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April 8, 2010
The Color in Watercolor
Reading Alvaro Castagnet's wonderful book about painting in watercolor,
makes me want to achieve even stronger dark values in my work. Alvaro is
acclaimed for the brilliant shadows in his paintings, especially his street scenes.
There were plenty of memorable quotes in his book, but one stands out
because of its simplicity. Alvaro noted that while people talk about the "water"
in watercolor, it is more important to emphasize the "color" in watercolor.
In my classes I point out to my students the importance of squeezing out big
gobs of watercolor paint onto the palette. If you have plenty of paint to work
with, you will not be afraid to use it. Small amounts of paint or dried paint on the
palette make it next to impossible to achieve dark tones. Watercolorists need
palettes full of freshly squeezed juicy colors. Spraying the paint with water will
thin it slightly to about the consistency of heavy cream, ideal for painting strong
values.
I recommend purchasing paints in 37 ml tubes (ordered through catalogs or
online). The paint is much less expensive this way, freeing the artist to brush on
beautiful intense colors.
I painted "Nostalgic" (watercolor, 11x15) at right using just 4 hues-- ultramarine
blue, olive green, alizarin crimson, and raw sienna--but in order to obtain the
dark values I made sure there was plenty of fresh paint on my palette before
starting.
KC
The Color in Watercolor
Reading Alvaro Castagnet's wonderful book about painting in watercolor,
makes me want to achieve even stronger dark values in my work. Alvaro is
acclaimed for the brilliant shadows in his paintings, especially his street scenes.
There were plenty of memorable quotes in his book, but one stands out
because of its simplicity. Alvaro noted that while people talk about the "water"
in watercolor, it is more important to emphasize the "color" in watercolor.
In my classes I point out to my students the importance of squeezing out big
gobs of watercolor paint onto the palette. If you have plenty of paint to work
with, you will not be afraid to use it. Small amounts of paint or dried paint on the
palette make it next to impossible to achieve dark tones. Watercolorists need
palettes full of freshly squeezed juicy colors. Spraying the paint with water will
thin it slightly to about the consistency of heavy cream, ideal for painting strong
values.
I recommend purchasing paints in 37 ml tubes (ordered through catalogs or
online). The paint is much less expensive this way, freeing the artist to brush on
beautiful intense colors.
I painted "Nostalgic" (watercolor, 11x15) at right using just 4 hues-- ultramarine
blue, olive green, alizarin crimson, and raw sienna--but in order to obtain the
dark values I made sure there was plenty of fresh paint on my palette before
starting.
KC
April 23, 2010
Edges
Honored to be selected as the poster artist for the 2010 Live Arts event in
nearby Bothell, I visited the town center and environs several times this week.
Bicycling by the Sammamish River which flows through Bothell, I was once again
impressed by dark evergreen reflections in the water and strong white light
shimmering off the surface. While I have painted this river many times, it never
fails to provide new inspiration and I knew it would appear in the poster painting.
But this week also featured the Opening of the Northwest Watercolor Society
Show at the Convention Center. Viewing 70+ watercolors by artists from across
the country, I again felt honored, this time to have had a painting included in the
exhibit. Taking this as an opportunity to view original works by some of my
favorite painters, I looked closely at several of the watercolors trying to see what
especially attracted me to the piece.
Conclusion: edges are important. But not just edges in general. For me a
variety of edges in a painting divided the well done pieces from those that I
couldn't stop looking at.
So with this thought in mind, I incorporated both soft and hard edges (AKA "lost
and found edges") into the river painting at right. The softer edges were done
wet in wet, forming the background, and hard edges on the land form at the
lower right provide the illusion of nearness to the viewer.
KC
Edges
Honored to be selected as the poster artist for the 2010 Live Arts event in
nearby Bothell, I visited the town center and environs several times this week.
Bicycling by the Sammamish River which flows through Bothell, I was once again
impressed by dark evergreen reflections in the water and strong white light
shimmering off the surface. While I have painted this river many times, it never
fails to provide new inspiration and I knew it would appear in the poster painting.
But this week also featured the Opening of the Northwest Watercolor Society
Show at the Convention Center. Viewing 70+ watercolors by artists from across
the country, I again felt honored, this time to have had a painting included in the
exhibit. Taking this as an opportunity to view original works by some of my
favorite painters, I looked closely at several of the watercolors trying to see what
especially attracted me to the piece.
Conclusion: edges are important. But not just edges in general. For me a
variety of edges in a painting divided the well done pieces from those that I
couldn't stop looking at.
So with this thought in mind, I incorporated both soft and hard edges (AKA "lost
and found edges") into the river painting at right. The softer edges were done
wet in wet, forming the background, and hard edges on the land form at the
lower right provide the illusion of nearness to the viewer.
