Thursday, November 12, 2020
The images below display a mix of hard and soft edges. This exercise will produce a device that helps you decide where you want the specificity that hard edges provide and where you prefer the generality of soft edges. The concept is simple; paint a version of one of the selected images using only soft edges.
When the painting is dry you can look for places where you really want hard edges. Be conservative, choosing the places that you feel most require hard edges. Paint the hard-edged shapes right over the initial soft ones. stop after each hard edge and stand back a little, to get some distance on the big picture. Just because a shape has hard edges in the photo doesn't mean the painting needs them, too.
You may have to wet both sides of your paper to get it to stay wet longer.
Thursday, November 5, 2020
Before all the leaves are gone let's shine the spotlight on trees for a while. If you have a tree view by all means paint from life. Working from photos is also fine, as well as copying other painters. Here's a bunch of images to get you started
Large sections of these two landscapes were painted just after the initial wash was applied , while the paper was still wet.
Zooming in on the one with the fence, we can see some of what was done while the paper was still wet. The blue hill has a hard edge where it meets the sky, and a soft edge where it meets the yellow.
Look at the edges of the clouds; some are hard and some are soft.
In both paintings there is a casual feeling regarding edges. In the one directly above you can tell that it wasn't essential for the trees to all be hard-edged or soft. A mix of edges was considered acceptable.
In the backyard painting, above, it seemed important to keep most of the edges hard. Since light and shadow is the main subject, there should be no uncertainty about whether any given shape is sunlit . Keeping the shapes separated with hard edges helps support the illusion of strong light.
Choose one of the photos below and take your time deciding which edges you want to keep hard and which soft. Plan how you'll bring this about.
Remember you can keep the paper wet longer by using lots of water in the initial wash, and you can keep your shapes from feathering too much by using thick paint for the secondary wet into wet strokes.
Thursday, October 29, 2020
Watercolors often look like they happened effortlessly, at least the good ones do. but the truth is there is usually quite a bit of thought that makes that fresh, clear fluidity possible.
Here's an image that displays a simple sequence of layers that progress from light to dark in an obvious order. The sky is lighter than everything else. It can be painted first, with the confidence that comes from knowing that each successive layer can be laid almost completely on top of the previous ones. Can you see what comes directly after the sky? We''re looking for a shape that is darker than the sky, but lighter than everything else. The tall grass looks like a candidate. It's darker than the sky and lighter than the hills and the barn. And so it goes, each successive shape is darker than the previous ones. The only place part of an earlier layer needs to be saved is that open barn window through which we can see a hill and some of the sky. Not every scene translates this easily into a simple sequence. Most of the time we need to ponder where some of each layer will be reserved and remember to strategize where, when and how that should happen.
This image requires a little more of a strategy for reserving the lightest part. It also has subtle soft edges that seem to be an important part of the mood of the scene. Good luck!
For homework, choose an image and make a plan. Then paint.
This one will work, or you can use one of the following:
These are definitely realist paintings in some ways. We can recognize their subject matter even though it is more symbolic than descriptive. It seems fair to say that the artists want the viewer to be able to identify what is being interpreted, but rather than simply observe and duplicate the subject they devise a symbol based on the essence of the content.
An emphasis is put on abstract elements, such as shape and color, by distilling the subject down to a simple but unmistakeable form. In context, MclEmurry's sage brush is easy to recognize, even though she is not describing specific individuals.
Here are a couple of images to experiment with:
These clouds are a candidate for a symbolic treatment
Thursday, October 22, 2020
The little shop in Melaque with the blue and white striped awning offers a great opportunity to fill the large, dark doorways with interpretations of the kind of shapes and colors we see there. We are fortunate to get to study several examples of how all the merchandise can be suggested; Bags of chips, cold drinks, fresh fruit, stuffed animals? For some of us, it's sufficient to make reference to the content of the shop without taking pains to identify each item. Others take pleasure in the process of making sure the viewers know what they're looking at.
Here are a couple more images that present the same kind of opportunity. Experiment with wet on wet, negative painting, lifting and combinations thereof.Either way, a large part of the task involves using the deep dark spaces to contain the spritely array of forms. If they just look flat black to you, invent some way to animate the large darks.
Let's keep the submissions to the critique down to one each, and post the others in the ...what's it called; crunchy? Crusty? The photo sharing site.
Find an image that has a wide range of values . Use one of your owm or one of those that follow
Friday, October 16, 2020
In class on Wednesday most of us had more work to do on the Melaque street scene or the barn and mountains scene. Please send them in when they're done.
Here are various landscapes that emphasize form rather than content. Some are paintings and the rest photos that lend themselves to displaying shapes and edges. See if something stirs you about them. Hopefully, you'll feel like painting, and letting the paint have some room to surprise us.
Thursday, October 8, 2020
First, let's look at some shadows with an eye toward color. The shadows of the poplars in this scene are green, for sure, but not the same green as the grass upon which they fall. They're considerably darker and less yellow. Is it fair to say that the shadows are darker and cooler than the local color? Is this always true? What about the shadow on the white barn, is it cooler and darker than the local color of the barn? Yes and no. It is darker, and it is bluer, but take a look at the eave of the other white building in back of the barn. It's much warmer than the barn in shadow, even though it faces the same direction. How can we explain that? Sometimes reflected light can affect the color of a shadow. In this case, warm sunlight bounces off the roof of the barn and tints the eave a warm gold.
These shadows differ from each other more obviously than those on La Soledad. The shadows on the green dome are green, while those on the ocher doorway are ocher, and the ones on the pink walls are pink. In each case the shadows are darker. Are they also cooler? More neutral? Does it matter? What if you painted them all ultramarine?