tag:blogger.com,1999:blog-89521469005809432992023-11-16T01:12:13.992-06:00Learning to SeeAnonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-8952146900580943299.post-80548795065998813082017-08-13T22:09:00.001-05:002017-08-13T22:09:25.462-05:00Chiaroscuro at Paint the Point<b>DISCLAIMER: most of the included photos are just lousy. I have better ones but the love triangle between my phone, my pad and Blogger has gotten ugly. Sorry...</b><br />
Mineral Point Wisconson's 4 day plein air event was better than ever this year (this was my third time). It's a very unique and friendly town of 2400 people, all of whom seem to own a dog. Walking dogs appears to be their chief pastime. The exception is Enzo the leash trained cat. Enzo recently crashed a Lands End photo shoot. The shoot was for a Japanese edition of their catalog and he's apparently quite a celebrity there now. Bye bye Hello Kitty...<br />
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The weather was exceptionally pleasant with astounding clouds one afternoon. I managed a fast picture from a high vantage point between two moving storms.<br />
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There was a quick sideways shower the following morning. You can see from this shot of my feet that it came from behind. <i>THEN</i> the light changed to total sunshine...<i>AND</i>, the city maintenance crew started digging up the street in front of me. Evidently this is a trouble area because they dug up the <i>SAME</i> street in front of me <i>LAST YEAR</i>. Maybe they're angling for portraits?<br />
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Speaking of which, I'll explain the chiaroscuro reference in the post title: Many towns have a lovable character whose "parts inventory" is a bit light, or who has been rendered so by circumstance. Mineral Point has Don, who hangs out in the park and offers to get you a soda if you happen to be sketching. Fort Madison artist Carlene Atwater was painting in Don's territory and gifted him with a portrait she whipped out using colors remaining on her palette from a street scene (the woman has skills). He sits on his park bench now, hugging it like a teddy bear and showing it to anyone interested.<br />
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The chiaroscuro part is this: Carlene did that kindness about the same time Nazi maniacs in Virginia were running people down in the streets. It's a light and dark world.<br />
Anyway, here's what I painted (I hope Carlene and Gin Lammert post what they did on their blogs, too). The first day I headed west of town to try some of this area's unique drift-less zone (in the last ice age glaciers chose to hang out near Des Moines rather than Mineral Point).<br />
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That evening they held the Nocturne event and I struggled with this office front. Watching artists at night is becoming a popular event among the locals. A guy sat on the curb behind me watching, till the last brushstroke at 11:20. Did I mention it's a unique town?<br />
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Next morning offered up this alley scene with a cool shadow pattern. Amazingly, the car stayed there for the whole session. A first for me, and it also <i>took </i>first place and Artists Choice. I was stoked!<br />
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This was my quick paint subject, an abandoned, rusty cable spool trailer bathed in chromatically redeeming morning light.<br />
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The organizers of this event go out of their way to treat the artists well with gourmet luncheons and dessert soirées. The artist company is first rate and area has something for everyone in terms of subject matter. Sales are good too. This year they sold 40% of the work produced, with a strong emphasis on the Nocturnes. I highly recommend this event.Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com4tag:blogger.com,1999:blog-8952146900580943299.post-35846854684506219502017-07-18T16:18:00.000-05:002017-07-18T16:18:51.308-05:00We're lucky...Last weekend Bereskin Gallery in Davenport organized a paint out along the riverside there. Mainly the LeClaire Park area between the roller dam and the stadium. Not a huge footprint but more than enough subject matter within eyeshot. Being a nice day, there were also more than enough gawkers strolling by.<br />
Plein air painters expect dumbfounded looks and inane questions but these Davenporters are a sophisticated lot. They seem to know easel + person + brush = artist. More surprising still, apparently no one in the Quad Cities has an aunt who paints, nor do they struggle with drawing straight lines. One guy <i>did </i>mention Bob Ross, but then asked a series of REALLY intelligent questions about the painting process (one of many who did). Several returned to watch things develop. They were more like cheerleaders than gawkers. This was my view of the river walk by the park.<br />
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Afterward, I got out my sketchbook, mini-palette and waterbrushes to do a quick recon of the area. This is the glass skyway (that I think used to connect to a casino boat...I just dug the panorama).<br />
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Crazy as this world is nowadays, I feel pretty blessed to do what we do. That sentiment was brought home all the more as I sketched this fountain/memorial across from the Figge Museum (an all glass edifice which defies color matching since it changes every second with the light and has nothing taller nearby to shade it to a consistent hue).<br />
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I was working from a bench, near a disheveled fellow and his belongings. He was delivering a nonstop, speed-rap on the current state of our nation and the world to no one in particular. He was evidently well read. His complaints were encyclopedic, though Millennials and the governor of Illinois formed a thematic focal point. His observations seemed considered and I found myself agreeing on more points than not. Even the <i>boulevardiers </i>in Davenport are high functioning (hence my use of the swanky French term for street person).<br />
I <i>really </i>wanted to sketch him...he felt more monumental than the monument I was sketching. On one hand, I was enthralled...on the other I wasn't sure making extended eye contact or taking photos was wise. If there's such a thing as "found performance art", he qualified. That's what I love about plein air - the encounter with the real.<br />
Anyway, it got me thinking. There but for the grace of God...Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com2tag:blogger.com,1999:blog-8952146900580943299.post-65480670533379152462017-07-03T14:29:00.001-05:002017-07-03T14:29:53.475-05:00Hobbits and habitsThis summer I'm trying to create stronger images by simplifying them. You'd think simplification would be simple...less work...fewer marks...less time. HAH! It's amazing how parts of you will resist the rest of you doing something good for you. Guess that's what makes the rehab industry tick.<br />
I decided to start with watercolor and try the quartered sheet approach I've seen artist friends benefit from. The idea is, 4 smaller images give you more practice than one large one. It's should force you to create big interesting shapes (like a Notan) because now your regular brush is effectively that BIGGER brush you SHOULD be swinging.<br />
Theoretically, you should use fewer strokes. Plus, a smaller image provides less fiddle-and-fuss room. Unfortunately, that bad habit works on you like the One Ring in Frodo's pocket.<br />
FEWER STROKES means MORE DECISIONS about those strokes - and that involves more time and mental effort. As in MORE TIME LOOKING AT THOSE BIG RELATIONSHIPS instead of constantly looking back and forth, spotting little bits of detail here and there and overworking things.<br />
On the first sheet I drew in the panels and painted over my drawing as usual (Sorry for the arbitrary rotating of the images. Also these are un-spectacular phone pix).<br />
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On the second sheet I forced myself to look longer - and hopefully more broadly - by just painting with no preliminary drawing. It didn't help. My problem isn't judging values or color, it's fussing with edges.<br />
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<b>The part that was like Frodo slipping on the ring was this:</b> if the initial stroke wasn't satisfying, it was too easy to get in there before the area was dry and try a second or third solution.<br />
Often that works...but it's never as fresh or wow! as a single hit. <b>Do it routinely and it becomes a dubious method. I've decided to call it "Smeagling", to remind me not to become a Gollum overstroking his "Precious".</b>Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-19160090092599308372017-06-05T14:09:00.000-05:002017-06-05T14:09:10.713-05:00NoTan and Bad Proportions While that sounds like the title for a Jim Gaffigan comedy special, the subject here is getting the most from those all important thumbnail sketches that usually make or break a painting.<br />