KC
April 28, 2010
People and Mood in a Painting
Teaching a class this week about placement of people in paintings, I decided to
experiment with using the same scene but with different figures. Pulling out a file
of photos from Ireland, I discovered a favorite that I had been meaning to paint
but never actually did: a house with a sold sign, looking in need of repairs.
The shadows on the windows and door frame attracted me to this cottage as well
as the bright sunlight on the exterior, but I wanted to counter the lonely look of
an empty house by adding residents. My first attempt placed an elderly man
walking slowly to the door --see upper right (Truths of Experience,
watercolor,11x15). On the second try I wanted a more energetic look, and
painted a mother and son with the family dog, lower right (Relative Motion,
watercolor, 11x15).
There must have been some subconscious interaction, because after completion
I noticed that the lower painting's roof-line slants upward to the right and I left
more white on the house, both signs of a more upbeat mood. Not that I think the
upper painting is depressing, quite the contrary, I feel that the man is retired and
enjoying his quiet time in the country. But the upper painting feels settled
(straight roof-line) and content (mid-tones), whereas the painting with the active
figures features a rising expectation (roof from left to right) and more energy
(light on the house).
Voila--the same picture but with very different moods based on the figures!
KC
People and Mood in a Painting
Teaching a class this week about placement of people in paintings, I decided to
experiment with using the same scene but with different figures. Pulling out a file
of photos from Ireland, I discovered a favorite that I had been meaning to paint
but never actually did: a house with a sold sign, looking in need of repairs.
The shadows on the windows and door frame attracted me to this cottage as well
as the bright sunlight on the exterior, but I wanted to counter the lonely look of
an empty house by adding residents. My first attempt placed an elderly man
walking slowly to the door --see upper right (Truths of Experience,
watercolor,11x15). On the second try I wanted a more energetic look, and
painted a mother and son with the family dog, lower right (Relative Motion,
watercolor, 11x15).
There must have been some subconscious interaction, because after completion
I noticed that the lower painting's roof-line slants upward to the right and I left
more white on the house, both signs of a more upbeat mood. Not that I think the
upper painting is depressing, quite the contrary, I feel that the man is retired and
enjoying his quiet time in the country. But the upper painting feels settled
(straight roof-line) and content (mid-tones), whereas the painting with the active
figures features a rising expectation (roof from left to right) and more energy
(light on the house).
Voila--the same picture but with very different moods based on the figures!
KC
May 5, 2010
Making It So
Anyone who has watched an episode of Star Trek knows Captain Kirk's famous orders
to "make it so." This particular language went through my mind when reading a book
about painting soft and hard edges in watercolor. There are many methods to form a
soft edge such as painting wet on wet, painting wet on dry, spraying with clear water, or
softening the edge with a damp brush. Then I wondered if a viewer or buyer of a
watercolor cared about the mechanics of how the painting was completed. My guess is
probably not, unless that person is also a watercolor painter and was interested in
achieving similar results. So to "lose" an edge, I recommend using any method you
choose to make it so.
With that in the back of my mind, I was teaching a watercolor class yesterday when the
subject of tracing arose. I had just demonstrated how I painted the watercolor at right
(Defining Motion, 15x11), when we began discussing how one might draw from a photo
to achieve a close likeness of a particular boat. This drawing was done free-hand from
a photo, but I have at times traced photos, using an opaque projector. I gave the
students permission to trace from my photo, but one should require no permission to
trace from his or her own photo.
There is only the nagging question that I have heard asked: "is it cheating to trace?"
Pondering this, I asked who exactly is being cheated? Probably not the viewer or buyer
who is interested mainly in seeing a beautiful painting. So that leaves the artist: are we
cheating ourselves when we trace?
Based on my own experience during a period of time when I traced close-up photos of
flowers prior to painting, my drawing skills actually improved. Using the analogy of
practicing a golf or tennis swing, I suspect that the repeated tracing movement with the
pencil in hand may have forged some memory patterns that helped my drafting skills.
So if nobody is being "cheated" by tracing from one's photo, then the photo and the
projector, light box, or sunny window becomes one more tool or method to achieve a
good painting. Like Captain Kirk, we as painters are interested in results. Whether we
are trying to create soft edges or a good likeness, we will use whatever tools we have
to make it so.
