Latest demonstrations for painting the weather

Painting the weather

                                                                                                                                                 

Painting the weather

A series of four demonstrations on painting the effect of weather that occurs in the four seasons will be posted in the coming weeks.

Spring

 The weather in springtime can  start with the winter cold still with us, so early spring can be portrayed with late snow  also frost and mist.

I have choosen early morning  midspring for the demonstration. there are patches of frost in the shadows, and cold but bright sunlight shines on the rest of the  fields.

Drawing component

I make several sketches of the subject the same size as I intend to paint the picture to find a composition that pleases me enough to want to paint it.

Placing the sketch underneath a piece of watercolour paper on the light box I carefully draw a refined drawing using the sketch as a guide.

sheep-one

  By using this method to place the drawing onto the watercolour paper I have a pristine drawing with no alterations to spoil the paper

First Wash

This verigated wash that I used for the sky and background trees consisted of three primaries  Pthalo blue ,Crimson, and Indian yellow.

These three colours also enabled me to mix on the paper some green for the distance trees and a sugestion  of warmth under the Cyprus trees.

This dilute wash would leave me plenty of leeway to lay other washes as the painting progressed. 

sheep-two2

Second Wash

the colour to the consistency of milk for the Cyprus trees and diluted it for the background trees.

 

Reserving the white paper with masking fluid for the daffodils in the bottom right corner and still using  the same three colours I washed in the middle and foregruond.

I then applied a wash of yellow green mixed from the yellow and blue that was on my palette .

When this was damp but not dry I dropped in a blue green also mixed with the same two colours 

 

Squeezing out some Burnt sienna and Burnt umber I painted the large tree  mixing the creamy colour on the paper

I diluted

 sheep-three5

 

 

Third Wash

After using  Pthalo blue   for the cast  shadows of the sheep, and strengthening the form shadows on the trees I removed the

masking fluid on the daffodils bottom righthand cornet

sheep-four

 Finishing touches

Adding my sixth and last colour of raw sienna I painted the Black faced sheep using the sienna with a touch of the pthalo blue to sive the impression

of shadow on their sides being careful to retain the white highlights on the backs .

The faces and legs was painted using burnt umber mixed with the pthalo blue.

A touch of Indian yellow applied here and there gave reality to the daffodils.

When checking the painting I relized that the large tree need to lighten in value.

 I did this with permanent white mixed with a little pthalo blue.  

sheep-f3 

  

 

 

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Verigated Wash Demonstration

 

 

Verigated Wash

 

verigated

 

Similar to the flat or gradated wash in application the dirrerence being you use two or more colours in the wash

Variegated washes should be applied quickly using the method

that is used for gradated  or flat washes

This should done wet on wet so they meld into one another as one.

 

Photo of house

 

I took this photograph of a house at the Portsea end of the Mornington Peninsular

 

Thumbnail sketch

 

 

I drew a small thumbnail sketch to decide the composition

The  the house was to be the center of interest.

When I was satisfied with the drawing I gave it some tonal values to indicate the light direction.

Then on a small piece of watercolour paper 25cm x 15 cm I lightly drew the basic outlines of the house

 

   

                                                                                                     

                                                                       

 

               

    veri51 

 I masked out the area’s that I wanted

to remain a light value,

I wet the paper and applied mid values of warm and cool colours over the entire sheet.

In the lower quadrant I applied some rock salt.

I allowed the colours to fuse together.

Then waited patiently for it to

         

     

      

veri9  

 

When dry I removed the masking fluid and salt.

Then I applied masking to save the cracks in the fence

I applied cool washes to the sides of the house in shadows, and warm washes that were receiving reflected light from the garden.

when describing the planes of the roof

I made these values to dark but knew I could lift and adjust colour later.

 

  

 

veri102

 

After painting the fence, It was time to establish some of the shadows before I completed the foliage.