<b>First, is a Notan the same as a thumbnail?</b> Not really. Notan is strictly B&W and shows you if you have a big, eye catching silhouette formed by your darks and lights (or not). They're often beautiful as is. Perfect if you're outside facing a backlit subject. Less perfect with strong cross lighting and cast shadows. But almost useless if it's overcast, or the sun is behind you early or late in the day.<br />
Desperate situations like that are a job for Captain Thumbnail and his Valiant Values. <b>Thumbnails add the very necessary info about all those middle values</b> - and this is important - <i>whether they have an affinity for the dark side or the light side</i>. Once a few of them sneak into a value area where they don't belong, mayhem ensues.<br />
Just remember <b>the lightest part of a dark area can't be lighter than the darkest part of a light area.</b> (I know I'll get challenged on that. We can settle it with colored frisbees at dawn...but that's a post of its own).<br />
<b>Bad proportions.</b>..Confucius might say "Notan no good if proportion off". Jessica Kirby puts it better than Confucius in her post here <a href="http://jakpaints.blogspot.com/">http://jakpaints.blogspot.com/</a><br />
<b>It got me to thinking of easy ways to ensure a Notan or thumbnail matches the dimensions of whatever you're painting on</b>. Obviously, a sketchbook of the appropriate proportions lets you dive in without a thought, and I'm making my next sketchbooks that way. Fear not.<i> You won't need a small library of sketchbooks. Just 2 at most...actually one with simple modifications. </i><br />
<b>Most common canvas sizes are just one of two basic ratios: 3:4 or 4:5</b>.<br />
The <b>4:5 ratio corresponds to 8x10, 16x20</b> and also <b>11x14</b> if you crop a WEE bit off the <i>long</i> dimension (or even ignore it, the difference is so negligible a decimal).<br />
The <b>3:4 ratio corresponds to 9x12, 12x16 and 18x24</b> (again, if you crop a wee bit off the <i>short</i> dimension It will cover 5x7 but with most sketchbooks your Notan or thumbnail will be bigger than your work!)<br />
BUT...<b>what if you don't WANT to make your own sketchbooks, or just want to carry one sketchbook?</b> Well, there's probably already an app that does all this on a phone for the laziest of you out there but don't expect me to look it up and insert a link.<br />
For the more ambitious, do this:<br />
1. Grab your existing sketchbook and measure the SHORT DIMENSION (this may go easier if you use a metric ruler - most rulers have both nowadays).<br />
2. Multiply that by 1.33 (convert to inches if your not using the metric ruler). Find that point along the LONG DIMENSION of the page and place a piece of tape at that point on the cover. If that measurement is too long, multiply your long dimension by .75 and place the tape on the cover's short dimension instead.<br />
3. Mark the tape 3:4 and draw a line across the page there when you're making a sketch for 9x12, 12x16 or 18x24.<br />
4. Do the same thing again, only multiply the SHORT DIMENSION by 1.25 or the LONG DIMENSION by .8 <br />
Mark that piece of tape 4:5 and use it to make sketches for 8x10, 11x14 or 16x20.<br />
5. Remember to put tape guides on BOTH covers (pages turn both ways) and it may be necessary to have the 3:4 guide and the 4:5 guide taped to opposite edges of the cover. PIX BELOW:<br />
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<br />Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com2tag:blogger.com,1999:blog-8952146900580943299.post-44876643518352749372017-05-01T18:51:00.000-05:002017-05-01T18:51:09.958-05:00A nice gesture <span style="font-family: "trebuchet ms" , sans-serif;">Long time no blog. Now that I can import pictures from an android phone I can post again. I apologize because their quality isn't as nice as my iPad can do but there it is...</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"> The other night the Russian National Ballet performed Swan Lake at the Fairfield Arts and Convention Center. My my wife has seen live ballet many times. This was my first experience. Of course cameras and phones weren't allowed but a sketchbook, pen and book light were just fine. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"> Thought I would get my "Degas" on and...Wow! I have more respect than ever for the guy. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">The performance was moving on more than one level: The poses are wonderful but they last a moment and rarely repeat (</span><span style="font-family: "trebuchet ms" , sans-serif;">Jessica Kirby makes the point he drew at a ballet studio, where moves and poses are repeated in practice. Still, I'm impressed with old Edgar).</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"> So...the most I could do was a series of gesture drawings, but it taught me a few things. Like there's no hope in looking at the dancer's contours. I had to unfocus slightly and burn a whole shape into memory, then put that down. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"> Sketching their gestures isn't the same as drawing everyday motions - like people walking or working.The energy seemed to be in assuming a pose then translating it into another, then another and so on. So what I was getting, really, were</span><span style="font-family: "trebuchet ms" , sans-serif;"> the momentary culminations. Trying anyway...a few pages are below. I want to attempt other things like this. Maybe ball games? </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com4tag:blogger.com,1999:blog-8952146900580943299.post-14891720737977069952016-08-10T12:18:00.000-05:002016-08-10T12:18:33.304-05:00Paint the Point day 1Here is this mornings pix. The organizers for this event give us a GENEROUS footprint and the surrounding country is nice. I chose this early when the light was a bit more hazy and chased the light a bit...shouldn't do that but today it went somewhere good. That doesn't always happen. 11x14 oil on panel.<br />
OR MAYBE NOT...apparently Picasa has eliminated the the feature that lets you upload new photos...WTFondue?<br />
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Lots of heavy hitters from MN, WI and Chicago here so the challenge is a good one. Hoping to get in another before tonight's Nocturne event.</div>
Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com1tag:blogger.com,1999:blog-8952146900580943299.post-16795358812847250062016-07-05T18:49:00.000-05:002016-07-05T18:49:01.671-05:00Dubuque workshopThis past weekend I had the privilege of leading a plein air workshop at some of Dubuque's most scenic locations. Here's Barb Grimmer in a shady lane at Eage Point Park<br />
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The weather was delightfully cool - yes, those are folks wearing jackets on July 1...!<br />
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The gist of what I wanted to teach was how to see on location. The sole trick to plein air is never look at anything in isolation - always compare it to something else to see <i>where</i> it is, how <i>big</i> it is, how <i>dark or light</i>, how <i>dull or bright</i> it is...and so on. Think about it: So many artists can copy a photo reference in the studio quite well but outdoors they crash and burn. Why? Because they COMPARE their work to the reference until it matches. Outside they don't...so I'm trying to inculcate the habit of COMPARATIVE SEEING. It's not easy - I have to make myself do it with every new picture. It was new to most of the group but they did <i>quite</i> well. I could show several examples but I've chosen this one by Leslie Leavenworth because I had good closeups of the work and the subject.<br />
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We had a great time thanks to organizational skills of Wes Heitzman and Mississippi River Art Workshops. The only mishap was John Evans' unscheduled attempt at sidewalk art - his easel drawer let go spilling his entire pastel assortment on the pavement. The final day in the Dubuque Arboretum had us dodging not one but <i>two </i>weddings! Here's the group (minus 5 who had to leave a bit early) just before a wedding photo shoot sent us packing.<br />
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<br />Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com1tag:blogger.com,1999:blog-8952146900580943299.post-9722702315592027172016-06-19T13:58:00.000-05:002016-06-19T13:58:32.709-05:00Time for a new palette?Here's an oddity...<br />
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No, it's not a diptych. The image on the left was painted in August of 2014 at Oakland Mills. Jessica Kirby shot this photo of me doing it:<br />
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The image on the right is from this May. The objects nearly line up but then they should; They were only painted about 25 feet apart. It's the nearly identical colors that makes me wonder if I'm in a palette rut?<br />
Granted the weather was similarly drizzly. This time I shot a picture of Jessica and artist Cathryn Layer sur le motif. Hey, maybe we're a movement and Oakland Mills is our La Grenouillere?<br />
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Anyway, I've been using a standard Split Primary palette: two blues, two yellows, two reds plus black and white.<br />
