a series), and was changing the color of the roses in this one a bit.
Deb went in over the underlayer of pale colors and darkened and shaped a bit more of the quilt and flowers, putting lots of pinks and reds (Quinacridone Rose and Alizarin Crimson - both Da Vinci fluid acrylics) in the blossoms and the leaves and stems.
When she stopped, I began on my next layers. As you can see, I was dying to get darker - and did, trying to let the colors blend and working with a very limited palette of Cerulean Blue, Ultramarine Blue, Quinacridone Gold, Hansa Yellow Light, Raw Sienna (all Da Vinci fluid acrylics). She reminded me to do the Nick Simmons technique on this to get more texture = wait until the shine is off the paper so you know the paint has begun to dry and then take a strong spray bottle and really spray across the color, lifting some of it back and created his "batik" look. I had waited too long for the right side because nothing lifted but I did get some lift on the upper left side.
I continued to next stage after Deb did her next stage, and began putting in some of the darker shadow shapes on mine while Deb worked on her quilt stitches (a lot of little detail to do).
This is where Deb stopped for the day, around 4 pm. She had shown us how to shape the rose and leaves, how to do the underpainting so it shows through and how to do some shadowing. Several students had a completed painting - although small - when the day was done. Many were almost done. I, however, had a ton of drybrush (all that background is wood) to do as the background on the painting I did...and was not looking forward to it!
I haven't used my fluid acrylics, only doing 2 paintings with them (one in Sandy's class using her photo/composition), and this will get me ready for the Nick Simmons workshop I'm signed up for in August (hosted by Sandy Maudlin). I only have a few colors and ordered more but not sure they'll get here in time (they didn't come in time since they didn't arrive by UPS by Friday evening). Oh, well. I should be able to make my colors from what I have right now (ordered after watching Nick's DVD and checking out the colors he used then).
Friday, April 23, 2010
I haven't started cussing yet but I'm getting close, especially with this set-up where it's supposed to be very dark behind the objects but bleed the shadow shapes into the background on the left (shadow) side. Hard to control all that water and I'm getting the values too light. It's all about paint to water ratio and how you can (or can't) control it.
And finally began again with Cobalt Blue, Quinacridone Rose and Yellow Ochre and a bit of Sap Green for the lime.
Wednesday, April 21, 2010
Tuesday, April 20, 2010
Again, I'm just on the second DVD and am slowly working my way through the three DVDs in the set - and I do recommend them if you want to loosen up, see things a bit differently, etc. But you won't paint like Charles Reid at the end - who would want to? You want to paint like you, no matter who you study!
Monday, April 19, 2010
Saturday, April 17, 2010
This is a view of Matanzas Inlet coming on high tide from the deck of our rental. That bit of beach is now protected but last year people drove all over there. Now you can walk it but no vehicles. Apparently, they want to protect it for the birds and possible turtles - and I was told that someone was run over and that really put a stop to it (guess the driver didn't see the person laying in the sand??)
With the next try, I'm going to go more blues and violets and see how that goes. This is on a long scrap of Arches.
I watched more of the Charles Reid DVDs yesterday evening while Jerry was having a photography club meeting here. So now I have a "real" painting of 2 pieces of fruit and a bottle (all in varying shades of green because he says green is the color most artists dread/avoid). I've already done plenty of color studies so won't do that assignment, but will try the painting using a lime, an apple and a dark green bottle. He worked on sharing how he does contour drawing, too. Putting your pencil to the paper, you begin working inside the object (not creating a silhouette of the thing), cutting in and out, trying to keep the pencil connected to the paper at all times.
He talks a lot about having areas of connection = shadows connecting to shadows and to objects, overlapping objects, etc. And he talks about having areas of isolation = objects standing alone with a hard edge against a white background. Drawing the way he does gives you more practice in keeping the connection of paper and pencil (and later, paper and brush). If you've seen him draw, you know he isn't concerned about complete accuracy in form but more in lights and shadows and "connections" and "isolations" of objects in the painting.
Some words of wisdom from Charles Reid:
Watercolor is a work in progress. What you see when you put it down is not what you're going to get.
Work wet-in-wet immediately. Don't wait or you'll get "balloons." (Balloons = blossoms or backruns)
Sometimes you just have to Stay Your Hand. (I know. But how do you do this?? I put that in caps - why? Because if I could just learn this, I'd become a better painter.)
The more you mix on the palette, the worse it gets.
Watercolor is filled with happy and unhappy accidents.
Did you know that he uses two of the dreaded no-no pigments? Yep. He touches up whites with what he called opaque white (I assume he means gouache). And he uses Ivory Black!! Horror of horrors!!!
His favorite mix for grey = Yellow Ochre, Carmine, Cerulean Blue. He doesn't pay any attention to whether a pigment is transparent or opaque.
I'm enjoying watching this, bit by bit, and trying some of the assignments. I would recommend it so far. Still on the 2nd DVD and have more to go. I'll share my lime, apple and bottle painting when I do it.
Friday, April 16, 2010
Thursday, April 15, 2010
Some info from the first DVD:
He prefers and uses Fabriano watercolor paper.
He paints with his paper upright on a easel (probably because he began as an oil painter and learned that way), sitting in a chair. He doesn't recommend starting this way for beginners, though...just paint flat or at a slight tilt.
He uses a small, metal palette (almost a travel palette and he hates plastic palettes so always has metal ones) he holds in his left hand while he paints because he doesn't like to have everything spread out and have to reach for it.
He paints very juicy with lots of pigment (either Winsor Newton or Holbein paints), and almost always paints and blends his colors wet-in-wet.
So, as I'm in between other things, I've been watching the first DVD. There are lessons and then assignments he wants you to do = swatches and some fruit studies to learn his technique. I think it has to do with the water to paint ratio and the way he moves his brush. No dab-dab-dabbing the color on but contacting brush to paper and leaving that connection as he swirls the brush around, angling the handle in the direction he wants the stroke to go. He, apparently, doesn't use anything but Kolinsky sable rounds, which are pretty pricey (but not if you're Charles Reid :)
I think I'll do the assignments, just for fun and to see if it helps me with my brush control more. I have a couple of sable brushes I never use - so will get them out. And I do like Fabriano paper a lot.
If you're interested in this DVD, I ordered mine through http://www.paintflix.com and it was delivered quickly.
Wednesday, April 14, 2010
Tuesday, April 13, 2010
Took this one outside into the sunroom and got a more accurate picture as far as the colors go...but still not a good painting. So still a do-over with another idea about that moss and how to paint it.
Instead of worrying over this one, I watched the waves DVD again and painted along, stopping to let the paint dry as needed. I was a bit timid about the color at first so it was pretty pale when I began.
Not finished yet - but I'll get it done today and maybe start on another one...or another crow...whichever calls to me at the time.
This is on a 10" x 14" block of Arches coldpress paper.
Monday, April 12, 2010
I had the Naples Yellow over the "stringies" of the Spanish Moss, intending to cut into that with colors. Couldn't think of the colors to use but knew I'd have to do opaques. So picked up some more Naples Yellow, Chinese White, Periwinkle (a violet by American Journey), and Zoesite Genuine (I think that's how it's spelled but it doesn't look right) for a variety in which to dip my brush.
It seemed to work
I think it's a do-over...
Everything is too muddy for me. So either I start again with a better idea or use some fluid acrylics on it or...
just call it a bad painting and move on to something else...like waves or another sunny scene.
The photo isn't showing the warmer color at all - not sure why. Maybe I need to take another photo in the sunroom in shadow and see if it's more true to the painting colors...