Intermediate Homework 11/7/12 Life Painting

The moment I look up to see the model's latest pose I am eager to launch into a clear and simple interpretation, but many distractions have arisen by the time the beeper signals "time's up". I dare say most of us get seduced into trying to depict some subtle change of hue from one side of a shadow to another when we're only half way done with the big shapes. I usually end up with a much more complicated image than I intended. But, those disappointing paintings can be useful.
Without the model there to distract you, it should be easier to make a simplified version of the pose using your live work as a starting point. Those shadows, for example, can perhaps be laid down quickly enough to vary color without running into drying issues. And there's much more room to think and breathe with no timer running.
Give it a try. Maybe it will have a positive impact on next week's live session.

Beginning watercolor 11/7/12 Shadow Patterns on Heads

Look for a photo of a head that features a strong shadow pattern. Imagine it as a series of layers: First, an overall pale wash to represent the illuminated skin tone, into which color variations of similar value can be placed. Then, a shadow pattern, which can also be given soft edged variations, and, finally, the few darkest darks, like pupils and nostrils.

Keep it simple!

Beginning Watercolor: The Paint Itself 11/1/12

Stanislaw Zoladz                                        Lofoten

Intermediate Watercolor Where do I need hard edges? 10/31/12

We've all seen paintings that suffer from too many hard edges. Often, if we pay more attention to content than form, the individual parts of the scene insist on being kept separate. A hard edge is the best way to ensure that, but the result can be a jigsaw puzzle that is difficult to see as a cohesive whole.
Deciding which edges in the forest really need to be hard is tricky when we are all wrapped up in doing justice to the individual trees.

Working under the assumption that the best way to see if something needs to be in the painting is to leave it out, I recommend making a study that has no hard edges at all. When it is finished, the study will tell you where more focus is required. It also helps to have a limit in mind, say, half a dozen strokes, so you can identify the most important spots.

Ranch Alto                                            Tom Hoffmann

For homework, choose an image that has lots of shapes, and paint a version that is all soft edges. Part of the exercise is to practice the techniques involved in keeping the shapes blurry without losing definition altogether. The awareness skills that are at work include noticing as soon as a hard edge appears, and stopping right there. Then dry the paper, re-wet the relevant areas and continue.
Assess the study, with an eye toward where it needs greater definition. Make the hard-edged additions one at a time, and stand back each time to see if that's enough.

Intermediate Watercolor 10/25/12 Drawing on Instinct

The 5 minute studies (ok, 10 minute) we made in class revealed that we all have the means already in place for making sound editing decisions without a great deal of analysis. Through practice and by instinct we have become skilled at choosing what belongs in the picture and what we can release.
For homework, let's put this tool to work informing a more leisurely painting.
First, choose a subject that seems a little challenging, and make a very quick study. Keep your palette limited, and resist the temptation to make corrections. This is not meant to be a proper painting. The parts that fail will be just as informative as the terrific bits.
Next, spend some time assessing the study. Where does an extremely simple version tell the story well enough? Where is more subtlety or specificity needed? Taking notes may be helpful.
Now indulge in taking your time (how about a whopping 30 minutes?), and paint an informed rendition.
One of the ways a very quick sketch is useful is as a reminder that the range of what works is usually much wider than we think. If something goes awry, at least consider leaving it as is.

Have fun.

Bill Teitsworth      Bill's Rhubarb

Beginning Watercolor 10/25/12 Refining the Translation

Painting a new subject can be a steep uphill climb. It usually takes more than one piece of paper before I begin to know what is essential and what is optional. Understanding a subject in terms of washes and strokes requires knowing it intimately –memorizing it, in a way.

This exercise is designed to bring you to the place where you know your subject well enough not to need to even look at it.

Choose a simple subject. I recommend something shiny,  like a persimmon, or a tea kettle, and not too elaborate.

Take all the time you want on the first version. Go ahead and paint LOTS of information. Then paint it again. And again. And so on, until you know what needs to be in the painting and what you can let go of.

Now put the object out of sight, and paint one from your understanding of the essential elements.

Lars Lerin

Intermediate Watercolor 10/17/12 Follow Through

Homework this week is simple: Make a painting. That’s it.

Oh, one more little thing: Make it a painting you really like a lot.

The time to apply your highest standards is right now, I don’t know about you, but I’m not getting any younger. Figure out what’s wrong, practice it, and make another version. If an inner voice says you might be getting bored with the image, remember the motto of the universal watercolor society, which is “Shut up and paint!”

Have fun.