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It works in virtually all situations indoors or out. I occasionally swap out one of the colors for a more seasonally appropriate hue but it's still two of each primary with black and white.<br />
Recently, I tried a different palette: one blue (Prussian) two yellows (Cadmium pale and medium), two reds (Alizarin and Indian red), Burnt umber instead of black and white. This backlit location image doesn't show it well.<br />
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The difference in mixes threw me at times but back in the studio the picture stuck out on my rack of plein air studies. The split primary pictures didn't just have similar hues in subjects with similar weather conditions; sunny days had nearly identical hues to overcast days and images from different seasons shared the same mixes as well. My value structure was appropriately different and the proportion of hues was different but the hues themselves were the same. That's a given problem with pastels but maybe oils and watercolors could benefit from setting the palette a bit more specific to the subject?Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com0tag:blogger.com,1999:blog-8952146900580943299.post-53476321739067357372016-06-06T12:04:00.002-05:002016-06-06T12:04:47.807-05:00Reinventing the Wheel 2Since most of this summer's blockbusters are sequels or reboots I thought I'd get in on the fun and update the last post . I'm looking forward to Ben Hur...this is the story's 4th remake. I saw the the 1959 classic on a two story high drive in screen...that's why they called them epics.<br />
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Anyway... This time I painted in the center of our "color pick" to suggest all the lower chroma hues and where they would appear.<br />
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It's not geeky science-y perfect but it's not way off either. It's mixed on the fly from the palette, just as you would in a painting. That was the point of the redo: create a color wheel that corresponds to the actual act of painting In the second image I've superimposed two strips of mixed color to show they plot pretty true.<br />
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The vertical one is ultramarine + cadmium yellow pale. The diagonal one is ultramarine + cadmium redAnonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com1tag:blogger.com,1999:blog-8952146900580943299.post-9814611627533601982016-05-23T18:54:00.000-05:002016-05-23T21:05:18.388-05:00Reinventing the Wheel<span style="font-size: large;">Jessica Kirby gets credit for the title of this post because it's about color wheels. Most don't help you with mixing colors...so I'm proposing a new one that may. I'm going to pitch it out this post and perhaps demonstrate its mixing accuracy in a future post. Here it is with my basic watercolor palette (plus quinacridone magenta, viridian and pthalo green plotted for reference):</span><br />
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<a href="https://3.bp.blogspot.com/-mMaTyh-lDMU/V0OrdRZGtkI/AAAAAAAAApE/J1BlC54sUCshZRDhiexar90v8mKoHGUQQCKgB/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="252" src="https://3.bp.blogspot.com/-mMaTyh-lDMU/V0OrdRZGtkI/AAAAAAAAApE/J1BlC54sUCshZRDhiexar90v8mKoHGUQQCKgB/s320/image.jpeg" width="320" /></span></a></div>
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<span style="font-size: large;">Not quite a "wheel" but you'll see why.</span><br />
<span style="font-size: large;"> There are hundreds of color wheel schemes found in art stores or in online diagrams. Few are helpful for mixing actual <i>pigments</i> because they're purely theoretical or apply to light waves or something other than paint. </span><br />
<span style="font-size: large;"> The general idea is that you draw a line between two hues and what occurs between is the mix. </span><br />
<span style="font-size: large;"> Opposite hues on the familiar ROYGBV wheel supposedly average to grey. That pretty much works for red+green but blue+orange and yellow+purple mix to murky browns (auto correct wanted to give you Murphy Brown there).</span><br />
<span style="font-size: large;">The newer CIELAB wheel keeps the red/green combo but opposes yellow with blue. Like so:</span><br />
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<a href="https://2.bp.blogspot.com/-w9HSSQv0G5Y/V0Os8Q4-2mI/AAAAAAAAApU/ZIQf22sUsQcygZ7SGCUQfLR0DAehIb7VgCKgB/s1600/image.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="261" src="https://2.bp.blogspot.com/-w9HSSQv0G5Y/V0Os8Q4-2mI/AAAAAAAAApU/ZIQf22sUsQcygZ7SGCUQfLR0DAehIb7VgCKgB/s320/image.gif" width="320" /></span></a></div>
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<span style="font-size: large;"> No way that pair will neutralize to grey. I'm given to understand it's an accurate model of how you computer views color...helps the Cyborgs but not me.</span><br />
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<span style="font-size: large;">SO...I McGyvered the CIELAB wheel to reflect how pigments actually mix. It's more guitar pick than wheel, but the odd shape allows you to see where any two mixed colors plot with greater accuracy.</span><br />
<span style="font-size: large;"> Like most color wheels, the outside rim goes through the visible spectrum, indicating HUE. That rim also represents the most saturated version of the color: CHROMA. </span><br />
<span style="font-size: large;"> As you move towards the center, chroma reduces - each hue gets less vivid, more subdued - until the center point is neutral grey.</span><br />
<span style="font-size: large;">By moving the grey center <i>off </i>center the blue yellow axis plots through green territory rather than implying they create neutral grey like the CIELAB wheel does.</span><br />
<span style="font-size: large;">So now when you draw a line between any two hues, all the mixes actually plot along that line. </span>Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com0tag:blogger.com,1999:blog-8952146900580943299.post-64821164423201506392016-04-17T20:52:00.001-05:002016-04-17T20:52:49.335-05:00Chicago lessons<span style="font-family: "arial" , "helvetica" , sans-serif;">Last week I went to the Art Institute of Chicago with my wife and artist Jessica Kirby and boy did I learn a lot about good paintings. To wit: great painters give themselves the advantage...that's why their work looks masterfully effortless...we acolytes sometimes hamstring ourselves. Particularly in choice of subject matter. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Not everything is paintable</b>...EVERY good painting I saw that day had one thing in common: <b>the subject had paintable information. </b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">What does that mean? Well, the chosen subject could be translated into brush marks because:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>It had distinct shapes</b>. OR, it joined with other things of similar value to make a <b>distinct conglomerate shape.</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">2. <b>It had a focal point that looked specific </b>because it was painted large enough to be done without wearing a jeweler's loupe and using laparoscopic surgical tools. Hence it could be done with ease and energy.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">3. <b>The "background" was generalized.</b>..but because the artist did 1and 2 above, you often <i>thought </i>it was detailed even though it might just be a schmear of lovely color..</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Check these examples:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Look at these abstract light shapes on a dark ground. There were other paintings in the same room - good ones - I just can't remember them.</span><br />
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<a href="https://4.bp.blogspot.com/-Beo7FisiMXk/VxQtaGhqH8I/AAAAAAAAAn0/UDP1TCibv2MjlCygy2XeVTDgrnEWDRTHQCKgB/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-Beo7FisiMXk/VxQtaGhqH8I/AAAAAAAAAn0/UDP1TCibv2MjlCygy2XeVTDgrnEWDRTHQCKgB/s320/image.jpeg" width="221" /></a></div>
<span style="font-family: arial, helvetica, sans-serif;">Or this other Sargent..which I think is one of the most perfect pictures in the history of painting...the woman, her husband, the fountain and her painting equipment amalgamate into one big light shape on a dark to medium value field (lest you think this is mere travelogue read <a href="http://jakpaints.blogspot.com/">Jessica</a> Kirby's blog at right or read up on Sargent's travels. This is a painting about the act of painting and painters personalities. It's as artsy as artsy gets).</span><br />
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<a href="https://2.bp.blogspot.com/-DKUAI-iYMTo/VxQtd3bLGSI/AAAAAAAAAn0/wR24ab2fHFUAoXGWfg9G76XOVleMN6j6wCKgB/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-DKUAI-iYMTo/VxQtd3bLGSI/AAAAAAAAAn0/wR24ab2fHFUAoXGWfg9G76XOVleMN6j6wCKgB/s320/image.jpeg" width="243" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">At the size it appears on this blog it looks nearly photographic. Yet every stroke in this gem is simple...anyone could make them...they're just the right color in the right place.</span><br />