KC
Making It So
Anyone who has watched an episode of Star Trek knows Captain Kirk's famous orders
to "make it so." This particular language went through my mind when reading a book
about painting soft and hard edges in watercolor. There are many methods to form a
soft edge such as painting wet on wet, painting wet on dry, spraying with clear water, or
softening the edge with a damp brush. Then I wondered if a viewer or buyer of a
watercolor cared about the mechanics of how the painting was completed. My guess is
probably not, unless that person is also a watercolor painter and was interested in
achieving similar results. So to "lose" an edge, I recommend using any method you
choose to make it so.
With that in the back of my mind, I was teaching a watercolor class yesterday when the
subject of tracing arose. I had just demonstrated how I painted the watercolor at right
(Defining Motion, 15x11), when we began discussing how one might draw from a photo
to achieve a close likeness of a particular boat. This drawing was done free-hand from
a photo, but I have at times traced photos, using an opaque projector. I gave the
students permission to trace from my photo, but one should require no permission to
trace from his or her own photo.
There is only the nagging question that I have heard asked: "is it cheating to trace?"
Pondering this, I asked who exactly is being cheated? Probably not the viewer or buyer
who is interested mainly in seeing a beautiful painting. So that leaves the artist: are we
cheating ourselves when we trace?
Based on my own experience during a period of time when I traced close-up photos of
flowers prior to painting, my drawing skills actually improved. Using the analogy of
practicing a golf or tennis swing, I suspect that the repeated tracing movement with the
pencil in hand may have forged some memory patterns that helped my drafting skills.
So if nobody is being "cheated" by tracing from one's photo, then the photo and the
projector, light box, or sunny window becomes one more tool or method to achieve a
good painting. Like Captain Kirk, we as painters are interested in results. Whether we
are trying to create soft edges or a good likeness, we will use whatever tools we have
to make it so.
KC
May 22, 2010
Little Paintings
Though local arts groups have started plein air painting activities, the
weather has not caught up with the season. Forced inside by wind and rain,
yet still wanting to paint from life rather than photos, I set up a succession of
small still life scenes. See at right: Making It Up, (top) and Sometimes
Overlooked, (lower), both watercolor, 11x15.
The concept of the Little Painting was inspired by an economy in which
smaller works might fit best into buyers' budgets. But sometimes when
weather is uncooperative or inspiration lags, setting up a still life with
whatever one finds in the kitchen (or any room) will brighten a mood and
jumpstart flagging painting muscles.
I frequently recommend that my students paint small watercolors. Even
when you must juggle a schedule with work, childcare, and volunteer
activities, every one can find time to arrange 3 shapes into a still life, pick up
a brush, and enjoy the process.
KC
Little Paintings
Though local arts groups have started plein air painting activities, the
weather has not caught up with the season. Forced inside by wind and rain,
yet still wanting to paint from life rather than photos, I set up a succession of
small still life scenes. See at right: Making It Up, (top) and Sometimes
Overlooked, (lower), both watercolor, 11x15.
The concept of the Little Painting was inspired by an economy in which
smaller works might fit best into buyers' budgets. But sometimes when
weather is uncooperative or inspiration lags, setting up a still life with
whatever one finds in the kitchen (or any room) will brighten a mood and
jumpstart flagging painting muscles.
I frequently recommend that my students paint small watercolors. Even
when you must juggle a schedule with work, childcare, and volunteer
activities, every one can find time to arrange 3 shapes into a still life, pick up
a brush, and enjoy the process.
KC
June 10, 2010
Verticals
While thinking about painting from sketches, I realized that the images I liked
best had two things in common: strong vertical shapes and a curving
"lead-in" at the base. The two images at right are from my sketchbook done
during a trip to Germany last week. I penned the sketch at far right on a
street in Weimar, and the one at near right in the little town of Bad Berka.
Pondering why verticals and lead-ins should catch my eye, I think it relates
to two things: the upgoing shape provides an energetic focus for the
composition and of course the entry to the painting serves as a guide for
the eye to follow to this center of interest. In the Weimar street scene, the
people are the focus, and there is also a vertical building in the distance.
The Church steeple at near right dominates the picture. In both scenes an
arabesque-shaped street draws the eye into the piece.
There is also something about the contrast between the more straight-lined
verticals and the rounded entry lines that satisfies. In the future I will be
thinking more about finding a vertical shape to stabilize a composition, or if it
is not there, make one up!
KC
Verticals
While thinking about painting from sketches, I realized that the images I liked
best had two things in common: strong vertical shapes and a curving
"lead-in" at the base. The two images at right are from my sketchbook done
during a trip to Germany last week. I penned the sketch at far right on a
street in Weimar, and the one at near right in the little town of Bad Berka.
Pondering why verticals and lead-ins should catch my eye, I think it relates
to two things: the upgoing shape provides an energetic focus for the
composition and of course the entry to the painting serves as a guide for
the eye to follow to this center of interest. In the Weimar street scene, the
people are the focus, and there is also a vertical building in the distance.