Note that the fence on the right was receiving quite a lot of reflected light

For the sake of the composition I brought the trees closer to the house to give the feel that the house was nestled among the trees, which is how it appeared from the road.

See below a larger version of this very small picture 

 

   

 

                       veri11                            

 This picture is a series of verigated washes within hard edges

 

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My love of Drawing

The Artist Board

My Love Of Drawing

If I could only work in one medium, without hesitation I would choose the humble pencil for its ability to capture the essence of what you want to portray in a few loosely stated brief lines. And with a little more care you can have a line drawing of the utmost beauty.

It allows you to develop the drawing further by adding values in the form of shading which creates light and dark. Nearly every art teacher or instruction book will tell you that a good painting comes from ideas developed from sketches, these sketches have solved their composition and values for them and all that is left to be decided is the colours.

And these little drawings are often works of art themselves, and are often sort after by art collectors. Some artists place a great value on this work and refuse to part with these drawings, keeping them in their own collection It is a shame that other artists neglect this part of their artistic development and never experience the joy of doing a drawing that expresses exactly what they felt about the subject.

Some painters say their reason for not drawing on the canvas before they paint is that they like to paint the large shapes first and don’t want to be confined by lines. This is nonsense, because drawing is based on the ability to see shapes, and as most of the worlds best paintings were, and still are, done from preliminary drawings and cartoons that define those shapes, the worlds greatest painters developed their drawing skills to the highest degree.

And last, but by no means least when drawing, a good many artist start by drawing the largest shapes first, and gradually refine the line, and develop the light and shade bringing drawing to completion.

In fact there are many reasons to draw. There is nothing better than dashing of a quick sketch of something that has caught your eye. You can’t always paint it as you might not have enough time, but the drawing will give you all the information you need back in the studio. Life drawing will give you the skill to put believable people in your paintings. It can also give you the ability to get a likeness in portraits.

It is for all these reasons that I love drawing, the thrill of quick sketch that enables you to make a painting. So if you are one of those painters who never draw, invest a couple of dollars in pencils and cartridge paper and discover the delights of sketching you will so glad you did.

Both the sketches below was drawn onsite the first called the “Boilerhouse”

Took about one hour because it was a value study

The one beneath was more or less an

Outline sketch which was completed

In 15 minutes

 

boiler-house

 

 line-sketch5

 

  

 
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About Colour

Articles on understanding and the use of colour

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General Drawing Tips

I was looking around the internet and came across a page that has some very good tips for drawing

I have reproduced the original page (http://drawsketch.about.com/cs/tipsandideas/a/drawingmistakes.htm) here
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Colour Wheels

Tuesday Class

Term Two Programme 2008

Using the colour wheel to create harmonious palettes

The 12 hue method including colour harmony, value and composition is the Programme for this term.

Starting the term by making a 12 hue colour wheel.

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Watercolour with Pen, Ink and Coloured Pencil

Thursday Class

Term Two Programme 2009

Watercolour with Pen, Ink and Coloured Pencil

Painting with mixed media for works done on paper increases the artist ability to depict their subject matter with greater realism no single medium is suitable for all occasions, it is only with practise that we get to know what works best for us.

For those that are at the beginning of their art journey it is best to practise on simple subjects, I have chosen a walnut to demonstrate how I approach a painting using watercolour with pen and ink and coloured pencils, with a touch of white gauche.

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Watercolour for Beginners

This page is designed for people people with little or no knowledge of watercolour

Introduction

Gaining knowledge and skill in the use of watercolour is a lifetimes journey, the enjoyment and rewards of this medium more than repay your efforts. The temptation to rush through the process must be avoided as it as caused many a beginner to give up. This watercolour course is based on the simplified method that I have gradually developed over many years of teaching art. Although it contains what you will find in any good art book on the subject, it is broken down into bite size pieces. For example you will only be introduced to one type of watercolour paper at the beginning, this will enable you to have a through understanding of that paper before moving on to another. Dealing with and mastering one aspect at a time is by far the best approach.

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