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<a href="https://1.bp.blogspot.com/--tTZMsHYL_Y/VxQ5lFKLCmI/AAAAAAAAAoI/nCgP1Uo_-3UxAJdeq2NUHALF4pfrZqFlQCKgB/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/--tTZMsHYL_Y/VxQ5lFKLCmI/AAAAAAAAAoI/nCgP1Uo_-3UxAJdeq2NUHALF4pfrZqFlQCKgB/s320/image.jpeg" width="240" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Homer does likewise with a big dark shape in a medium field - with select light accents. 50 years later Robert Motherwell and others did the same thing...they just kept their marks from looking like anything familiar. With Sargent and Homer I can have the cake and eat it too, so to speak.</span><br />
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<a href="https://4.bp.blogspot.com/-b5HCWIXfn4c/VxQtYKZ0eCI/AAAAAAAAAn0/HjVe1xMtMeU1MtefWETE9FIxsU3_xO02QCKgB/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://4.bp.blogspot.com/-b5HCWIXfn4c/VxQtYKZ0eCI/AAAAAAAAAn0/HjVe1xMtMeU1MtefWETE9FIxsU3_xO02QCKgB/s320/image.jpeg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So what are these geniuses doing that eludes me? Here's an example of the kind of thing I used to attempt (it was shot from the window on the train ride home). It was a beautiful evening, but let me list the problems with this as a paintable image.</span><br />
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<a href="https://3.bp.blogspot.com/-TszdtNgsFbY/VxQtcC3EpRI/AAAAAAAAAn0/gxv5g1V-ZZcAwjy-b77QKhsgIN0t1S7SACKgB/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="https://3.bp.blogspot.com/-TszdtNgsFbY/VxQtcC3EpRI/AAAAAAAAAn0/gxv5g1V-ZZcAwjy-b77QKhsgIN0t1S7SACKgB/s320/image.jpeg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">1. The "particular" stuff - or focal point - is at the back. The foreground is all non specific stuff.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">2. The focal point is small in area and the surrounding area is large. If I "zoom in" it's ambiguous spatially...especially if I render the atmospheric perspective which is part of it's charm.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">3. The value range is close. Only the sky contrasts and it sits <i>over </i>everything. The shapes don't cut into each other. There was a gloriously boring triptych of the French landscape (also seen from a train) by </span><span style="font-family: '"arial"', '"helvetica"', sans-serif;">Ellsworth Kelly in the modern wing.</span><br />
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<span style="font-family: '"arial"', '"helvetica"', sans-serif;">The moral of the story? Pick <i>paintable</i> stuff...good shapes, discernible contrasts and do it big enough that it's easy to render. Painting shouldn't feel like defusing a bomb.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com2tag:blogger.com,1999:blog-8952146900580943299.post-64494283625057434612016-04-05T15:29:00.001-05:002016-04-07T14:24:22.345-05:00Upcoming show and classesLAST MINUTE CHANGE, note new date: I will be having an exhibit of some recent watercolors and oils at Art Domestique Gallery in Washington, IA. The reception is <b>Tuesday April 19</b> from 6-8pm. The gallery is on the east side of the square, next door to Cafe DoDici. Here's a sample:<br />
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On many of the works I tried to get a somewhat unique palette as well as a more patterned, shape conscious design to the work, reminiscent of Japanese woodblocks where appropriate. As a kid, that was the only original artwork we had at home. We had posters of Manet, Degas and Tolouse Lautrec too. All of them were influenced by Japanese woodblocks so maybe that's why I'm fascinated with that look.<br />
I'm teaching a 3 day Plein Air workshop in conjunction with the exhibit, April 22-24. It will be for oil, pastel or watercolor and I plan to demo in the mediums most people are using...maybe all 3?<br />
The foliage should be quite nice by that time.Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-51498810572500271132016-03-28T19:02:00.000-05:002016-03-28T19:02:02.642-05:00Sticking with it<span style="font-family: "arial" , "helvetica" , sans-serif;">Two posts back I pondered how a plein air image might benefit from some changes. On location I pretty much took it as was and used my best guess as to <i>how </i>to do it.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Since then I did some drawings (this one is China marker and sharpie pen on grey Bogus paper).</span><br />
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<a href="https://4.bp.blogspot.com/-M_M170Ef9aE/Vvm7gs4IY6I/AAAAAAAAAm0/WCeh9cxmMG8HFHMTmL_HZ5xq-HZ-jDIZg/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-M_M170Ef9aE/Vvm7gs4IY6I/AAAAAAAAAm0/WCeh9cxmMG8HFHMTmL_HZ5xq-HZ-jDIZg/s320/image.jpeg" width="246" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Then some watercolor sketches...</span><br />
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<a href="https://1.bp.blogspot.com/-X9GanEbo8Jk/Vvm7b4PneMI/AAAAAAAAAm0/h_5Se-zgJYceW3kW1A9q0ojWGTiJw0m7Q/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-X9GanEbo8Jk/Vvm7b4PneMI/AAAAAAAAAm0/h_5Se-zgJYceW3kW1A9q0ojWGTiJw0m7Q/s320/image.jpeg" width="207" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">and a new studio version...</span><br />
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<a href="https://3.bp.blogspot.com/-P5WvP26DbpQ/Vvm7gn-i2AI/AAAAAAAAAm0/shUjy6yrthQPi4tQjB6p-g3hVaQs0CiXg/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-P5WvP26DbpQ/Vvm7gn-i2AI/AAAAAAAAAm0/shUjy6yrthQPi4tQjB6p-g3hVaQs0CiXg/s320/image.jpeg" width="204" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And here's the original...</span><br />
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<a href="https://3.bp.blogspot.com/-FBT1fhzhat0/Vvm7OcjiqUI/AAAAAAAAAmw/KqtAVF5YEfA2J95nm7RO4R7wPIYnmInbQ/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-FBT1fhzhat0/Vvm7OcjiqUI/AAAAAAAAAmw/KqtAVF5YEfA2J95nm7RO4R7wPIYnmInbQ/s320/image.jpeg" width="202" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I tried to get stronger shapes, juicier color, fewer tangents and hopefully fewer inconsequential details. It's still a bit "oil painty" but better...getting closer to a new look.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> I think doing something over a few times in a few ways pays off, so I'm going to try and spend more time in my sketchbooks. It's liberating to just launch at something without expectations. Here are a few I think could become pictures...</span><br />
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<a href="https://2.bp.blogspot.com/-99tFS5jb27E/Vvm7kJ_x6RI/AAAAAAAAAm0/ghipvfRfkwsVFMprXtznnFI9WKgICuszA/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://2.bp.blogspot.com/-99tFS5jb27E/Vvm7kJ_x6RI/AAAAAAAAAm0/ghipvfRfkwsVFMprXtznnFI9WKgICuszA/s320/image.jpeg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com2tag:blogger.com,1999:blog-8952146900580943299.post-36503084591526504032016-03-12T20:41:00.000-06:002016-03-13T18:39:10.815-05:00Honestly, I know better...<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It was beautiful weather Friday so I went painting in Bentonsport with Gin Lammert, Jessica Kirby and Deb Baughman. Most of us got enchanted with the limestone walls left over from the foundation of the town's millrace, much of which has been cleverly converted to a large walled rose garden.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Too</i> enchanted in my case - I forgot basic stuff even beginners know. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">These two watercolors have several problems.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large; margin-left: 1em; margin-right: 1em;"><a href="https://1.bp.blogspot.com/-kqpInnbCJEU/VuTPZkr2lxI/AAAAAAAAAl4/wt8BZ92JFPw3-cdkBywmk9ovT-N5iJkRA/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://1.bp.blogspot.com/-kqpInnbCJEU/VuTPZkr2lxI/AAAAAAAAAl4/wt8BZ92JFPw3-cdkBywmk9ovT-N5iJkRA/s320/image.jpeg" width="320" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://4.bp.blogspot.com/-fgLPdKeKZw4/VuTPOcWSjOI/AAAAAAAAAl4/KyscqKLyPc4gEM7fWUCKn-Ybq4uugSs-A/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-fgLPdKeKZw4/VuTPOcWSjOI/AAAAAAAAAl4/KyscqKLyPc4gEM7fWUCKn-Ybq4uugSs-A/s320/image.jpeg" width="214" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">1. <b>Overworked</b> - these were better subjects for oil or pastels for starters. If important stuff is a light passage in a dark or medium field, watercolors are not a good </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">choice.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">2. <b>Too many strokes</b> - there was just lots to see and I didn't pick a focus and stick with it. AND I didn't think about simplification. I just kept finding stuff to put in. The artistic equivalent or hoarding or binge eating potato chips.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">3. <b>Unconsidered composition</b> - no focus, no lead in, even the orientation of horizontal or vertical wasn't addressed. A thumbnail would have sorted all that out.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">4. <b>Worst of all</b>, I was basically ok with them till I got home and looked at them a while. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Amusingly, I got some clues after Jessica sent out our traditional group photo. </span><br />