The Church steeple at near right dominates the picture. In both scenes an
arabesque-shaped street draws the eye into the piece.
There is also something about the contrast between the more straight-lined
verticals and the rounded entry lines that satisfies. In the future I will be
thinking more about finding a vertical shape to stabilize a composition, or if it
is not there, make one up!
KC
June 15, 2010
Feathering
Teaching a weekend workshop at Medicine Horse Studio in nearby Woodinville, I had
the opportunity to interact with 14 talented people taking my class. I have heard it
said that one learns from one's students and this workshop was no exception. While
the participants painted scenes outdoors in the warm sunshine, I wandered around
visiting each table or easel.
One artist asked how to fill in a small area that was lighter than the surrounding
section of her painting. Finding it easier to demonstrate than to describe it in words, I
took a brush, and holding it almost horizontal to the paper, I spread paint lightly into
the surroundings. Oh, she said, you are "feathering" it!
Impressed by the aptness of the term, I googled it and was reminded that the word is
used in rowing to describe turning an oar parallel to the water between pulls.
Feathering also appears in photo retouching when a small area is blended into a
larger area, because a fine feather was once used in the process.
Results of feathering can be seen in the painting "Medicine Horse Studio" (11x15):
on the upper left dark green trees blend into the sky; under the eaves on the upper
right, darker color smooths into lighter; and on the lower left, the foreground blurs into
the background. The technique? I turned my brush almost parallel to the paper and
lightly "feathered" paint into the adjacent area.
KC
Feathering
Teaching a weekend workshop at Medicine Horse Studio in nearby Woodinville, I had
the opportunity to interact with 14 talented people taking my class. I have heard it
said that one learns from one's students and this workshop was no exception. While
the participants painted scenes outdoors in the warm sunshine, I wandered around
visiting each table or easel.
One artist asked how to fill in a small area that was lighter than the surrounding
section of her painting. Finding it easier to demonstrate than to describe it in words, I
took a brush, and holding it almost horizontal to the paper, I spread paint lightly into
the surroundings. Oh, she said, you are "feathering" it!
Impressed by the aptness of the term, I googled it and was reminded that the word is
used in rowing to describe turning an oar parallel to the water between pulls.
Feathering also appears in photo retouching when a small area is blended into a
larger area, because a fine feather was once used in the process.
Results of feathering can be seen in the painting "Medicine Horse Studio" (11x15):
on the upper left dark green trees blend into the sky; under the eaves on the upper
right, darker color smooths into lighter; and on the lower left, the foreground blurs into
the background. The technique? I turned my brush almost parallel to the paper and
lightly "feathered" paint into the adjacent area.
KC
June 30, 2010
An Embarrassment of Riches
In 1726 John Ozell translated a French play title "L'Embarras des Richesses" to
the English "Embarrassment of Riches". This phrase must have struck a certain
nerve, because it has entered the language and remains there through today. I
must confess I felt a tinge of embarrassment over the weekend when my paintings
were on a show poster, won a 1st in painting (see right), and sold as well. But
remembering Andy Warhol's "15 Minutes of Fame" statement, I decided it was best
to try to relax and enjoy those minutes.
Yet there was still more to crow about! Viewing the exhibit, I discovered that not
only had some of my students' paintings been juried in, but some of their works
sprouted red dots and others garnered awards. Seeing this gave me a feeling of
pride.
My husband tells me there is a Chinese proverb that goes something like this: if
the student does not become better than the teacher, then the teacher has failed.
So it goes. Seeing my students' work in the show just reminded me how much I
enjoy teaching, and am looking forward to re-starting classes in the Fall at Kaewyn
Gallery in Bothell
KC
An Embarrassment of Riches
In 1726 John Ozell translated a French play title "L'Embarras des Richesses" to
the English "Embarrassment of Riches". This phrase must have struck a certain
nerve, because it has entered the language and remains there through today. I
must confess I felt a tinge of embarrassment over the weekend when my paintings
were on a show poster, won a 1st in painting (see right), and sold as well. But
remembering Andy Warhol's "15 Minutes of Fame" statement, I decided it was best
to try to relax and enjoy those minutes.
Yet there was still more to crow about! Viewing the exhibit, I discovered that not
only had some of my students' paintings been juried in, but some of their works
sprouted red dots and others garnered awards. Seeing this gave me a feeling of
pride.
My husband tells me there is a Chinese proverb that goes something like this: if
the student does not become better than the teacher, then the teacher has failed.