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<a href="https://4.bp.blogspot.com/-4h6bLJDRI14/VuTPIpqWnwI/AAAAAAAAAl4/PQPtQKyJ3S8nAaumuw5zKkT71JBL2gY8A/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" height="177" src="https://4.bp.blogspot.com/-4h6bLJDRI14/VuTPIpqWnwI/AAAAAAAAAl4/PQPtQKyJ3S8nAaumuw5zKkT71JBL2gY8A/s320/image.jpeg" width="320" /></span></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">She commented that she looked like Alfalfa from the Litte Rascals. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I disagreed, citing lack of cowlick and freckles (we're still debating the freckles) and suggested Sargent's portrait of Rosina Ferrara was closer to the mark.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">That reminded me to look at some of his other works using the same model. Here's Rosina next to a stone wall in Capri not too unlike the environs in Bentonsport. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Being Sargent, he didn't make Preston mistakes. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">1. He has an obvious focus - Rosina - but it could have been something inanimate too. All the major lines or shapes lead to her, or frame her shape. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">2. The background and foreground are gloriously simple BUT NOT dashed off. From even a short distance they look quite resolved. HE SAW THEM IN RELATION TO HIS FOCAL POINT, not one at a time by themselves. Honestly, I know this stuff...</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">3. If anyone could pull this off in watercolor he could...but he knew light accents on a deep toned field isn't the medium's forte.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">4. Diagonals - walls cut your foreground off from your background. It <i>can</i> be done but it requires fancy dancing.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">At home I did a couple 3x5 sketches in my sketchbook - like I SHOULD have done first. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">At least I figured out a horizontal orientation was better but a diagonal leading to a focus - or even just into deep space - would have been better. <b>If you're going to run something right across your picture plane it needs to be a VERY engaging shape.</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Oh well...</span>Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com5tag:blogger.com,1999:blog-8952146900580943299.post-72942676052937723432016-02-23T20:09:00.000-06:002016-02-23T20:09:54.658-06:00Growing Pains <span style="font-family: "arial" , "helvetica" , sans-serif;">Its just natural that creativity and change go together. I'm sure there's something in science that demands it. For a few years now I've been changing slowly, partly from circumstances but mainly from whatever the dynamics of that creativity thing entails. Working plein air more is part of it, though that is actually a return to my "roots". The hard part is sorting out what to paint and why (though I'm not sure one needs to know <i>why</i>...just that you <i>must</i>). But maybe <i>how </i>is an issue too. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> I'm convinced there's a a part of me that's too prose and not enough poetry. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Take these two images from last Saturday (an exceptional day weather-wise and a great time painting with fellow artists Carrol Michalek and Jessica Kirby - check them out at right). I like both images but that nagging feeling they could go farther too....</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">First the bridge into Farmington Iowa. I just went at it as is, with minor changes. The available shapes offer better opportunities, maybe?</span></div>
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<span style="font-family: arial, helvetica, sans-serif;"> Next are the wetlands at Mt. Sterling Iowa. I took a few more liberties in hopes of getting the feel of the glaring light. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Places like this don't offer too much object-wise so you have to be all about the light. I had a clue but maybe didn't follow it far enough?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I don't know. The only thing I'm sure of is that way down inside, something rumbles and wants to be different. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Both could be done in other media...possibly that's an approach. More graphic? Juicer color? This artist thing doesn't get easier with time! Stay tuned in case I do studio versions.</span></div>
Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com5tag:blogger.com,1999:blog-8952146900580943299.post-65906164784911021652016-02-18T14:56:00.000-06:002016-02-18T14:59:51.485-06:00Brush finesse <span style="font-family: "arial" , "helvetica" , sans-serif;">While this booger surfs my respitory system I've been surfing the net and found a really good YouTube by Liu Yi. Here's a sample of his stuff:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">He's a wonderful painter, but the filming angle and lighting of this video lets you see aspects of brush handling and paint manipulation better than most. The video is just an intimate little landscape with rocks and foliage, but you can see the brush orientation and can gauge the consistency of his paint. That's not easily verbalized in demos because a lot of that is tactile. There's no commentary on it but that's a plus - you <i>just watch.</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Here's the link <a href="https://m.youtube.com/watch?v=iCgsLBBzPU8">https://m.youtube.com/watch?v=iCgsLBBzPU8</a> <i>And here's what to watch for.</i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>The brush casts a shadow </b>on the paper, forming a "V", the point of the letter being where the hairs contact the paper. If the "V" is narrow, the brush angle is shallow, contacting the paper on its side. If it's wide the brush angle is more vertical, using the tip. You'll catch on.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">2. <b>Note how light the touch is. </b>He's not painting this like the trim on his house. He's leading and coaxing liquid around most of the time. Beginners - and too often experienced painters - dab and stroke away with dry-ish paint because it SEEMS more controlled. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">3. <b>Yes, you will see him press down on the brush</b> and splay it, but that's to get a specific mark. THE THING TO WATCH FOR is whether it leaves a little puddle of paint or a small bead he can lead along the surface. That means the brush was loaded with runny paint. If you <i>don't</i> see a puddle or bead, he's working with a dryer brush or stiffer, darker paint.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">4. Note he uses a 9x12 Arches block with a relatively small oriental style brush - very like the Happy Dot brush many of us use. On other videos he uses just about every brush type there is...and different papers...so it's NOT THE GEAR. <i><b>He knows the condition of his paper and the consistency of paint he's bringing to it.</b></i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">5. Most of the video is classic light to dark watercolor process. There is one point where he scrapes (or rather squeegees) some light branches into a dark passage. It's not magic - you just have to wait until the water is BELOW the paper's surface and the paint on top is still moist. Then scrape it off. The mark stays because there's no water on the surface to flood paint back into that area.</span><br />
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Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com2tag:blogger.com,1999:blog-8952146900580943299.post-34503902289117545482016-02-16T11:51:00.002-06:002016-02-16T11:51:49.320-06:00Some day my paper prince will come...Last post I touched on the role of sizing in watercolor paper and it's effect on the paper's behavior when wet. I've puzzled it some more and come up with this. I'm Using Arches and Bockingford as comparisons - there are too many papers to comment on all of them and these are popular examples of two basic types. There are no <i>really</i> awful papers in my opinion (though Strathmore Aquarius comes close). Just papers that wouldn't match your profile on ePaperHarmony.com. The purpose of this post is to shed a bit of light on why each might perform as it does, in the hopes you can experiment and find a suitable match...<br />
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<b>First, there are a lot of variables</b> and I'm basing these comments on the use of UNSOAKED, UNSTRETCHED PAPER. The comment in points 4-7 will be even more important if you soak and stretch.<br />
<b>1. Is the size IN the paper, ON the paper or BOTH?</b><br />
That corresponds to, respectively, internal sizing, surface sizing or the two together. Bockingford is an internally sized paper, and this is typical of "student" papers, though for reasons below I find it outperforms them all and most "artist grade" papers too. Arches is both internally and surface sized which is typical of artist grade papers.<br />
<b>2. How much size is used on the paper? </b>Here I have to guess and go by feel. I'm going to say Bockingford feels pretty heavily sized and Arches uses <i>less</i> internal sizing because it gets the additional surface sizing (possibly there's a limit to how much sizing is desirable?..I don't know and the manufacturers are understandably mute on their process). Bottom line, one has more size close to the surface and the other has it all packed <i>into</i> the paper. The behavior is noticeable as it should be.<br />
<b>3. What is the sizing made of? </b>Arches uses an animal gelatin (in either or both sizings...I'd say both) and Bockingford uses something else. Possibly the synthetic gelatin called Aquapel? Bottom line, they paint differently.<br />
<b>4. How easily does it soften when wetted? </b>The Arches size <i>seems</i> to loosen up faster than the Bockingford. Perhaps because your initial paint application is hitting size alone?<br />
<b>5. How long does it stay wet before it hardens again? </b>Arches, once loosened, seems to stay moist longer. Possibly that's because Bockingford is a wood fiber paper and Arches is cotton which should be naturally more absorbent. This and the point above are probably why Arches was the paper of choice for the American School of watercolorists from 1930-1970. Their working method was rather specific.<br />
<b>6. Does surface sizing sink in? </b>Seems so, especially if your brushwork is vigorous.<br />
<b>7. Is some of it removed by the brush during the painting process? </b>Seems like it does. On both papers colors look "furrier" in heavily worked areas. Either that or water and brushwork push it into adjacent areas. This brings up another issue: does your painting style redistribute sizing unequally?<br />
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<b>Final observations: The whole trick to watercolor is knowing what the condition of your paper is, so that when you bring a particular consistency of paint to it, you can make an educated guess as to the result. </b>All the above factors affect the condition of the surface and need to be noticed from one brand to the next so you know WHEN to go into the paper with the desired paint consistency. Your frog may be a prince...but they all need to be kissed differently.<br />
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<br />Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com4tag:blogger.com,1999:blog-8952146900580943299.post-4580017522245537902016-02-04T16:27:00.000-06:002016-02-04T16:27:35.711-06:00Paper chaseThe subject of paper came up in class the other day - questions about sizing and such - so I did a bit of research to try and supplement my experience. I learned a couple things and got some surprises too. Had I gone by manufacturer info and Internet reviews I may have rejected my favorites without trying them!<br />
<b>First, my favorite papers: </b><br />
1. Bockingford 140lb. Cold Press (white and occasionally the tinted)<br />
2. Saunders Waterford 140lb. Cold Press and Rough<br />
(Both are manufactured by the same mill)<br />
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<b>Next, papers which work ok once I get the hang of them:</b><br />
1. Kilimanjaro<br />
2. Arches<br />
3. Fabriano<br />
4. Lana<br />
5. Bee (?) a paper I was given to try.<br />
<b>Last, papers I don't like:</b><br />
1. Any 300lb. paper (WAY too thirsty for me)<br />
2. Most hot press surfaces (except in sketchbooks)<br />
3. Papers with an obviously mechanical texture (most "student" papers)<br />
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<b>Sizing</b><br />
Watercolor papers are sized to reduce absorbency (think painting on toilet paper) . All are <i><b>internally</b></i> sized; sizing mixed into the pulp before forming the sheet. Some are <i><b>externally</b></i> sized as well; an additional coat applied after the sheet is formed. This extra step accounts for the higher price of artist grade papers. Student grade papers don't get the extra application.<br />
<b>Pulp</b><br />
Watercolor paper can be made from wood pulp or cotton. Cotton is naturally acid free. Wood contains acidic lignin but high alpha cellulose pulp can be buffered to a neutral ph. Cotton's longer fibers supposedly make it less buckle-prone than wood fiber papers.<br />
<b>Texture</b><br />
Watery pulp is spread onto felts to form a sheet. As the water drains and evaporates the sheet takes on the texture of the felt (sheet by sheet with handmade papers or in a machine which duplicates the process in volume). Cheaper papers are produced on a machine which doesn't mimic the felting process as well. This results in the pulp fibers assuming a more uniform grain direction. These papers buckle more than felted papers, whose fibers are more randomly distributed, equalizing their expansion and contraction a bit when wet.<br />
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<b>So, <i>logic</i> would dictate the best paper is 100% cotton, <i>externally</i> sized and favorably reviewed by a diverse, international cross section of experienced painters on Internet sites such as WetCanvas...<i>so much for logic</i>...</b><br />
Ironically, my first choice, Bockingford, meets NONE of those criteria! My second choice, Waterford, meets 2 out of 3.<br />
Arches, which doesn't really thrill me, enjoys a mojo-like reputation. Brits speak highly of English made Saunders but is that national pride? Painters outside the UK seem to be Arches fans overall.<br />
<b>Conclusion </b><br />
If you learn to be aware of a paper's condition (dry, wet, damp) you will have a fair idea what happens when a given consistency of paint hits it. Experienced painters get what they want on just about any paper because they can gauge its condition.<br />
How paper reacts to water will differ between wood and cotton, the weight of the paper and the type and amount of size. All added variables - some of which are patented and proprietary.<br />
Your style will dictate a favorite. If you rework your surface a lot or use masking fluid liberally a heavily sized, long fiber paper is indicated. Some artists don't like how Arches behaves until they've brushed water on it or soaked and stretched it. I <i>suspect</i> that softens or removes some of the size and gets it to a state similar to Bockingford, which is only internally sized. If you gave Bockingford the same treatment, it would probably be unsatisfactory.<br />
Alvaro Castagnet and Joseph Zbukvic have Arches endorsements (interestingly they both used Saunders when they had to buy their own) but they can paint well on anything because they're hyper aware of the paper's condition. Both paint in ordinary sketchbooks made primarily for graphite. I've seen Zbukvic remark on video how Arches doesn't react quite how he likes but he adapts in realtime and the painting comes out.Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-61578238044791533052016-02-02T15:06:00.000-06:002016-02-02T16:16:50.695-06:00Getting lost in the woodsLast Saturday I went painting with friends on the Van Buren county Riviera, near Pittsburgh (Iowa, that is). Carroll Michalek turned us on to some exposed limestone banks on Chequest creek. Jessica snapped a photo of us, budding fashionistas all. Amazingly, the coordination of our painting ensembles was totally spontaneous: This season the Art Smart Set is wearing shades of gunmetal with accents in ultramarine and claret.<br />
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At the easel, however, I got lost in all the neutral color and woodsy texture. I was <i>kind of </i>happy color wise with what I did but think it could have been simpler: Suggest more texture (not render it) and paint more pattern. Here's the picture on location.<br />
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Here is a studio version next to it - with what I hope are simplifications and improvements.<br />
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I don't paint woodsy subjects enough. I've learned to simplify a field of soybeans but I got seduced with all the rocks, leaves and branches here. I heard similar complaints from those assembled.<br />
One of the things to be said for painting with friends is that you instantly see major variations on a subject, especially when others are working in different media. Jessica and Carlene painted in oils this outing, Carroll drew and I reveled in the novelty of using watercolors in January without vodka in the water pot. Had I been painting solo I may not have tried to puzzle through these issues and just moved on to other subjects. I think it's worth going back to and doing some more.Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com4tag:blogger.com,1999:blog-8952146900580943299.post-69495748085920076622016-01-04T19:37:00.000-06:002016-01-04T19:37:30.175-06:00Studio makeover progressWell, thing are getting close to done. My stacked storage unit is built. Dismantling the two old ones shocked me when I saw how dirty everything was.<br />
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It's made of 28" hollow core doors with 1x6 legs screwed on to the sides. I removed the old 32" legs and put on 72" legs instead. The drawers are 1x4 with a 1/4" Masonite bottom and attached to slides. The bottom section houses my large Schminke pastel boxes with a tool drawer over one. Small items like watercolor tubes and drawing supplies go in an old card file I got at a library auction. Portable easels go on top. Mat board, fomecor and assorted papers next. Below that are frames and larger pieces of glass (smaller pieces go in the leftover space at bottom right) and canvases and stuff stored in tubes.<br />