So it goes. Seeing my students' work in the show just reminded me how much I
enjoy teaching, and am looking forward to re-starting classes in the Fall at Kaewyn
Gallery in Bothell
KC
July 16, 2010
Plein Air Painting 2010
Summer is here in Seattle and with it comes one of my favorite activities: en plein
air painting! The French words essentially mean painting in the open air which
became popular in the 1870s in France after two inventions--paint in tubes and the
foldable box easel, both of which made outdoor painting much easier.
But the artist, especially the watercolorist, does not require any expensive
equipment for painting outside. Yesterday I drove to Fisherman's Terminal (near
the Ballard Bridge) and painted at the Northwest Watercolor Society sponsored
plein air session. I carried a light-weight gator board, a few 1/4 sheets of watercolor
paper, paint, and brushes stashed into a waterproof bag. Through experience I
have found that the lighter my load, the more likely I am to wander and find a great
place to sit and paint.
Surprisingly there were only two of us there! This made me wonder what happened
to the other hundreds of possible attendees. I am writing this to encourage any who
simply forgot that this wonderful opportunity is available all summer. The painter
need only go to the Northwest Watercolor Society, The Eastside Association of
Fine Arts, or Seattle CoArts websites to find the dates for painting at pre-screened
venues (membership not required).
The painting at right (Fisherman's Terminal, 11x15) was completed entirely
outdoors yesterday and I think it has a little freshness about it that is part of plein
air painting
KC
Plein Air Painting 2010
Summer is here in Seattle and with it comes one of my favorite activities: en plein
air painting! The French words essentially mean painting in the open air which
became popular in the 1870s in France after two inventions--paint in tubes and the
foldable box easel, both of which made outdoor painting much easier.
But the artist, especially the watercolorist, does not require any expensive
equipment for painting outside. Yesterday I drove to Fisherman's Terminal (near
the Ballard Bridge) and painted at the Northwest Watercolor Society sponsored
plein air session. I carried a light-weight gator board, a few 1/4 sheets of watercolor
paper, paint, and brushes stashed into a waterproof bag. Through experience I
have found that the lighter my load, the more likely I am to wander and find a great
place to sit and paint.
Surprisingly there were only two of us there! This made me wonder what happened
to the other hundreds of possible attendees. I am writing this to encourage any who
simply forgot that this wonderful opportunity is available all summer. The painter
need only go to the Northwest Watercolor Society, The Eastside Association of
Fine Arts, or Seattle CoArts websites to find the dates for painting at pre-screened
venues (membership not required).
The painting at right (Fisherman's Terminal, 11x15) was completed entirely
outdoors yesterday and I think it has a little freshness about it that is part of plein
air painting
KC
July 20, 2010
When You Least Expect It
It often seems that good things occur when I least expect it, or when I am thinking
about something else entirely. So it happened on my last visit to Decatur Island
where I planned to paint water and boat scenes. The weather was perfect, the
bay shimmered in the sun, and boats gently rocked in place, but the painting was
not going well.
Needing a break to think it over, I stashed my camera and sketch book into a
backpack and took a walk. After about 20 minutes of wandering, I passed a
wooded area where old vehicles appear to meet their final resting place, or at
least become an island version of a spare parts store. Here bright sun glinted off
paint-peeled and rusting trucks parked up against dark evergreens. The
haphazard shapes and high value contrast caught my eye, and I began to sketch
and take photos. Inspiration had taken hold in this most unlikely place!
Later at the cabin I started painting and produced a small series, my favorite
being a truck with a peace symbol etched on its back ("Peace Time", 11x15
watercolor). So the lesson from today's blog is this: always carry a sketchbook or
camera (preferably both) because you never know when inspiration will strike!
KC
When You Least Expect It
It often seems that good things occur when I least expect it, or when I am thinking
about something else entirely. So it happened on my last visit to Decatur Island
where I planned to paint water and boat scenes. The weather was perfect, the
bay shimmered in the sun, and boats gently rocked in place, but the painting was
not going well.
Needing a break to think it over, I stashed my camera and sketch book into a
backpack and took a walk. After about 20 minutes of wandering, I passed a
wooded area where old vehicles appear to meet their final resting place, or at
least become an island version of a spare parts store. Here bright sun glinted off
paint-peeled and rusting trucks parked up against dark evergreens. The
haphazard shapes and high value contrast caught my eye, and I began to sketch
and take photos. Inspiration had taken hold in this most unlikely place!
Later at the cabin I started painting and produced a small series, my favorite
being a truck with a peace symbol etched on its back ("Peace Time", 11x15
watercolor). So the lesson from today's blog is this: always carry a sketchbook or
camera (preferably both) because you never know when inspiration will strike!
KC