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A 36" door slides out from between two shelves as a work table for priming panels, cutting mats or stretching canvas. With one room it's necessary to have convertible work stations.<br />
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The laundry wall cabinet that used to be above the old table got casters and is now a taboret thingie for gesso, solvents, paint and related items.<br />
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That freed up my drawing table to be used as...wait for it...a drawing table! I actually got that on the curb during spring pickup in Fairfield years ago. I check that house every year now!<br />
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The big easel is in its corner. The ceiling lights will have to be rearranged to fit but as is, it's fine during daylight hours.<br />
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There's lots more room now but the issue has become parting with bits of this and that that clutter up the room. Junk I thought could be used for some project...and has been waiting years for said project to materialize. It's all going to go. Next will be some painting racks on the wall for plein air studies. Meanwhile, I'm getting ideas from what my painting friends are posting in their blogs so I'll probably work in it for a while before making any other changes.<br />
<br />Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-86852775747970272672015-12-31T18:13:00.000-06:002015-12-31T18:13:16.098-06:00Rezzo loo shunz...bye 2015 Resolution...What does that mean anyway? You already had a <i><b>solution</b></i> but didn't use it and now you're <b><i>re</i></b>applying it? That's why I don't understand making them. Setting yourself up to not do something you're already not doing seems vaguely metaphysical.<br />
However I AM going to attempt that other new year tradition of "getting organized". My studio is what my Dad used to call a "s**t house mess". Now that the really cold weather is coming I'll be spending more time working in it...or trying to. I can't just use it as a place to dump painting gear and store frames before heading to the spacious outdoors. This 13x13 ex-bedroom needs a makeover (which is another big tradition, I think...but this project will need more than press-on nails and a pair of spanks).<br />
Here are some before photos. As 13x13 is a small footprint, my only option is the urban architecture approach of going vertical - these shelf/table combos are going to get stacked and a 36"x80" work table will slide out from between the two.<br />
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The big easel is going to go to a corner where the windows always light it indirectly. Right now it starts the day with bright, direct light and gets darker and indirect as time passes.<br />
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The portable easels will go on the top shelf of the new stacked version (would that lifting constitute a workout program?).<br />
Still, there are a few things I don't know how to rearrange just yet. If you have any great ideas, please pass them on and I will share pictures as things develop.<br />
Happy 2016!Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-89457827424919412002015-12-18T16:44:00.000-06:002015-12-18T16:44:12.535-06:00Drag it - don't nag it Oh, phooey...I <i>wanted </i>to imbed video in this post but time and incompetence have gotten the best of me...so here's the info in verbal form and perhaps someday I'll manage a video redux.<br />
Previously, I've written how paint looks and behaves on the palette and what <i>value</i> to expect once it's put to paper. To recap: <b>Runny paint</b> (paint that moves freely on a tipped palette) makes light to medium value marks. <b>Paint that moves slowly</b> on a tipped palette makes medium to dark value marks. <b>Paint that stays put</b> makes the darkest mark available from that pigment.<br />
So, with the right color in brush, the next challenge is to get it on paper with the desired appearance.<br />
<b>Watercolor doesn't like to be dabbed, stroked or brushed</b>...<b>it's mostly water and water likes to flow.</b><br />
Think like so: <b>The <i>water carries the color </i>and <i>you move the water. </i></b> You lead it where you want and after it evaporates, beautiful color remains....or not.<br />
If you dab, stroke or otherwise nag it, watercolor leaves a mess. Lead it about nicely and it will gift you with colorful presents.<br />
Runny paint and slow moving paint require different application procedures - but neither involves rubbing, scrubbing or dabbing.<br />
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<b>Runny paint </b>flows across the paper easily. If your paper is at a 45-60 degree angle it forms a juicy bead at the brushstroke's lower edge (the flatter you work, the faster the water soaks into the paper - it has to be <i>on the surface </i>to lead about). If you touch a loaded brush to the <i>bottom edge </i>of your bead you can continue to lay a smooth wash wherever you lead that bead. When you<i> OVERLAP</i> <i>the bead</i> with your brush, you risk streaks. Bringing your brush into an area you've just painted does a couple things: it can "wipe" a bit of the previous stroke away, leaving a lighter patch. Or, the additional liquid may wash the area lighter. I like to say "<i>bring the brush TO IT but not THROUGH IT</i>". The bead waits for you while you apply color to other areas, so don't run your brush out and leave a dry edge. Leave a bead so you can pick up where you left off. Just reload your brush, pick up the bead <i>from underneath</i> and lead on. When you get where you're going, "drink up" any remaining bead by touching a squeezed out brush tip to it.<br />
WASH TIP: Keeping the brush handle pointing <i>up</i> lets gravity aid the release of paint. Pointing the handle <i>down</i> slows that release as gravity pulls it back into the tuft. If your bead starts to starve out, go "handle up" to keep it juicy. If you're coming up to a complex shape and need to paint around it with care, go "handle down" to slow the flow.<br />
<b>Slow moving paint </b>is trickier to lead about because it's thicker. It won't form a bead you can coax along. So how do you get a relatively smooth application over large areas? Again, "<i>bring the brush TO IT but not THROUGH IT</i>".<br />
Put some slow moving color on the paper - as far as it will go and <i>still look wet</i>. It should glisten. Then, reload your brush and bring the brush to the<i> WET EDGE of the previous mark</i> and let hydraulics do the joining. DON'T STIR BACK INTO PREVIOUSLY PAINTED AREAS to blend the new paint unless you <i>want</i> streaks, texture or blossoms.<br />
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<b>Common mistakes</b><br />
1. HARD PAINT: Make sure the paint in the palette is fresh or re-moistened enough to get the desired consistency.<br />
2. MIX PLENTY: Have <i>color ready</i> so the bead or wet edge isn't drying up while you mix more. Often painters try to cover too big an area and then starve their bead, or let their wet edge get too dry. While they're mixing more color - which is <i>difficult </i>when<i> </i>there's little of the original to go by - a hard edge forms where they left off. Then, they torture and scrub that distinct line trying to get the new paint look like a seamless extension of the old. The result is usually blotches and bands.<br />
3. DON'T DILUTE: Another no-no is trying to extend the paint by bringing more water to it. That only <i>lightens</i> the mix you worked so hard to get right.<br />
<b>Remember: The trick to getting a smooth transition is to keep the bead - or the edge - wet!</b><br />
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<br />Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-49655878515943175102015-11-02T15:52:00.000-06:002015-11-02T15:52:07.945-06:00Who's your favorite Impressionist?I was going to call this post "Great shapes" and realized it had all pictures of women...didn't want to attract the wrong kind of cyber traffic, so I'm making it a kind of survey: Which Impressionist sends YOU...and WHY?<br />
Lots of good choices (remember, there were Impressionist painters in nearly every developed country at that time - even Japan!) For variety's sake, include the Post Impressionists because frankly they were all contemporaries.<br />
Over time, I've settled on Toulouse-Lautrec. I may have finally become my father...he hung Lautrec reproductions in his bedroom. Perhaps seeing them so often was subliminal? In any case, Lautrec had an eye for great shapes...and always divided up his picture plane interestingly. Even better than Degas and Manet, though doubtless there was mutual influence. His color is pretty amazing too, whether his palette was low chroma, high chroma or flat out garish. And he may have been the best draftsman in the bunch. But of course we're all going to say that about "our guy" (<i>or </i>girl...don't forget Celia Beaux, Mary Cassat or Berthe Morisot).<br />
I don't know who this girl is but when you find one like her you don't paint just one picture!<br />
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The shapes of her nose, jaw line, hair, blouse are just simple geometrics but with a bit of unusual contour somewhere. It pays to find that odd bit and get it <i>just so</i>. The background is simplified to feature <i>her</i> features. The limited palette (black, white, yellow ochre and some red? The Zorn palette!) doesn't compete with the shape-fest.<br />
Look how he's "joined" the blouse to a window to create an interesting COMPOSITE shape. And that wisp of hair!! Klimt HAD to have seen this.<br />
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In both pictures he avoided splattering his lights around willy-nilly - the big light shape is the draw and other light shapes are either smaller and/or different in character (geometric versus organic for example - a hat tip to the Japanese).<br />
This woman, her hair, and her blouse unite as almost one engaging shape.<br />
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Lautrec has avoided the temptation to paint each separately and has instead seen them in the light that falls on all three - probably because of its unusual color. We also see his gift for making both the positive <i>and </i>negative shapes interesting.<br />
Check out this amazing bedsheet shape with two disembodied heads floating in it like eggs in a bird nest. Yet you feel the bodies under the covers - <i>barely. </i><br />
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Take out the heads and the color nuance in the sheet shape reminds me of Cezanne's watercolor's of Mont St. Victoire in Provence. Again, minimizing the details of the headboard and wall confirms what <i>he </i>saw and he wants <i>us </i>to look at. We've all seen furniture but perhaps missed the fracture of a particular light on a particular surface.<br />
I think this is Lautrec's mother (quite attractive...whoever she is).<br />
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Anyway the color in this rivals anything Monet or Pissarro did outdoors. Lautrec handled indoor light whether dim, bright or sickly artificial. There's a rainbow in his whites. Edges lost in strong light tie <i>expected</i> shapes to other surfaces and draw the eye all over. This is a masterpiece of drawing in paint with a brush too.<br />
Last is this remarkable puzzle piece collection of weird yet recognizable shapes. It would take C4 to separate them - they interlock so beautifully.<br />
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This picture straddles Lautrec's painting and poster work. The drawing on the face of the girl at right wavers between realism and cartoon. Turn of the century European Anime, almost. The central figure has such an odd expression...either she's drunk or a bit confused because someone appears to have inserted a carrot with its green top intact into her décolletage...or both. I'm told that sort of thing can happen on girl's night out. Anyway, great pictures...share about your favorite painter?Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com8tag:blogger.com,1999:blog-8952146900580943299.post-38262381276532313142015-10-29T20:46:00.000-05:002015-10-29T20:46:45.689-05:00Heresies and Pharisees At some point, it was decided "opaque" paint had no place in "transparent" watercolor. White is considered especially heretical...As though you're not an <i>honest water</i><i>colorist </i>if you don't paint around every little white.<br />
It puts me in mind of the Pharisees - a first century religious sect that were fussier than a car wash bill changer.<br />
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They felt the 10 Commandments weren't comprehensive enough, so they invented <i>extra</i> rules. Like not eating eggs laid on Saturday because the chicken was performing work on the sabbath...don't want to be an accessory to a sin <i>that egregious </i>do you?<br />
I've already explained watercolor AIN'T transparent and never was. Pigment is pigment.<br />
There are legitimate uses for white or opaque accents. Sure, paper whites look great. They're part of watercolor's unique look. Get 'em if you can. But some stuff is too tiny or complicated to paint around without creating clunky edges or areas nearby.<br />
Using opaque accents as positive, constructive marks - <i>not as correction fluid</i> - should be considered good painting if it produces the desired results.<br />
Sargent used paint opaquely and thickly enough that it cracked over time. Check this one: He used opaque accents for the yellow leaves in the shrubs.<br />
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That's what I mean by positive, constructive marks: He <i>meant</i> those, he wasn't fixing boo-boos. The laundry is classic paint-around. What do you bet his picture was the first of this oft-seen watercolor subject?<br />
These Bedouins have thick white highlights on the folds of their garments. Is it <i>so </i>bad? Are those great faces diminished by his methods?<br />
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Or how about these gondoliers from his picture of the Bridge of Sighs in Venice? A watercolor Pharisee might think there's enough white paint there to have him stoned<i>. </i>I say it's a <i>great</i> gesture drawing.<br />
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Or how about Trevor Chamberlain here: Little <i>deliberate </i>accents like the ship name, cables, gunwhales and such sit just fine with what's otherwise a classic application of watercolor. That mast on the bridge for example: Trying to paint the background around it would have sacrificed the lovely granulation of the color and the area would become a distraction.<br />
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Let's just paint good pictures...In painting, God may have spotted us the <i>only </i>area in life where the ends can justify the means and nobody gets hurt physically, morally or spiritually. Why complicate it...?Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com3tag:blogger.com,1999:blog-8952146900580943299.post-36893719245577852552015-10-27T22:07:00.000-05:002015-10-29T15:49:59.547-05:00Jello salad, mud and transparency By way of answering a question on the last post's comments, I thought we'd get into "transparency" in watercolor and the problem of "mud".<br />
First, <b>WATERCOLORS AREN'T TRANSPARENT..!! </b>Really...The very <i>same</i> pigments are used in watercolors, oils, pastels, acrylics, even house paint and lipstick. They aren't little bits of colored glass that light can pass <i>through</i>. Check the pigment numbers on your tubes - same PB 29 ultramarine blue in oil or watercolor.<br />
So why do they <i>look </i>transparent? Because we're viewing what might be called micro-pointillism. When the paint is applied, the water is initially on the surface of the paper before soaking in. The tiny pigment particles are kept suspended by something called Brownian Motion before settling to the paper's surface. When they do, they distribute themselves fairly evenly, owing to the aforementioned Brownian action.<br />
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Like these scattered bearings, <b>light can bounce off the white paper AND the pigment particles so it <i>appears </i>transparent. </b><br />
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Yes, people talk about "sedimentary" and "transparent" colors but what that really means is some pigments are just bigger than others if seen under a microscope. The more recent pigments tend to be smaller (having been manufactured for use in spray equipment) revealing more white paper and giving the appearance of transparency. <i>All </i>pigments are sedimentary - none of them can hover.<br />
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<b>Why do oils look opaque then? </b>Because in watercolor we're looking at a THIN layer with pigment particles side by side. In oil we're looking at a THICK viscous layer with particles stacked over one another like this...<i>forgive me...</i> jello "salad". Try not to hurl.<br />
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I'll avoid launching into a diatribe about the far too liberal Midwestern view of what constitutes "salad". And their version of biscuits and gravy? Don't get me started...<br />
<b>Let's talk about "MUD". </b><br />
In watercolor, what gets called mud is just TOO MANY SUBSEQUENT APPLICATIONS OF PAINT TO THE SAME SPOT. All those white spaces between the particles just get covered up - so it looks opaque...because it is. Look at this sample below: I went around my palette and mixed ALL 14 COLORS TOGETHER. That's the top color. It's an interesting grey that could even be used...for rocks, maybe. Point is: All 14 pigments are distributed NEXT to each other.<br />
Below it I applied one color, let it dry and then applied the next as a glaze and so on. I never made it to all 14 colors. Sample 2 is only 9 colors but <i>look how murky, because they're ON TOP of each other. </i>Tap or pinch it up larger to see.<br />
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So the trick is learning to mix your colors pretty close the first time. Glazing is to get <i>a specific effect...</i>one color over another. It's ability to correct has limits.<br />
Next post we'll address proper use of opaque paint in watercolor.Anonymoushttp://www.blogger.com/profile/12779100576132035927noreply@blogger.com6